Andraé Crouch
A theologically grounded, eschatologically focused gospel standard with exceptional congregational accessibility and profound biblical hope. The simple declarative structure proclaims Christ's return with joy and anticipation, rooted in Revelation's vision. The bridge acknowledges present struggle without losing eschatological confidence. Minor poetic repetition and narrow thematic scope are offset by congregational enthusiasm and intergenerational acceptance.
Five lenses
The song draws directly from Revelation 22:20 and echoes the Maranatha cry of 1 Corinthians 16:22, centering on the believer's anticipation of seeing Christ face-to-face. The verse's central proclamation aligns with Revelation 1:7 and 1 Thessalonians 4:16-17. The bridge's river and mountain imagery resonates with baptismal and exodus typology while acknowledging earthly trials. The repeated 'Hallelujah' maintains biblical doxological vocabulary throughout.
The song presents a clear eschatological hope centered on the parousia, the second coming of Christ. The joy is not escapist but grounded in biblical promise. The bridge balances present suffering with future hope without minimizing either. The corporate 'we' establishes communal anticipation. The repeated 'Hallelujah' maintains God-centered doxology throughout. The song assumes rather than argues its theology, functioning as proclamation from within the faith community.
This song is exceptionally accessible to congregations. The melody is simple, stepwise, and repetitive. The range is moderate and suits most voices. The call-and-response potential in gospel settings engages the entire assembly. The tempo is energetic but not rushed. The repeated 'Hallelujah' section offers entry points for less confident singers. The bridge introduces slight complexity but remains singable. The song has proven itself across five decades and multiple cultural contexts.
The song prioritizes proclamation over poetic complexity. The simple declarative statements function as liturgical announcement rather than lyrical artistry. The repetition of core phrases creates congregational confidence and reinforces eschatological joy. The bridge introduces metaphorical depth with river and mountain imagery drawn from biblical exodus and pilgrimage traditions. The 'Hallelujah' refrains maintain doxological focus. The song values communal singability and theological clarity over poetic innovation, a defensible choice for congregational worship.
Primarily corporate in voice. No congregational concern.
This song withstands theological scrutiny with integrity. Objections typically center on narrow eschatological focus, high repetition, or cultural/stylistic preferences rather than substantive theological error. The song's strength lies in its biblical grounding, congregational accessibility, and proven intergenerational appeal across diverse worship contexts.
Full analysis
This 1971 gospel standard anchors congregational worship in eschatological hope, drawing from Revelation's vision of Christ's return. The song's simple declarative structure - 'we are going to see the King' - functions as liturgical proclamation, announcing biblical promise with joy and confidence. The repeated 'Hallelujah' maintains doxological focus, grounding anticipation in worship rather than speculation. The corporate 'we' establishes communal hope, resisting individualistic reduction of resurrection theology. The song assumes Christian context and speaks from within the faith community rather than arguing for eschatological belief.
The bridge introduces pastoral realism without abandoning hope, acknowledging that rivers and mountains may lie between present suffering and future glory. This balances triumphalism with honest recognition of earthly trial, echoing the 'already but not yet' tension of New Testament eschatology. The imagery draws from exodus and pilgrimage traditions - rivers evoke baptismal crossing and Jordan passages, mountains recall Sinai encounters and prophetic visions. The conditional phrasing ('should there be') functions as rhetorical acknowledgment rather than uncertainty, maintaining confidence in ultimate arrival even when present journey proves difficult.
Congregationally, the song is exceptionally accessible. The melody is simple, repetitive, and energetic without being rushed. The range suits most voices, and the call-and-response potential in gospel settings engages the entire assembly. The song has proven itself across five decades, multiple cultural contexts, and diverse denominational traditions, from African American gospel congregations to contemporary evangelical settings to traditional Baptist services. This longevity testifies to both theological soundness and congregational effectiveness. The song invites physical participation - clapping, swaying, movement - making worship embodied rather than merely cerebral.
