You’ve probably heard that the Church is working on a new hymnbook, with plans to finish by 2027. The current hymnbook is now 40 years old, so it certainly seems like the right time for an update.
But you might be surprised to learn that the first official hymnbook of the Church, written in 1835, didn’t have any music—just the lyrics. In fact, neither did the second. Or the third. Printing costs kept the hymnals small, which meant room for words only. It wasn’t until 1889 that an official Church hymnbook included musical notation, though smaller LDS-use tune books appeared earlier.
Of the 90 hymns from the first hymnbook, only 26 remain in our current (1985) hymnal. So what happened to the other 64? Over time, they were replaced, revised, or simply forgotten. From the awkward and outdated to the moving and beautiful, here are eight forgotten hymns of the Restoration.
“Hark! Listen to the Trumpeters”
Not included in the 1835 hymnbook, "Hark! Listen to the Trumpeters" nevertheless became a favorite in the 1830s and was included in later LDS hymnals. Its marching rhythm and military theme resonated with Zion’s Camp, and even some of the lyrics were adapted for the excursion (from “To march for Canaan’s land” into “To march for Zion’s land”).
In tone, the hymn bears resemblance to “We Are All Enlisted” or “Onward, Christian Soldiers,” emphasizing the spiritual battle against sin. But, compared to those hymns, the military imagery is more overt. Lines like “A soldier I will be; I will enlist, gird on my arms” and “We want no cowards in our band…We call for valiant-hearted men that’s not afraid to die” may have made the hymn feel too militaristic to resonate with modern congregations.
Its last printing in English Latter-day Saint hymnals was in the early 1900s, but it still survives today in the Church’s Spanish hymnbook under the title “Oíd el toque del clarín.” Despite its strong imagery, the tune is upbeat and surprisingly joyful.
Listen to it here
“The Spirit of God, Like a Fire is Burning”
You're likely thinking, "This isn’t a forgotten hymn, we still sing it today!" True—but did you know that our current version has two fewer verses than the 1835 original?
When "The Spirit of God, Like a Fire Is Burning" was first published, its fourth stanza included
“We’ll wash and be wash’d, and with oil be anointed Withal not omitting the washing of feet.”
The omissions may have been made to shorten the hymn (it’s already long), but it also might reflect a shift in Latter-day Saint culture.
Washings and anointings were of great importance to early Saints, and were practiced outside the temple, but, as the ordinance became exclusive to the temple, a verse specifically highlighting them became less relevant to typical Sunday worship.
Interestingly, these verses are still sung by the Church of Jesus Christ (Bickertonites), as washings are still practiced in their Sunday services.
“In Ancient Days Men Feared the Lord”
This hymn feels like a 19th-century counterpart to “Follow the Prophet.” It traces figures like Enoch, Noah, Abraham, Isaac, Jacob, Moses, Daniel, Paul, and John, urging listeners to follow their faith (though the lyrics call us “feeble worms” along the way).
The hymn reflects early Saints’ focus on seeing God face-to-face, as emphasized in the Doctrine and Covenants. While its language may feel dated, its message of faith and divine encounter remains timeless.
“O Stop and Tell Me, Red Man”
The title alone makes clear why this hymn no longer appears in our hymnbook. It refers to Native Americans as “Red Man” and uses phrases like “idle Indian hearts” and “savage customs,” language that would be inappropriate in a modern sacrament meeting.
Written by W. W. Phelps in 1834, the hymn originated in a letter he wrote to Oliver Cowdery after encountering a “noble looking, portly Indian [Native American].” It reflects both the prejudices of its time and the belief that Native peoples were of Israelite descent who could be redeemed through the Restoration.
While its language makes it unsingable today, the hymn also reflects Phelps’s genuine admiration and hope for Native Americans, though mixed with paternalistic and condescending attitudes.
“This Earth was Once a Garden Place”
You may know this hymn by its later title, “Adam-ondi-Ahman” (hymn 49 in the current book). But it’s rarely sung today and, likely as not, won't make the cut for the upcoming hymnbook.
In early Church history, however, it was beloved—possibly even the most popular hymn of the 1830s, according to journals and meeting records. Included in the 1835 hymnbook, the lyrics celebrated the Missouri site believed to be Adam’s home and the future gathering place of Zion in the millennium.
After the Saints’ expulsion from Missouri in 1838–39, the hymn lost some of its prominence and gradually faded from use.
“Sons of Michael, He Approaches”
Like the previous hymn, this song also appears in our current hymnbook (hymn 51). It’s not quite as old, being written in 1861, but it’s even more forgotten; data shows it might literally be the least sung hymn in our current lineup.
The lyrics praise Adam/Michael as the ruler of the earth and invite us to bow before him. The only line that mentions God at all, the final line, was even altered from the original.
Some later readers believe that the content of this hymn was influenced by the Adam-God Theory. In the current version, changes have been made that decapitalize the titles given to Adam (such as father, patriarch, and ancient one), thereby differentiating him from God’s role (Father, Patriarch, Ancient One). The final line, which read “That the Ancient One may reign in his Paradise again” has been altered to read “That the ancient one doth reign in his Father’s house again.”
Read more about the Adam-God theory in our Q&A article.
“Joseph Smith”
Better known to us today as “Praise to the Man,” this hymn was written by W. W. Phelps after the Prophet’s death in 1844.
The hymn itself isn’t forgotten, but its original tune is. In the 1800s, Saints sang it to Star in the East (Brightest and Best)—a slow, solemn melody that reflected mourning. Today, we sing it to the triumphant tune of Scotland the Brave.
Both tunes are beautiful, but the original captures the grief of early Saints in ways the modern version does not.
Listen to the original tune here
“Thy Mercy, my God, is the Theme of my Song”
Included in the 1835 hymnal (originally written in the 18th century by John Stocker), this hymn is a moving expression of gratitude for God’s mercy, culminating in this verse:
Great Father of mercies thy goodness I own, And the covenant love of thy crucified Son; All praise to the Spirit, whose whisper divine, Seals mercy, and pardon, and righteousness mine.
This hymn shows that some songs disappear not because they are awkward or outdated, but simply because their popularity fades over time. Its disappearance reminds us: the hymns we love most will endure in our hearts, whether or not they appear in a printed book.
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