ActualChristianMusic

Every correction

When a proof is wrong, we fix it on the page and say so, with the date. This is every one of those notes, newest first. 79 corrections across 49 proofs so far.

A site that checks other people's words should show its own mistakes first. Nothing here is ever deleted or quietly tidied. If a correction was itself wrong, a newer line says so.

  1. “The Victory (1 John 5:4-5 ESV)” 1 John 5:4-5

    The eBible source link stopped working when eBible moved its pages. It now points to eBible's current page for the same WEB text. The finding is unchanged.

  2. “Build My Life” Colossians 1:16-17

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  3. “Psalm 121 (He Watches Over You)” Psalm 121:1-8

    Two things here were wrong. The Cross Rhythms interview was described as a 2009 interview; the article is dated 22 September 2010. And the source note said the band publishes no lyric text of its own. The band's own channel now carries "Psalm 130 LYRIC (2023) Sons of Korah", uploaded 21 February 2024, so that absolute is false. The note now says only what was actually checked, that no lyric sheet was found for this song.

  4. “Run to the Father” Luke 15:17-20

    This entry called worshiptogether.com the rights holder, or the song's publisher. It is neither. Capitol CMG Publishing's About page calls Worship Together "Capitol CMG Publishing's outreach to the global church", and the site describes itself as a song discovery and resource platform for worship leaders. It also carries songs Capitol CMG does not publish, so a scripture list on it is the platform's, not the songwriters'. This site already corrected the same wording on the Ephesians 2:4-6 entry on 2026-08-07; these lines were missed then. The finding is unchanged — the reference is still published outside the song and still checkable — only who published it.

  5. “Build Your Kingdom Here” Matthew 6:9-10

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  6. “Psalm 131 (Stilled My Soul)” Psalm 131:1-3

    Two things here were wrong. The Cross Rhythms interview was described as a 2009 interview; the article is dated 22 September 2010. And the source note said the band publishes no lyric text of its own. The band's own channel now carries "Psalm 130 LYRIC (2023) Sons of Korah", uploaded 21 February 2024, so that absolute is false. The note now says only what was actually checked, that no lyric sheet was found for this song.

  7. “King of My Heart” Psalm 62:5-8

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  8. “Thank You Jesus for the Blood” 1 Peter 1:18-19

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  9. “Your Grace Is Enough” 2 Corinthians 12:9

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  10. “Holy Spirit” Acts 2:1-4

    This entry called worshiptogether.com the rights holder, or the song's publisher. It is neither. Capitol CMG Publishing's About page calls Worship Together "Capitol CMG Publishing's outreach to the global church", and the site describes itself as a song discovery and resource platform for worship leaders. It also carries songs Capitol CMG does not publish, so a scripture list on it is the platform's, not the songwriters'. This site already corrected the same wording on the Ephesians 2:4-6 entry on 2026-08-07; these lines were missed then. The finding is unchanged — the reference is still published outside the song and still checkable — only who published it.

  11. “Break Every Chain” Acts 16:25-26

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  12. “Ephesians 6” Ephesians 6:10-13

    This entry said the New Living Translation is "tagged on every book listed on the project's own English Audio Bible page." It is not. That page carries the letters NLT twice, as headings over the Old Testament and New Testament galleries; the book tiles beneath them are cover images with no per-book tag. The sentence now says the marking is at testament level, above the gallery Ephesians sits in. The translation claim itself is unchanged and still rests on that marking plus the release coverage.

  13. “Ephesians 6” Ephesians 6:10-13

    This entry said "Nothing is sung." Nobody here has listened to the recording, and Streetlights' own channel calls its readers vocalists — one video there describes a vocalist for "portions of Proverbs and Psalms." What the project's own page supports is that the scripture is read: "Word-for-word scripture read dynamically over a custom made Hip Hop Soundtrack." The sentence now says that instead. The finding it supports, that no line is promoted into a chorus, is unchanged.

