Psalm 115:1 vs. “My Tribute (To God Be the Glory)”
Andraé Crouch & The Disciples · checked 2026-08-21
What we checked
Graded against the standard
Quotation criteria not graded: this song never presents its words as scripture
Applies to every song the Name held holy · God shown holy · true of God · the standard
✓ What's good
- The refrain sends the credit away from the singer and toward God, and it is the part of the song that gets repeated most, so it is what a congregation actually carries out of the room
- Nothing is presented as scripture: no reference is given, no translation is named, and the song never frames a line as a quotation
- The bridge asks that any praise the singer receives be redirected to the cross, which is the psalm's instinct expressed in the singer's own words
- The songwriter's own published account of the song names a chapter he had been reading and does not claim the song reproduces it
⚠ Cautions
- Psalm 115:1 says "not to us" twice before it says "to Your name." A refrain built on the affirmative half alone leaves out the move that makes the verse what it is
- The psalm grounds the glory in God's loving devotion and faithfulness. The song grounds it in what God has done, and its verse specifies what He has done for the singer. Both are true, and only one is the verse's stated reason
- Psalm 115 speaks as a congregation with watching nations around it. The song speaks as one person, which is honest for a testimony but is a narrower thing than the psalm is doing
- The published scripture references for this song do not agree with each other. Treat any of them as a suggestion rather than as the song's citation
- Fanny Crosby's 1875 hymn shares the subtitle. The two are separate texts, and the shared words are a title rather than a source
Verse Proof
Psalm 115:1The text in BSB (Berean Standard Bible)
“Not to us, O LORD, not to us, but to Your name be the glory, because of Your loving devotion, because of Your faithfulness.”
Psalm 115 is a congregation speaking, not an individual. The opening line refuses glory for the people twice before it gives glory to God once, and the very next verse says why the question is live: the surrounding nations are asking where Israel's God is. What follows is a long comparison between the God who is in heaven and does as He pleases and idols of silver and gold that have mouths and eyes and hands and cannot use any of them. The psalm then calls Israel, the house of Aaron, and all who fear the LORD to trust Him, promises blessing, and closes by saying that the dead do not praise the LORD but the living will, now and forever. The reason given in verse 1 for God's name getting the glory is God's own loving devotion and faithfulness, not anything the people have received.
What the song says, described not quoted
The song opens with its refrain, which ascribes the glory to God and gives as its reason what God has done. The phrase is repeated in immediate succession before the first verse arrives; two independent transcriptions of the lyric give the count differently, at three and at four. The verse is the singer asking how thanks can be offered for things received and not deserved, and it credits his rescue to Christ's blood and his being raised to God's power. A bridge asks that the singer's life be pleasing to God and that any praise that comes his way be sent to Calvary instead. No chapter and verse is cited anywhere in the song, and no translation is named. Both transcriptions agree that no line of the song contains a denial clause of the kind Psalm 115:1 opens with. The words speak about God in the refrain and to God in the verse and bridge, and the God addressed is never named as a person of the Trinity.
Psalm 115:1 is one sentence with two halves, and the halves are not interchangeable. The first half refuses, twice. The second half gives. The song has the giving half and not the refusing half, and it supplies a different reason for the giving: the psalm names God's loving devotion and faithfulness, which are things about God, while the song points to what God has done, which in the verse is what God has done for the singer. Both reasons are true. Only one of them is the reason Psalm 115:1 gives. The song also moves the words from a congregation to a person, which is what a testimony song does, and it does not pretend otherwise.
▸ Official upload. Now listen with the proof in mind.
Psalm 115:1 gives God the glory by first refusing it. Drop the refusal and you have a true line, not the verse.
Why it matters
Psalm 115:1 is the verse people reach for when they want a text behind a line like this one, and Hymnary's index does list it among the passages behind this song. But the verse spends two of its clauses saying no before it says yes, and verse 2 shows that the no is not modesty for its own sake. It is there because watching nations were asking where Israel's God was, and a people taking the credit would have answered that question badly.
