These are some of my favourite hymns and spiritual songs from the Christian tradition (at least for today – as this can change a lot). They’re in no particular order – with a bit of commentary, stories and links to some of my recommended versions.
If you want to see a very expanded list of more of my faves (700+) check out my spotify playlist here.
Amazing Grace – Written by John Newton, a truly redeemed ‘wretch’ who traded in slaves. I recoil when folk remove the word wretch because of its important connection to the evils of racism. It’s become known in almost every culture and language – and has a special place in the African-American church. It’s hard to beat Aretha’s Franklin’s take on it. Check out the Rev. Otis Moss III pentatonic analysis of the tune. With my partial Scottish heritage, I have a special allegiance to the bagpipe version.
Precious Lord, Take My Hand – Written by the Rev. Thomas A. Dorsey, the father of modern African-American gospel music, in response to the death of his spouse and child. This is a classic in African-American gospel that I must have about 30 versions of on vinyl. It’s hard to choose a version of this one – so many, but (again) I think Aretha’s version, which does a mashup with Carole King’s You’ve Got A Friend, takes the prize. Also, Mahalia Jackson doing it with Mavis Staples in 1969 is NOT to miss.
Holy Holy Holy Lord God Almighty – The great Trinitarian hymn echoing the words of angelic choirs. I swear there are times when a church choir does the descant on the last verse with a crescendo with the pipe organ, I’m almost sure I’ve experienced the fulfilment of God’s reign here on earth. This was the opening hymn each Sunday in many United Church congregations the early decades of our tradition.
Soon and Very Soon – Andre Crouch of Andre and the Disciples wrote this one in the 70’s before he went through a bit of a rough patch including an arrest for cocaine possession. I love it as a song of unfulfilled and longing eschatological hope. Another black church treasure (that’s been heavily marketed to white folks). Here’s a live version from some time back.
The Church’s One Foundation – With music written by Charles Wesley’s grandson with lyrics by an Anglican priest decrying heresy of a Bishop, this is the inaugural hymn of The United Church of Canada, chosen by the Presbyterians for our 1925 union service (100 years this year). It riffs off the ancient Catholic Nicene Creed (1700 years old this year). An ecumenical wonder which, all at once, challenges heresy and division and calls for peace and unity.
It Is Well With My Soul – It’s kind of a whiter version of Precious Lord – penned as the writer was on a ship passing the spot his family died on an sunken ship. I love Abbotsford, BC’s Brian Doerksen’s version, harmonising with his Mennonite Dad, Harry – makes me tear up. I want this one at my funeral, please.
Love Divine, All Loves Excelling – Charles Wesley’s greatest hymn, in my estimation – and there are a lot to choose from. I prefer the hyfrydol tune and a big organ version (and a procession doesn’t hurt either). A beautiful trifecta; a Trinitarian summation of the incarnation, sanctification and new creation – all bundled up in God’s transforming grace. Yes, please.
Your Labour Is Not In Vain – I love so much of the work by the Porter’s Gate Worship Project (and their own resident genius, Paul Zach) and, again, could probably have 10 of their songs on this list. This is my favourite, though – an important reminder for us who work in the blessed and very broken church in these times. It’s so heartening to see so much excellent ‘hipster praise’ coming out from younger and often culturally and theologically diverse songwriters and performers. I think I’ll do a post on that sometime.
Because He Lives – Ya, it’s kinda campy, forsure, but in times of grief and loss, this 1971 Gaither song about the power of Jesus’ resurrection reminds me that I can actually face tomorrow. I really like this version from Celtic Worship – though prefer to sing it directly to Jesus as “Because You Live”.
Almighty God – A paraphrase of and elaboration on the ancient Collect for Purity, this is an achingly beautiful song from Nashville’s singer-songwriter Sandra McCracken. I like the arrangement on the All Sons And Daughters version, but also Sandra’s live version where she speaks the collect over instrumental section toward the end. All of McCracken’s work, and especially her Psalms album are worth a listen.
