5 Gospel Songs Most People Don’t Know the Original Writer (PART 1)

Featured, Insight
22/12/2025

5 Gospel Songs Most People Don’t Know the Original Writer (PART 1)

One beautiful thing about gospel music is its flexibility. Many gospel songs are written with congregational worship in mind, which means they are freely sung across churches, adapted into medleys, and reinterpreted in different settings without unnecessary controversy. Over time, these songs begin to live beyond the voices that first introduced them.

It is also interesting to note that what we now refer to as hymns were originally songs written by individuals or groups. With time, they were embraced by the wider Church and carried communally, often with the original writers becoming unknown to many who sing the songs today. This speaks to the shared nature of gospel music, where the message often takes precedence over personal authorship.
In this list, we highlight five gospel songs that are widely sung and loved, yet whose original writers remain unknown to many listeners.

5. Goodness of God

For many people, Goodness of God feels like a CeCe Winans song because of how strongly her voice and ministration are connected to it. However, she did not write the song. Goodness of God was written by Jenn Johnson, Brian Johnson, Ed Cash, Jason Ingram, and Ben Fielding. CeCe Winans’ rendition helped the song travel widely across gospel and congregational spaces, even though the original writers remain unknown to many who sing it today.

4. Holy Forever

Many people associate Holy Forever with CeCe Winans because of her powerful live rendition that brought the song into many churches and gospel spaces. However, she did not write it. Holy Forever was written by Chris Tomlin, Jenn Johnson, Brian Johnson, and Jason Ingram. CeCe Winans’ version helped the song gain wider congregational acceptance, even though the original writers remain unknown to many worshippers.

3. Ancient Words

Ancient Words is widely sung in churches and often associated with Michael W. Smith, leading many people to assume it is either his original song or an old hymn. However, the song was written by Lynn DeShazo.

Interestingly, Ancient Words is also the title of Lynn DeShazo’s album, which has further contributed to the song being known more by its use in worship and recordings than by the identity of its original writer. As a result, the songwriter remains unknown to many who sing it today.

2. Here I Am to Worship

Here I Am to Worship has been sung by countless worship leaders and churches around the world, to the point where many people assume it belongs to whoever they first heard sing it. Over time, the song has become deeply embedded in congregational worship and is often treated like a traditional church song.

However, the song was written by Tim Hughes. Its widespread use across denominations and cultures has caused the identity of the original writer to become unknown to many who continue to worship with it today

1. I Love the Man of Galilee

I Love the Man of Galilee is often sung as though it is a traditional church song with no identifiable author. Many people simply assume it has always existed within congregational worship.

However, the song was written by Margaret Bolanle Odeleke, fondly known as Bishop Margaret Bolanle Odeleke. Earlier this year, at an event organised by Adeyinka Alaseyori, the bishop was present and personally confirmed that she composed the song. That moment brought clarity and honour to a song that has travelled widely across churches and worship gatherings.

Over time, the song became deeply communal in use, causing the identity of its writer to become unknown to many who sing it today. Its simplicity and heartfelt devotion are part of why it has endured, reminding us that gospel songs often outgrow their origins while still carrying the heart of the vessel through which they were birthed.

The essence of this post is to honour the vessels through which these sounds were birthed. While gospel music is communal by nature and freely shared across congregations, it is important to remember that these songs were first entrusted to individuals who responded in obedience, faith, and creativity. Recognising the writers does not diminish the communal life of the songs, it deepens our appreciation of the grace and responsibility involved in birthing them.

Watch out for Part Two of this editorial. If you know any gospel songs you would like to see featured in the next episode, kindly send an email to press@astepfwd.com