Every song we've checked

✓ The judgment stays God's work. The hymn's “He” is God throughout and no source disputes it; Gamble's objection is to the use the hymn makes of the images, not to who does the treading

⚠ The opening line reports a present sighting of God's glory arriving. Isaiah 63 speaks of a day of vengeance but pins it to no date, so the timing is the hymn's addition

✓ Nothing is presented as scripture. The words cite no book, chapter or verse, and no line is framed as a quotation, so nothing in them can be checked and found misquoted

⚠ The verse's prayer is a reply. Christ promises first and the amen follows. The song makes the same request without the promise it answers, so its ground sits outside the words

✓ The Hebrew titles are real Old Testament names for God, used as address and praise. God Almighty stands in Genesis 17:1 and Exodus 6:3. God Most High stands in Genesis 14

⚠ One sung Hebrew phrase is an adapted spelling. An Old Testament professor shows it does not match the Hebrew of Psalm 18:1, which is the verse behind it

✓ The song's central sentence about God is true and checkable. Psalm 139 says God knows the sitting and the rising, the thought from far off, and the word before it is spoken

⚠ The song stops where the comfort stops. Psalm 139 says the same knowing is inescapable, and the psalm ends by asking God to search the singer and lead him

✓ Every word of the title says something scripture says about God. He is good (Psalm 100:5). He is God Almighty (Genesis 17:1). It is a name here, not filler.

⚠ The same three words are a common exclamation in ordinary American speech. Not everyone in a room will hear them the same way, so say what they mean before singing them.

✓ The song is a prayer. It is addressed to God nearly all the way through, and its requests ask God to act rather than announcing what the singer will achieve.

⚠ The bridge states Paul's conclusion with none of Paul's occasion. He wrote it about a thorn God refused to remove. A singer with no trouble in view supplies the meaning.

✓ Nothing the song says about God is contradicted by 1 Kings 20. That chapter is where God answers the idea that His power is tied to terrain

⚠ The song’s hills and valleys are seasons of life. In 1 Kings 20 they are ground, and the line answers an army that thought God ruled only high country

✓ The whole chapter, in order, so verse 27 arrives after the rich man’s scene and after the disciples ask who can be saved, instead of standing on its own

⚠ “Word-for-word” here describes the reading, not the translation theory. Streetlights uses it for what is read. Tyndale uses the same phrase for a different thing

✓ Nothing in it is dressed as a quotation. No verse, no chapter, no translation, and no line where the song speaks as Jesus, in either published review

⚠ The invitation in Matthew 11 comes with terms. Take my yoke, learn from me. Neither review reports a yoke or an instruction to learn in the song

✓ The whole chapter, in order, so “guard your heart” arrives with the commands about the mouth, the eyes and the feet, instead of standing alone as advice

⚠ “Word-for-word” here describes the reading, not the translation theory. Streetlights uses it for what is read. Tyndale uses the same phrase for a different thing

✓ 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

✓ The band's own upload carries a signed commentary that works through the whole psalm, including the last verse, so the hardest part is explained right beside the music

⚠ Three separate transcriptions of this setting carry the psalm through verse 8. None carries verse 9. Nothing the band itself publishes could be checked against, so this rests on the transcriptions

✓ The printed sung text carries all eleven verses of Psalm 16, in order, with no line printed twice and no refrain added

⚠ The track title alone will not tell you which Bible you are singing. On Apple Music and Spotify it is just "Psalm 16". The version is named on the album page and in the video description.

✓ The printed sung text carries all six verses of Psalm 53, in order, and every one of its 142 words matches an ESV of the psalm

⚠ The printed text is not a transcript. A review of the album calls the psalm's opening line the song's refrain. We did not listen through to count repeats, so that rests on the review

✓ Every line traces to Psalm 95, and the project's own posted text for this song carries nothing from outside the psalm

⚠ From verse 9 the psalm is God speaking. No line in the project's posted text speaks in His voice, so the sung warning carries no stated consequence

✓ God is the refiner and the singer is the metal. That is how the refining passages run, Malachi 3:3 and Zechariah 13:9 included

⚠ The song names no passage, so listeners supply one. The one named in the review checked here is Malachi 3, where the refining is God's coming and the text asks who can endure it

✓ Nothing in it is presented as scripture. No book, chapter or verse is named anywhere in the song, and nothing is framed as a quotation, so there is nothing here to mis-cite

⚠ Every passage tied to this song comes from outside it. The artist-partnered plan assigns three. A blog names Psalm 40:1-3. A podcast runs through Ruth and seven more. None of them is the song's own

✓ The song never presents its words as scripture. There is no chapter and verse and no quotation framing, so nothing in it is passed off as the text of John 11

⚠ The phrase the song repeats is not the command at the tomb. There Jesus says come out, or come forth in the KJV. He does say earlier that Lazarus will rise again (11:23)

✓ The carol presents nothing as scripture. It names no book, chapter or verse, and no line in it is offered as the words of Luke.

⚠ The quiet and the calm are the carol's own. Luke 2:8-14 says nothing about how the night sounded. What he reports is an angel, then a multitude.

✓ It never pretends to quote scripture. No verse appears in the lyric, and the official video’s description names none. Nothing here asks to be read as a citation.

⚠ The title is an instruction. Proverbs 18:21 is a statement about what the tongue can do. The instruction is the song’s, not the proverb’s.

✓ Verses 3, 4 and 5 all arrive, in order, in the NIV's wording. No line is added, and none is explained or expanded.

⚠ The label names the ESV in four places. The words are the NIV's. Check the song against an NIV, not against the version the label sends you to.

✓ Both ends of the verse are printed. The chart opens on the command about the heart and closes on gentleness and respect, where the ESV's verse 15 ends.

⚠ Three of the verse's words are missing from the chart. The ESV sends the defense to anyone who asks you. The chart drops who asks you.

✓ The title sentence has a real home in scripture. Isaiah 25:9 carries those four words, and the rescue it celebrates is the same rescue the song sings about

⚠ The song is not written as a citation, so it does not hand you the verse behind its title

✓ Nothing in the sung words is offered as a quotation. No verse is named, and no line is framed as scripture, so nobody is asked to take a paraphrase for the text

⚠ Stanza one restates John 3:16 without the two outcomes the verse ends on. Crosby's text never uses perish, eternal or everlasting, in the two sung stanzas or in the third

✓ Every word the chord chart prints as lyric is a word of Colossians 2:6-7, in the passage's order, and no word of the passage is left out.

✓ no cautions: this is the standard

✓ The song's move is one this passage makes. God tells a hearer who he is in verse 9, and takes his right hand and says not to fear in verse 13

⚠ The “You” is identified just once. A published review says that single reference sets the whole song's context, and nothing else in the words points to God overtly or subtly

✓ Presents nothing as scripture. No verse reference, no translation named, no quotation framing, so nothing in it can be a misquote

⚠ The song names no passage. The verse you hear under it was chosen by whoever paired them. A study cited below picks four, and this entry picks a fifth

✓ Both verses whole and in order. Counted in the ESV, all forty-two words are there, none skipped, and the chart carries nothing from outside the passage

✓ no cautions: this is the standard

✓ Both verses whole and in order, in the ESV's wording. Every repeated line is the passage's own words coming round again

⚠ The YouTube upload names the reference but not the version. The ESV credit sits on the chord chart, the album page and the song list, so a viewer has to go looking

✓ Both verses whole and in order. The only words that repeat are words the passage already gave, so nothing new gets memorized as scripture

⚠ The YouTube upload names the reference but not the version. The ESV credit sits on the chord chart, the album page and the song list, so a viewer has to go looking

✓ Both halves of the verse are sung, in the order Proverbs 30:5 gives them. The song adds no sentence of its own.

⚠ One word is not the ESV's. In the shield line the song sings all, where the ESV at Proverbs 30:5 has those. Both words point at the same group.

✓ All ten verses of Psalm 146, in order, with nothing added and no invented chorus

✓ no cautions: this is the standard

✓ All five verses of Psalm 15, in order, in a named version, with nothing added to the printed text

⚠ The embedded player's own YouTube title names no translation. The version is in the release track title, which is what Apple Music and Spotify show

✓ 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

✓ All four verses arrive whole and in order. The chord chart names the ESV, and its 2007 text edition, on the same page as the words.