For Those Tears I Died – Ya, campy, once again. But acceptably and oh so queerly so. A song from the late 1960’s Jesus People movement – from the ‘mother of Christian rock’, Marsha Stevens-Pino – who later came out as lesbian and founded BALM – Born Again Lesbian Ministries. This song was subsequently torn out from hymnals and became a classic in the pioneering generation of out queer Christians – especially at Metropolitan Community Churches – where Stevens-Pino is a minister. Marsha called it her coming out song. Here’s an early live version from Marsha / Children of the Day and a more recent one.
O Come O Come Emmanuel – Based on the ancient seven Latin ‘O Antiphons’ (6th century or earlier) which were chanted on the days leading up to Christmas, and which tease out various aspects of God’s nature – including Divine feminine Wisdom – and culminating with the Incarnation – Jesus as God-with-us – Emmanuel. Check out Malcom Guite’s excellent sonnets on these antiphons here. I think it’s unwise to skip any one of the 7 verses in Advent worship (better to just do one of them if you’re going to do that). It’s hard to choose a version – there are so many. Let’s go with Sufjan Stevens.
Hold Me Jesus – I’d be remiss to not include at least one song by the legendary Rich Mullins. Mullins was an evangelical of the highest integrity. He refused to play in a church that had an American flag flying, started a Franciscan order (Kid Brothers of St. Frank), refused to make more money than the average working American – gave the rest away, relocated to an Indigenous nation and taught music, decried Christian homophobia (remember this is the early 1990s) – and flirted with a conversion to Catholicism before his untimely death in a jeep accident. He wrote the triumphal Awesome God (these days, all too often mis-appropriated by the far right) and the pensive Step By Step / Sometimes By Step: Oh God You are my God / And I will ever praise You. His version of the Creed was (along with John Michael Talbot’s) my first introduction to creedal faith. But it’s the stripped down, broken vibe of Hold Me Jesus that is my favourite of his. I sang and played this song on guitar at my baptism in the early 2000’s at Walmer Road Baptist Church.
O For A Thousand Tongues – Another from Charles Wesley. Some of the ableist language is hard to stomach (it’s funny that out of 18 original stanzas we mainline and Methodist churches choose those ones to publish), but the call to praise amidst healing is beautiful. Written after Wesley had a bout of pleurisy and faith crisis as a reaffirmation of God’s grace. Again, I love this one with organ and choir sung to the azmon tune.
Trisagion – From the depths of the Great Tradition – and still an important part of the liturgy, particularly in the Orthodox (and even Anglican) communions. There are lots of more ‘purely’ eastern settings, but I love this version from charismatic evangelical Anglican Latino, Fernando Ortega. As an eastern church honourable mention, this Kyrie from the Kyiv chamber choir rocks my soul to it’s depths.
What A Friend We Have In Jesus – When Aretha sings this, I’m just sure the heavens open in transfigured wonder. A bit of Canadian content too – it was written in Port Hope, Ontario by Charles Scriven who had lost at least two fiancees to drowning, and who probably took his own life in the same way. If so, for me that just makes the song that much more poignant and real – all our sins and griefs to bear.
Just As I Am – Written by a differently-abled woman, Charlotte Elliot, who lived in chronic pain much of her life. It was first published in a hymnal she self-published called ‘Invalids Hymn Book’. My dad, who came to faith at Billy Graham crusade in the 1950s in Toronto (although having been raised at Islington United), spoke of it as his conversion song – as did many in that generation. John Snow, Jr., who is a Cree United Church minister, spoke of how important this song is for his people of his Nation. I kind of like Brian Doerkson’s 90s’ Vineyard-esque version.
