I’ve Been Everywhere

...in Rusk County.

[Intro]

I was totin’ my pack along the dusty old Jones Lake Road

When along came a pickup truck with-a-out any load.

“If you’re goin’ anywhere in Rusk County, Mack, with me you can ride”

And so I climbed into the cab and then I settled down inside.

He asked me if I’d seen a road with so much dust and sand,

And I said, “Listen, I’ve traveled every road in this county’s land.”

[Chorus]

I’ve been everywhere, man

I’ve been everywhere, man

Crossed the hills and hollers, man

I’ve breathed Mount Enterprise air, man

Of travel I’ve a-had my share, man

I’ve been everywhere.

[Verse 1]

I’ve been to old Gould, New Salem, Moss Temple,

Mt. Zion, Zion Hill, Pleasant Hill, fairly simple; 

Red Level, Smith Chapel, Harmony Hill, Leverett’s Chapel

Chapel Hill, Craig, Grandview, Jacobs, Crim’s Chapel.

Holley Spring, Springfield, Chinquapin, Gourd Neck,

Stringtown, Stewart, Turnertown, Prospect, don’t object!

[Chorus]

I’ve been everywhere, man

I’ve been everywhere, man

I’ve been everywhere, man

Cross the hills and hollers, man

I’ve breathed Mount Enterprise air, man

Of travel I’ve a-had my share, man

I’ve been everywhere.

[Verse 2]

I’ve been to Brachfield, Pine Hill, Church Hill, Eulalie,

Millville, Laneville, maybe even San Cosme;

Church Hill, Laird Hill, Chalk Hill, Caledonia,

Anadarko, Monroe, Shiloh, but not California!

Mayflower, Minden, McKnight, Striker Lake,

Shakerag, Cherokee & Martin Lake, for Pete’s sake.

[Chorus]

I’ve been everywhere, man

I’ve been everywhere, man

Cross the hills and hollers, man

I’ve breathed Mount Enterprise air, man

Of travel I’ve a-had my share, man

I’ve been everywhere.

[Verse 3]

I’ve been to Sulphur Springs, Big Spring, Union Spring, Pleasant Grove,

Sweetgum, Tatum, Mooretown, Irbyville, Valley Grove;

Roquemore, Greasy Kitchen, Gray Hill, Watt Hill,

Oak Hill, Oak Flat, Sand Flat, Sand Hill, what a thrill.

Gaston, Overton, Henderson, New London, even

Pone, Pirtle, Pitner’s Junction, see what I mean-a?

[Chorus]

I’ve been everywhere, man

I’ve been everywhere, man

Crossed the hills and hollers, man

I’ve breathed Mount Enterprise air, man

Of travel I’ve a-had my share, man

I’ve been everywhere.

[Verse 4]

I’ve been to Arlam, New Salem, Buford, Fairview

Bryce & Price, Carlisle, Concord, Bellview,

Easton, Egypt, Frog Pond, and Glenfawn

Ebenezer, Mansinger, Dewey, and Compton.

New Hope, Good Hope, Good Springs, Gum Springs,

Crossroads, Rhodes, Sexton City, Selman City, what a pity.

When it comes to traveling Rusk County, Texas, I’ve been everywhere…

The Old-Time Songs

“The Old-Time Songs” poem describes a (perhaps imaginary) singing that uses Christian Harmony, Sacred Harp, and Temple Star song books. It is not unrealistic to believe a singing in 1913 could have used all three of these popular books. However, the page numbers and words (though real song words) do not correspond with the songs in these books on the numbers mentioned. Perhaps “D. G. B.” simply intended to be humourous.

The Athens (Georgia) Banner, Sunday, August 17, 1913, page 4

Will the Waters Be Chilly was never in The Christian Harmony, so far as I know, but it is a good song.

Selah, a word

The word “Selah” occurs 71 times in the Book of Psalms (in 39 different psalms) and 3 times in the prayer of Habakkuk in chapter 3.

I cannot expound on its meaning, since I do not know. However, I was taught that it meant “to pause,” to rest or pause. Since it is associated with psalms/songs, perhaps it is reasonable to believe that “selah” is a musical notation [i] – a time of reflection while one rests or pauses from to the singing and/or playing.

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[i] Habakkuk chapter 3 is a prayer “upon Shigionoth… To the chief singer on my stringed instruments.”