✓ no cautions: this is the standard

✓ The whole verse, in order, in the ESV. Every repeat in the verse, chorus and tag repeats a phrase the passage had already supplied.

⚠ The reference is never sung, only printed in three places. A child can learn the words here and still not learn where they live. Say the address out loud.

✓ Never says it is quoting: no reference, no verse framing, nothing presented as scripture

⚠ The refrain reads as one verse and is two. Matthew 7 never says there is only one possible foundation; Paul does, and the seam is invisible when sung

✓ Never says it is quoting at all. No verse is cited in the sung words, the official upload's description carries no reference either, and the hymn's own first printing named a different passage than the one hymnals now attach

⚠ The reference printed beside the hymn number is an editorial judgment, and the editors of one hymnal disagreed with each other about it in print

✓ The song grieves out loud. Paul does not forbid grief, he forbids grieving like people without hope, and a song that names the absence honestly is doing the first half of that

⚠ The song's comfort and this passage's comfort are not the same comfort. The song rests on a present condition, that the one who died is past pain and with Christ. Paul rests on a coming event, and verses 15 to 18 date the reunion to the Lord's descent

✓ Points the hearer's attention at Christ and holds it there, which is the direction 2 Corinthians 3:18 assumes before it says anything else

⚠ Paul's beholding produces transformation into Christ's image. The refrain's produces a fading of other things. Those are related and they are not the same promise, and the smaller one is the one that gets memorised

✓ Never says it is quoting. No chapter, verse, or translation is named, and nothing in the text is presented as scripture

⚠ The word “promises” is the hymn's spine and is never filled in. No covenant, no passage, and no particular word of God is named in any stanza

✓ Never says it is quoting, cites no verse, and never presents its refrain as scripture

⚠ The second half of verse 27 is not in the hymn. Sung alone, the verse can be remembered as pure comfort, when the sentence it lives in is also about an enemy driven out

✓ The one thing a battle hymn most easily gets wrong, this one gets right. No human being, group, or institution is named as the enemy anywhere in the four stanzas. The named opponent is the devil, which is where Paul puts it in verse 12

⚠ The armour is partial. Three of Paul's six items appear, the belt of truth, the shield of faith, and a sword. The breastplate of righteousness, the feet fitted with the readiness of the gospel of peace, and the helmet of salvation are not in the hymn

✓ Never says it is quoting at any point: no verse reference in the text, and the official upload's description names only the Welsh author and cites no scripture

⚠ Nothing is cited, so the exodus arrives here as atmosphere. The pillar in Exodus 13 was given to one nation on one road, and treating it as a personal promise of visible direction is the hymn's application, not the chapter's statement

✓ Never says it is quoting: no verse cited, no scripture framing, nothing presented as the Bible's own words

⚠ The song names no loss. Habakkuk names six, and that list is what sets the weight of his vow

✓ One sustained prayer from the first word to the last, addressed to Christ by name and asking for release, rest, His kingdom and His rule; Hawn counts six imperatives across the two stanzas

⚠ The title the hymn gives Christ follows the King James at Haggai 2:7. Move the translation toggle above to WEB or BSB and no person appears in the verse

✓ Never says it is scripture, in any form: no reference, no verse framing, and the rights holder's own chord chart lists no passage behind the song

⚠ The song names no cause for its brokenness. Hosea 6:1 names one, and that naming is what makes the verse a return rather than only a cry

✓ The hymn does not say it is quoting Isaiah, so nothing in it can be a misquotation; the debt to the verse is an image, not a citation

⚠ Isaiah's scarlet and crimson are dye words, not stain words. Barnes describes the colour as fast and fixed, not removable by dew, rain, washing or long use. The refrain's picture of a mark left behind keeps the colour and softens the reason it could not come out

✓ The song's central statement is one scripture makes in as many words. Isaiah 43:2 promises company through the water and the fire, not a detour around them, and John 16:33 says the trouble is coming

⚠ The statement arrives with no address. Nothing in the song points at a verse, so a listener who wants to check it has to be told where to look

✓ Never says it is quoting at all: no verse number, no scripture framing, nothing offered as the Bible's own words, and the publisher's resource page for this recording cites no passage either

⚠ None of the verse's vocabulary is sung. Vine, branches, fruit and remain are all absent, so a singer looking for John 15 in the words will not find it there

✓ Never says it is quoting at all: no verse in the lyric, none in the official upload's description, and no scripture framing anywhere in the song

⚠ Nothing in the song points at John 4. The pairing is made by readers on the strength of one shared word, and the two waters do different things

✓ The epigraph is a real citation, printed with the hymn at its first confirmed publication, and its clause is quoted word for word.

⚠ The epigraph names the address and not the version. Its wording is King James (KJV); a singer who looks the verse up in a modern Bible will find different words for the same clause.

✓ Never says it is quoting, anywhere: no verse number, no scripture framing, nothing presented as the Bible's own words

⚠ Luke 24:29 is a request for one night's lodging with a practical reason attached. The hymn's evening is a figure for the end of a life, which is Lyte's reading and not the verse's statement

✓ It leaves her sin unnamed, exactly as Luke does. The passage calls her a sinner and stops there, and so does the song.

⚠ The chorus names the jar Mary's. Luke does not name the woman at all, in this passage or anywhere else.

✓ Every physical detail in the opening stanza is in Matthew 27:29-30 itself. The thorns, the crown, the scorn, the blows to the head. The hymn describes the scene without adding to it.

⚠ The credit line on both the official upload and the publisher's resource page names Bernard of Clairvaux and the year 1153. The earliest manuscript of the Latin cycle names Arnulf of Leuven, and scholarship has not accepted the Bernard ascription for over a century.

✓ The hymn's central argument is the passage's. Matthew 9:12 says the sick are the ones who need a doctor, and the third verse says that waiting to be better first means never coming

⚠ The refrain is not Hart's and not from this passage. It came out of Caleb Jarvis Taylor's 1804 collection, where the lines belonged to another hymn's first stanza, and became a chorus in 1806. Its opening echoes Luke 15:18

✓ The stanza that carries this passage tracks verse 3 closely: light as clothing, space overhead, clouds turned into a chariot, and the wind's wings as God's road are all the verse's own pictures in another meter

⚠ Verse 3 gives the clouds as a chariot with no anger attached. The hymn's chariots are chariots of wrath. The wrath is elsewhere in Psalm 104, at verses 7 and 35, and in Psalm 18's storm, but it is not in the verse the stanza is built on

✓ Says it is nothing but a song. No verse is cited on the recording, no translation is named, and the credit line points at the poem it came from rather than at a chapter of the Bible

⚠ The Psalm 148 resemblance belongs to the English. Francis's Italian praises God for the sun and moon and calls them brother and sister rather than ordering them to praise. A singer told this is Francis's Psalm 148 is being told two things, and only one of them is checkable

✓ Every act of rescue in the song belongs to God. The singer's survival is never credited to his own strength, which is exactly the grammar of Psalm 30:1-3

⚠ No scripture is cited anywhere. Psalm 30 is our comparison, not the song's source, and Sapp's own account points to a different psalm

✓ Every promise the song voices has a counterpart in this passage. Psalm 34:17-18 says the LORD hears the cry, delivers from all troubles, stays near the brokenhearted and saves the contrite in spirit

⚠ The song is sung in God's first person throughout, and Psalm 34:17-18 speaks about the LORD in the third person. The one first-person voice in the chapter is David's at verse 11, teaching the fear of the LORD

✓ The song's point is exactly the psalm's point. Psalm 86:8 says there is none like God among the gods, and the song says nothing larger than that

⚠ The song's warrant is a personal search. Psalm 86 grounds the same point in God's works and in every nation coming to bow, which reaches further than one person's looking

✓ The act the song performs is the act Psalm 96:7-8 commands, ascribing glory to God rather than describing the singer's experience of it

⚠ No reason is given inside the song for why the deserving holds. Psalm 96 gives one in verses 4 and 5, and a singer who does not know it is carrying a verdict without the evidence

✓ Jesus is in the third person from first line to last. The hymn reports the call and never puts words in His mouth

⚠ Coming home is the picture from Luke 15, not from this verse. Revelation invites a thirsty stranger to drink, which asks nothing about where they have been

✓ Never says it is scripture, in any form: no reference, no verse framing, nothing presented as quotation

⚠ Romans 5 names four links in order, perseverance, character and hope among them, and the song names none of the middle terms