I Believe – Another one I first heard from Elvis (on his Christmas album of all places) – but when Mahalia belts this out, I really, really do believe. In terms of arrangements, I prefer Mahalia’s earlier works with Falls-Jones ensemble, before the songs get the Columbia Records bloated treatment with sappy strings and orchestra – and therefore I prefer her 1953 single version. This song is Christian mysticism at its best – although I recently learned it was written by 3 Jewish songwriters as a response to the Korean war. Honorary mention of something kind of similar goes to Lucie Campbell’s In The Upper Room as performed by Sweet Honey In The Rock – with Bernice Johnson Reagon’s bass vocals (Mahalia also does an awesome version of that one).
Jesus Loves Me – takes me back to the simple roots of it all. And it’s still as true to me today as when my mama sang it to me as a baby. From here: ‘A student asked [Karl] Barth if he could summarise his whole life’s work in theology in a sentence. Barth allegedly said something like “Yes, I can. In the words of a song I learned at my mother’s knee: ‘Jesus loves me, this I know, for the Bible tells me so.”’ Same. Here’s a version from Reawaken Hymns.
How Great Thou Art – A Swedish hymn, go figure. This song was re-shaped for me when I heard how it was done in Togo, West Africa in 2001. How about the intense eco-justice lyrics in the original that I’ve NEVER seen make it into a hymnal (possibly for good reason) – O when I see ungrateful man defiling / This bounteous earth, God’s gifts so good and great / In foolish pride, God’s holy Name reviling, And yet, in grace, His wrath and judgment wait. I think this song works best as a reggae or even techno version rather than the dirg-y way it’s too often done in many white churches.
Ave Maria – There’s something about Mary, this ‘bad’ protestant has been known to say. Every night, compline prayer closes with a Marian element / prayer, and Schubert’s Ave Maria is my fave. Though it’s a bit over-the-top, I also really love Celine Dion’s emotive poppy version – even if the English lyrics aren’t, uh, quite true to the original.
The Magnificat (Holy is His Name) – Speaking of Mary, the revolutionary words of her Magnificat, which are prayed each evening in monastic prayer can really change this messed up world, I believe. I like this fairly unknown version of John Michael Talbot’s masterpiece sung by Melissa Maricich – there’s something about a young woman singing it that breaks it open for me. Steve Bell’s version and John Michael Talbot’s original are also really good – though I wish Steve would have done the second verse. The songwriter, John Michael Talbot, the founder of the Brothers and Sisters of Charity, a Franciscan order, opened a lot of doors for me – Franciscanism, contemplative prayer, Catholicism and new monasticism, to name a few. His Come to The Quiet LP (which is hard to find streaming) is still one of my favourites – as well as his two first hippie albums, recorded before he became a Roman Catholic. Speaking of the Magnificat, an honourable mention should also go to Rory Cooney’s rousing version of Mary’s Magnificat – Canticle of The Turning – which brings out the revolutionary punk aspects to a Scottish folk tune unlike any other version I know of.
Many And Great O God Are Your Works – Sometimes called Dakota Hymn, for its origins in that Nation, my colleague, Cree UCC minister, the Rev. John Snow, Jr., told me the story of this hymn over a campfire at Camp Pringle: “This song comes from the Dakota warriors who were hung because of a war that was started as the people were starving; the hanging is also commemorated as the Dakota 38… This was a reconciled song by the warriors. As they went to their execution they shook hands and forgave all the military on site and sang this song before they were hung. It is a solemn and emotional remembrance for Indigenous people.” He also noted to me that, traditionally, the tune is only to be sung at certain times of the year. It’s hard to find a great version, but this one at least has the song in the original language.
Where No One Stands Alone – My dad was a promoter of southern gospel (quartet) music and I was always two degrees of separation from the king – my dad shook his hand at the National Quartet Convention and met Pricilla. I first got turned on to this classic gospel song by Elvis – and I love its lamenting, lost spirit seeking solace in holding hands with the Divine. I still think that Elvis’ version, with all that almost-acceptable pathos, is the best.