All Is Well

From The Sacred Harp (scan of first printing, scroll down to page 122; video from The Sacred Harp, 2006 Cooper Edition printing.
Tune arranged by Jesse T. White, 1844; alto is by Wilson Marion Cooper, 1902
Lyrics at least as early as 1836, in Pious Songs.

What’s this that steals, that steals upon my frame?
Is it death? Is it death?
That soon will quench, will quench this mortal flame?
Is it death? Is it death?
If this be death I soon shall be,
From ev’ry pain and sorrow free,
I shall the King of glory see.
All is well! All is well!

Weep not, my friends, my friends, weep not for me,
All is well! All is well!
My sins forgiv’n, forgiv’n, and I am free,
All is well! All is well!
There’s not a cloud that doth arise,
To hide my Jesus from my eyes,
I soon shall mount the upper skies.
All is well! All is well!

Tune, tune your harps, your harps, ye saints on high,
All is well! All is well!
I too will strike my harp with equal joy,
All is well! All is well!
Bright angels are from glory come,
They’re round my bed, they’re in my room,
They wait to waft my spirit home.
All is well! All is well!

Hark! hark! my Lord, my Lord and Master’s voice,
Calls away, Calls away!
I soon shall see—enjoy my happy choice,
Why delay, Why delay!
Farewell, my friends, adieu, adieu,
I can no longer stay with you,
My glittering crown appears in view,
All is well! All is well!

Hail! hail! all hail! all hail! ye blood washed throng,
Saved by grace, Saved by grace—
I come to join your rapturous song,
Saved by grace, Saved by grace.
All, all is peace and joy divine,
And heaven and glory now are mine.
Loud hallelujahs to the Lamb!
All is well! All is well!

From the Heavenly Choir

The following words were arranged for A. N. Whitten for his song, From the Heavenly Choir, No. 127 in the Harp of Ages.

1. When shall I reach those mansions fair,
My Savior has prepared,
I long to reach my heavenly home
Where all is peace and love.

2. There shall I bathe my weary soul, 
In peaceful heavenly rest,
Where Jesus Christ my Savior dwells
Where all is peace and love.

3. Come, Holy Spirit, Faithful Guide,
And bear my soul away,
To that celestial home above
Where all is peace and love.

Chorus:
Where all is peace and love,
We’ll sing God’s praise in endless day,
Where all is peace and love.

Bonnie banks o’ Loch Lomond

O ye’ll take the high road, and I’ll take the low road,
And I’ll be in Scotland a’fore ye,
But me and my true love will never meet again,
On the bonnie, bonnie banks o’ Loch Lomond.

We used to sing this song when I was in school (in Junior High, I think). I don’t recall anyone ever explaining what it meant. The teacher probably did, and I just wasn’t listening. A Scottish preacher gave the following explanation in a sermon I heard. He made a point about the death of a Christian. I now understand there are various versions of the “true meaning” of the song, but this explanation is by a Scotsman and a preacher, so I’m taking this story and sticking to it!

The song is about two Scottish prisoners held in an English jail and the song is penned the night before one is to be hanged and the other is to be released, and the one who is to be hanged will reach Scotland by the low road of death before the one who is to be released will reach Scotland by means of the high road journey. The one who is about to be released feels bad for the one who is about to be hanged. The one who is about to be hanged says, “Don’t feel bad for me,” because “you’ll take the high road and I’ll take the low road and I’ll be in Scotland before you!”

Loch Lomond by Peter Hollens
Loch Lomond by Peter Hollens and David Archuleta

Tozer on the third stanza

One of the commonest expressions heard in the public worship service is the leader’s directive, “Sing the first, second and last verses;” or, “Omit the third verse, please.”
….

I suppose it is not of vast importance that the third stanza is so often omitted in the singing of a hymn, but just for the record let it be said that the worshipers are deprived of the blessing of the hymn by that omission if, as is often true, the hymn develops a great Christian truth in sermonic outline. To omit a stanza is to lose one link in a golden chain and greatly to reduce the value of the whole hymn.

The significant thing, however, is not what the omission actually does, but what it suggests, viz., a nervous impatience and a desire to get the service over with. We are, for instance, singing “When I Survey the Wondrous Cross” We long to forget the big noisy world and let our hearts go out in reverent worship of that Prince of Glory who died for us, but our sad sweet longing is killed in the bud by the brisk, unemotional voice of the director ordering us to “omit the third verse.” We wonder vaguely whether the brother is hungry or has to catch an early train or just why he is so anxious to get through with the hymn. Since all standard hymns have been edited to delete inferior stanzas and since any stanza of the average hymn can be sung in less than one minute (“When I Survey the Wondrous Cross” clocks at thirty seconds to the stanza, normal tempo!) and since many of our best hymns have already been shortened as much as good taste will allow, we are forced to conclude that the habit of omitting the third stanza reveals religious boredom, pure and simple, and it would do our souls good if we would admit it.