✓ Never says it is quoting. The sung text quotes nothing, and the Olney Hymns heading cites the verse as a source rather than presenting the lines as scripture

⚠ The verse opens the fountain to the house of David and the people of Jerusalem on a named day. The hymn opens it to sinners generally. The widening may well be right, but nothing in this verse carries it, and the hymn does not say where the reason comes from

✓ The hymn never says it is quoting at all: no chapter and verse, no translation named, nothing framed as scripture

⚠ Paul's subject in verse 18 is the message of the cross, the thing preached. The hymn's subject is the cross as an object. Read the verse through the hymn and that swap is easy to miss

✓ Walks the gospel in order across four stanzas: incarnation, obedient life, cross, resurrection. Few congregational songs give Christ's obedient life a stanza of its own, and most go from manger to cross

⚠ Paul's joining word is firstfruits, and it appears nowhere in the hymn. The closing line makes the singers' future a likeness to the risen Christ, where verses 20 and 23 make it a harvest He has already begun

✓ Honest about what it is. The hymn is a first-person testimony, it never presents itself as scripture, and it cites no verse to be checked against

⚠ The refrain names where the victory is found, not what it is over. Careful readers fill the gap differently, which means the object is being supplied by the reader

✓ It announces its own uncertainty. The lines about the future are predominantly questions, and the repeated title phrase keeps saying that the answer is not known

⚠ The verse's two revealed facts are that we will see Him as He is and that we will be like Him. Singing this song teaches neither. The change in the singer is the part the song does not wonder about

✓ Both terms of the comparison survive. The One inside and the one in the world are each named, and neither is softened

⚠ No translation is named, and the sung wording matches none of them word for word, so the line has to be recognised rather than verified

✓ The blood in the song is a lamb's, and the writers have said the Passover was in mind. That is the same image 1 Peter 1:19 uses

⚠ Peter's verse works by saying what the ransom was not paid with, perishable things, silver or gold. The song has nothing that does that job, so the negation that drives the verse is not in the song

✓ Never says it is quoting: no reference, no verse framing, no translation named, nothing presented as scripture

⚠ The 2 Chronicles 20 link is the album's, not the song's. Bethel's press release attaches Jehoshaphat to the Victory project; the song itself cites nothing

✓ Never says it is quoting at all: no reference, no translation named, nothing framed or introduced as scripture

⚠ The direction of the sentence is reversed. God's word to Paul becomes the singer's word to God, which is true to say and is a different act from what the verse records

✓ Never says it is quoting: no verse reference, no translation named, nothing framed as scripture

⚠ The verse's first clause is absent. In 2 Corinthians 8:9 the enriching happens only through an impoverishing, and the song sings the outcome without the cost

✓ Both verses whole and in order, in the ESV's wording, with every repeated line drawn from the passage itself

✓ no cautions: this is the standard

✓ Never says it is quoting: no verse cited, no words framed as scripture, no Bible reference anywhere in it

⚠ Acts 2's signs are external and public: a sound, fire-like tongues, languages a foreign crowd recognised. The song's picture of the Spirit is interior. A singer with only this song will not have the chapter's picture

✓ Gives the burial a full verse. Acts 2:31 says the point at issue was that His body did not see decay, and a song that stays in the tomb keeps that in view

⚠ Verse 24's reason, that death could not have kept Him, is not in the song. Repetition will plant the resurrection as a victory won, not as an outcome that was never in doubt

✓ Never says it is quoting: no verse cited in the song, none printed on the official chord chart, none in the official upload's description

⚠ Neither the song, the official chart, nor the official upload cites a verse, and the publisher's own devotional for it points to Philippians 2:9-11. The pairing on this page is a comparison, not a source

✓ Never says it is quoting: no verse, no reference, no scripture framing, so there is nothing here that can be mis-cited

⚠ The lyric names no passage, so the hearer supplies one. Acts 16 is the one usually supplied, and the song never points there

✓ Everything it says God does is something scripture says God does. Broken chains and an opened prison are Psalm 107's own images, and a shaken prison is Acts 16's

⚠ Three worship catalogues list three different scripture sets behind it, and the song supplies none of them. Anything you hear about "the verse" behind this song comes from a cataloguer, not the writers

✓ Never says it is quoting: no verse cited, no reference given, no translation named, nothing in the recording framed as scripture

⚠ The chorus's closing line is the subject of a documented, two-decade disagreement among worship leaders and pastors, with serious people on both sides. Read Kauflin and Theobald before leading it, not after someone asks

✓ Never says it is quoting: no verse cited, no scripture framing, nothing offered as the words of the text

⚠ Colossians 2:14 says a written record of debt was cancelled and nailed up. The hymn has nails and a cross and no document, so the passage's central image is not in the song

✓ Never says it is quoting: no chapter and verse, no translation, nothing framed as scripture

⚠ Sung as a chorus on its own, which is the common practice, the song keeps its conclusion and loses its grounds

✓ Almost every sung word is Ecclesiastes 3:1-8 itself, in King James wording, with the pairs carried whole rather than paraphrased into something looser

⚠ The pairs are sung in a different order from the chapter's, and nothing in the song signals that the order changed

✓ Never says it is quoting, anywhere: no reference, no translation, nothing framed as scripture, in the recording, in the label's descriptions, or on the publisher's chart pages

⚠ The verse's purpose clause is not in the song. Paul asks for opened eyes so that three named things may be known, and none of the six key words from that list appears anywhere in the lyric

✓ The verse survives whole, and so does the clause that gives the command its reason. A child learns the kindness and the ground for it in a single breath

⚠ No translation is named on the album page, the audio collection page, or the official video's description. The NIV wording has to be recognised rather than checked

✓ The whole book, in order, so verses 10 to 13 arrive after the household instructions of 6:1-9 rather than as a passage on their own

✓ no cautions: this is the standard

✓ The three days it opens with are the Gospel accounts, and the song puts the resurrection rather than the singer at the centre of its first section

⚠ Ezekiel 37:11-14 states the vision's meaning: the bones are the whole house of Israel and the raising is a return from exile to their own land. That interpretation does not appear in the sung words

✓ The first name in the roll call has a real address. The promise behind the title God of Jacob is Genesis 28:13-15, and a published line-by-line review of this song sends readers to exactly that passage

⚠ Verse 15 closes by tying the keeping to a finish, until God has done what He promised, and Jacob's own vow in verses 20 and 21 reads it as cover for one journey and a safe return

✓ Never says it is quoting: no verse cited, no translation named, nothing framed as scripture

⚠ The title makes "word of God" someone to speak to. Hebrews 4:12 makes it the subject of a description. The two are not interchangeable, and only one of them is the verse

✓ Never says it is quoting: no reference in the lyric, no verse framing, nothing presented as scripture

⚠ The verse's terms for how God is approached, the throne, confidence and mercy, do not appear in the lyric. Only grace does

✓ What the title says is the conclusion Hebrews 9 argues for: verse 12 calls the redemption eternal, obtained once for all, and 10:14 says one offering perfected for all time

⚠ The verses printed beside this hymn are editors' choices, not the songwriter's, and across the hymnals they do not agree with each other

✓ Borrows Isaiah 40's method rather than its wording: repeated comparison questions whose only available answer is nobody

⚠ In Isaiah 40:25 the question is God's own, spoken in the first person. In the song it is ours, spoken about Him. The form survives the move; the force of it changes

✓ Never says it is quoting: no verse, no reference, nothing framed as scripture

⚠ Neither Travis Greene nor the publisher cites Isaiah 43:16. The connection came from listeners and devotional writers, and it is worth knowing which end it came from

✓ Carries the verse's actual construction, not just its subject: the sin is laid on him, which is what Isaiah 53:6 says the LORD did, rather than something the servant merely suffered

⚠ The first verse puts two things on Jesus. Isaiah 53:6 puts one. The wrath language comes from a reading of the chapter and of the New Testament, not from this verse, so sing it knowing which of the two words is Isaiah's

✓ Never says it is quoting at any point: no reference, no verse framing, nothing presented as scripture, and nothing that could be mistaken for a quoted sentence

⚠ The song gives no addresses. Every title in it comes from a specific verse, and you have to find all of them somewhere other than the song

✓ The first section carries the two hardest things John 1:1 says, in the right order, that the Word was with God and that the Word was God, and it does so before any mention of what He did for us

