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Tuesday, July 21, 2026

The History of Texas Baptists, reprise

I wrote the following several years ago, when I was thinking about the need for a true Texas Baptist Historical Society, one that was not geared toward a particular flavor of Baptists. Now that I am doing a microcosm of that with my Rusk County Baptist history, I thought it would be could to republish this (slightly edited) before writing about my work in the county.

The history of Texas Baptists is one of the great loves of my life. I do not remember exactly when it happened, but it is an ongoing affair of about fifty years. In 2019, I focused on the history of the Sabine Baptist Association, the earliest Baptist association in our area (organized 1843). I found a treasure trove of information at Baylor University’s archives (oh, sure, I wish for more).[i] As I began to understand what is there, a sad wonderment struck my mind. How long has this information lain dormant there? How many historians who mention the Sabine Baptist Association ever bothered to check these primary documents? I would love to see a new history of Texas Baptists refocused on primary documents that have previously been undiscovered or ignored. Perhaps we have long had the big picture, but the devil is in the details.

Previous histories are too partisan in outlook. What is labeled “a history of Texas Baptists” is most often “a history of my Texas Baptists.” Don’t get me wrong. There is a place and need for denominational histories. The Free Will Baptists write theirs, Missionary Baptists write theirs, the National Baptists write theirs, Primitive Baptists write theirs, Southern Baptists write theirs, and so on.[ii] The plus side includes access to records not easily obtained, and that they offer their own unique perspective and understanding of themselves, things frequently missed by “outsiders.” The minus side is that they often fail to assimilate their story into the whole of the history of Texas Baptists (and miss the insight of “outsiders”). Even the large tomes of Carroll and McBeth, in my opinion, only make meager mention of the existence of other Baptists after they move on from the earliest years.

Previous histories are too narrow in research. Hand in hand with the partisanship in history writing is its narrowness.  For example, to many historians, Daniel Parker is a wart on the nose of Texas Baptists. Mention him we must, but let’s move on. Quickly![iii] However, those who bother to check might find that Asa Wright labored in the west in the late 1830s with “missionary” Z. N. Morrell and in the east in the early 1840s with “anti-missionary” Daniel Parker – then later hooked up with “missionary” Lemuel Herrin and “anti-missionary” Isaac Reed to form the Sabine Baptist Association. Or, that Thomas Hanks was a member of the “Separate” Union Baptist Church near Nacogdoches before he was a member (and later pastor) of the “Regular” Pilgrim Baptist Church of near Elkhart.[iv] Through this narrowness, historians fail to branch out and learn all they might about the vagaries of even their own partisans.

Previous histories are too predictable in narration. Too often the same sources are used repetitively without seeking for other available and overlooked primary sources. I know one person will never find them all. Nevertheless, I can’t express how mind-numbing it has been to see the same story about the Sabine Baptist Association repeated over and over, when the writers kept checking the same old source, apparently never bothering to check the Sabine’s own sources – their minutes. This must be true (unless they were afraid or dishonest). Had they checked the available Sabine Association minutes, reporting accurately and honestly, they would not have repeated the same old sad story of the association .[v] Leon McBeth writes, “Any history of Texas Baptists must begin with Z. N. ‘Wildcat’ Morrell…”[vi] I have no particular quarrel with that. Morrell’s book is a wonderful record of one who lived the early history of Texas Baptists, from when he arrived in December 1835. On the other hand, Morrell is the source of the some of the errors on the Sabine Baptist Association. I find no evidence that he ever attended its sessions.[vii] His information is second-hand. Should not those who attended and recorded their sessions receive some priority of testimony?

What to do? Southern Baptists have written the majority of the history of the Baptists of Texas. I don’t fault them. They are the majority of Baptists in Texas. They may have the “training and necessary leisure.” However, they have frequently been sectarian while at the same time blaming sectarianism on their foes. Smaller Baptist sub-denominations then rebut with their own clannishness, and ultimately we fail to read the whole story. Future writers could learn a lesson from Albert W. Wardin in his Tennessee Baptists: A Comprehensive History, 1779-1999. The bulk of the book is about the majority party, but Wardin clearly takes an interest in all the Baptists of Tennessee. Further exacerbating the Texas problem, in my opinion, is that the main (if not only) Baptist historical society (if it even still exists) is connected to and funded by the Baptist General Convention of Texas. Even though they don’t/didn’t restrict their membership to BGCT folks, others often feel restricted by the integral connection. Creating an historical society not connected to or dependent upon a particular association, conference, or convention might reflect the greater diversity of Baptists in the state, create greater buy-in of Baptists across the state, and promote the kind of research that sees the connectivity of early Texas Baptists of various “stripes.” Such a society would allow historical corroboration without compromising denominational connections. I have no problems wrestling with you over faith and practice while uniting with you to better understand our history. What about you?

