Often mistaken as a traditional spiritual, “Sweet Little Jesus Boy” was composed in 1934 by Robert MacGimsey who intentionally wrote the song in this style. It harkened back to his youth in Louisiana where he was steeped in the deep tradition of African American gospel music. In this culture, Christmas was a time to draw closer to God through personal prayer and meaningful songs, which was a stark contrast to what he observed in New York when he penned the song.

Written during the depression, “Sweet Little Jesus Boy” quickly became a standard Christmas tune, along with several other songs written at this time. Recorded by many artists over the years, the soulful recording by Mahalia Jackson in 1955 is perhaps the most famous.

This version of the hymn “O Happy Day” is an international assemblage made over a period of almost 300 years. The original words to the song were written in the 18th century by Philip Doddridge, an Englishman. The spritely melody to this version was composed in the 20th century by Go¨sta Linstro¨m, a Swede. The arrangement of Lindstrom’s tune first appeared in the Musical Salvationist and was made by Emil Soderstrom, a Dane. The present arrangement for brass was made in the 21st century by an American. If nothing else, it shows that happiness is a good thing, and this melody shows how infectious it can be.

This version of the hymn “O Happy Day” is an international assemblage made over a period of almost 300 years. The original words to the song were written in the 18th century by Philip Doddridge, an Englishman. The spritely melody to this version was composed in the 20th century by Go¨sta Linstro¨m, a Swede. The arrangement of Lindstrom’s tune first appeared in the Musical Salvationist and was made by Emil Soderstrom, a Dane. The present arrangement for brass was made in the 21st century by an American. If nothing else, it shows that happiness is a good thing, and this melody shows how infectious it can be.

“New Name Written Down in Glory” is a rousing combination of a new contemporary Christian song by Charity Gayle and the old gospel song “A New Name in Glory” by C. Austin Miles. The words speak of the believer’s name being written in the Book of Life, referred to in Revelation, and receiving a new identity based in God’s love for us. The arrangement attempts to capture the joy of being adopted into the family of God.

“I Vow the Thee, My Country” is a British patriotic hymn based on a poem by Sir Cecil Spring Rice (1908). Gustav Holst wrote the tune “Thaxted,” which is taken from the “Jupiter” movement of his own suite The Planets (1917).

This is a straightforward presentation of a children’s chorus with an equally direct statement of faith: I believe God answers prayer, He’s answered mine before.

“Here Is Love” was originally penned by the Welsh poet William Rees (1802-1883) then translated from Welsh into English by William Edwards (1848-1929). The text is based on one of the most famous Scripture references, John 3:16 “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life” (NIV). The beautiful melody that accompanies the text was composed by American gospel songwriter Robert Lowry in 1876. Although this hymn is 150 years old, it remains popular today.

The “Warfare” section of The Salvation Army Song Book is full of battle songs that remind us that despite things such as trouble, calamity, persecution, hunger, poverty, danger – even unto death, etc., “overwhelming victory is ours through Christ, who loves us” (Romans 8:37 [NLT]). We are soldiers in an army that is already promised victory because of our captain, Christ himself!

This is a bright arrangement of one of these songs, “Happy Song” by William Bradbury (1867). The lyrics by Fanny Crosby (1867) remind us to “Shout for Joy!” as “we are marching on with shield and banner bright.”

The “Warfare” section of The Salvation Army Song Book is full of battle songs that remind us that despite things such as trouble, calamity, persecution, hunger, poverty, danger – even unto death, etc., “overwhelming victory is ours through Christ, who loves us” (Romans 8:37 [NLT]). We are soldiers in an army that is already promised victory because of our captain, Christ himself!

This is a bright arrangement of one of these songs, “Happy Song” by William Bradbury (1867). The lyrics by Fanny Crosby (1867) remind us to “Shout for Joy!” as “we are marching on with shield and banner bright.”

One of the more popular songs from the contemporary Christian band Passion, “Glorious Day” is an anthem that proclaims joy from this truth: because Jesus rose from His grave, we too can break free from the sin that imprisons us.

Throughout his life, Count Zinzendorf (1700-1760) focused not on what he was doing for Christ but on the sufficiency of what Christ had done for him. His song “Jesus, Thy Blood and Righteousness” (Translated by John Wesley,1703-1791) is an outstanding example of this.

Written by the Nigerian gospel singer Sinach, Waymaker became one of the few truly internationally known Contemporary Christian songs when it was released in 2015. It again became the most popular song in the CCLI catalogue in 2020 during the worldwide Covid pandemic, perhaps because of its hopeful and comforting message about God’s faithfulness and promise keeping in times of trouble.

“Sound the Battle Cry” was written by William Fisk Sherman (1826-1888) and published in Bright Jewels (1869). This energetic arrangement reflects the rousing call to action of the lyrics:

Rouse, then, soldiers, rally round the banner,
Ready, steady, pass the word along;
Onward, forward, shout aloud, Hosanna!
Christ is Captain of the mighty throng.

This short Scherzo is based on the German folk tune “In Dulci Jubilo,” to which we sing “Good Christian Men Rejoice.” It will bring a smile to your face as we consider the joy that only Christ can bring!

When Jesus visited Mary and Martha in Bethany, he brought assurance both of communion with him and of his resurrection. It is quite fitting, therefore, that Lowell Mason should name his hymn tune “Bethany” to remind us of that assurance through the hymn’s well-loved text, “Though it be a cross that raiseth me, still all my song shall be, nearer, my God, to thee!”

This march, from George Frideric Handel’s opera Scipione was composed in 1725 and received its first public performance a year later in England. The march appears in the last section of the opera’s overture and again at the start of the action. This is lively music from the late Baroque period and has often been rescored for solo instruments as well as large ensembles.

This folksong-like melody has been appearing in hymnals for many years as “Jesus Walked This Lonesome Valley.” Its origins are shrouded in obscurity and can be traced to the Appalachian mountains of the southeastern United States.

The refrain of the song includes these words:

Jesus walked this lonesome valley; he had to walk it by himself.
Oh, nobody else could walk it for him; he had to walk it by himself.