  14. “Lord, I Need You” Hebrews 4:16

    This entry called worshiptogether.com the rights holder, or the song's publisher. It is neither. Capitol CMG Publishing's About page calls Worship Together "Capitol CMG Publishing's outreach to the global church", and the site describes itself as a song discovery and resource platform for worship leaders. It also carries songs Capitol CMG does not publish, so a scripture list on it is the platform's, not the songwriters'. This site already corrected the same wording on the Ephesians 2:4-6 entry on 2026-08-07; these lines were missed then. The finding is unchanged — the reference is still published outside the song and still checkable — only who published it.

  15. “Man of Sorrows” Isaiah 53:6

    This entry called worshiptogether.com "the publisher". It is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish. The finding is unchanged; only who published the reference.

  16. “The Heart of Worship” John 4:23-24

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  17. “Promises” Joshua 23:14

    This entry called worshiptogether.com the rights holder, or the song's publisher. It is neither. Capitol CMG Publishing's About page calls Worship Together "Capitol CMG Publishing's outreach to the global church", and the site describes itself as a song discovery and resource platform for worship leaders. It also carries songs Capitol CMG does not publish, so a scripture list on it is the platform's, not the songwriters'. This site already corrected the same wording on the Ephesians 2:4-6 entry on 2026-08-07; these lines were missed then. The finding is unchanged — the reference is still published outside the song and still checkable — only who published it.

  18. “In Jesus Name (God of Possible)” Matthew 19:26

    This entry called worshiptogether.com the rights holder, or the song's publisher. It is neither. Capitol CMG Publishing's About page calls Worship Together "Capitol CMG Publishing's outreach to the global church", and the site describes itself as a song discovery and resource platform for worship leaders. It also carries songs Capitol CMG does not publish, so a scripture list on it is the platform's, not the songwriters'. This site already corrected the same wording on the Ephesians 2:4-6 entry on 2026-08-07; these lines were missed then. The finding is unchanged — the reference is still published outside the song and still checkable — only who published it.

  19. “What Child Is This?” Matthew 2:10-11

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  20. “The Solid Rock (My Hope Is Built)” 1 Corinthians 3:11

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  21. “Jesus Paid It All” Isaiah 1:18

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  22. “Rescue” Psalm 34:17-18

    This entry argued from "the publisher" when it meant worshiptogether.com. That site is the song-resource platform Capitol CMG Publishing runs, not the song's publisher, and it carries songs Capitol CMG does not publish, so a scripture list on it is the platform's rather than the songwriters'. The site had already corrected this wording on the Ephesians 2:4-6 entry on 2026-08-07. The finding is unchanged; only who published the reference.

  23. “Citizens Of Heaven (Philippians 3:20-21)” Philippians 3:20-21

    The album field read "Power (Vol. 15)". The volume number is not Seeds' own naming anywhere this site could find: on the album's product page the string "Volume 15" occurs once, inside a customer review dated 24 November 2020, and the publisher's music catalogue does not carry it at all. The field now reads "Power", which is what the publisher calls the record. Nothing else in the entry changes.

  24. “Psalm 15 (English Standard Version)” Psalm 15:1-5

    This entry cited the album's store page as one of the places the ESV is named. That page's description body is leftover Volume II copy: the sentence reads "Psalm Songs, Volume II is a collection of 8 Psalms, verbatim from the ESV Bible, set to original music," and it is followed by a Volume II track list. It is not about Volume III, which is this album. The ESV naming now rests on the two places that do carry it, the release track title and the video's own credit line, and the count is corrected from three to two.

  25. “Mark 10” Mark 10:23-27

    This entry said "Nothing is sung." Nobody here has listened to the recording, and Streetlights' own channel calls its readers vocalists — one video there describes a vocalist for "portions of Proverbs and Psalms." What the project's own page supports is that the scripture is read: "Word-for-word scripture read dynamically over a custom made Hip Hop Soundtrack." The sentence now says that instead. The finding it supports, that no line is promoted into a chorus, is unchanged.