⚠ The second section contains a line that has been publicly disputed for years. Read John 1:1-3 and John 17:24 before you decide how you are singing it, rather than deciding from the tune

✓ Never says it is quoting. No verse is cited in the sung text, and nothing is presented as the words of scripture

⚠ The Father is not named in the song. John 10:29 supplies the reason the promise holds, that the Father who gave them is greater than all, and that clause has no counterpart in either version of the hymn

✓ Never says it is quoting, anywhere: no verse cited, no translation named, nothing framed as scripture on the recording, on the official chart, or on the publisher's listing

⚠ The refrain places the finishing at the cross. John 19:30 gives the word and the chapter puts the saying at the cross, but the sentence tying the two together is the song's, not the verse's

✓ Never says it is quoting. No verse is cited, no scripture framing is used, and nothing is presented as the Bible's own words

⚠ Written in the first person and the present tense, so the singer stands where Mary stands, in a scene John 20 records happening once

✓ Never says it is quoting: no verse is cited in the lyric, in the official upload's description, or on the publisher's song page

⚠ The song usually arrives with a story attached about how it came to be written. A story is background, not a reference, and nothing in the song points to a verse

✓ Never says it is quoting. No chapter, no verse, no translation named, nothing framed as scripture

⚠ The word "promises" is never filled in, and the song's central thesis is about God's record without naming what is on it. Joshua names his: the good promises about the land

✓ All four terms of the ascription in verse 25 are present, in the passage's own order, and are given to God rather than described from a distance

⚠ No translation is named on the album page, the track page or the official upload, so the wording cannot be checked against a stated text. Psallos's own store sells ESV parallel booklets for the Romans and Hebrews albums, and there is no such booklet listed for Jude

✓ Never says it is quoting, anywhere: no verse cited, no scripture framing, nothing offered as the Bible's own words

⚠ The scene is Luke 1 and the content is not. Sung often enough, the questions can become the remembered tone of a chapter that Luke wrote as an announcement

✓ Never says it is quoting at any point: no reference in the song, none printed on the official chart, none in the publisher's song metadata

⚠ The title line is a hymn phrase, not a Bible phrase. No translation renders Luke 10:20, or Revelation 2:17, in those words

✓ Compresses more checkable doctrine into three stanzas than most Christmas songs manage: incarnation, virgin birth, deity in flesh, reconciliation, and new birth, each with an address in scripture

⚠ The opening reports the angels singing. Luke 2:13 has the host praising God and saying, in the BSB and the KJV alike, and Luke 2:14 gives the words. They begin with glory to God in the highest, not with glory to a newborn king

✓ Never says it is quoting at all: no verse number, no scripture framing, nothing presented as the Bible's own words

⚠ The stanza that actually tells the shepherds' story is missing twice over. It is not Wade's, and this recording does not include it

✓ Never says it is quoting, anywhere: no chapter and verse, no translation named, nothing framed as scripture

⚠ The refrain and the stanzas have separate origins, and hymnal credit lines that read only "traditional" or only "John W. Work Jr." collapse the two

✓ Never says it is quoting: no verse is cited, no words are framed as scripture, and the publisher's own chord chart lists no scripture reference field

⚠ What to believe for is never named. The object is left open for the singer to fill in, and the song supplies no test for what belongs there

✓ The song never puts a sentence in Jesus' mouth. Every attribution is reported in the third person, so nothing is offered as a quotation that would then have to be checked against a translation

⚠ No reference and no translation anywhere: not on the recording, not on the official chord chart, and not on CityAlight's own page for the song. Four reports of what Jesus said, and no address for any of them

✓ Never says it is quoting: no verse cited, no scripture framing, nothing in the song presented as the Bible's words

⚠ Matthew 19:26 is an answer to a question about salvation. Sung over healing and circumstances, "all things" covers ground the verse was not answering

✓ Never says it is quoting, anywhere: no reference, no verse framing, nothing presented as scripture

⚠ Matthew 2:11 puts the magi at a house. The manger and the shepherds in the first stanza are Luke's, so the scene the carol paints belongs to neither Gospel on its own

✓ Never says it is quoting: no verse is cited in the sung words, and the publisher's own listing of the hymn cites none either, so nothing is offered as scripture

⚠ The sung words name no passage. Lowry's first printing carried a Luke heading, and hymnal editors have since attached at least four different texts to it, including Mark 16:6, Matthew 28:2, Acts 2:24 and Matthew 28:1-6. A singer looking for the verse behind it will not find one verse

✓ The song keeps the verse's cost instead of dropping it: the bridges put the singer's own life on the line, and the one mention of death sits there

⚠ Paul locates the magnifying in his body under a specific threat. The song's verses widen it to mountains, rivers and skies, which is a much larger and much lighter scale

✓ Never says it is quoting: no verse cited on the song page, on the chord charts, or in the official upload's own description

⚠ The song closes at a settled account. Philippians 3:9 goes one clause further, to a righteousness from God that the singer never owns, and the song does not state it

✓ 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

✓ 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

⚠ 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 song reaches the psalm's answer. Where the help comes from is settled in the opening lines, and it is settled on God rather than on the hills

⚠ No translation is named on the release, in the copyright line, or in Smallwood's own published account. The King James flavour of the opening has to be recognised, not verified. A hymnologist quoting the KJV alongside the song is citing the psalm, not the song's source

✓ Never says it is quoting: no verse is cited on the recording or on the publisher's page, so nothing is presented as scripture

⚠ The order is reversed. Psalm 148 calls the heavens first and the earth second, and that order is part of its argument, since it ends by saying His name alone is exalted above both

✓ Never says it is quoting: no verse reference, no translation named, nothing framed as scripture

⚠ The psalm's sentence has two halves and the song carries one. No alternative object of trust is named anywhere in the song, so the verse's act of refusal has no counterpart in it

✓ All eight verses are represented, in the psalm's own order, and nothing is brought in from outside the psalm

⚠ No translation is named on the release. The project's FAQ names a working blend of five, which means no single Bible will match the lyric line for line

✓ The song keeps the psalm's hardest material: the silence, the wasting body, the heavy hand, and the horse and mule of verse 9, all of which most congregational settings drop

⚠ Psalm 32 addresses God directly from verse 3 to verse 7. The song speaks about God instead, so the psalm's second-person prayer becomes a first-person report

✓ 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

✓ Every item the song counts is credited to God rather than to the singer's own effort, which is the direction Psalm 40:5 runs

⚠ The publisher's page lists themes but no scripture reference, so any verse a listener hangs on this song is the listener's own. Psalm 40:5 is the nearest text, not a cited one

✓ Every attribute it names of God is affirmed in Psalm 48 itself: holy, just, merciful, powerful, faithful, worthy of praise

⚠ Hymnals index it under Psalm 48:1 among other verses, but the writers named Psalm 145:3. The two share an opening clause and then separate, so do not read the song as a setting of Psalm 48

✓ Never says it is quoting, anywhere: nothing is cited in the recording, in the rights holder's upload description, or on the publisher's chord chart

⚠ No passage is cited by the song, by the writers' published account of the session, or by the rights holder's chord chart. Every verse attached to it was attached downstream

✓ Never says it is quoting at all: no verse cited, no translation named, no scripture framing, and the publisher's own chart lists no reference

⚠ Psalm 63 puts its reason before its resolve. Verse 3 gives the ground, that God's loving devotion is better than life, and verse 4 gives the lifetime promise. The song has the resolve without stating a ground for it

✓ Never says it is quoting at any point: no verse cited, no scripture framing, nothing set up as the Bible's own words

⚠ No verse is cited, and the citations that do exist disagree. Worship Together lists Psalm 111:1-10, Lifeway Worship lists Psalm 86:12 and Psalm 150:6, and Walker pointed to Acts 17:28 in an interview. None is Psalm 66

✓ 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

✓ Never says it is quoting, anywhere: no book, chapter or verse in the song, and the licensed chord chart carries themes only, with no scripture reference

⚠ Revelation 1:7 has four clauses and the refrain uses the first. The sight of the pierced one and the mourning of the tribes never arrive in the song

✓ Never says it is quoting. No verse is cited, no scripture framing is used, and nothing is presented as the Bible's own words

⚠ No verse is cited. Hymnary's index attaches this text to about thirty passages, Romans 12:1-2 among them, which is the indexers' reading rather than a link the hymn makes

