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227. No, Not One!

Hymn 227Words: Johnson Oatman Jr., 1895Tune: George C. Hugg
Verse 1

There's not a friend like the lowly Jesus,
No, not one! No, not one!
None else could heal all our soul's diseases,
No, not one! No, not one!

Chorus

No, not one! No, not one!
Jesus knows all about our struggles,
He will guide till the day is done;
There's not a friend like the lowly Jesus,
No, not one! No, not one!

Verse 2

No friend like Him is so high and holy,
No, not one! No, not one!
And yet no friend is so meek and lowly,
No, not one! No, not one!

Verse 3

There's not an hour that He is not near us,
No, not one! No, not one!
No night so dark but His love can cheer us,
No, not one! No, not one!

Verse 4

Did ever saint find this friend forsake him?
No, not one! No, not one!
Or sinner find that He would not take him?
No, not one! No, not one!

Verse 5

Was e'er a gift like the Savior given?
No, not one! No, not one!
Will He refuse us a home in heaven?
No, not one! No, not one!

Public domain hymn text (published 1895). Words by Johnson Oatman Jr.

The Story Behind the Hymn

Johnson Oatman Jr. was born in 1856 in New Jersey and initially worked in his father's mercantile business before becoming a licensed local preacher in the Methodist Episcopal Church. Unlike many hymn writers who held full-time pastoral positions, Oatman worked other jobs throughout much of his adult life, including a period in the insurance business, writing hymns as a parallel calling rather than a primary occupation — and yet he became one of the most prolific hymn writers America ever produced, credited with several thousand hymn texts written over his lifetime, among them the well-loved “Count Your Blessings.”

“No, Not One!” was written in 1895 and set to music by George C. Hugg, a Philadelphia-based composer and music educator who wrote tunes for numerous gospel songs of the period. The hymn's entire structure is built on a single rhetorical device, repeated across five verses: a question about whether any friend, anywhere, could match Christ's faithfulness, answered every time with the same emphatic denial — “no, not one.”

That simplicity was precisely the hymn's strength for congregational use. Its repeated refrain required no explanation and was nearly impossible to forget after a single hearing, making it a favorite for Sunday schools and revival services where a large, often unfamiliar-with-hymnody crowd needed to be able to join in singing almost immediately.

Oatman continued writing hymns prolifically for decades after this one, reportedly producing new texts at a remarkable pace throughout his life even while working other jobs, and he remains remembered as one of the most productive hymn writers of the entire gospel song era — a preacher whose most lasting sermons turned out to be the ones he set to music rather than the ones he delivered from a pulpit.

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