If it were only in our hymn singing that this spirit were found I would probably not have brought the matter up at all, but I find it in pretty near every department of the religious life. Not the doing of evil deeds only but the omission of good deeds weakens the soul and invites the judgments of God. The same worldly, impatient spirit that shortens a hymn also shortens our prayer time and reduces the amount we give to the Lord’s work, as well as the number of services we attend each week.
….

Let’s sing the third stanza.

Excerpted from “Chapter 34,” The Price of Neglect, and Other Essays, Aiden Wilson Tozer (1897-1963)

I was lost: He heard my cry

If anyone knows the author of the words or composer of this music, I am very interested in finding out. Thanks!

1. Once my soul was lost in sin
And a temptest ruled within,
Hope was gone and all was dark despair.
I had sought in vain for peace
But my soul found no relief
Till I took it to the Lord in prayer.

Chorus:
I was lost, doomed to die,
Not a ray of hope shone out for me;
But the Lord heard my cry,
Saved my soul and gave me liberty.

2. What a meeting that will be
When that blood-washed band we see
Marching down the streets of shining gold;
Singing all with one accord
Holiness unto the Lord
Heaven’s glories then will all unfold.

Chorus:
I was lost, doomed to die,
Not a ray of hope shone out for me;
But the Lord heard my cry,
Saved my soul and gave me liberty.

3. Now the heavy load is gone
And my life is filled with song.
Jesus keeps me happy, glad and free.
Some glad day on wings of love
I shall reach my home above,
There to live with Him eternally.

Chorus:
I was lost, doomed to die,
Not a ray of hope shone out for me;
But the Lord heard my cry,
Saved my soul and gave me liberty.

Hearing the song:

Pastor Orville Damron singing I Was Lost

Church of God of Chicago singing a different version of I Was Lost

The Adkins Family singing I Was Lost

Baby It’s Cold Outside

Our local news Tuesday morning reported on a song that had run afoul of the #MeToo movement – “Baby It’s Cold Outside.” This isn’t a song I am familiar with, so I had to look it up. Here’s a couple of links on the brouhaha.

Radio station stops playing “Baby It’s Cold Outside” after listeners voice concerns about lyrics in #MeToo era

The song was written by popular Broadway composer Frank Loesser, who originally performed it as a humorous number with his wife. But the lyrics, in today’s context, have taken on somewhat more sinister connotations.

Star 102 Abruptly Stops Playing This Christmas Song. Here’s Why

Now, I do realize that when the song was written in 1944, it was a different time, but now while reading it, it seems very manipulative and wrong. The world we live in is extra sensitive now, and people get easily offended, but in a world where #MeToo has finally given women the voice they deserve, the song has no place.

I won’t lose any sleep over the absence of this song. It doesn’t fit my Christian viewpoint. Nevertheless, I wonder why it in particular got picked on? The various musical media is full of vile and vulgar songs that are available for regular consumption. This one seems “sinister-lite” in comparison.

Noah's Dove by C. J. White

The tune Noah’s Dove, as it appears in the 1884 New Sacred Harp on page 73.

What’s wrong with contemporary?

There is a continuing debate in the churches about “traditional” versus “contemporary” music. The term is typically used to refer to pop, rock, or “praise & worship” styles. The Dictionary of Christianese[i] defines contemporary Christian music (CCM) as “A genre of music with a pop or rock sound and lyrics that are related to the Christian faith.”[ii] The adjective “contemporary” on the other hand means “of the present time; existing, occurring, or living at the same time; belonging to the same time.”

I notice that sometimes the word “contemporary” gets “played with” in the discussions of worship wars.[iii] Those who like contemporary music with a pop or rock sound in church often “switch horses” in the middle of a discussion and begin speaking of contemporary in the sense “of the present time” – that is, newly written music. This is diversion by design. For example, Mike Bergman writes,

“…even the most traditional song was contemporary at the moment someone first wrote it. And this rejection of the contemporary based on its newness is itself a rejection of Scripture which commands us to “Sing to the Lord a new song, his praise in the assembly of the faithful” (Psalm 149:1).