  26. “Psalm 16” Psalm 16:1-11

    The song-says section still said "No line repeats. There is no chorus and no added refrain." That is a claim about a recording nobody here has listened to, drawn from a printed description, and the analysis section of this same entry already said a printed text cannot show it. An earlier correction the same day fixed the good bullet and left this sentence standing. It now says no line is printed twice, and names the limit.

  27. “Holy Forever” Revelation 4:8

    This entry said the song's central line follows Revelation 4:8 including the three-part clause about the One who was and is and is to come, and it built its verdict, its bottom line, a good bullet, the analysis and the lesson on that clause. The song does not sing it. The publisher's chart page and The Berean Test's line-by-line reading both show a text with neither that clause nor the verse's title, Lord God Almighty, and the publisher cites Isaiah 6:3 rather than Revelation 4:8. What the song shares with the verse is the threefold holy and the idea that the cry never ends. So the tier moves from faithful to not a quote, the three quotation criteria are no longer applicable, and the lesson is replaced, because the old one praised precision in words that were never sung. The finding about the surrounding material, and the sources behind it, are unchanged.

  28. “Create in Me a Clean Heart” Psalm 51:10-12

    The criteria grid said the text criterion failed while the badge said faithful, and the two contradicted each other on the page. The text criterion now passes. Every word the song sings is Psalm 51:10-12 in the King James wording, and that is what the criterion measures. The added address to God and the unsung closing clause of verse 12 were already recorded in the verdict, the cautions and the category, and they stay there unchanged. The tier did not move.

  29. “Wait on You” Isaiah 40:31

    The tier moved from faithful to departs. The entry has always said the closing refrain is presented as the verse and does not match it: it carries a soaring clause Isaiah 40:31 does not have and sings the walking before the running. That is what the departs tier is defined as, and the faithful badge beside a failed text criterion contradicted the entry's own evidence. The finding, the criteria and the good and cautions are unchanged; the bottom line now says to sing the refrain as an echo of the verse rather than as the verse.

  30. “Holy, Holy, Holy” Isaiah 6:1-3

    The comparison paragraph in analysis credited the Holy Forever proof with noting that keeping the verse's arrival clause is a mark of precision. Holy Forever does not sing that clause, and its proof was corrected the same day. The observation belongs to the Revelation Song proof, which is what the paragraph now says.

  31. “Do It Again” Joshua 21:44-45

    The bottom line read "never says it is scripture as scripture" and had done since 2026-08-25, when a sweep retiring the word "claim" replaced "claims nothing" inside "claims nothing as scripture". It now reads "presents nothing as scripture", the sentence's original meaning. No finding changed.

  32. “Greater” 1 John 4:4

    The tier moved from faithful to not a quote, and the three quotation criteria moved from fail to not applicable. The entry's own evidence had always said the song names no book, chapter, verse or translation and borrows the comparison without claiming it, so it never hands the listener its words as the text. Grading it as a labelled paraphrase, and failing it on text, translation and context, measured it against a claim it does not make. What the song does with 1 John 4:4, keeping both terms, narrowing the plural to one singer, and leaving the antecedent behind, is recorded in the cautions, the analysis and the lesson exactly as before.

  33. “Turn! Turn! Turn! (To Everything There Is a Season)” Ecclesiastes 3:1-8

    The criteria grid said the text criterion failed while the badge said faithful, and the two contradicted each other on the page. The text criterion now passes. The criterion measures wording, and the entry has always said no sung word of the passage was changed. The resequencing, the repeated chorus and the added closing line are structure, and they stay recorded in the verdict, the cautions and the lesson unchanged. The tier did not move.

  34. “Psalm 4 (English Standard Version)” Psalm 4:1-8

    This proof said no lyric page it could reach lists the sung text line by line. That was wrong, and it is the worst kind of error this site can make, because the official lyric video's own description carries that text, sitting directly above the Crossway permission notice this entry already cites. The same paragraph credited three earlier Corner Room proofs with surviving a word-by-word audit. Only one did. The Psalm 88 proof compared the words against an independent transcription, the 1 Corinthians 13 proof rested on four statements of the translation, and the Psalm 23 proof describes no audit at all. Both sentences are corrected. The verdict, the tier and the criteria rest on the stated method and the named version, and none of them moved.