✓ Both verses whole and in order, with the verse, chorus, bridge and tag built only out of the passage's own clauses

✓ no cautions: this is the standard

✓ The offering is itemised rather than general: hands, feet, voice, lips, will and heart are named one at a time, so a singer can tell what was actually handed over

⚠ The recording checked sings five of the six original stanzas. The one left out is the silver, gold and intellect stanza, which is the only place money and the mind appear in the list

✓ The song keeps the definition Romans 8:29 gives to the word good. The second verse names a thorn that God helps the singer carry rather than remove, and the outcome it sings is a heart turned toward God, not a changed circumstance

⚠ The bounding clause is never sung. Romans 8:28 states the promise for those who love God and are called according to His purpose, and the song carries the promise without carrying the condition

✓ Every word sung is the passage's own: verses 4-10 in order, with the repeats drawn from the text itself

⚠ The track title names the verses but not the version, so a streaming listener has to find the ESV credit on the album page or in the video description

✓ The taunt stanza keeps both of Paul's questions whole: death asked about its sting, the grave asked about its victory, nothing softened

⚠ No translation is named. The grave-address tracks the King James specifically, so a singer checking the stanza against most modern Bibles will find both questions put to death and no grave addressed at all. The hymn did not err; its Bible was the KJV

✓ The title and opening carry the verse's own King James vocabulary, resequenced but not altered, and Smith headed the hymn with the verse itself when he published it

⚠ No translation is named on the recording, so the King James wording has to be recognised rather than checked

✓ The artist publishes the scripture references for this song on her own site (Genesis 3:15; 12:1-3; 2 Samuel 7:12-16; Isaiah 53; Daniel 7:13-14; Hebrews 4 and 10; 2 Corinthians 1:20), a citation practice most worship writing never attempts

⚠ The subtitle and bridge track the clause of 2 Corinthians 1:20 closely enough that a listener may remember the song's wording as the verse's. No translation reads exactly that way; check the verse itself

✓ The scene behind the chorus is real and documented: the writers point to 2 Kings 6, and what the chorus says about presence, always at the singer's side, is verse 16's own point, those with us are more

⚠ No verse is cited and no translation is named, so the lyric gives a singer no road to Psalm 27, 2 Kings 6, or the title's own addresses. The links live in interviews and worship write-ups, not in the song

✓ The conversion stanza tracks Acts 12:6-9 in the chapter's own order: bound and sleeping, light in the cell, waking, the command to rise, chains falling, following out

⚠ No passage is named anywhere in the hymn, so a singer inherits the prison scene with no address and no way to know it belongs to a persecution narrative

✓ The resolve the chorus plants is a posture scripture actually commands: stillness in danger while the LORD does the delivering, which is Israel's whole assignment in Exodus 14:13-14

⚠ Nothing is cited, so the be-still line will settle into memory as the singer's sentence. In Psalm 46:10 it is God's, and He finishes it with His exaltation among the nations. Read the verse so the vow keeps the command behind it

✓ Never says it is quoting: four stanzas of prayer built from scripture's imagery and presented as prayer, nothing dressed up as a verse

⚠ The famous origin story, Toplady sheltering from a storm in Burrington Combe gorge, first surfaced in a letter to The Times in 1898, 122 years after publication, and most hymnologists do not believe it. The story does the work of a citation for many singers, and the hymn needs neither

✓ The opening word is the text's own. Exodus 34:14 gives Jealous as God's name, and the publisher's own scripture list for this song points to Joel 2:18, "Then the LORD became jealous for His land"

⚠ The jealousy in Exodus 34:14 has an object, and the object is undivided worship. The verse sits inside instructions to tear down rival altars and make no treaty with the land's inhabitants. The song's jealousy has a person as its object

✓ The verse's boast-reversal survives intact: the sung text allows the singer no boast except the death of Christ, which is exactly the ground Galatians 6:14 stakes out

⚠ Nothing at the point of singing carries the label. The Galatians reference lives in a 1707 book, not in the recording, the lyric video or any hymnal page a singer is likely to hold

✓ The first stanza grounds its confidence in God's acts, purchase, new birth by the Spirit, washing in His blood, before any experience is described. The testimony rests on doctrine first

⚠ The later stanzas measure the assured life in experiences: completed surrender, visions, rest. Hebrews 10:22 asks for none of that, and a singer who lacks the visions has lost nothing the verse promises

✓ Opens all five verses with the chapter's own repeated formula, so the form of Hebrews 11, not just its stories, is the engine of the song

⚠ No reference is cited anywhere, so the song never sends a singer to the chapter whose shape it borrows

✓ The roll call is accurate at every name: covenant to Jacob, a sea split before Moses, favor on Mary, courage for David, each a documented act at its own address

⚠ Hebrews 13:8 grounds the command next to it, imitate the faith of your former leaders. The song asks God's constancy to underwrite present repetitions of past rescues, a wider job than the sentence does in its paragraph

✓ Three consecutive verses sung whole and in order, with a chorus built entirely from the passage's own clauses

⚠ The album page lists the scripture version as ESV while the song's own chart credits the NIV, and the sung wording is the NIV's. The label a listener sees first names the wrong text

✓ The closing refrain plants the whole promise of Isaiah 40:31, waiting, renewed strength, wings, running and walking that do not give out, in the verse's own third person

⚠ The refrain sounds like the King James and is not quite it. Transcriptions of the recording show a soaring clause the verse does not have and the walking sung before the running. Check a KJV before quoting the refrain as the verse

✓ The seraphim's threefold cry is carried exactly, and every name the hymn gives God is one scripture gives Him

⚠ In the Hebrew, the threefold repetition is emphasis, the superlative at full strength. Naming the three persons in it is the church's later reading, not the verse's own statement

✓ Its images come from one continuous stretch of scripture, Isaiah 61:3 through 62:5, rather than from verses scattered across the Bible: beauty for ashes and a garment in 61:3, the clothing in 61:10, the retired names in 62:4, the bride in 62:5

⚠ Isaiah 62:5 says God rejoices over his people. The song's only sung rejoicing is the singer's, aimed at God. Nothing in it is false, and the passage's own climax is absent

✓ The title is scripture's own, not the songwriter's invention: 2 Chronicles 20:7, Isaiah 41:8, James 2:23, with John 15:15 extending friendship to disciples

⚠ Scripture gives the title with grounds attached. James: faith completed by works. John 15:14: "You are My friends if you do what I command you." The song sings the status without the terms

✓ It never says it is quoting, anywhere in the lyric: the borrowing is announced by the title's echo, and the writers have pointed to Job 13:15 openly in interviews rather than presenting the words as the verse

⚠ The verse's second half is not sung. Job trusts and then defends his ways to God's face, and the book lets both stand. A singer who knows only the chorus gets a Job who worships and never argues

✓ The refrain's summons is the Baptist's sentence in recognizable King James wording, and every stacked title is scripture's own: life and light of men, Son of God, Son of Man, Emmanuel

⚠ The world's sin becomes our sin. Nothing false enters, but the Baptist's clause is wider, and the width is the startling part of verse 29

✓ The ground comes before the conclusion: the first verse is about Christ's death and resurrection before the chorus says what follows from it

⚠ No reference is given, so the chorus can be remembered as John 14:19 itself. The verse's own conclusion is shared life, not only courage

✓ The chorus keeps John 3:16's clauses in the verse's own order: love, gift, belief, life

⚠ No translation is named, so the near-quotation has to be recognized rather than checked

✓ The whole verse, in order, with every repeated line drawn from the verse's own words

✓ no cautions: this is the standard

✓ Never says it is quoting: no reference, no verse framing, nothing presented as scripture

⚠ The song's opening image comes from Jericho, but it never names Joshua, Jericho, or a verse. A hearer who does not already know the sermon behind it will not find the story

✓ Never says it is quoting: no verse cited, no scripture framing, nothing presented as the words of the Bible

⚠ The parable's decisive verb is the father's. A song that repeats the singer's running can leave the father's running unrehearsed

✓ The sentence the voice repeats most is the one Jesus actually says in this passage: do not be afraid, Matthew 14:27's own words

⚠ The voice's script mixes a canonical sentence with a composed one, and nothing in the song marks the seam. What repetition files under "Jesus said" will include both

✓ The chorus keeps the crowd's own word and the passage's "in the highest" frame, praise the passage itself records