Be Still My Soul – A track by Tori and Russ Taff which I’m sure saved my life more than once in times of deep pain and loss. I can remember the Imperials (before Russ’ time) coming off of tour and parking their bus on my suburban street in front of my parent’s house in Burlington, ON. This album, Priority is a pretty cool CCM album with disco (anyone remember Trumpet of Jesus?) and AOR overtones. Not a lot of thoses genres (AOR, CCM) are my thing these days, but for some reason, it works – and this song, in particular, is a contemplative masterpiece.
People Get Ready – The motif of trains in church music does something for me. It was U2 that first introduced me to this song, which they included in their late 80’s live sets. A way old back Curtis Mayfield / Impressions tune, it’s sooo good. It gets riffed on in Bob Marley’s One Love (is there still room for the hopeless sinner?). And while we’re on the train theme, so to speak, we just need to mention the song This Train – here’s Rosetta Tharpe, Big Bill Broonzy, and Mumford and Sons takes on that one – as well as Springsteen’s clever and important inversion of it in Land of Hope and Dreams.
Down By the Riverside – I love the spirituals. When white evangelical prai$e music becomes too triggering because of it’s connection with christian nationalism and hatred – it’s black gospel music that’s my balm in Gilead. And I love that this song is a call to drop our arms and take a walk with Jesus at the riverside. Sr. Rosetta Tharpe, a queer black gospel singer, is probably my very favourite gospel performer and guitarist of all time. Did I mention that she invented rock and roll? This is a live version of Riverside by her.
I Saw The Light – Again, there are troubles with ableism in the lyrics, but Hank Williams, fellow sinner as he was, wrote this amazing ode to conversion. The handwritten lyrics (with a verse I’ve never heard recorded) are at the country music hall of fame in Nashville – I have a photo somewhere. Here’s a version featuring Hank.
Eat This Bread / Jesus Christ Bread of Life – The music of the Taizé Community (a community in France, to which I’ve made two pilgrimages) has been very important to me. Simple, repetitive chants that seek to get to the sources of the faith. There could be 10 or more Taizé chants on this list – Nada Te Turbe, Wait for the Lord, Confitmini Domino, Jesus Remember Me, O Lord Hear My Prayer, Stay with Me, Stay With Us are just a few. Jacques Berthier, who wrote most of the early Taizé chants was drawing on simple, accessible, classical sources and looped them with interwoven intstrumental and cantor parts (not unlike like a skilled electronic musician). I chose this one because of the centrality of the eucharist in it. And while we’re going on about hymns about the eucharist, I gotta give honourable mention (from two very different genres) to two eucharistic favourites – the triumphal Alleluia, Sing to Jesus: both priest and victim in the eucharistic feast – and post-Vatican II flavoured One Bread, One Body.
I Still Believe – This is written by the late Mike Been of the Call, and is perhaps the least churchy / hymn-like of the songs on this list (I’m going to be making a list of worship songs from secular sources soon – and this one might get cross-listed). For me, it’s Russ Taff’s version with Taff’s aching desperation, that of an abused, closeted alcoholic seeking God (little did we know) which makes it an incredible hymn of clinging to faith amidst deconstruction.
Your Peace Will Make Us One – Audrey Assad’s brilliant re-write of the so-called Battle Hymn of the Republic draws out the feminine and mothering aspects of God – and serves as an urgent call for peace. Interestingly, the writer of the original source hymn, Julia Ward Howe, was a suffragette and pacifist (in spite of the hymn’s subsequent uses) who also gave us the pacifist Mother’s Day Proclamation.
I’ll Fly Away – In addition to African-American gospel/spirituals, I’m in love with the (closely related) Bluegrass / Appalachian musical traditions. There are dozens of storied songs I could add to this list – When The Roll Is Called Up Yonder, Will The Circle Be Unbroken, Leaning on the Everlasting Arms, to name a few – but it feels like I’ll Fly Away is a good way to end this list, no? Escapist? Maybe – but acceptably so when you live a life of toil and hardship like so many of the folks who cling to the eternal hope found in these songs. Here’s Gillian Welsh’s version from the popular Coen Brother’s film’s O Brother Where Art Thou soundtrack.