  35. “Standing on the Promises” 2 Peter 1:4

    The bottom line read "never says it is scripture as scripture" and had done since 2026-08-25, when a sweep retiring the word "claim" replaced "claims nothing" inside "claims nothing as scripture". It now reads "presents nothing as scripture", the sentence's original meaning. No finding changed.

  36. “Nobody Greater” Psalm 86:8-10

    The bottom line was ungrammatical and had been since 2026-08-25. A sweep retiring the word "claim" replaced "claims nothing" inside "claims nothing untrue about God", leaving "never says it is scripture untrue about God", which says nothing at all. It now reads "says nothing untrue about God", the sentence's original meaning. No finding changed.

  37. “Reckless Love” Luke 15:4-7

    Fixed what this entry attributes to Cory Asbury. It previously said he explained "reckless" as describing how the love looks from our side. His published statement instead distinguishes God's character from God's manner of loving: he is not calling God Himself reckless, but says the way God loves is unconcerned with the cost to Himself. The "why it matters", "warnings" and "cautions" wording that rested on the old reading was rewritten to match, and the source labels now point at the reviews that actually carry the statement.

  38. “Reckless Love” Luke 15:4-7

    Cut an uncited "a million people" figure and a comparative judgment about other radio songs from the analysis section. The first was not sourced and the second was a taste verdict this site does not make.

  39. “Reckless Love” Luke 15:4-7

    "Seven years of debate" was wrong arithmetic for a song released in 2017, and now reads as the song's release instead of a year count. Added the song's Wikipedia entry as the citation for the 68-week chart run and the 2018 Dove Award, since the previously cited page states the awards without dating them.

  40. “Reckless Love” Luke 15:4-7

    Corrections here are never rewritten, so this line completes the second one above. That line named two of the three things cut from one sentence in the analysis section. It did not name the third: the claim that the songwriter chose the word in order to provoke, and that the provocation worked. That is a statement about a person's intent, which this site does not make. The same reading stood behind the fourth bullet under "good", which credited the song with a genuinely useful church-wide conversation. That bullet was retracted in the same pass and replaced with a checkable statement, and no line here had recorded it.

  41. “Graves Into Gardens” Ezekiel 37:9-10

    Both reference links were dead and have been replaced with verified pages. The Berean Test review was cited at a URL that returns 404; it now points at the real review of this recording. The Wikipedia link had the article title miscapitalised and also returned 404; it now points at "Graves into Gardens (song)". Both replacements were re-read and do support the claims they are cited for.

  42. “Graves Into Gardens” Ezekiel 37:9-10

    The grave-and-garden image had been listed alongside Ezekiel 37 and Exodus 14 as though it had a named passage of its own. It does not sit on one verse. The entry now says so plainly and notes that The Berean Test's review reads that image against Genesis 2 rather than the empty tomb.

  43. “Who You Say I Am” John 8:31-36

    The Wikipedia citation linked the wrong page. The URL used was the article for a different work of the same title, Among the Thirsty's 2015 album *Who You Say I Am*, not the Hillsong single. It now points to the article for the song, which supports the same facts the citation was given for: written by Reuben Morgan and Ben Fielding, released 15 June 2018, from *There Is More*. No finding in this proof changes.

  44. “Firm Foundation (He Won't)” Matthew 7:24-27

    The Essential Worship citation used an artist path this song is not filed under and did not resolve. It now points at the label's page for the song, which is filed under Maverick City, and the link says so. That page carries the writer credits and CCLI number the citation is given for. No finding in this proof changes.

  45. “Firm Foundation (He Won't)” Matthew 7:24-27

    The correction above was wrong on one point. The earlier Essential Worship URL did resolve. In a browser it redirects to the label's canonical Maverick City page, and an invented slug under the same artist path returns a not-found page instead of redirecting, so the redirect is genuine resolution and not a catch-all. The citation was never dead. Swapping it was a non-canonical-path cleanup, not a broken-link repair. The current URL, writer credits and CCLI number stand, and no finding in this proof changes.