⚠ Nothing in the song translates hosanna, so a singer learns the word as a feeling rather than a request. The gloss is one sentence: save now

✓ Every request in the chorus is addressed to God. The song asks God to build his kingdom. It does not commit the singers to building it, which is the opposite of how the title is often read

⚠ The measure clause is not there. "As it is in heaven" appears zero times across four published texts of the lyric, including the rights holder's own licensed sheet. Heaven appears once in the whole song, and not as a standard

✓ Never says it is quoting, and both of its paired declarations are ones scripture makes: the Father gives good things to those who ask (Matthew 7:11), and believers are loved children of God (1 John 3:1, the publisher's own cross-reference)

⚠ The passage argues and the song declares. Jesus proves the Father's goodness from the giving of fathers who are evil, and the how-much-more is the persuasive part. The song carries the conclusion without the engine

✓ The sung words are the verse itself, word for word, with the reference in the track title, so what a child memorizes is checkable scripture, address included

⚠ No translation is named at the track level. The wording is the New King James rendering, recognizable but nowhere stated on the packaging

✓ Its repeated instruction compresses Philippians 4:6 faithfully: everything, brought to God, by prayer, and the hymn calls that a privilege rather than a chore

⚠ The verse attaches thanksgiving to the asking. The sung stanzas bring sins, griefs, trials, and trouble to God, and never mention thanks

✓ The hymn borrowing is audible rather than hidden. Anyone who has sung "Blessed Assurance" recognizes the lines on the first listen, which makes the older layer findable without any research

⚠ Proverbs 3:5-6 is three commands and one conditional promise. The song carries the object of the first and none of the structure. If this passage is why the song is on your list, the passage is doing more than the song is

✓ Every reason it gives the soul is a checkable statement about God that scripture supports: He reigns, sustains, provides, defends

⚠ Hymnal indexes file it under Psalm 103, but the hymn cites nothing. The link is a resemblance editors catalogued, not something the hymn's words say

✓ Never says it is quoting: nothing in the lyric is framed as a verse, and the liner notes present Psalm 103 in a list of source passages, plainly labelled as sources

⚠ The chorus asks what the psalm declares. Psalm 103:12 is not a plea for reassurance; it is a settled report the psalmist tells his own soul not to forget. Sing the question knowing the answer is already on the page

✓ Verse one's pictures nearly all have addresses inside Psalm 104 itself: royal splendor and the garment of light (vv. 1-2), creation startled at His voice (v. 7), the trembling earth (v. 32)

⚠ The Trinity verse is the songwriters' creedal addition. Psalm 104 names no Trinity, so a listener sent to the psalm by the origin story will not find that verse in it

✓ The chorus keeps Psalm 104:31's direction: God is asked to rejoice in His own works, and the congregation's rejoicing is a second, answering line

⚠ The bridge names the Son, whom Psalm 104 never mentions. Colossians 1:16 supports the theology, but the line is the New Testament's, not the psalm's

✓ The bridge keeps Psalm 121's question attached to its answer: where help comes from is asked in one line and located in the next, in the Lord and not the hills

⚠ No translation is named, and the bridge matches none exactly. The opening phrase is the KJV's, the question and answer follow modern wording, so the sung text cannot be checked against any one Bible

✓ Both verses are built from checkable acts of God: a sea parted (Exodus 14), prison doors opened (Acts 16:26), the cross and the empty tomb, and nothing sung of God here is something the text will not support

⚠ Psalm 122's house is a place: one city, real gates, tribes going up by command. The song's house is the gathered people, and the song does not mark the transfer

✓ 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

✓ All three verses are set, in order, with nothing skipped, nothing moved, and nothing added from outside the psalm

⚠ No translation is named on the release, on the track, or on the band's page for this psalm, so the wording cannot be checked against a version

✓ Asks the question Psalm 144:3 asks and grounds the answer where verses 1-2 ground the psalm: in who God is and what he has done, not in the singer

⚠ No verse is cited anywhere, so nobody learns Psalm 144 or any of the source texts by singing it. The allusions arrive unlabeled and have to be traced

✓ The framing line is Psalm 150:6 intact, matching the BSB and most modern translations word for word

⚠ No translation is named, so the match has to be recognised rather than verified from the song itself

✓ The premise is truly the psalm's premise. The heavens are said to declare God's glory continuously, and the song builds on that claim rather than against it

⚠ Psalm 19:3 says the witness has no speech, words, or audible voice. The song gives creation songs and praises the singer can imitate, which is not this passage's move

✓ All six verses in order: the valley, the enemies and the pursuit stay attached to the green-pasture comfort, so the psalm keeps its hard parts

⚠ No translation is named, and the free wording still has a source: at four points it follows the modern HCSB/CSB renderings rather than the King James tradition, so the song descends from a real Bible the listener is never pointed to

✓ The opening clause is Psalm 23:4's own words, exactly as the BSB and the WEB render them, with nothing added or dropped inside it

⚠ No translation is named. The opening matches the BSB and the WEB exactly and does not match the KJV, which begins "Yea, though I walk", so whether the line registers as a quotation depends on which Bible the listener grew up with

✓ The paradox it loops is really in the text: the table of Psalm 23:5 is set in the presence of enemies, not after their removal

⚠ The You is never named inside the lyric. Reviewers have criticised exactly this; the singer supplies the referent, so supply it deliberately

✓ The song repeats Psalm 27's actual argument: a remembered rescue first, then refusal to fear what is coming. The order is the psalm's own, memory before courage

⚠ No verse is cited and no translation named; the links to Psalm 27 and the rest sit in the writers' materials and hymnal catalogs, not in the lyric a singer sees

✓ The verse tracks Psalm 36:5-6 nearly line by line, and the track title cites the psalm by name

⚠ No translation is named, so the near-quotation has to be recognised rather than checked

✓ The opening line does verse 1's own work, God as stronghold and present help, stated before the threat, which is the psalm's order

⚠ Most of Psalm 46 is not here. The river and the city, the raging nations, the earth melting at God's voice, the ended wars, and the be-still command all drop away. Julian's dictionary says the psalm "is used only as a motto"

✓ The chorus is the psalm's own refrain doing the psalm's own job: the presence of the LORD of Hosts held up as the answer to fire, storm and battle, with the catastrophe kept in the song rather than trimmed out

⚠ Verse 10 is not sung. Its phrase appears once, as God making the singer's heart be still. Nothing false is said, but a command God addresses to a warring world returns as a comfort applied to one heart, which is a smaller thing than the psalm says

✓ The chorus states one thing about God and states it plainly, and it is the thing the psalter states most often: the LORD is good. The publisher's own page lists Psalm 100:5 and Psalm 136:1 as the song's references

⚠ Not one of Psalm 62's words appears in the song. If someone tells you this song is Psalm 62, take that as our pairing and their impression, not as a citation

✓ Six of Wesley's stanzas are kept, and they dwell on Christ's name and works: fear calmed, cancelled sin's power broken, life spoken to the dead. Each image has scripture standing behind it

⚠ The opening line is often assumed to be scriptural. Its documented source is Peter Böhler's saying, itself echoing Johann Mentzer's German hymn, so it should be loved as hymnody, not quoted as a verse

✓ Nearly every line looks at God: the hymn is one long address asking Him to be everything, and one stanza sets riches and human praise below Him in so many words

⚠ No passage is cited, so the connection to Psalm 73 is a hymnal index's pairing and ours, not one the hymn makes

✓ Never says it is quoting: no reference in the words, no verse framing, no translation named, nothing presented as scripture

⚠ Psalm 81:16 is a withheld blessing, not a standing promise. In the BSB and the KJV both halves of the verse stay conditional, and verse 13 tells you why

✓ Published from the first as a rendering of Psalm 98, in a collection whose own title announces the method

⚠ The paraphrase label is real but remote. It sits in a 1719 book title and heading, and nothing at the point of singing repeats it

✓ Dwells on Christ from its first word to its last; the singer appears only as a soul summoned to sing

⚠ The four named crowns are the hymn's arrangement. In Revelation 19:12 the crowns are uncounted and unnamed, and sit beside a name no one knows but himself. A singer can come away assuming the passage lists them

✓ Every sung phrase has a checkable Revelation address: the reigning in 19:6, the holy in 4:8, the worthy in 5:12, the amen in 19:4 and 5:14

