Here’s an American folk staple, that’s been done countless times by an array of musicians. “Hard Times Come Again No More” was written in 1859, by Stephen Foster. Foster wrote some songs you might also know – “Oh! Susanna,” “Camptown Races,” and “Swanee River” among others.
“Hard Times” has a tone of lament that some of Foster’s other songs don’t have. It also has an enduring, universal quality in the lyrics, in the call to “pause in life’s pleasures and count its many tears, while we all sup sorrow with the poor.”
This is a fun tune to search for, and listen to a mix of covers. It has also lived up to a certain mark of true “folk” music, in that it’s been passed around as a cultural possession, in a sense. But here’s one of my favorites by Iron and Wine. Enjoy!
In complicity with my last post, on metaphors and what-not, this may be my favorite John Mark McMillan song. Gloriously heavy on metaphor, this song, as far as my experience goes, does the very best job I’ve heard of understanding what’s meant when God speaks of the Church as the “bride of Christ.” How does the redeemed family of God relate, somehow, to Christ as a bride does to her husband? Give this tune a few listens and you might get a sense of it. The themes in McMillan’s poetry here of redemption, longing, and resurrection, are powerful.
An added note (inspired by my “Oceans” post) on the poetic nature of these lyrics – we HAVE taken the chorus of this song and tagged it in corporate worship at our church, because it lends itself so well to that type of a setting. The verses, however, I wouldn’t use for corporate singing. I think the misunderstanding that happens in church music sometimes, is that because a songwriter produces some songs that are written more for corporate church worship than others, we superimpose one song’s nature over onto others that aren’t as well-suited for the same things, and think we can do them all in church. But some songs may just always be more well-suited than others, for certain contexts. Worship leaders, choose wisely. Gray areas abound here, so that’s all the self-conscious, self-explaining I’ll do for now.
All that to say, I think this song may be the under-appreciated masterpiece from McMillan thus far.