Maybe one day we will have an integrated account of all Texas Baptists.

That’s my story, and I’m sticking to it.


[i] The Texas Collection “is Baylor University’s oldest special collections library.”
[ii] Some Texas Baptist denominational histories include A History of Texas Baptists: Comprising a Detailed Account of Their Activities, Their Progress and Their Achievements, James Milton Carroll, Dallas, TX: Baptist Standard Publishing Co., 1923; A History of the Primitive Baptists of Texas, Oklahoma and Indian Territories, Joseph Sylvester Newman, Tioga, TX: Baptist Trumpet, 1906; From the Red to the Rio Grande: a History of the Free Will Baptist in Texas, 1876 to 2014, Thurmon Murphy, Columbus, OH: FWB Publications, 2017; History of the Baptist Missionary Association of Texas, William Henry Parks, Cleburne, TX: [n.d., before 1916], Missionary Baptists in Texas, 1820-1998, Oran Heaton Griffith, Henderson, TX: History & Archives Committee of the Missionary Baptist Association of Texas, 1999; Texas Baptists: a Sesquicentennial History, Harry Leon McBeth, Dallas, TX: Baptistway Press, 1998.
[iii] As does Baker in The Blossoming Desert, p. 26.
[iv] And Deacon William Sparks was a member of the “Regular” Hopewell Baptist Church in Cooks Settlement (Nacogdoches County) before he was a member of the “Separate” Union Baptist Church.
[v] This is not to say that they got it all wrong, but that the minutes would have corrected what they did have wrong.
[vi] Texas Baptists: a Sesquicentennial History, p. 495
[vii] Z. N. Morrell does not say he did, neither is he mentioned in any of the existing minutes. On the other hand, Morrell does say he was informed on the subject by David Lewis (pp. 263-264). Though Morrell probably did not know, we have enough information today to know that Lewis was both a scoundrel and a primary cause of dissension in the association.

Monday, July 20, 2026

Resurrection hope in the Old Testament

The forces of death are visible and active in this fallen world.

We should allow the Bible’s depictions of death to influence how we think about the problem of death in this world. Interpreters may not see how resurrection hope is present in some passages if they haven’t noticed how death is present in other passages.

The outworking of death takes manifold forms. Whatever inhibits, harms, or destroys life is a kind of death. When the biblical authors tell of God’s power that restores, frees, heals, or raises, you are reading about the power of life overcoming the forces of death. The reason resurrection hope is more prevalent in Scripture than it may first seem is because the promises and actions of the God of life pervade the testimony of the biblical authors.

Mitchell L. Chase, Resurrection Hope Is More Prevalent in the Old Testament Than It May First Seem

Sunday, July 19, 2026

God’s Wonderful Book Divine

“What light is this shining so brightly for me?” Why, it is none other than “God’s Wonderful Book Divine.” What hope for the traveler, what chart to guide? God’s Wonderful Book Divine!

  • Psalm 119:105 Thy word is a lamp unto my feet, and a light unto my path.
  • Psalm 119:114 Thou art my hiding place and my shield: I hope in thy word.

1. What light is that shining so brightly for me,
That gives me such courage, the right way to see?
What hope for my trusting soul ever shall be?
God’s wonderful book divine.

2. What hope for the traveler with strength almost gone,
That makes him determined to keep plodding on?
What sweet consolation from heaven’s bright throne?
God’s wonderful book divine.

3. What chart can you trust as a guide for your soul,
When tempests would strand you on some treacherous shoal?
What compass will point you to heaven’s bright goal?
God’s wonderful book divine.

Chorus:
I love the old Bible, the precious old Bible.
A light on my pathway to shine.
It keeps me so happy, always so happy.
God’s wonderful book divine.

God’s Wonderful Book Divine, Luther G. Presley, Starlit Crown: Our 1938 Book for Singing Schools, Conventions, etc. Virgil O. Stamps, et al., Dallas, TX: Stamps-Baxter Music Company, 1937.