Responding in a comment Dave Miller says, “I always wonder what standard we use when we start saying that new is less worthy than old. How old is old enough?” Most Christians agree that there is nothing inherently wrong with a song simply because it is new, recently written. A song can be “recently written” in any style. I write hymn tunes. I have written one as recently as the first of February, and am working on another now. It is contemporary (new/just written). It is Christian (tune combined with biblical text, to be sung by Christians). It is music (at least I think so!). But it is not Contemporary Christian Music/CCM.

The origin of CCM is older than the song on which I’m now working. By nearly 50 years! It is not a matter of age. According to the CCM Hall of Fame, Larry Norman “is widely accepted as the ‘father of Jesus rock.’ In 1969, nearly a decade before CCM was founded, Norman was signed to Capitol Records (home to The Beatles and The Beach Boys), where he created ‘Upon This Rock,’ a groundbreaking work believed to be the first ‘contemporary Christian music’ album ever made.” Gospel Music Hall of Fame says, “Norman’ s music—an unlikely mix of love songs, the Gospel message, and wry commentary on American culture—exemplified the goals, ideals and standards of everything the original architects of contemporary Christian music intended for it to be.” CCM is a style or genre within the overarching label of “Christian music.” The debate is not about the age of the songs. It is about style and sometimes preference. There is nothing inherently wrong with “contemporary,” though all contemporary songs do not fit the theology of the Word or the “style” of God’s people.[iv] “Prove all things; hold fast that which is good” (1 Thessalonians 5:21).

Away with thee, confusing cavil and diversionary discussion of the age of songs. “Sing unto the Lord a new song, and his praise in the congregation of saints.” (Psalm 149:1).

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[i] “The casual slang of the Christian Church...authoritatively defined. The Dictionary of Christianese is a new dictionary currently being written that explains the slang words and expressions used by Christians. The Dictionary is a serious work of scholarly research, and it is written for use by all kinds of people, including new Christians, long-time Christians, non-Christians, linguists, journalists, historians, and word nerds and curiosity-seekers of every kind.”

[ii] Tim Stewart, the chief researcher for The Dictionary of Christianese, is a proponent of this music, writing “I myself enjoy CCM quite a bit, and I also love the fact that we coined our own word for our brand of popular faith-related music.” This is not a definition concocted by the opposition as a strawman.

[iii] “Worship wars” refer to the debates over the style and content of the music in churches.

[iv] “The fact that so many Christians gauge their personal estimate of the worth of a worship service on the basis of personal enjoyment indicates that they do not really comprehend what is involved in corporate Christian worship.” (Robert G. Rayburn, in O Come, Let Us Worship: Corporate Worship in the Evangelical Church, Eugene, OR: Wipf and Stock, p. 129)

Turn Your Radio On

“I wrote ‘Turn Your Radio On’ in 1937, and it was published in 1938. At this time radio was relatively new to the rural people, especially gospel music programs. I had become alert to the necessity of creating song titles, themes, and plots, and frequently people would call me and say, ‘Turn your radio on, Albert, they’re singing one of your songs on such-and-such a station.’ It finally dawned on me to use their quote, ‘Turn your radio on,’ as a theme for a religious originated song, and this was the beginning of ‘Turn Your Radio On’ as we know it.” – Albert E. Brumley

Child of the King

Cindy Walker of Mart, Texas (1917-2006), perhaps best known as a country-and-western songwriter, wrote both words and music to Child of the King.[i] Jim Reeves “recorded many of Walker’s compositions; she often wrote specifically for him and offered him the right of first refusal of her tracks.”[ii] Though successful in secular music, Walker was a Christian who remained true to her roots and was active in her church. She compiled a book of her gospel songs called Of Thee We Sing.[iii] Gospel music teacher and composer Franklin Lycurgus “F.L.” Eiland was Walker’s maternal grandfather. Child of the King has been recorded numerous times, including by The Speer Family, Skeeter Davis and The Cathedrals.

Once I was clothed in the rags of my sin,

Wretched and poor, lost and lonely within;

But with wondrous compassion the King of all Kings

In pity and love took me under his wing.

Chorus: Oh yes, oh yes, I’m a child of the King,

His royal blood now flows in my veins;

And I who was wretched and poor now can sing,

Praise God, Praise God, I’m a child of the King.

Now I’m a child with a heavenly home,

My holy father has made me his own;

Now I’m cleansed by his blood and I’m clothed in his love

And someday I’ll sing with the angels above.