  46. “Goodness of God” Psalm 23:6

    The Wikipedia citation used a disambiguated title that does not exist and returned 404. It now points at the live article, which confirms the same writers, album and year, and the release date is stated more precisely.

  47. “Goodness of God” Psalm 23:6

    This entry placed the pursuit image in the song's chorus. The cited Berean Test review places it in the bridge, and the entry now says bridge.

  48. “Goodness of God” Psalm 23:6

    The claim that the psalm's verb carries the sense of pursuit was made without a citation. Lexicon and interlinear sources are now given.

  49. “On Eagle's Wings” Psalm 91:1-4

    The 2026-08-02 pass missed two sentences, and they stayed on the page contradicting the correction above. Why-it-matters said a singer would remember God saying the refrain's promise, and warnings called it a first-person divine promise of rescue. Both now read the refrain as third-person speech about God. Two source claims were also corrected. Good previously said the publisher presents the song as a paraphrase; OCP's own page does not use that word, it calls the song a rendition of Psalm 91 within a collection of psalm settings, so the paraphrase description is now attributed to the hymnology scholarship that actually makes it, and the publisher's own framing has been added to cautions. The Hymnary source note previously said the refrain's scripture is indexed to Exodus 19; Hymnary indexes scripture for the text as a whole without breaking the refrain out, and the note now says that.

  50. “On Eagle's Wings” Psalm 91:1-4

    A second note on the same day's pass, appended rather than folded into the line above, because a correction here is only ever added to. That pass also did things its own note does not list. It replaced a claim about the hymn's reach: why-it-matters had called the song one of the most-sung comfort texts in English-language worship, a superlative nothing cited supported, and it now says the hymn became widely sung at funerals in Catholic and Protestant worship, which the cited Wikipedia article supports. It removed quoted song wording from the entry, including from the 2026-08-02 line above and from the Hymnary source note, under the rule that this site does not reproduce lyrics. Removing it meant editing a published correction in place, which should not have happened, and that same edit dropped the 2026-08-02 line's closing claim that every sentence carrying the first-person error had been rewritten. The note above is the record that the claim was false. The finding, the category, and the tier did not move.

  51. “Holy Forever” Revelation 4:8

    The Berean Test citation pointed at a URL that returns 404, and its description said the review compares the song with Revelation 4 and Isaiah 6. The link now points at the review's real address, and the description drops Isaiah 6, which the review never mentions.

  52. “Holy Forever” Revelation 4:8

    This entry said the added material about generations and nations was drawn from elsewhere in Revelation. It is not in Revelation. The Berean Test's line-by-line reading traces those lines to Deuteronomy 7:9 and Philippians 2:9-11, and the bottom line, verdict, attribution, good and cautions sections now say so.

  53. “Holy Forever” Revelation 4:8

    The correction directly above overcorrected, and it stays on the page as the permanent record. Saying the added material "is not in Revelation" was wrong. The Berean Test's line-by-line reading traces much of that material into Revelation, including Revelation 4:11 in its pre-chorus list, from the same chapter this proof checks. Only two strands sit outside the book: the worshipping generations (Deuteronomy 7:9) and every knee bowing (Isaiah 45, Romans 14:11, Philippians 2:10-11). The bottom line, verdict, attribution, song-says, good and cautions sections have been rewritten to match the source.

  54. “Holy Forever” Revelation 4:8

    This entry attributed the lines about every knee bowing to Philippians 2:9-11 in the sources note, the good list and the cautions list. The Berean Test attaches Philippians 2:9 to the pre-chorus line about the name above all others, and only Philippians 2:10-11, with Isaiah 45 and Romans 14:11, to the every-knee lines. Those sections now keep them apart, and the sources note records that the review reads Bethel's lyric sheet rather than the Tomlin version.

