Only Trust Him

John Hart Stockton (1813–1877) was a prominent American Methodist minister whose primary legacy lies in the composition of "invitation hymns"—songs specifically designed to encourage a spiritual response during evangelistic services. Born in Pennsylvania to Presbyterian parents, Stockton’s life took a definitive turn in 1838 when he attended a Methodist camp meeting and experienced a religious conversion. This event redirected his path toward the Methodist ministry, and he eventually became a member of the New Jersey Annual Conference of the Methodist Episcopal Church. Although his career was marked by periods of ill health that forced him into "supernumerary relations" (semi-retirement from active preaching), these lulls in pastoral duty allowed him to focus on his secondary calling as a musician and poet.

Stockton is most famously remembered for writing both the text and the tune for "Only Trust Him" (originally titled "Come, Every Soul by Sin Oppressed"). This hymn became a staple of 19th-century revivalism, particularly after it was adopted by the legendary duo of D.L. Moody and Ira D. Sankey. Interestingly, the song's famous refrain was altered by Sankey; Stockton’s original chorus was "Come to Jesus, come to Jesus, come to Jesus just now," but Sankey changed it to "Only trust Him, only trust Him, only trust Him now" to better fit the evangelical message of the era. The hymn proved so effective at drawing listeners to the altar that it was translated into dozens of languages, including Swahili, Chinese, and Spanish.

Throughout the 1870s, Stockton turned his attention toward the compilation of gospel songbooks, publishing Salvation Melodies (1874) and Precious Songs (1875). These collections were characterized by their simplicity and emotional directness, features that were hallmarks of the Wesleyan-Methodist tradition. Unlike many of his contemporaries who wrote only lyrics, Stockton was a skilled composer who provided the musical settings for many of his own hymns. His ability to marry accessible melodies with earnest, invitational prose made his work essential for the mass revival meetings that swept across America and Great Britain in the late 19th century.

The end of Stockton’s life was as sudden as it was poignant. After retiring from full-time pastoral work in 1874 to focus on his musical publications, he remained active in the church community. In March 1877, following a Sunday morning service at the Arch Street Methodist Episcopal Church in Philadelphia, he died unexpectedly. He left behind a body of work that continues to be sung in traditional services today, particularly hymns like "The Cross, the Cross, the Blood-Stained Cross" and "Jesus, My Lord, to Thee I Cry." His legacy remains that of a "pastor-musician" who understood how to use song as a tool for spiritual awakening and comfort.