I can hear my Savior calling,
I can hear my Savior calling,
I can hear my Savior calling,
“Take thy cross and follow, follow Me.”
Where He leads me I will follow,
Where He leads me I will follow,
Where He leads me I will follow,
I’ll go with Him, with Him, all the way.
I’ll go with Him through the garden,
I’ll go with Him through the garden,
I’ll go with Him through the garden,
I’ll go with Him, with Him, all the way.
I’ll go with Him through the judgment,
I’ll go with Him through the judgment,
I’ll go with Him through the judgment,
I’ll go with Him, with Him, all the way.
He will give me grace and glory,
He will give me grace and glory,
He will give me grace and glory,
And go with me, with me, all the way.
Public domain hymn text (published 1890). Words by Ernest W. Blandy.
The Story Behind the Hymn
Very little verified biographical detail survives today about Ernest W. Blandy beyond the basic fact of his authorship of this hymn's text in 1890; he is typically identified in surviving hymnal reference sources simply as an American gospel song writer active during the late nineteenth century, one of many considerably lesser-documented contributors to the genuinely enormous overall body of gospel songs produced across America during that particular period's sustained, widespread revival movement.
The hymn's deliberately simple, tightly repetitive verbal and musical structure — built almost entirely around a single repeated instruction to follow Christ's own example specifically 'through the garden,' then 'to Calvary,' and onward beyond — closely reflects the broader compositional style generally favored by Sunday school teachers and revival song leaders throughout this same era, hymns and choruses specifically and deliberately designed to be fully learned within only a few minutes by ordinary congregations who often had little or no prior formal musical training or hymnal literacy to draw upon.
That deliberate, carefully calculated simplicity — consistently prioritizing immediate memorability and genuine ease of spontaneous communal singing over any greater degree of literary sophistication or complexity — helps directly explain why hymns constructed very much like this one were able to spread so rapidly and so widely through camp meetings and organized revival campaigns across the American countryside during this period, even in cases, like Blandy's own, where comparatively little biographical detail was ever separately recorded or subsequently remembered about the specific individual writers who originally produced them.
