Explore our growing collection of song histories from across Oxford Gospel Choir’s repertoire.

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Our repertoire spans traditional spirituals, contemporary gospel, soul, Motown and uplifting classics. This archive brings together songs we’ve performed over the years, exploring their origins, cultural significance and the reasons they hold a special place in our choir.

Whether you’re interested in the roots of gospel music, the stories behind well-known classics, or how particular songs became part of the OGC repertoire, we hope you’ll enjoy discovering more about the music we sing.

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Browse the songs below to explore their stories.​

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Ain’t No Mountain High Enough

Marvin Gaye and Tammi Terrell (1967)

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Background

Released on the Motown label in 1967, Ain’t No Mountain High Enough became one of the defining soul duets of its era. Motown, an African American-owned label founded in Detroit, played a powerful role in bringing Black music into mainstream popular culture in the 1960s and 70s. The song has since become a cross-generational anthem of loyalty and encouragement.

The version we sing draws on the joyful gospel-style arrangement from Sister Act 2: Back in the Habit (1993), which introduced it to a new generation of choir singers.

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Why we sing it

This song is about solidarity. The message that nothing can keep us apart when we stand by each other is such a positive one. It’s bold, uplifting and full of drive. It’s very recognisable and almost always gets people on their feet, dancing and joining in with us.

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Amazing Grace

John Newton (1772)

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Background

The words were written in 1772 by John Newton, a former enslaver and ship captain who later became an Anglican minister. Alongside William Wilberforce, Newton became a campaigner for abolition.  In his 1788 pamphlet Thoughts upon the African Slave Trade, Newton wrote harrowing descriptions of the brutality inflicted on enslaved Africans, arguing that the trade debased all involved, including British sailors.

A later verse beginning “When we’ve been there ten thousand years…” circulated within African American communities before appearing in print. Amazing Grace was popularised during the American Civil War, and has been performed at pivotal historical moments, including by Mahalia Jackson during civil rights protests and by Jessye Norman at Nelson Mandela’s 70th birthday tribute concert in 1988.

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Why we sing it

This piece keeps us connected to the roots of gospel music. It gives us space to focus on blend and tone and brings a moment of stillness into a programme. Our version is solo-led for the first two verses, with the choir joining for the final verses. 

We are often asked to sing or lead this at weddings. In 2023, Oxford Gospel Events Choir also had the pleasure of performing our version of Amazing Grace with guest singer Dr Patti Boulaye OBE at a charity concert for Mary’s Meals.​​

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Signed, Sealed, Delivered (I’m Yours)

Stevie Wonder (1970)

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Background

Released in 1970, this Motown classic marked a period when Stevie Wonder was gaining greater creative control over his music.

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Why we sing it

It’s joyful and confident, with a strong groove that suits a full choir sound. It’s another audience favourite and we’re often asked to sing it at weddings during the signing of the register – familiar, but with our gospel twist.

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Stand By Me

Ben E. King (1961)

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Background

Inspired partly by earlier gospel traditions, this 1961 song became one of the most recorded songs of the 20th century. Stand By Me was inspired by the spiritual Stand By Me Father by Sam Cooke and the Soul Stirrers. The lyrics are based around Psalm 46 and both songs take inspiration from the original gospel hymn by Charles Albert Hindley in 1905.

The version we sing was created by ACM Gospel Choir director Mark De-Lisser. We have worked with Mark in workshops and at a joint concert at Oxford Town Hall.

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Why we sing it

This song is about presence and standing with one another. It holds a special place in OGC’s history, connecting us to our much-missed conductor Pete Waters. It became one of the songs we most loved performing with him passionately at the helm.

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Wade in the Water

Traditional spiritual

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Background

Wade in the Water is thought to be one of the songs of the Underground Railroad, a network which enabled enslaved people to escape and reach safety in the north.

Songs were used in everyday life by enslaved African people. Singing was a tradition brought from Africa, and spirituals served many purposes including providing rhythm for work, inspiration and communication. Harriet Tubman and other escapees used traditional songs as a strategy to communicate with enslaved people in their struggle for freedom.

The lyrics to Wade in the Water were first published in 1901 by the Fisk Jubilee Singers. The group, who first toured Great Britain in 1871, also produced recordings of other famous songs such as Steal Away, Swing Low, Sweet Chariot and Go Down Moses.

Wade in the Water features in the soundtrack of the 2019 film Harriet, telling the story of the American abolitionist and social activist who helped rescue around 70 enslaved people using the Underground Railroad network.

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Why we sing it

Our version of Wade in the Water is based on Mary Mary’s arrangement. It is a powerful way for us to connect with the origins of gospel music.

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Thank You for Reading

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Thank you for taking the time to explore the stories behind our songs.

This is a growing archive, and we will continue to add new song histories as our repertoire evolves. We hope this information helps you discover more about the rich musical traditions that inspire our choir and deepen your connection to the music we sing.

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We look forward to sharing many more songs and stories with you in the future.