⚠ The wording is a blend no single Bible prints: the KJV's Alleluia spelling and our-less frame with the modern translations' Almighty. Each piece is a real rendering of 19:6, but no one translation can verify the whole clause, and none is named

✓ Keeps the agent of Revelation 21:4. The tear-wiping stays something God performs, with He as the grammatical subject on both published lyric sheets, rather than a condition that arrives by itself

⚠ The passage leads with presence, not absence. Verse 3 says God's dwelling place is with man and that He will be with them as their God. The song's presence is a face-to-face meeting, a moment rather than a residence

✓ The bridge keeps Paul's question as a question. It asks rather than asserts, which is the verse's own rhetorical mode, and it planted a Romans 8 conditional in one of the most-sung choruses of its decade

⚠ In Romans the "if" concludes verses 28 to 30. "These things" have a referent, and the "us" is the people God called and justified. The song sings the conditional without the chain it rests on

✓ The whole chapter, in order, including verse 36's sheep-to-be-slaughtered quotation, which songs drawn from this passage almost never keep

✓ no cautions: this is the standard

✓ Never says it is quoting, anywhere: no verse cited, no translation named, nothing framed as scripture

⚠ The chorus is Tomlin and Giglio's, written in 2006. Many people now sing it as part of "Amazing Grace" without knowing it is not part of "Amazing Grace"

✓ Walks the creed's own sequence, death for sins, burial, rising on the third day, each event in its place

⚠ Paul says according to the Scriptures twice in two verses. The song sings the events without singing that they were foretold, and repetition will plant the story without the promise

✓ Nothing is presented as scripture: no verse cited, no quotation framing, a biblical name borrowed and used the way the text uses it, for remembered help

⚠ The word only works if you know it. Sung without 1 Samuel 7, the stanza's key noun is opaque, which is why several hymnals have replaced or removed it. The better fix is reading the chapter

✓ Narrates in order: incarnation, cross, resurrection, Pentecost, the church. Each event sits where the New Testament puts it

⚠ No reference is cited anywhere, so the song offers nothing to check itself against. The sequence has to be tested against the Gospels and Acts rather than against the song

✓ Never says it is quoting, anywhere: no verse reference, no translation named, nothing framed as scripture

⚠ The refrain's phrase matches 2 Kings 4:26 in the King James and World English wording and is widely repeated as coming from there, but no documented account of the hymn's origin connects them

✓ Never says it is quoting: no verse cited, no reference given, nothing in the recording framed as scripture

⚠ Colossians puts the holding-together in a person: in Him all things hold together. The song's bridge names God's love as the foundation, which is true, though the text's own answer to what holds is Him

✓ The title is scripture's own, used in the sense the text gives it: the eternal God whose throne outlasts every kingdom

⚠ The vision never appears and no reference is given, so the song will not send anyone to Daniel 7, and the title can be heard as songwriter poetry when it is the opposite

✓ Never says it is quoting, anywhere: no verse cited, no scripture framing, nothing presented as the Bible's words

⚠ The title word is Ephesians' word, but the rock imagery underneath it descends from Matthew 7's parable, where the picture is one man's house. Two different buildings share one song

✓ Never says it is quoting, anywhere: no verse reference, no scripture framing, nothing presented as the Bible's own words

⚠ The title phrase is not in scripture. By the group's own account it came from a tombstone inscription, and a listener who assumes it is a verse will not find it

✓ The 2019 verses point the eyes at the cross endured and the King enthroned and returning, which is what Hebrews 12:2 itself says of Jesus after the clause about looking

⚠ The lyric cites nothing. The Hebrews connection lives on the publisher's page and in hymnal indexes, not in anything a singer hears

✓ The first stanza tracks Hebrews 7:24-25 point for point: a priest whose term never ends, alive right now to intercede, and a singer who may draw near because of Him

⚠ No reference is cited and no translation is named, so every resemblance has to be recognised rather than verified

✓ The 1876 publication printed its source text underneath the title, Hebrews 9:22, which is the citation habit this site exists to encourage

⚠ The blood in Hebrews 9:22 is the law's animal blood. The step to Jesus' blood alone is the argument of the surrounding chapters, not of the verse under the title

✓ The first stanza announces the method: everything sung in God's voice afterward is presented as what he has already said in his word

⚠ No translation is named, so the King James wording has to be recognised rather than checked. In 1787 that went without saying; in 2026 it does not

✓ The opening phrase is Isaiah 53:3 in the King James wording, and the hymn treats it as shocking, which is what the verse's own context makes it

⚠ In the verse the phrase is a report, not a name. The first stanza's marvel depends on knowing that, and heard cold, "man of sorrows" can register as one more honorific instead of an insult the text records

✓ Never says it is quoting: no verse reference inside the song, no scripture framing, nothing presented as a quotation

⚠ The passage is plural throughout and the song is mostly singular. Isaiah 53's confession is made by a group about itself; two of the song's three stanzas are a private meditation

✓ Addressed to God from first line to last, and everything it asks is what Isaiah 55:11 says his word does: accomplish his purpose in the people it reaches

⚠ Nothing is quoted or cited anywhere in the lyric, and the writers' own page, Hymnary's index, and two reviews give four different reference lists. You cannot work backward from this hymn to a chapter

✓ Never says it is quoting at all: no verse reference, no translation named, nothing framed as scripture

⚠ The works are real and the sending is missing. Isaiah 61's point is that someone was anointed and sent to do them

✓ Never says it is quoting: no verse cited, no scripture framing, nothing offered as the words of the text

⚠ The passage names two hands. The hymn names one. John 10:29 adds the Father's hand and the reason it holds: "My Father who has given them to Me is greater than all"

✓ Never says it is quoting: no reference, no verse framing, nothing offered as scripture

⚠ The song never mentions Jericho or walls, but the idea of a shout that brings them down gets attached to it in devotional writing. That reading is worth checking against the passage rather than assumed from the song

✓ Never says it is quoting: no chapter or verse cited, nothing framed as scripture, no appeal to what the Bible says

⚠ No translation is named, so a listener who recognises the phrase has nothing to check it against

✓ The words are the prayer and only the prayer, with no verses of the songwriter's own attached and nothing inserted between the petitions

⚠ No translation is named on the recording or in its description, so the King James has to be recognised rather than verified

✓ The verse is sung whole and in order, and every added line is a phrase the verse already supplied

⚠ No translation is named on the album page, the songbook, the sheet music listing, or the video description, so the NIV wording has to be recognised rather than checked

✓ Every verse is a question about who God is, which is Micah 7:18's own move and the prophet's own name

⚠ No reference or translation is given, so a listener has nothing in the song to check the sea image against

✓ Anchors its promise language in covenant history, opening with the God of Abraham, which is where scripture itself grounds God's promise-keeping (the publisher's catalog lists Hebrews 6:13-20)

⚠ The word "promises" is never filled in. The verse's confidence is tied to what God actually said, and the song leaves that content to the singer

✓ The second verse keeps the passage's direction and order: exalted and glorious first, then humbly to earth, then poor

⚠ The passage's descent ends at death on a cross in one sentence. The song's descent ends at poverty, and the cross appears separately in the bridge, so the single downward line is split

✓ The verse is sung complete and in order, and the chorus and bridge are built from the verse's own words rather than new ones

⚠ The album's product page lists the scripture version as ESV while the album's own chord charts credit the NIV. The label does not identify what is sung

✓ The sung words are the two verses, with the reference attached to the song itself, which is where a memory verse's address belongs

⚠ No translation is named on the track. The album credits three across its packaging, so a listener cannot tell from there which one this song follows. The wording is the NIV's

✓ All eight verses are set, in order, with nothing skipped and nothing moved

⚠ No translation is named on the release, on the track, or on the band's page for this psalm, so the wording cannot be checked against a version

✓ The answering line the room repeats is this psalm's actual refrain, and the call-then-answer form is the psalm's own; Ezra 3:11 shows the same refrain sung responsively by a whole people

⚠ No verse is cited and no translation is named; the refrain matches the NIV's wording, which a listener has to recognize rather than check

✓ Every image of creation answering God has a scriptural home: the call for all the earth to make a joyful noise is Psalm 98:4's, the resounding sea is Psalm 96:11's, and the joy at the works of His hands is Psalm 92:4's