God’s Wonderful Book Divine was written by gospel songwriter Luther G. Presley. It shows the Bible as light, hope, consolation, a chart, and a compass – and a source of happiness. It first appeared in the 1938 Stamps-Baxter publication Starlit Crown (copyright 1937). I have been unable to locate the first printing; the words above are a compilation from and representation of later printings, probably accurately representing the original with three stanzas and a chorus.

Luther G. Presley (March 6, 1887 – December 6, 1974) was born in Faulkner County, Arkansas, the son of James Thomas Presley and Nancy Ann Brooks. Presley married Julia Magdaline Yingling in 1911. They had three children. After Maggie’s death, Presley married Lorena Henderson. They had one child. Lorena Presley was also a songwriter. Luther Presley died in 1974. He and Lorena are buried at Saint Mary’s Cemetery near Rose Bud in White County, Arkansas.

Luther Presley wrote his first song when he was 17. He wrote this one when he was about 50. His best-known song likely is the spiritual When the Saints Go Marching In. Presley wrote the lyrics of that song in 1937, and Virgil O. Stamps composed the music. He also wrote When All of God’s Singers Get Home. According to the Encyclopedia of Arkansas, Luther Presley “told his friends that his best song was ‘I’d Rather Have Jesus.’” Heavenly Highway Hymns was compiled by Luther G. Presley for the Stamps-Baxter Music Company in 1956. Presley was inducted into the Southern Gospel Music Association Hall of Fame in 2008.

Some King James Bible defending churches sing the following stanza, and sometimes end the chorus as follows:

Now if you are wondering of what book I sing,
It’s the same one the old-time revival did bring,
It’s the only one version authorized by the King:
God’s wonderful book divine.

Chorus:
I love the old Bible, the Old King James Bible.
A light on my pathway it shines.
It keeps me so happy, always so happy.
God’s wonderful book divine.

Friday, July 17, 2026

Holes in your stockings

“…in one place in Virginia, where Mr. [John] Leland went to preach one cold day, the principal people were in the habit of going out before the meeting was done, if the minister spake much over three quarters of an hour. Some of the brethren told him they hoped he would not preach long, for if he did, there were some gentlemen that would leave the house. He said nothing, but went to meeting. After speaking about forty-five minutes, he noticed that some grew uneasy, and acted as though they meant to go out. Observing this, he paused a moment, and then said, ‘My friends, it is cold, and I have now got about half through my discourse, and I suppose those of you who have holes in the heels of your stockings will be obliged to leave the house before the meeting is done.’ This saying removed all the apparent uneasiness; and no one dared leave the house, till the meeting closed.”

Thursday, July 16, 2026

Moving toward “The Generic Harp”

Did the Sacred Harp Publishing Company and their 2025 Revision Committee move The Sacred Harp 2025 Revision towards words with less explicitly Christian meaning? I believe so (and, whether carelessly or deliberately is a question to consider).[i] I analyzed the texts/words of the new songs added to The Sacred Harp 2025 (as well as the old songs removed from The Sacred Harp 1991) and divided the texts of these songs into 3 categories: (1) texts that might be generally accepted in principle as true by singers with any religion or no religion; (2) texts that might be generally accepted in principle as true by singers who believe in some idea of “God” or a higher power, though not necessarily the Christian God; (3) texts that could not be generally or readily accepted in principle as true by those who are not Christians. Here are the specific songs categorized and the results/conclusions from that. (You should hopefully be able to select the images and enlarge them for reading.)








Old songs that were added to The Sacred Harp 2025 (32).

32 songs from older/other sources were added to the 2025 Edition of The Sacred Harp.

  • 3 with “Category 1” lyrics; this is 9% of the old songs added.
  • 14 with “Category 2” lyrics; this is 44% of the old songs added.
  • 15 with “Category 3” lyrics; this is 46% of the old songs added.

53% of the older songs that were added have somewhat generic texts, that could be more acceptable to non-Christians.[ii]

New songs that were added to The Sacred Harp 2025 (81).

81 songs by 49 living composers were added to the 2025 Edition of The Sacred Harp.

  • 12 with “Category 1” lyrics; 15% of the new songs added.
  • 38 with “Category 2” lyrics; 47% of the new songs added.
  • 31 with “Category 3” lyrics: 38% of the new songs added.

62% of the new songs have somewhat generic texts, that could be more acceptable to non-Christians.