A song can be entirely true and still not carry a verse's shape. This one sends credit away from the singer, which is the same direction the psalm travels. What it does not do is make the refusal audible, and the refusal is where Psalm 115:1 does its work.
Is it safe to dwell on?
Sung on repeat, this song moves between God and the singer.
What this song plants by repetition is a direction: credit goes away from me. That is a good thing to have running in your head, and it is the same direction the psalm sends its reader. The dwelling tag is mixed rather than God because the verse and the bridge are genuinely about the singer, his gratitude, his rescue, and his resolve, and there are about as many lines about him as there are about God. That balance is what a tribute is, and the refrain keeps pulling the balance back.
The one thing repetition will not plant here is the refusal, because the song does not contain it. If you sing this often, read Psalm 115 alongside it sometimes, and notice that the psalm makes you say no before it lets you say yes, and that verse 2 tells you who is listening when you do.
Helpful comparison
Three different scripture citations circulate for this song, and none of them agree. Worship Together and Word to Worship, the licensing listings that carry its CCLI number, both name Psalm 29:1-2. Hymnary's text authority page lists Psalm 115:1, but it lists it inside a set of roughly thirty passages, which is an index of themes rather than a claim about a source. Crouch's own account, as carried by Songfacts, names neither: he describes waking with the refrain already in his head after a friend told him to read John 17, and says he wrote the song at the piano in about ten minutes. When the writer, the publisher, and the hymnal index all name different passages, the honest conclusion is that the song is not quoting any of them.
There is a second confusion worth clearing. Fanny Crosby published a hymn in 1875 whose first line ascribes the glory to God for what He has done, and it shares a title with Crouch's subtitle. They are two texts by two writers a century apart, with separate entries at Hymnary and different tunes, and the Canterbury Dictionary of Hymnology describes Crouch's refrain as an allusion to Crosby's line. That makes the nearest ancestor of the sung phrase a hymn rather than a psalm. A hymnal index will place the two texts near each other, and readers should not take that proximity for a citation.
Sources
- Andrae Crouch — My Tribute (Light Records catalogue upload) · (the recording checked for this proof; the auto-generated listing credits Andrae Crouch and the Disciples on a Light Records release)
- Hymnary.org — "To God Be the Glory (Crouch)" text authority · (Andraé Crouch, 1971; lists Psalm 115:1 within a set of roughly thirty scripture references; 30 hymnal listings)
- Hymnary.org — "My Tribute" text entry · (second Hymnary entry for the same text; the refrain is a repeated affirmation with no negation clause)
- Canterbury Dictionary of Hymnology — "How can I say thanks (My tribute)" · (1971; Crouch's COGIC background; describes the refrain as an allusion to Fanny Crosby's hymn)
- UMC Discipleship Ministries — History of Hymns: "My Tribute" · (1971; the shift from Crosby's third-person hymn to first-person gratitude; no scripture named as the basis)
- Songfacts — My Tribute (To God Be The Glory) · (Crouch's own account: John 17, the refrain arriving on waking, the song written in about ten minutes; also dates the first recording to 1972)
- Worship Together — My Tribute · (CCLI 11218; licensing scripture reference given as Psalm 29:1-2; chorus-verse-bridge-chorus structure)
- Word to Worship — My Tribute · (second listing citing Psalm 29:1-2; independent confirmation that the lyric contains no denial clause and that the refrain names God's acts as its reason)
- Street Directory lyric listing — My Tribute · (second independent transcription used only for structure: no denial clause, refrain repeated in succession, verse and bridge first-person)
- Hymnary.org — Fanny Crosby, "To God Be the Glory" (1875) · (the separate Crosby hymn, William H. Doane tune, first published in Songs of Devotion)
- Discogs master release data — Keep On Singin' · (album title, 1971, and the track listing including "My Tribute (To God Be The Glory)")
- 100 Greatest CCM Albums of the '70s — Keep On Singin' · (1971, Light Records LS-5546, producer Bill Cole, full track listing)
- Wikipedia — My Tribute (To God Be the Glory) · (dates the first recording to 1972 on Keep on Singin', Light Records; noted here because it disagrees with the 1971 release date given by Discogs and the hymnological sources)
Corrections
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