⚠ The origin account, that Zschech turned to Psalm 96 at the piano in 1993, is third person in every source we checked. Treat it as a story about the writer, not a citation by the song

✓ Follows Psalm 34 in the psalm's own order, verses 4 through 9, rather than lifting one memorable line out of it

⚠ Verse 7 says the angel of the LORD; the song says the Son of God. The reading has a long history, and 1 Peter 2:3 does apply this psalm to Christ, but the identification is the song's and not the psalm's

✓ The song keeps verse 1's refuge claim attached to verse 2's collapsing earth, which is the context most often stripped when this verse is quoted alone

⚠ No translation is named anywhere on the release. The phrase about a very present help in trouble follows the King James wording, where the BSB shown here reads "an ever-present help in times of trouble," so a listener has nothing to check the song against

✓ Every phrase in it is Psalm 51 in the King James wording, with no paraphrase and nothing spliced in from elsewhere

⚠ Verse 12's closing petition, to be upheld with God's free spirit, is never sung. The chorus repeats verse 10's second line in its place

✓ Never says it is quoting, anywhere. No verse cited, no scripture framing, nothing presented as the Bible's words

⚠ Hymnal indexes list it under Psalm 8, but the hymn never cites the psalm. The link is a resemblance someone else noticed, not something the hymn says

✓ All eighteen verses, in order, across two tracks: the split preserves exactly the verses a trim would have taken

✓ no cautions: this is the standard

✓ The bridge's first line carries the acclamation of Revelation 5:12 unaltered as far as it goes, in the wording most modern translations share

⚠ The verse's own ending never appears. Revelation 5:12 gives the Lamb seven things, power, riches, wisdom, strength, honor, glory, blessing, and the song keeps none of them

✓ Keeps the reason: the Lamb is worthy because he was slain and his blood paid a price, not worthy as a free-floating compliment

⚠ No translation is named and no verse is cited. Reworked into question and answer, the wording matches no translation word for word, so there is no stated text to check it against

✓ Every question the verses raise is answered with Christ, which is why the dwelling tag reads God rather than mixed

⚠ The lyric itself names no verse, no translation, and no catechism. A singer learns the source chain from interviews and the publisher's page, not from the song

✓ Never says it is quoting, anywhere: no verse cited, no reference, nothing framed as scripture

⚠ Fear is the passage's result, not its master. Romans 6:16-18 and 8:2 name slavery to sin and to the law of sin and death

✓ Never says it is quoting, anywhere: no reference, no verse framing, no translation named, nothing presented as scripture

⚠ The title phrase reads like a fixed biblical title and is not one. It is one clause of Zephaniah 3:17 as some translations render it, and the phrase's stable home is Isaiah 63:1

✓ Uses "living hope" in the sense 1 Peter 1:3 gives it, grounded in the resurrection rather than in the singer's feelings

⚠ No reference is given, so a listener may not know the title is a phrase from a specific verse

✓ The refrain restates 2 Chronicles 20:15 accurately: the battle is God's, not the singer's

⚠ The promise in the chapter is specific: one prophet, one king, one invasion, one day. The song makes it a general posture

✓ Keeps the hard half of Daniel 3:18, that trust does not depend on the rescue arriving

⚠ No reference is given, so a listener may not know the sentence has a source at all

✓ Every reversal it names has real scripture behind it: Ezekiel 37, Exodus 14, and the pattern of death reversed at the tomb

⚠ Ezekiel 37's bones are explicitly the whole house of Israel, and the chapter says so in verse 11. Sung as a personal promise, the image shrinks

✓ Never says it is quoting, and needs none: the doctrine is carried in the songwriters' own words

⚠ No reference is given anywhere in the lyric, so a listener will not be sent to Galatians 2 by the song itself

✓ Borrows Isaiah 40's rhetorical method, unanswerable questions answered by God alone, rather than only its imagery

⚠ Isaiah 40's greatness argument exists to comfort exiles who think God has forgotten them. Sung as majesty alone, the consolation the chapter is arguing for can go missing

✓ Never says it is quoting: no reference is given and nothing is framed as scripture

⚠ "Way maker" is not a title scripture uses. It is the song's noun for a verb in Isaiah 43:19

✓ Keeps Job's line in Job's mouth: a worshipper speaking in loss, not a promise God makes about outcomes

⚠ The most famous line is a bereaved man's confession. Said to a grieving person rather than by one, it becomes a rebuke

✓ What the song says at its centre matches John 8:36: the believer's freedom is the Son's doing, not the singer's

⚠ John 8's freedom is freedom from slavery to sin, established over five verses against people who denied being slaves. The song states the freedom without the diagnosis

✓ The invitation is real and the need it names is the one Matthew 11:28 names: weariness and burden

⚠ In Matthew 11 the destination is Jesus Himself. The song's destination is an altar, a place of response

✓ Never says it is quoting: no reference, no verse framing, nothing presented as scripture

⚠ The passage ends in sinking and rescue, with a question about doubt. A song about going deeper can leave that ending out of the picture

✓ Stanza one follows Matthew 6:33 in the King James wording, with nothing altered or reordered

⚠ No translation is named, so the King James wording has to be recognised rather than checked

✓ Never says it is quoting: no reference, no verse framing, nothing presented as scripture

⚠ Matthew 7's rock is acting on Jesus' words. The song's rock is Christ's faithfulness, which is a different fill for the same picture

✓ The priestly blessing is sung without alteration: nothing in the passage is changed, dropped, or reordered

⚠ No translation is named in the song or its materials, so the wording cannot be checked against a stated text. That is the one thing standing between this and Word-for-Word Verified

✓ Follows Philippians 2's own sequence: pre-existence, cross, resurrection, then the name above every name

⚠ Philippians 2's hymn is quoted by Paul as an argument for humility among Christians who were quarrelling. The song keeps the Christology and leaves the purpose

✓ The whole chapter, word for word, in order, with both ways kept: the tree and the chaff

✓ no cautions: this is the standard

✓ Never says it is quoting, so nothing is presented as scripture that is not

⚠ Many people now know Psalm 103:1 from this song rather than from the psalm. Read the next four verses, which name the specific reasons the song only gestures at

✓ The chorus holds Psalm 119:105 intact in the King James wording, nothing added or dropped

⚠ No translation is named, so the King James (KJV) wording has to be recognised rather than verified

✓ One verse, word for word: nothing added, dropped, or reordered

✓ no cautions: this is the standard

✓ The pursuit image is genuinely Psalm 23:6, and rendering it as active chase is closer to the Hebrew verb than the usual English "follow"

⚠ Psalm 23:6 is the conclusion of a psalm that includes the valley of the shadow of death and a table set in front of enemies. The song's evidence is a remembered life of faithfulness instead

✓ The opening follows Psalm 42:1 closely, keeping the image and the direction of the longing

⚠ The chorus is not in Psalm 42. Its strength-and-shield language belongs to Psalm 28:7

✓ The verses follow Psalm 91 closely, keeping the shelter, the fowler's snare, the wings, and the angels

⚠ The refrain, the part that gets memorised, is not Psalm 91. The eagle comes from Exodus 19:4

✓ The chorus follows Revelation 4:8 without altering what it says about God

⚠ No translation is named, so the near-verbatim chorus cannot be checked against a stated text. That is the only thing separating this from Word-for-Word Verified

✓ The threefold holy keeps the shape of the creatures' cry, and the title phrase carries the verse's point that the cry does not end

⚠ The song never quotes the verse. Its title, Lord God Almighty, and its closing clause about the One who was and is and is to come are not sung, so a singer who wants Revelation 4:8 by heart will not get it here

✓ Both titles come from the same passage and are used of the same person, which is what Revelation 5 does

⚠ Revelation 5 stages a substitution: the Lion is announced, and a slain Lamb is what John sees. The song presents the two as a balanced pair

✓ The divine name Jireh is used accurately and reverently, in line with its Genesis 22 meaning

⚠ The repeated sufficiency line is addressed to God; clipped free of that address it travels as self-affirmation, nearly the opposite of the song's point

✓ Every word of the psalm, in order: nothing added, dropped, or reordered

✓ no cautions: this is the standard

✓ The ninety-nine image is used in keeping with Luke 15's actual point: heaven's joy over the lost being found

⚠ "Reckless" is nowhere in the text and its plain meaning doesn't fit an omniscient God; the word rests on the songwriter's distinction between God's character and God's manner of loving