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It does not, however, discuss Christian themes of redemption but merely gives a testament of faith ("he's lookin' down on us, from up above / and he's givin' us all his love"). The tone of the song is bittersweet; the succinct lyrics include the assertion that the divine witnesses human suffering ("he hears the babies crying / he sees the old ...
"Jesus, Take the Wheel" is a song written by Brett James, Hillary Lindsey and Gordie Sampson, and recorded by American country music artist Carrie Underwood. It was released on October 18, 2005, as the first single from Underwood's debut album Some Hearts (2005).
"Lift Every Voice and Sing" is a hymn with lyrics by James Weldon Johnson (1871–1938) and set to music by his brother, J. Rosamond Johnson (1873–1954). Written from the context of African Americans in the late 19th century, the hymn is a prayer of thanksgiving to God as well as a prayer for faithfulness and freedom, with imagery that evokes the biblical Exodus from slavery to the freedom ...
Jesus Paid It All (also known as Fullness in Christ and I hear the Saviour say and Christ All and in All) is a traditional American hymn about the penal substitutionary atonement for sin by the death of Jesus. The song references many Bible verses, including Romans 5 ("Jesus' sacrifice gives life") and Isaiah 1:18 ("a crimson flow"). [1] The ...
From a song: This is a redirect from a song title to a more general, relevant article such as an album, film or artist where the song is mentioned.Redirecting to the specific album or film in which the song appears is preferable to redirecting to the artist when possible.
You Gave Me Love (When Nobody Gave Me a Prayer) is the twenty-first studio album and third gospel album by American singer B. J. Thomas, released in 1979. [ 1 ] Track listing
“I want people to listen to it and go, ‘Totally the song I love, but now I’m wearing it as a new person, as an older person,’ ” she continues. “It’s got a little bit of me, the ...
Give Us Rest follows the former sextet's applauded Church Music, in which every track was infused with more electronic textures than used before. Critically, it was met with various descriptors for the songs' sounds, including techno, progressive rock, experimental, and even disco-rock, which was attributed to the 13th track "Church Music - Dance (!)".