Oh yes, oh yes, I’m a child of the King,

His royal blood now flows in my veins;

And I who was wretched and poor now can sing,

Praise God, Praise God, I’m a child of the King.

Another popular “Child of the King”-themed song was written by Harriet Eugenia Buell (1834-1910) in 1877:[iv]

My Father is rich in houses and lands,
He holdeth the wealth of the world in His hands!
Of rubies and diamonds, of silver and gold,
His coffers are full, He has riches untold.

Refrain:
I’m a child of the King,
A child of the King:
With Jesus my Savior,
I’m a child of the King.

In fact, “Child of the King” is the blessed theme that repeats in many Christian songs.

• A Child of the King, by W. A. Ogden (words and music)
• A Child of the King, words by Ralph E. Hudson
• A child of the King, be joyful and sing, words by Julia H. Johnston
• I am a Child of a King, by John Henry Kurzenknabe
• I am a Child of the King, by Daniel S. Warner and B. E. Warren
• Learning to Live Like a Child of the King, by Bill Gaither, Gloria Gaither and Gary S. Paxton

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[i] An anonymous Baptist Board member using the handle “Jerome” pointed me to some authoritative sources for this attribution, and I afterward found some others.

[ii] Cindy Walker, The Dean of Texas Songwriting; Texas legend Willie Nelson paid tribute to Texas legend Cindy Walker with his album You Don’t Know Me: Songs of Cindy Walker

[iii] Turn Your Radio On: The Stories Behind Gospel Music’s All-Time Greatest Songs

[iv] Buell contributed a number of poems to the Northern Christian Advocate (a Methodist journal). This one was first printed in February 1, 1877. John B. Sumner found the poem and set it to music.

7-11 choruses and contemporary songs

Folks probably assume that I am opposed to contemporary songs and choruses, but that is not correct. My main opposition is not to newness or repetition, but how the churches transform their music into something more reminiscent of a rock concert than a worship service.

Below are three songs that are somewhat outside of my experience of hymn tunes and gospel songs in church, but that I nevertheless like. Lord I lift Your Name on High is a short chorus that I like. Someone said that “it contains a short course in Christology.” I think that is about right. The brief sketch in the Awesome God chorus extols the “wisdom, power and love” of a sovereign God whose reign is awe-inspiring. We’ve sung the Galatians 2:20 scripture song in our church before. It’s Bible! What else needs to be said?

Lord I lift your name on high
You came from heaven to earth, to show the way
From the earth to the cross, my debt to pay
From the cross to the grave, from the grave to the sky
Lord I lift your name on high.
Written by Rick Doyle Founds, in 1989 AD
Lord I Lift Your Name On High

Awesome God
Our God is an awesome God he reigns.
From heaven above with wisdom, power and love.
Our God is an awesome God.
Written by Richard Wayne Mullins, circa 1988 AD
Awesome God

Scripture song
I am crucified with Christ: nevertheless I live; yet not I, but Christ liveth in me: and the life which I now live in the flesh I live by the faith of the Son of God, who loved me, and gave himself for me.
Written by God through Paul, circa 55 AD
Galatians 2:20

I hope to write more on music next week. [Note: the three YouTube links were easily located and don’t represent my favorite “version” of either song.]

Only Through Grace

“Only Through Grace,” a song by J. P. Lane, 1909

Click on image to enlarge it

Church Song Quiz

Twelve days of Bible Reading

In the twelve days of reading, my Bible taught to me:

Twelve sons of Jacob,
Eleven Judas-less apostles,
Ten great Commandments,
Nine lepers leaving,
Eight th' ark a saving,
Seven trumpets sounding,
Six days of manna,
Five loaves and fish;
Four winds of heaven,
Three grave nights,
Two Testaments,
and One Eternal Deity.

1.   Genesis 1:1; Deuteronomy 6:4-5 
2.   II Corinthians 3:4-16; Hebrews 9:11-28
3.   Matthew 12:39-41; Luke 24:1-27
4.   Mark 13:26-27
5.   Matthew 14:14-21
6.   Exodus 16:4-26
7.   Joshua 6:1-27; Revelation 8:1-6
8.   I Peter 3:18-22
9.   Luke 17:12-19
10. Exodus 20:1-17; Exodus 34:27-28
11. Acts 1:15-26
12. Genesis 35:22; Genesis 42:1-45:5

The Unquiet Grave...

...a hauntingly beautiful song.

