My Sins Are Blotted Out, I Know!

Merrill Everett Dunlop was a prominent American pianist, composer, and music director who became a central figure in the mid-20th-century Chicago gospel music scene. Born in Chicago in 1905, Dunlop’s life was deeply intertwined with the city’s leading evangelical institutions. He was educated at Central YMCA College and the Moody Bible Institute, graduating from the latter in 1926. His early career saw him serving as a musician at the historic Moody Church, and he eventually transitioned to the Chicago Gospel Tabernacle, where he served as the director of music for nearly three decades. His personal life was also connected to the industry through his marriage into the family of Burton Bosworth, a well-known evangelist.

Dunlop was an incredibly prolific creator, composing over 700 hymns and gospel songs during his long career. His music was characterized by the "Chicago Sound"—a style of gospel music that blended traditional hymnody with more modern, rhythmic, and emotive elements suitable for large tabernacle revival meetings. He was not only a writer but also a compiler, publishing several key collections such as Songs of a Christian (1937) and New Songs of a Christian (1941). These volumes helped standardize the repertoire for independent and evangelical churches throughout the Midwest.

One of his most enduring contributions to hymnody is the song "My Sins Are Blotted Out, I Know!" which reflects his focus on the assurance of salvation and personal testimony. His work was designed to be easily sung by large crowds, often featuring spirited choruses and straightforward, scriptural lyrics. As a skilled pianist and organist, Dunlop also influenced the way gospel music was performed, emphasizing a bright, orchestral style on the keyboard that provided a high-energy foundation for congregational singing.

Merrill Dunlop passed away in 2002 at the age of ninety-seven, having witnessed the evolution of gospel music from the early revival era to the modern worship movement. He is remembered as a bridge between the classic Moody-era traditions and the more contemporary gospel styles of the mid-century. His vast catalog of songs continues to be a resource for those researching the history of American evangelical music, representing a lifetime of dedication to the "ministry of song" within the city that served as a global hub for the genre.