  55. “The Lion and The Lamb” Revelation 5:5-6

    Both non-YouTube sources were dead links and have been replaced. The Berean Test review was cited at thebereantest.com/big-daddy-weave-the-lion-and-the-lamb, which returns 404. That reviewer covered the Leeland and Bethel Music recording of this song, not Big Daddy Weave's, so the entry now links the real review and says which recording it reviews. The Essential Worship page cited for the writer credits does not exist: the URL returns "Page not found" in a browser, and the site's own search returns no page for this song. The credits for Leeland Mooring, Brenton Brown and Brian Johnson now rest on Wikipedia, with the album release date cited separately. No finding, category, tier or verdict changed.

  56. “The Lion and The Lamb” Revelation 5:5-6

    The correction above is incomplete, and its closing clause "No finding, category, tier or verdict changed" was wrong. The same edit also retracted an overclaim about the singer, which is a changed finding and should have been logged as one. A bullet in "## good" had read "Sung about God throughout, with the singer calling others to worship rather than describing their own state." The song does describe the singer's own state, because it credits God with rescuing and cleansing the singer, so the bullet was narrowed to say that where the singer appears it is as the one rescued and the one calling others to look, not as the subject. "## song-says" was narrowed in that same edit, and "## for-meditation" has now been brought into line with it, since it still said the singer appears mostly as someone calling others to look. The cited Berean Test review of this song is the check: it maps the chorus to God fighting our battles and to the Lamb who takes away sin, both of which describe what has happened to the singer. The category, tier and verdict are unchanged.

  57. “Cornerstone” Ephesians 2:19-22

    The Baylor song page was cited as supporting the claim that the song's pronouns are first-person singular throughout with no first-person plurals anywhere. That page carries credits, not a pronoun analysis, and the "no plurals anywhere" absolute rested on no cited source. The entry now says the song speaks in the first-person singular, and the Baylor citation describes what the page actually contains.

  58. “Cornerstone” Ephesians 2:19-22

    The refrain was described as written for this recording. The cited hymnological account dates its writing to 2011, ahead of the 2012 album, and the entry now says so.

  59. “Cornerstone” Ephesians 2:19-22

    The entry said every sentence in the refrain takes Christ as its subject and that it makes no claim about the singer's condition. That was wrong. Counted against the Hymnology Archive's transcription of the refrain, one of its three clauses is a statement about the singer's condition being changed, and the Baylor song page lists "Weak Made Strong" among the song's themes. The entry now says the refrain is overwhelmingly, not exclusively, about Christ, and names the exception. The same overstatement stood in the good list and in the meditation section, and all three have been fixed.

  60. “Cornerstone” Ephesians 2:19-22

    The Hymnology Archive citation said that page names Hebrews 6:19-20 behind the seafaring images. It does not. It offers 1 Corinthians 3:11 "or Hebrews 6:19-20" for the claim that a Christian's hope is built on nothing but Christ's blood, and in the next sentence traces the seafaring metaphors to real-life events and experience in Mote's era, naming Isaiah 43:2 and Psalm 107:23-30 as allusions for them. The link between Hebrews and the seafaring images was this entry's inference stated as the page's own words. The citation now reports what the page says.

  61. “Cornerstone” Ephesians 2:19-22

    The Baylor citation said that page gives no verse reference. It does. The page carries a populated "Scripture References" field, which lists Ephesians 1:3-7 and does not list Ephesians 2:19-22. The correction logged above on this same date claimed that citation already described what the page contains. That claim was not true when it was published, and this line is the record of it. Earlier correction lines are never edited here.

  62. “Cornerstone” Ephesians 2:19-22

    An earlier version of the analysis section quoted 1 Peter 2:4-6 as the continuous phrase "living stones, being built into a spiritual house." That dropped a word of the named translation. BSB reads "you also, like living stones, are being built into a spiritual house." The quotation was repaired without a note at the time, which this site's own standard forbids. This line is that note.

