As you’re no doubt aware, the earliest Mormon hymnbooks – like most hymn- and songbooks of that time – were published with words only, no tunes provided. People sang the words to whatever tunes they knew with compatible meters.

Some news accounts of Mormon meetings in England, aboard ship, and in the eastern U.S. mock our singing because words were put to tunes that fit – according to the meter, but not according to the mood. They laughed when texts speaking of sacred subjects were sung to popular, even drinking, songs. (To understand the effect, try singing “God Moves in a Mysterious Way” to the tune of “Oh, Susanna,” a tune apparently very popular among 19th century Mormons. It can be done, but the effect is ludicrous.)

One of the more popular Mormon songs in the Nauvoo era, with words published in the Times & Seasons, was this one:

That’s the Church for Me

A church without a prophet is not the church for me;
It has no head to lead it, in it I would not be;
But I’ve a church not built by man,
Out from the mountain without hand,
A church with gifts and blessings, oh, that’s the church for me,
Oh, that’s the church for me, oh, that’s the church for me.

The God that others worship is not the God for me;
He has no parts nor body, and cannot hear nor see;
But I’ve a God that lives above,
A God of Power and of Love,
A God of Revelation, oh, that’s the God for me.
Oh, that’s the God for me, oh, that’s the God for me.

A church without apostles is not the church for me;
It’s like a ship dismasted, afloat upon the sea;
But I’ve a church that’s always led
By the twelve stars around its head,
A church with good foundations, oh, that’s the church for me.
Oh, that’s the church for me, oh, that’s the church for me.

The hope that Gentiles cherish is not the hope for me;
It has no hope for knowledge, far from it I would be;
But I’ve a hope that will not fail,
That reaches safe within the vail,
Which hope is like an anchor, oh, that’s the hope for me.
Oh, that’s the hope for me, oh, that’s the hope for me.

–ooOoo–

A little later, as the Saints began to move west, a new song about the freedom we anticipated in the Rocky Mountains (called in the late 1840s “Upper California”) became popular. You’ll note from the pattern that this song is only a variation of the one above:

The Upper California

The Upper California, Oh, that’s the land for me;
It lies between the mountains and the great Pacific sea;
The Saints can be supported there,
And taste the sweets of liberty
In Upper California – Oh, that’s the land for me!
Oh, that’s the land for me, oh, that’s the land for me.

We’ll go and lift our standard, we’ll go there and be free!
We’ll go to California and have our Jubilee;
A land that blooms with beauty rare,
A land of life and liberty,
With flocks and herds abounding – Oh, that’s the land for me!
Oh, that’s the land for me, oh, that’s the land for me.

We’ll burst off all our fetters and break the Gentile yoke,
For long it has beset us, and now it shall be broke;
No more shall Jacob bow his neck,
Henceforth he shall be great and free
In Upper California – Oh, that’s the land for me!
Oh, that’s the land for me, oh, that’s the land for me.

We’ll reign, we’ll rule and triumph, and God shall be our King;
The plains, the hills, and valleys shall with hosannas ring;
Our towers and temples there shall rise,
Toward the great Pacific sea,
In Upper California – Oh, that’s the land for me!
Oh, that’s the land for me, oh, that’s the land for me.

We’ll ask our cousin Lemuel to join us heart and hand,
And spread abroad our curtains throughout fair Zion’s land;
Till this is done, we’ll pitch our tents
Toward the great Pacific sea,
In Upper California – Oh, that’s the land for me!
Oh, that’s the land for me, oh, that’s the land for me.

Then join with me, my brethren, and let us hasten there;
We’ll lift our glorious standard and raise our house of prayer;
We’ll call on all the nations round
To join our standard and be free
In Upper California – Oh, that’s the place for me!
Oh, that’s the place for me, oh, that’s the place for me.

These songs are only two of many, many 19th century songs following this pattern. Probably the base text was a song beginning “The rose that all are praising …” but there are other texts – political songs, anti-slavery songs, songs on just about any subject where a singer might declare himself for or against something – all set to the same tune. This one:

So learn one tune, sing two Mormon folk songs. Explore your heritage.