The Unquiet Grave

Cold blows the wind to my true love and gently drops the rain;
I only had but one true love and in Greenwood she lies slain.
I'll do as much for my true love as any young girl may:
I'll sit and mourn upon her grave for a twelvemonth and a day.

When the twelve months and one day had passed her ghost began to speak,
"Why sittest thou here on my grave and will not let me sleep?"
"There is one thing that I want sweetheart, there is one thing that I crave;
"And that is a kiss from your lily white lips, then I'll go from your grave."

"My lips they are as cold as clay, my breath smells earthy strong;
"And if you kiss my cold clay lips, your days they won't be long.
"Go fetch me water from the desert and blood from out of stone;
"Go fetch me milk from a fair maid's breast that a young man never has known."

"'Twas down in Cupid's garden where you and I would walk,
"The finest flower that ever I saw is withered to a stalk.
"The stalk is withered and dry sweetheart, the flower will never return;
"And since I lost my one true love, what can I do but mourn."

"When shall we meet again, sweetheart, when shall me meet again?
"When the old dead leaves that fall from the trees are green and spring up again.
"When shall we meet again, sweetheart, when shall me meet again?
"When the old dead leaves that fall from the trees are green and spring up again."

Another song, for good measure: Jealous Of The Angels

Song dedicated to the American Baptist Association

Here’s a bit of obscure historical information. Probably most young people in churches in the American Baptist Association don’t know that a song was once written and dedicated to the Association.

The following hymn is found as number 62 in Faithway Church Songs and Hymns, No. 2, by G. V. Hamilton, Varnado, Louisiana, 1967.

THE CHURCH THAT JESUS BUILT
Dedicated to the American Baptist Association. R. N. G.
Music by R. N. Grisham (words are not credited and may be by Grisham)

1. If you listen, I will tell of the church I love so well,
Of the one that Jesus built so long ago;
Its foundation was divine—history proves it, line by line—
Works of man, its doctrines cannot overthrow.

Chorus (repeats after each stanza):
’Tis the church that Jesus built so long ago,
“On this rock” I’ll dwell while waiting here below;
For it gives me truth and light, and I know ’twill guide me right,
’Tis the church that Jesus built so long ago.

2. Once a messenger was sent, telling people to repent,
John, the Baptist, came and opened up the way;
Many people heard his cries and they came to be baptized,
They were dipped as all true Baptists are today.

3. ’Twas to John that Jesus came to be baptized, just the same
As all others whom that day, he had immersed;
Twelve disciples Jesus chose, and their teaching plainly shows
That the church was purely Baptist from the first.

4. When the Lord their faith had tried, and with it was satisfied,
“Upon this rock I build my church,” He then declared.
Those who trust His saving grace, in this church shall have a place,
And shall never lose the way by Him prepared.

5. Close communion, Jesus taught,—those who don’t believe it, ought,—
For He said that “I’m the door,” and “I’m the way;”
Those who truly are baptized, then, are fully recognized,
And may eat and drink with Baptists of today.

6. Now, my friend, we clearly see, it’s as plain as plain can be,
That the church of Baptist faith is surely right;
If you truly love the Lord, and your wish to keep His word,
Then, enlist with those who walk in the gospel light.

If anyone knows who R. N. Grisham is, I’d like to get some biographical information on him. 

I found online in a library listing a song book called Songs of Heaven by an R. N. Grisham of Greenville, SC. Here’s the full listing:

Songs of Heaven: a Collection of the Very Best Songs to be Found, for Church, Sunday School, Revival, the Singing Conventions, and All Religious Gatherings. R. N. Grisham et al., eds. Greenville, SC: R. N. Grisham, [1924?]. 155 hymns.

The American Baptist Association was never strong in South Carolina, but this editor apparently is the same person as Rufus Norton Grisham of Jones County, Mississipi, though further research is needed. R. N. Grisham first appears in the 1880 census with his parents in Prentiss County, Mississippi. In 1920 he is in Greenville, Greenville County, South Carolina (I didn’t find him in the intervening years). He is in Ellisville, Jones County, in 1930. There were ABA churches in Jones County, during his lifetime, and this is also the same county where G. V. Hamilton, the compiler of the book from which I heard the song, was born and raised. Though I am not able (currently) to prove this R. N. Grisham was a songwriter, I did find articles from an old Laurel newspaper that confirm he was a singer.

Anyone know more about who this person is?

‘The church that Jesus built’ song

Scan of R. N. Grisham’s “The Church That Jesus Built” song: