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Psalm 36:5-7 vs. “Your Love Oh Lord (Psalm 36)”

Third Day · checked 2026-08-02

What we checked

PassagePsalm 36:5-7 chapter ↗
Translation shownBSB (Berean Standard Bible)
Presents itself asparaphrase
Categoryadditions / omissions
AlbumTime · 1999
Words addressed toGod, person unspecified
Teaching or experiencemixed

Graded against the standard

Quotation criteria this song presents words as scripture, so these apply

✓Text-faithful
✗Translation named
✓Context kept

Applies to every song the Name held holy · God shown holy · true of God · the standard

✓Reverent treatment

✓ What's good

  • The verse tracks Psalm 36:5-6 nearly line by line, and the track title cites the psalm by name
  • The chorus's one borrowed image is genuinely in the passage: verse 7's shadow of wings
  • The response the chorus vows is the one verse 7 describes people making, refuge under those wings
  • Nothing the song says about God goes beyond what the psalm says

⚠ Cautions

  • No translation is named, so the near-quotation has to be recognised rather than checked
  • The justice clause is reworked: the translations' great deep becomes a moving tide, a real if small change of image
  • The title's citation covers the whole song, but only the verse is the psalm; the chorus is the band's reply
  • Verse 7's statement about what people do becomes the singer's first-person vow, and refuge becomes strength. Close, not identical

Verse Proof

Psalm 36:5-7

The text in BSB (Berean Standard Bible)

“Your loving devotion, O LORD, reaches to the heavens, Your faithfulness to the clouds. Your righteousness is like the highest mountains; Your judgments are like the deepest sea. O LORD, You preserve man and beast. How precious is Your loving devotion, O God, that the children of men take refuge in the shadow of Your wings!”

A psalm of David, headed as from the servant of the LORD. Its first four verses describe the wicked man, who has no fear of God before his eyes. At verse 5 the psalm turns without transition and speaks to God directly, measuring four of His attributes against the largest things in creation: love against the heavens, faithfulness against the clouds, righteousness against the mountains, judgments against the deep. Verse 7 stays addressed to God but describes what people do about all this: the children of men take refuge in the shadow of His wings.

What the song says, described not quoted

The verse of the song is Psalm 36:5-6, set nearly line by line in the wording of the NIV then in print: love reaching to the heavens, faithfulness to the sky, righteousness like the mighty mountains. Two changes are audible. The faithfulness line gains a verb and its plural skies become one sky, and the fourth clause trades the translations' still depth for a moving one, justice given the motion of a tide. The chorus is the band's own response in the first person: a vow to lift the voice and worship God as King, and to find strength in the shadow of God's wings. That last image is verse 7's, with the psalm's statement about the children of men turned into the singer's own vow, and refuge become strength. The song alternates the two: psalm, reply, psalm, reply.

The track title cites the psalm outright, and the citation is honest about the verse: verses 5 and 6 arrive close to whole, in NIV-family wording, with the sky made singular and the deep set in motion. What the title does not mark is where the psalm stops. The chorus is original, though its one image is really in the passage. Verse 7 says what people do under those wings; the chorus has the singer vow to do it. No translation is named anywhere.

~ Faithful & Labeled: The verse sets Psalm 36:5-6 close to the 1984 NIV wording, with the justice clause reworked into a tide image. The chorus is the band's own first-person vow built on verse 7. The psalm is cited in the title. The translation is never named.

▸ Official upload. Now listen with the proof in mind.

The verse tells you what God's love is like. The chorus is what you say back.

Why it matters

The seam in this song is not only a change of author but a change of act. The psalm's lines describe God; the chorus answers them. A listener who hears the whole song under the title's citation can take the answer as part of the text, and the answer here is a good one, which makes it easier to miss. Knowing where description ends and reply begins keeps the psalm's actual content clear, and it also frees the reply to be what it is: something you mean, not something you recite.

Is it safe to dwell on?

Sung on repeat, this song moves between God and the singer.

What looping this plants is split down the seam. The verse plants the psalm's four measurements, God's attributes held against heavens, sky, mountains and deep, which is content worth having by heart in any translation. The chorus plants a vow, and a vow rehearsed is not wasted repetition: the psalms themselves are full of "I will" lines that the singer keeps re-making. The dwelling tag is mixed because the chorus lines are about the singer's act, but each of them lands on God, His worship, His kingship, His wings. Sung on a loop, the song alternates hearing and answering, which is close to what the psalter itself trains. It forms toward God.

Helpful comparison

Two things are worth holding side by side. First, the translation family: the song's verse sits closest to the NIV in print in 1999, which reads love, skies, mighty mountains, justice and the great deep. The BSB shown above reads loving devotion, clouds, highest mountains, judgments and the deepest sea. Toggle the translation on this page and a good part of what feels like "the verse you know" turns out to be one translation's choices. Second, the speech-act seam: verse 7 of the psalm is still addressed to God but speaks about the children of men in the third person. The chorus steps inside that sentence and makes it a first-person vow. That is a legitimate thing for a worshipper to do with verse 7, and it is also precisely the point where the song stops quoting and starts answering.

Sources

Corrections

No corrections to this proof yet.

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Where the text survives the song

Not a ranking, and not a swap. If what you came for is the passage sung whole, these proofs found it kept: word-for-word verified, or paraphrase that says so and names its source.

✓ VERIFIED “Psalm 11 (English Standard Version)” The Corner Room (Adam Wright) Psalm 11:1-7 Sing it straight through. It is all seven verses of Psalm 11, in order, in a version the track title names. A reviewer says one verse comes back as a refrain, and it is the psalm's own verse.

✓ All seven verses, in order. We set the printed sung text beside an ESV and compared it word by word: 131 words, all matching, nothing added and nothing dropped

⚠ The printed text under the video lists each line once. It is not a map of the song. A review of the album says verse 4 comes back as a refrain

 ✓ VERIFIED “We Hope In You (Psalm 33:20-22 ESV)” Seeds Kids Worship (Seeds Family Worship) Psalm 33:20-22 Sing it, and teach it. All three verses arrive whole, in the version Seeds names. Read verses 16 to 19 first, so a child knows what the waiting is for.

✓ All three verses, in order, in the ESV. Every repeated line is built from words the passage already supplied, and nothing is added between them.

✓ no cautions: this is the standard

 ✓ VERIFIED “Psalm 4 (English Standard Version)” The Corner Room (Adam Wright) Psalm 4:1-8 Sing it without a caveat. It is the whole of Psalm 4, in order, in a version named on the track itself, so what you repeat by singing it is the psalm.

✓ All eight verses of Psalm 4, in order, with nothing added and nothing repeated that the psalm does not repeat

✓ no cautions: this is the standard

More songs like this

~ FAITHFUL “Psalm 100” Poor Bishop Hooper Psalm 100:1-5 Sing it. It is all five verses of Psalm 100 with nothing added. Just know the order has been rebuilt: the psalm ends on God's goodness and faithfulness, and the song ends on our belonging to Him.

✓ Every clause of all five verses is present, and no line in the song comes from outside Psalm 100

⚠ No translation is named anywhere on the release, the project pages, or the upload, so the wording cannot be checked against a source the listener is pointed to

 ~ FAITHFUL “Psalm 90 (Satisfy Us With Your Love)” Shane & Shane Psalm 90:1-17 Sing it, and read Psalm 90 whole alongside it. The song is a true paraphrase of the psalm's opening and its two best-known prayers. The psalm's hard middle, and its ending, are not in the song.

✓ The song keeps Moses' plural. Every petition is ours and us, never mine and me, which is how the psalm prays and how a congregation actually stands in it

⚠ Verses 7 to 11 are not sung. That is the psalm's reason for everything it asks, and without it the chorus's plea has no stated grounds

 ~ FAITHFUL “Psalm 13” Shane & Shane Psalm 13:1-6 Sing it. The verses are Psalm 13 in the psalm's order, with the questions kept as questions. Just know the chorus, the line you will sing most, is the song's own vow of waiting, not a line of the psalm.

✓ The how-long questions are sung as questions, to God, in the psalm's own second person. A song that leads worship into honest lament is scarce, and this one leads with it

⚠ The chorus is the one part of the song that is not in Psalm 13. The vow to wait is sung more than any line of the psalm, and nothing in the song distinguishes it from the text

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