Considered together, 59% of the total songs added to the 2025 Edition have somewhat generic texts, that could be more acceptable to non-Christians.

Songs that were removed from The Sacred Harp 1991 (77).

77 songs that were in the 1991 Edition of The Sacred Harp were removed in order to make way for 113 songs added to the 2025 Edition of The Sacred Harp.

  • 9 removed songs with “Category 1” lyrics; this is 9% of the songs removed.
  • 15 removed songs with “Category 2” lyrics; this is 19% of the songs removed.
  • 53 removed songs with “Category 3” lyrics; this is 69% of the songs removed.

These actions show favoritism toward removing explicitly Christian words over more generic ones.

Conclusion.

Of 113 newly added songs in 2025, 15 have “Category 1” lyrics and 52 have “Category 2” lyrics (a total of 67). This is 59 % of the songs added, exhibiting a tendency toward favoring songs that can be considered less explicit in the Christian message they contain.[iii] When comparing added songs to removed songs, the choices exhibit removing more songs with more explicitly Christian texts, while adding more songs with more generic texts. 59% of the newly-added songs have somewhat generic texts. 69% of the removed songs have somewhat more explicit texts.

This analysis is enough to raise serious questions and heighten further concerns about the theological and cultural “drift” of The Sacred Harp, its songs, and its message. These concerns should not be dismissed with a hand wave, but considered and addressed by a community whose tradition is based in and fed by Christianity. Overall, the Sacred Harp Publishing Company failed its trust.


[i] For example, was the committee (or some members of it) complicit in favoring song texts that would be less-offensive to non-Christian and anti-Christian singers? (If you do not believe there are anti-Christian singers, see footnote 3.) Was the committee careless in not articulating a committment to explictly Christian texts for an explicitly Christian songbook? How will these questions be answered?
[ii] As a plurality, the total old songs added slightly favor Category 3, but the total of Categories 1 and 2 favor generic readings. That fits well in the overall situation of past versus present, seeing that the older composers would have been less likely to specifically desire generic texts in the same way or for the same reason that modern non-Christian composers would choose them.
[iii] This is not to say they are not Christian hymns, but that the texts appear to have been picked in order to favor hymns or stanzas of hymns that are not as explicit in directly speaking of Jesus Christ, his atoning blood, his bodily resurrection, salvation through Christ alone, the exclusivity of the gospel, and so on. In past times, Christian singers would just understand all the songs from within their Christian worldview. The current participation of many non-Christians who like the music but not the theology turns that once-common understanding on its head. Shockingly (in his audacity), one composer who has a song in the 2025 Edition wrote on Bluesky that “Christianity isn’t morally acceptable.” (Perhaps it is not that audacious, since he hides cowardly behind a pseudonym.)

Tuesday, July 14, 2026

Questions for the Revision Committee

The following thoughts and questions about the latest Sacred Harp Publishing Company songbook revision were addressed to two members of the 2025 Sacred Harp Revision Committee. First, after the October 2025 Board meeting, the committee’s music editor offered to answer questions about the revision committee music selection and editing process. However, after receiving the specific questions, he declined to answer but instead directed me to listen to remarks made at the symposium in Atlanta in September 2025 – none of which videos that are available directly address my questions. Some of the videos (even if they do answer the questions) are still not even available online over nine months after the fact. Failing in that effort, I next addressed the questions to the revision committee chair. His reply offered no answers. After reading the reply four times, I came away with the feeling that – written between every line was the mantra “we could care less about the singers who have concerns about the new book.”

So, here are the questions asked, presented for public consumption. I have changed the formatting somewhat in order to make it easier viewing for the reader. If there was nothing done unethically in or wrong during the process, why are the questions so hard to answer?

