O God, my heart with love inflame

with SHOUTING HYMN
(CLAMANDA, SOCIAL BAND)

including
Say now, ye lovely social band

I. Text: Origins

The text of this hymn was claimed by William Colbert, who was a well-known itinerant preacher in the earliest days of the Methodist Episcopal Church, and whose journals, dated 1790 to 1833, are significant for recording much of the early history of that denomination. His journals are also the way by which he claimed ownership of the hymn.[1] Methodist historian John Atkinson said of him:

The Rev. William Colbert was a native of Maryland, and a leader in the field when Methodism here was young. He was an able, laborious, and successful itinerant, and a contemporary of several of the earliest Methodists of Maryland. He was an early colleague and cherished friend of Henry Boehm, one of the traveling companions of Bishop Asbury and the centenarian of the Methodist Episcopal Church. I will remember in my association with the venerable Boehm with what affectionate interest he would recur to his ministerial intercourse with Colbert.[2]

Henry Boehm himself said of Colbert:

William Colbert was a small man. He was a genuine Methodist, a sound divine, and a great revivalist. Hundreds will rise up and call him blessed. He had a heart formed for friendship. He and my friend William Hunter died the same year [1833].[3]

II. Text: Publication

Colbert’s hymn was printed three times in three different cities in 1801. One was in A Collection of Spiritual Songs and Hymns (1801 | Fig. 1), compiled by Richard Allen (1760–1831), founder of the African Methodist Episcopal Church, who had also started his career as an itinerant Methodist preacher. According to J. Roland Braithwaite, Colbert “was a frequent visitor to Mother Bethel [Allen’s church in Philadelphia] and a friend of Richard Allen.”[4] In Allen’s hymnal, the text was unattributed, given in five stanzas of eight lines, without music.

That same year, this hymn was printed in Hymns and Spiritual Songs for the Use of Christians (Baltimore: Barnhill, 1801 | Fig. 2), headed “Shouting God’s Praise,” spanning five stanzas of eight lines, unattributed, without music. Compared to Allen’s edition, this example contains several minor differences, and a more significant change at 2.5–6, where the rhyme uses different words.

The other printing in 1801 was in A New and Beautiful Collection of Select Hymns and Spiritual Songs (Walpole, NH: Thomas & Thomas, 1801 | Fig. 3), edited by Josiah Goddard. This was a newer version of his 1798 collection, which did not contain this hymn. Here, the hymn has its own differences from the other two, most notably the first word, “My,” and the structure of ten stanzas of four lines. It was headed “The Triumph, or shouting hymn.” The hymn is more consistent textually with Allen’s than with the other, which would seem to put the original text somewhere between those two, probably taken from a broadside no longer in existence.

The hymn was printed dozens of times through the 1800s, mostly in text-only collections, but fell out of favor before the turn of the next century.

III. Text: Analysis

The hymn “O God, my heart with love inflame” is clearly representative of the revivalist camp-meeting movement in the United States, with its exuberant references to singing and shouting. The overall theme is one of joy in anticipation of the hereafter. The last line of the first stanza echoes Psalm 150:6 (“Let everything that has breath praise the Lord”). The Baltimore edition avoided the repetition of “heav’nly arches” near the beginning and end by altering the last line. The “happy shore” found here and in other hymns referencing heaven is an allusion to the river of life flowing through Revelation 22. Not only did the writer picture life as a journey toward heaven, he also appealed to the ultimate end, involving a resurrection of the dead (1 Thess. 4:16, Isa. 16:19, Mk. 12:24–27). The lines “O death, where is thy sting? O grave, where is thy victory?” is a quote, almost verbatim, from 1 Corinthians 15:55. The race to win the prize in an allusion to 1 Corinthians 9:24.

IV. Tune

In its earliest years, Colbert’s text was commonly associated with a tune sometimes known as SHOUTING HYMN or SHOUTING SONG. The earliest known copy of this tune is in a manuscript produced by John Ketcham (1782–1865), held by Indiana University at the Bloomington campus music library. The title page is dated 1802; Ketcham was living in Shelby County, Kentucky, at the time. Here the tune is called SHROPSHIRE and it was given without a text. The melody is in the middle part, notated on a G clef, written in E minor.

