Christy Olsen

Thanks Adom for starting this discussion, and to everyone who has added to it.
There have been lots of great points made already.

When considering a new song, (in addition to all the things others have already brought up) I think it's important to understand how the song will sound when your team does it. I think a lot of people get tripped up by this. Here's what I mean (sorry if this seems like a blog post I never wrote; it is).

You hear a great song for the first time and you immediately think of using it at your church. It's catchy, emotionally engaging, theologically sound, singable... it seems perfect. You ask others if they've heard it; they have and they like it. Excellent! So you listen to it constantly for a week straight, get a copy of the sheet music, and watch some very well-done instructional videos on YouTube. This is going to be great!

Your enthusiasm is markedly diminished, though, when you start practicing the new song with the praise team. Even though the whole team likes the song and feels they can play their part well, it just doesn't sound right. Sure, you knew it wouldn't sound exactly like the professional recording, but something's off. It could be one or more of a few things.

First, you might not have all the essential instruments. Our church, for instance, has no bass guitar player and usually no lead guitarist. We often have the keyboard player add the low notes and, for some songs, play the melodic hook. While this usually works well enough, sometimes it sounds pretty wretched. Some riffs sound great on the electric guitar, but dull and lifeless when played with a keyboard or violin. So if that riff doesn't sound good on the instruments you have available (or, honestly, if no one on your team can play it really well), you should leave it out.

Second, the team might not be grooving together. What? We're talking about church here. Yes, I know, but most songs sound best when each instrument complements the others effectively. Even though everyone knows the song, they might not be playing something that works really well with what everyone else is playing. You're probably the only one who watched a video on how to play the song. There are countless videos on the web for guitarists, but hardly any for bass or keyboard. And the other instruments are no doubt making it up as they go along. You may need to go through the parts one at a time, making sure each one works, before bringing the whole ensemble in. This requires tremendous patience, so don't get discouraged.

Finally, you might simply have to do the song your own way. Maybe the song works well in completely different style. Shane & Shane's version of "Because He Lives" (Worship Initiative, Vol. 6) is a fantastic example of how to re-imagine a good song in a style that suits the artist or audience. You could do something similar, according to the skills/resources of your team and the needs of your congregation. Maybe by slowing the song down, speeding it up, leaving out the riffs (or writing new ones), or changing the rhythm, the song will suit your church wonderfully.

Obviously, many songs are not so complicated as to present the concerns I mentioned. Still, I think it's good to intentionally go through the process of thinking through a song with your own church in mind.

You did a very good job with this answer, Salaam. I'm probably still not going to refer to Muslims as my "cousins" but I don't have a better term either. Thanks for the work and care you put into writing this.

I think this issue is particularly prominent in so-called "mega" churches.

Mega-church pastors tend to make a lot of money. And why not? After all, the sheer size of their congregations means the giving totals are huge. They often write devotionals and life books. Their worship leaders write music we all sing each week. And, really, there are relatively very few people qualified to lead and sustain those types of organizations. Rare talent commands exceptional remuneration. There's nothing wrong with that. Furthermore, we don't worry about whether other successful Christians are paycheck-driven. Why should it be so different for pastors (or worship leaders)?

Still, how does one hear the call of God through all that? How can one keep the heart open to missions serving the poor or marginalized, if that mission means giving up the highly-paid position one had worked so hard for? It's tough for a mega-church pastor to feel led to serve at a small church or in a third world nation.

The question is definitely personal. Each of us has to decide how much is enough. I pray that every highly-paid pastor is always able to hear God's voice. And I pray that every not-so-well-paid pastor has the strength and means to keep serving God's people. Either way, it's going to be a struggle.

Adom, I started writing a comment, but it got so long I decided to create a new blog post on this topic. So for my thoughts on this issue, please see the post here.

Great discussion!

I, too, have found LUYH to be a really good hymnal.  There are a few choices (in song selection and lyrics) that I don't totally understand, but overall it's very good.  I agree, those Twila Paris songs are great.

Some of my favorites from the old hymnals that didn't make the cut:

"Faith of Our Fathers" - BPsH #443 (please, don't let's start a debate on gender issues; I just like the song, that's all)

"Jesus, Keep Me Near the Cross" - BPsH #354

"Change My Heart, Oh God" - SNC #56

"Living For Jesus" - Inspiring Hymns #354 (yes, it's in the GPsH, but I can't abide the word changes)

"Jesus, with Thy Church Abide" - BPsH #426 (see comment above)

"Oh God, Be Merciful to Me" - BPsH #105 (the tune is "Sweet Hour of Prayer")

"Out of My Bondage, Sorrow, and Night" - BPsH #428

"Jesus, I My Cross Have Taken" - BPsH #456

Okay, I'll stop.  I realize you were asking for songs from the GPsH and Sing!  But these songs are ones I sang a lot growing up, and I still like singing them.

Also, "Rock of Ages, Cleft for Me" (BPsH #388) is in neither the GPsH nor LUYH.