For Texas Baptist worship leaders, this song offers eschatological formation in accessible form. It teaches congregations to long for Christ's return with joy rather than fear, to maintain hope amid present trial, and to worship communally rather than individually. The narrow thematic focus is a feature, not a flaw - the song does one thing exceptionally well, allowing worship leaders to build comprehensive theology across multiple songs rather than demanding exhaustive doctrine from each selection. Pair with songs addressing bodily resurrection, cosmic renewal, or new creation themes to provide fuller eschatological vision. Use in Advent, Easter season, or any service emphasizing Christian hope.
Defense brief
Who raises this: Theologically trained congregants concerned with comprehensive eschatology
Scripture permits focused celebration of specific aspects of redemption. Philippians 3:20-21 emphasizes awaiting the Savior, 1 John 3:2 centers on seeing Christ as He is, and Revelation 22:20 expresses longing for Christ's return. Comprehensive systematic theology is not required of every song - corporate worship assembles a mosaic of biblical themes across multiple songs and liturgical elements.
This song proclaims one dimension of biblical hope: the joy of seeing Christ face-to-face. Pair it with songs addressing fuller resurrection theology, cosmic renewal, or the restoration of all things to provide congregational formation in comprehensive eschatology.
Who raises this: Congregants formed in traditional hymnody or preferring complexity
Psalm 136 repeats 'His steadfast love endures forever' twenty-six times. Repetition serves liturgical memory, communal participation, and meditative focus. The song's gospel roots reflect the breadth of the body of Christ and the African American church's profound contributions to Christian worship.
This song represents the gospel tradition's gift to the global church - accessible, joyful, biblically grounded eschatological hope. The repetition invites full congregational participation across age and ability. Texas Baptists' commitment to diversity in worship includes honoring multiple cultural streams of Christian song.
Who raises this: Congregants concerned with evangelistic clarity or precise Christological language
Within Christian worship, 'the King' functions as messianic title grounded in Matthew 2:2, John 18:37, and Revelation 19:16. The song assumes congregational context where Christ's identity is established through proclamation, Scripture reading, and prayer. The 'Hallelujah' (praise YHWH) maintains theocentric framing.
In corporate worship, the song's context clarifies the King's identity. For seeker-sensitive contexts or evangelistic services, consider brief spoken introduction: 'We gather in anticipation of Jesus Christ's return - soon and very soon, we are going to see the King.'
Scripture map
Primary foundations
Supporting connections
Story behind the song
Andraé Crouch wrote this song in 1971 during a period of significant cultural upheaval in America, offering the African American church and broader Christian community a message of eschatological hope amid present struggle. The song emerged from Crouch's dual roles as pastor and recording artist, bridging traditional gospel and contemporary Christian music.
Gospel music histories and artist biographical materials
The song became one of Crouch's signature pieces and a standard across denominational lines, recorded by countless artists and translated into multiple languages. Its simple structure and joyful proclamation made it accessible to congregations worldwide, contributing to Crouch's influence as a pioneer in contemporary gospel music.
Contemporary Christian music historical documentation
The song has been sung at countless funerals, memorial services, and Easter celebrations, functioning as both declaration of resurrection hope and comfort for the grieving. Its endurance across five decades testifies to its theological resonance and congregational effectiveness, maintaining relevance through multiple generations of worship renewal.
Worship practice observations and liturgical use documentation
Themes
Sermon series fit
Audience fit
Maturity
Accessible to all levels - new believers grasp the simple proclamation while mature believers appreciate the theological depth of eschatological hope
Age group
Truly intergenerational - children can sing the simple refrain, adults appreciate the biblical grounding, elderly find comfort in resurrection hope
Service type
Works in traditional, contemporary, gospel, and blended settings - adaptable across worship styles while maintaining theological integrity
Visitor-friendly
Highly visitor-friendly due to simple melody, repetitive structure, and accessible language - though theological context aids full understanding
Special contexts
Particularly powerful at funerals, memorial services, Easter celebrations, and Advent worship - any context emphasizing Christian hope and Christ's return
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