Remembering Richard Smallwood: how his music became modern-day psalm

Some songs do more than accompany worship — they become a church’s prayer. Few modern compositions have done this as powerfully as Richard Smallwood’s “Total Praise,” a song that has crossed denominational, cultural and national boundaries to give voice to trust, lament and hope.

In December 2018, while researching the Psalms as living texts of prayer, lament, and praise, I had the opportunity to interview Richard Smallwood by phone. Our conversation explored how his music – especially “Total Praise” – functions as a modern-day psalmody, shaped as much by theological reflection as by lived experience.

In light of Smallwood’s recent passing, this interview offers a window into his spiritual imagination: a composer who understood music as prayer, lament as faithfulness, and praise as something that must always lead the church toward hope. What follows is an edited transcript of that conversation, shared in gratitude for a life and legacy that continues to teach the church how to sing its theology.

Phone interview with the Rev. Richard Smallwood, December 18, 2018.

Heath: “Total Praise” seems to pull from different Psalm verses, beginning with Psalm 121:1–2. Other than Psalm 121, did you intentionally use other Psalm verses?

Smallwood: Not really. I was quoting from my experiences. It was almost like a prayer for me of help that turned into praise.

Heath: That’s interesting, because the arc of the Psalter does just that — it moves from a prayer for help to praise. It’s striking that your interpretation of Psalm 121 mirrors that movement.

Heath: A number of your songs directly quote the Psalms — “Psalm 8” (Psalm 8:1-5), “I Will Sing Praises” (Psalm 27:1, 5), “Healing” (Psalm 30:5), “My Everything” (Psalm 65), “I Love the Lord” (Psalm 116:1-2), “Total Praise” (Psalm 121:1-2), “Anthem of Praise” (Psalm 150:3-6). Are there other works where you intentionally quoted the Psalter?

Smallwood: The only one I pulled directly from the Psalms was Psalm 8. The others just came to my mind — they relate to my experiences.

Heath: I believe the Psalms present themselves in your music almost the way stained-glass windows work in a church — you don’t have to study them closely for the stories to speak.

Smallwood: The book of Psalms is my favorite book of the Bible because I love the contributions of the musicians, like David. My experiences are reflected there — like Psalm 77. Some people call it a psalm of depression. I was depressed for many years and could relate. The Psalms give us a full range of emotions — the victories and the valleys. I tell people the key to good songwriting is talking about things we all experience, things people can identify with and say, “I feel that way.”

Heath: If I were to create a modern-day Psalter, I would include “Trust Me” and “Same God” from your catalog. Would you choose the same?

Smallwood: I would say “Total Praise” and “My Everything.” I’m particularly struck by the verse in Psalm 65 that says praise waits — that was the inspiration for “My Everything.” There’s an expectation of hope in that verse that’s encouraging.

Heath: How has your theological education influenced your songwriting?

Smallwood: It has made me much more sensitive and careful to fully understand what I’m writing. I make sure what I write is biblically based and can bring understanding and meaning to others through my music.

Heath: Do you think theological education is important for Christian songwriters?

All Christian songwriters should seek theological education.

Smallwood: Yes — absolutely. All Christian songwriters should seek theological education. You want to write truth. So many Christian songs aren’t biblically sound. Many of the greats didn’t have access to theological training — they wrote what they heard growing up, what their grandmothers said, and what sounded wise.

Heath: Your songs have been tools of healing for many people. Are there songs that minister to you personally?

Smallwood: Sometimes God gives us songs that don’t apply to us until later — like Scripture. You read something for years and then it hits home. Other times God gives us songs just for us. I wrote “I’ll Trust You” weeks after my mother died. Two years later I wrote “Trust Me.” I listened to “Trust Me” almost every day for comfort after I wrote it.

Heath: If you were asked to add the remaining verses of Psalm 121 to “Total Praise,” would you do it?

Smallwood: No. I never go back and add to a song. When God gives me something, there’s no need to go back. It’s like saying, “God, you left something out.”

Heath: In many churches there seems to be more space for praise than for lament. Do we need more songs of lament?

Church should always be a place of hope.

Smallwood: If you look at the history of gospel music, we already have many laments — the Negro spirituals, the blues. We need to talk about struggle, yes, but you don’t leave people in the valley. Church should always be a place of hope.

Heath: “Total Praise” has become a global anthem. Do you have a sense of its reach?

Smallwood: When we celebrated the 20^th anniversary, my pastor’s daughter made a video showing people singing it all over the world, in different languages. It was overwhelming to see how God used that song.