  63. “Death Was Arrested” Ephesians 2:4-6

    This entry credited the tombstone story to Brandon Coker himself ("Brandon Coker, North Point's drummer and one of the four writers, has said..."). The cited Cross Rhythms interview does not put the account in Coker's mouth. It reproduces worship leader Seth Condrey saying that Coker, the group's drummer, found the tombstone. Condrey is not one of the four credited writers. The entry now names Condrey as the source of the account, and the verdict and cautions say "the group's own account" where they said "the writers' own account."

  64. “Death Was Arrested” Ephesians 2:4-6

    The Worship Together citation was annotated as the source for the album title. That page carries no album field. The album now rests on the Wikipedia singles table, which lists the 2015 single against Nothing Ordinary (EP). The Worship Together annotation now records what the page does carry, including its Scripture Reference field.

  65. “Death Was Arrested” Ephesians 2:4-6

    "Why it matters" said "its publisher files it under Easter". The Easter categorisation comes from the Worship Together song page, and that site describes itself as "a song discovery and resource platform for worship leaders", not as a publisher. No source cited here establishes who the song's publisher is. The sentence now says only what that page shows, which is that Worship Together lists Easter among the song's themes.

  66. “Death Was Arrested” Ephesians 2:4-6

    The same sentence previously read that the song "became a standard Easter and response song in a lot of congregations". Nothing cited here supported that description of congregational practice, and the "response song" characterisation was dropped rather than sourced. It was replaced with the RIAA Gold certification and the Cross Rhythms report of the song being sung in thousands of churches. The withdrawal is logged here rather than left silent.

  67. “Psalm 88:1-7 / Psalm 88:8-18 (English Standard Version)” Psalm 88:1-18

    the album review was cited to an unnamed "a reviewer … what he calls". The source names no gender, so the male pronoun was ours, not the source's. The review is now cited to its byline, Kingsley Davidson, dated 13 May 2022, with no pronoun. Nothing in the verdict changed. The same pass added a line noting that the player on this page carries part one, verses 1-7, and tightened "translation named in each track title" to name the release track titles, since the YouTube upload titles do not carry the translation.

  68. “Psalm 88:1-7 / Psalm 88:8-18 (English Standard Version)” Psalm 88:1-18

    a second pass, correcting the first. The context paragraph used to say the psalm's last word is darkness. That holds in the KJV and WEB texts the toggle offers, but not in the BSB this entry names and shows by default, where verse 18 ends on "companion". Earlier today that sentence was changed to "the last line ends in darkness" with no note, which is a silent edit of a published claim about the text. This line is the note that was owed. The same earlier pass reported tightening every mention of the translation being named in the release track titles, but the bottom line still read "in a translation the track titles name", sitting directly above a player whose YouTube title carries no translation at all. It now reads "release track titles". Last, the analysis section credited the track numbering to "the label's own track listing". The album is self-released, Apple Music lists "℗ 2021 The Corner Room", and no cited source names a label, so the credit now goes to the artist's own album page, whose listing was re-checked and does place Psalm 88:1-7 and 88:8-18 sixth and seventh of ten. No verdict, tier or criterion changed.

  69. “Movement II (V.4-10)” 1 Corinthians 13:4-8

    The “how the check was run” note rested on two claims that do not hold, and both are gone. It said the translation could be confirmed from song transcriptions indexed by search, which carried no source. And it said three phrasings in verses 4 and 5 are used by no other major translation, which is wrong: Crossway's own preface says the 1971 Revised Standard Version was the starting point for the ESV's text, so those readings are shared with the RSV line rather than unique to the ESV. The section now rests on four checkable statements of the translation instead: the album page, the artist's own interview, the Rabbit Room review, and the Crossway permission notice in the official video's description. It also no longer reprints the sung wording. The verdict and the verified tier are unchanged, and the translation is still confirmed.

  70. “Movement II (V.4-10)” 1 Corinthians 13:4-8

    Completing the record of that same pass. The 2026-08-07 note above logs only what changed in the “how the check was run” section, but two further claims came off the page at the same time and neither was written down. The “why it matters” section had said prose is the reason most songs from this chapter paraphrase it into rhyme. The “what's good” list had said setting prose verbatim is something almost nobody attempts. Both were assertions about other people's songs, both carried no source, and neither can be settled without a survey of the field that has not been done here, so both were cut rather than softened. What stands in their place describes only this recording. The verdict and the verified tier are unchanged.