When Colbert’s text was printed in Jeremiah Ingalls’ The Christian Harmony (Exeter, NH: Henry Ranley, 1805), it was paired with this tune, here named SHOUTING HYMN. The tune was interlined with the hymn “God’s power and wisdom is displayed,” which is an anonymous American hymn, first printed in Joshua Smith’s Divine Hymns, or Spiritual Songs, 6th ed. (Exeter, NH: Stearns & Winslow, 1794). In spite of the interlined text, the name SHOUTING HYMN is more clearly connected to “O God, my heart with love inflame,” appearing on the opposite page. This version of the text runs to five stanzas of eight lines and it does not fully match any of the above sources from 1801, so Ingalls’ source for the text is unclear. The arrangement is in three parts, melody in the middle part.

The name SHOUTING HYMN, paired with “O God, my heart with love inflame,” was repeated in Deerin Farrer’s The Christian Melodist (1828). More commonly, the name SHOUTING SONG appeared in some other collections, including Allen Carden’s The Western Harmony (1824) and The United States Harmony (1829), John Bunyan Seat’s The St. Louis Harmony (1831), and Andrew W. Johnson’s The American Harmony, 2nd ed. (1839).

This tune next appeared in Ananias Davisson’s A Supplement to the Kentucky Harmony (Harrisonburg: Ananias Davisson, 1820), where it was called CLAMANDA and credited to “Chapin,” possibly in reference to Amzi Chapin, although this attribution likely refers to the harmonization rather than the tune itself. Regarding this attribution, Nikos Pappas remarked, “This tune does not appear in any manuscript associated with either of the Chapin brothers and I would guess that the attribution from Davisson was based on reputation rather than hard fact.”[5] For more on this connection, see the page for GOLDEN HILL.

Davisson’s version, like Ketcham’s, is in E minor, but here it is given in four parts, melody in the third part (tenor). The text, “Say now ye lovely social band,” is a hymn of unclear authorship. It first appeared in The Sacred Songster (Charleston, SC: G.M. Bounetheau, 1809), compiled by Amos Pilsbury, in ten stanzas of four lines.

Davisson published another version of CLAMANDA in An Introduction to Sacred Music (Harrisonburg, VA: Davisson, 1821), again credited to “Chapin.” This version contains only three voice parts, melody in the middle, omitting the second voice part from the 1820 publication, but is otherwise identical.

The name CLAMANDA, paired with “Say now, ye lovely social band,” appeared in other collections, such as Benjamin Shaw and Charles Spilman’s Columbian Harmony (1829), William Rhinehart’s The American, or Union Harmonist (1831), J.W. Steffy’s The Valley Harmonist (1836), and most notably, B.F. White and E.J. King’s The Sacred Harp (Philadelphia: T.K. & P.G. Collins, 1844).

When the tune appeared in A Compilation of Genuine Church Music, 2nd ed. (Winchester, VA: Robinson & Hollis, 1835), compiled by Joseph Funk, it was renamed SOCIAL BAND, an obvious nod to the associated text. The attribution “Dover Selection” refers to the appearance of this text in The Dover Selection of Spiritual Songs (1828), compiled by Andrew Broaddus.

This naming was carried over into William Walker’s The Southern Harmony, New Ed. (Philadelphia: E.W. Miller, 1847).

by CHRIS FENNER
for Hymnology Archive
rev. 21 October 2025
with thanks to Fynn Titford-Mock
and Nikos Pappas

Footnotes:

1. Journal of the Travels of William Colbert, Methodist Preacher (1790–1798). We have been unable to examine his journals and verify his claim to authorship; this connection was described by J. Roland Braithwaite (1992), p. 78.

2. John Atkinson, History of the Origin of the Wesleyan Movement in America (Jersey City, NJ: Wesleyan Publishing, 1896), p. 35: Archive.org

3. Henry Boehm, Reminiscences, Historical and Biographical, of Sixty-four Years in the Ministry, ed. Joseph B. Wakeley (NY: Carlton & Porter, 1866), p. 185: Archive.org

4. J. Roland Braithwaite, “Originality in the 1801 hymnals of Richard Allen,” New Perspectives on Music: Essays in Honor of Eileen Southern (Warren, MI: Harmonie Park, 1992), p. 78.

5. Email from Nikos Pappas, 8 July 2025.

Related Links:

“O God, my heart with love inflame,” Hymnary.org: https://hymnary.org/text/o_god_my_heart_with_love_inflame

“Say now, ye lovely social band,” Hymnary.org: https://hymnary.org/text/say_now_ye_lovely_social_band