There are some who happen to like Glory & Praise, I being one of those. In fact, I preferred it over Music Issue, and now over Breaking Bread. If anyone has the guitar editions and would like to unload them, I would be happy to relieve you of your burden

I may be able to help you out. Please private message me and I will let you know.

In fact, I preferred it over Music Issue, and now over Breaking Bread

Why.

I have a set of all of the keyboard editions for G&P 1-4, and will generally use them over other OCP accompaniments if I'm in a position where I have to play one of those songs. In 1997, OCP released their newly re-engraved accompaniment books--before that, they were a hodge-podge--and in the process of preparing them, they condensed each song as far as possible to save space. What would have been an 8 or 12 page accompaniment for Here I Am, Lord is now 2 pages, and the varied organ accompaniments for the later verses and refrains were all lost--most introductions were taken out also.

If I'm going to use that repertoire, it's my preference to do it as fully as possible...

Regardless of where one is at with this body of repertoire, Marc has addressed one of the most long-lived errors OCP among others since they acquired NALR copyrights. He's pointed out that OCP is about condensation and consolidation. For example, having known three versions of the SLJ's "Here I am, Lord," which did not originally have that trumpet fanfare prior to the recording, and then Dan must've said "O yeah, I like that" and added it while GP still existed under NALR, systematically OCP whittled down composers' introductions to their "bracket" system, which works just as well as their chord assignment strategy- uh, organists, when playing with guitarists, ignore the realization no matter how accurate, and play the assigned chords for the guitar lead sheet. Least common denominator thinking.
I've been railing on this publicly for years. Anybody seen Tomazek, Columbari, even DeBruyn reply saying "Charles, you're wrong! And thanks for buying our product for over three decades."
It's 19th century editing wedded to 1950's Madmen Marketing. With boomers who grew up playing "Monopoly."

This was and appears to be the method OCP has employed so that you have to buy octavos with the introductions, fanfare, and interludes. I remember back in time when Hosea, used to be in the WLP accompaniments with the introduction, and interlude. I have to definitely agree with Melofluent, they have certainly worked towards the lowest common denominator with their accompaniment books.