Submissions. The committee reported to the Sacred Harp community that 1155 song were submitted for consideration. 
  • How many of the 1155 were new compositions and how many were previously published/old songs?
  • Are there any statistics on how many songs were submitted per composer – that is, not how many did each individual submit, but perhaps an upper number (the largest amount submitted by a composer), a lower number (presumably one), and an average?
  • Of these 1155 songs submitted, how did the committee arrive at the 113 chosen?
  • Did the committee select songs based on what the song itself was, or what they envisioned it could be (considering the kind of editing that was done to some of them)?
Blind selection process. The Sacred Harp community and composers were assured that only the committee chairman knew the names of the songs and their composers. I have no doubt that the chair sincerely envisioned it that way. But perhaps such an ideal was a pipe dream from the start, considering the digital age in which we live. There were so many variables -- such as songs being printed in The Trumpet, submitted to FaSoLa Songwriters, the New Harmony Facebook group, YouTube, SoundCloud, composiums, other songbooks, on various websites, and such like. With all this, managing to keep the process “blind” not only to the committee but even to others singing at trial singings must have been an impossible challenge. Songs written by the committee members were obviously known to themselves.
  • I have found 75 tunes that are publicly available and that could possibly have been known by the revision committee through various means (twenty-five are on Jesse’s site, SacredHarpTunes.com, so obviously  he knew those). 
  • Considering the disconnect between what we were told and what was the situation, what assurances do we have against the appearance of conflict-of-interest, and that all composers were treated equally and respectfully?
Editing process. One of the more shocking revelations to some of us outsiders is the heavy editing of the songs that were selected for the new edition. I know you are aware of the situation with Linda Sides’s song, and you may be aware that she has demonstrated how her song was edited without her collaboration, then sent to her with a week’s notice to sign off on for inclusion in the book. This is when I first began to take close notice of the process. Other credible reports have surfaced of songs receiving the same or similar treatment, and of possibly one other composer refusing to sign off on the edited product. 
  • Who decided that songs should be edited? (Not talking about fixing errant notes and typos, but changing the songs themselves.)
  • Who decided which songs would be edited? Who did the editing? Did the entire committee approve the process both before and after editing?
  • Of these 1155 songs submitted, were there not more songs that were deemed good enough substantially “as is” without having to edit possibly 50% (per Mike Hinton) or more of the songs to make them worthy to include in the book?
  • What was the time frame of editing the songs?
  • Were all composers given only one week to accept the edits proposed for their songs (in a process that overall covered nearly seven years)?
  • Or did some receive preferential treatment? (For example, on a recent podcast, one composer said that after he submitted his songs, the revision committee reached out to him to say one of them had potential. So, he worked on it, and eventually his song made the cut.)
  • I also noticed there are three songs in the 2025 edition whose composition dates are after the time for submitting songs was over.
Removal of songs
  • What method or methods were used for removing songs that were not among the bottom 77 songs?
  • For example:
    • The song FEDERAL STREET ranked 187th overall, out of 554 songs. It was sung more than 367 other songs over the course of 30 years. It was removed.  
    • The song CHARLTON ranked 552nd overall, out of 554 songs, over the course of 30 years. That is, this song was down near the very bottom among the least used songs. It was not removed.
    • The old B. F. White arrangement SOFT MUSIC (ranked 293) was removed, while the weird THE BRIDE’S FAREWELL (ranked 545) was kept.
  • How do you explain these kinds of choices?
I realize that the revision committee took on an enormous task beyond the scope of previous revisions (particularly in the number of songs submitted), and can appreciate that fact. However, I think that fact actually calls for all the more transparency, not less.

Al Mohler on Sacred Harp

On “The Briefing” podcast, June 26, 2026, Al Mohler (president of Southern Seminary in Louisville, Kentucky) answers a question sent in by a listener: “[Would] Love to hear your thoughts about the leftist takeover of the sacred harp singing community.”

Here is an excerpt from the answer. Go to the Part V at the link to the podcast to hear Mohler’s answer in its entirety.

“My thoughts are, here’s the way the world works. The sinful world will hijack anything and so what I think you have here is another example of something good and wonderful and beautiful and true being hijacked by a culture committed basically to subverting those very things while using the music and even taking the tunes. And what surprised me coming from some of these folks is they say they’re even taking the words because they don’t mind singing the words because they are just words. Those original sacred harp communities who sing those words never saw them as mere words.”

https://albertmohler.com/2026/06/26/briefing-6-26-26


Monday, July 13, 2026

Lowest common denominator theology

“‘Lowest common denominator theology’ is a rejection of the perspicuity of scripture.  It undermines the certainty and conviction of God’s Word. Someone can always excuse his behavior and even his faithlessness, because he couldn’t know. Even if he does know, he could embrace the label of ‘non-essential,’ and excuse his behavior or provide deniability to his laxity. This is now the norm.  Some even blame this on the Holy Spirit, who is the spirit of truth. The Holy Spirit didn’t provide the necessary conviction or feeling to believe or stand strongly enough.”

Kent Brandenburg