  71. “King of My Heart” Psalm 62:5-8

    This proof originally embedded and cited the official lyric video (YouTube id VUW3tl4-5h8, JohnMarkMcMillanVEVO). That upload is no longer playable on YouTube, so the page rendered a dead player. The entry now embeds and cites the live Stabal session on the artist's own channel (H9hEMHT1i7A). No finding here rested on a particular recording: the song's structure and its eight figures come from the three published charts cited below, and they are unchanged.

  72. “King of My Heart” Psalm 62:5-8

    The cautions originally said the publisher's two scripture references "cover the chorus" and that "nothing on the page is offered for the bridge." The Worship Together page lists Psalm 136:1 and Psalm 100:5 without tying either one to any section of the song, so that pairing was ours, not the publisher's, and it now says so. The two references and the point about the bridge are unchanged.

  73. “King of My Heart” Psalm 62:5-8

    What this proof says about the writer's own account of the song was rewritten earlier the same day without a correction line, which it should have carried. The for-meditation section and the Facebook source label originally said she wrote the song "while carrying her parents' divorce and new motherhood" and that "what she was reaching for was" that neither sorrow nor joy could dilute God's goodness. That was our loose paraphrase. Her post of 6 July 2015 says she was processing her parents' divorce while experiencing the joy of having children of her own, and that she wrote the song to remind herself that no joy or sorrow could dilute God's goodness. Both places now follow the post. The source and the point it supports are unchanged.

  74. “Our God” Romans 8:31-32

    The Worship Together citation credited that page with the song's writer credits, CCLI number, and scripture references. Re-checked today, the page is a chord chart and carries none of those. Those facts are now cited to Hymnary.org, which does carry them, and the Worship Together entry says only what the page shows.

  75. “Our God” Romans 8:31-32

    The Songfacts citation said the page carried "Tomlin's own account pointing to Romans 8:31 as the song's scripture." What Songfacts actually quotes is Tomlin explaining the album title, which it says comes from a line in this song. He calls the statement scripture and paraphrases the verse, but does not name Romans 8:31. The citation now says that.

  76. “Our God” Romans 8:31-32

    The first correction above is itself wrong, and this line supersedes it. Its premise does not hold: re-fetched today with two different clients, the Worship Together page does carry all three items, in the details panel of its server-rendered HTML. Writers Chris Tomlin, Jesse Reeves, Jonas Myrin, Matt Redman. CCLI #5677416. "Scripture Reference: Romans 8:31, Psalm 135:5". The original citation was accurate in every particular, and it has been restored and extended to note the Psalm 135:5 reference. The Hymnary.org citation added alongside it is accurate and stays. Past corrections are left standing rather than deleted, so this log only ever grows.

  77. “Romans 8” Romans 8:31-39

    the NLT attribution was credited to the release's own notes. Streetlights state it in the project description carried on the track's Bandcamp page and on their English Audio Bible page, which marks both testaments NLT. The finding is unchanged. The citation now points at the text that actually says it.

  78. “On Eagle's Wings” Psalm 91:1-4

    This proof originally said the refrain speaks as God in the first person. It does not. The refrain speaks about God to the hearer, in the third person, as Hymnary's catalogued refrain first line across 47 hymnals shows. The true voice-change runs the other way: the refrain's source, Exodus 19:4, is God's own first-person speech, which the hymn retells in the third person. The splice finding, the category, and the verdict tier rest on the borrowed image and are unchanged.

  79. “How Firm a Foundation” Isaiah 41:10

    The comparison with On Eagle's Wings originally said both hymns let God speak in the first person. On Eagle's Wings does not: its refrain speaks about God in the third person, and its source (Exodus 19:4) is the first-person text. The paragraph has been rewritten; this hymn's own finding is unaffected.

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