The Water is Wide

 "The Water Is Wide" (also called "O Waly, Waly" or simply "Waly, Waly") is a folk song of British origin. It remains popular in the 21st century. Cecil Sharp published the song in Folk Songs From Somerset (1906). 

The imagery of the lyrics describes the challenges of love: "Love is handsome, love is kind" during the novel honeymoon phase of any relationship. However, as time progresses, "love grows old, and waxes cold". Even true love, the lyrics say, can "fade away like morning dew".

The modern lyric for "The Water Is Wide" was consolidated and named by Cecil Sharp in 1906 from multiple older sources in southern England, following English lyrics with very different stories and styles but the same meter. Earlier sources were frequently published as broadsheets without music. Performers or publishers would insert, remove, and adapt verses from one piece to another: floating verses are also characteristic of hymns and blues verses. Lyrics from different sources could be used with different melodies of the same metre. Consequently, each verse in the modern song may not have been originally composed in the context of its surrounding verses nor be consistent in theme. 

"The Water Is Wide" may be considered a family of lyrics with a particular hymn-like tune.

"O Waly Waly" (Wail, Wail) may be sometimes a particular lyric, sometimes a family tree of lyrics, sometimes "Jamie Douglas", sometimes one melody or another with the correct meter, and sometimes versions of the modern compilation "The Water Is Wide" (usually with the addition of the verse starting "O Waly, Waly"). Benjamin Britten used the melody and verses of "The Water Is Wide" for his arrangement — which does not have the "O Waly, Waly" verse, yet is titled "Waly, Waly". A different melody is used for the song "When Cockleshells turn Silver Bells" also subtitled "Waly, Waly". Yet another melody for "O Waly, Waly" is associated with the song, "Jamie Douglas" lyric.

A key ancestor is the lyric "Waly, Waly, Gin Love Be Bonny" from Ramsay's "Tea Table Miscellany" (1724), given below. This is a jumble of verses from other lyrics including "Arthur's Seat shall be my Bed" (1701), "The Distressed Virgin" (1633) and the Scottish scandal ballad "Jamie Douglas" (1776).

The use of 'cockleshells' and 'silver bells' in Thomson's version (1725) pre-dates the earliest published "Mary, Mary, Quite Contrary" (1744) and may relate to torture.

Some though not all versions of "Jamie Douglas" have the first verse that starts "O, Waly, Waly". Andrew Lang found a variant verse in Ramsay's "Tea Table Miscellany" from a 16th-century song. 

Predecessors of "The Water Is Wide" also influenced lyrics for other folk and popular songs, such as the modern version of the Irish "Carrickfergus" (1960s) and the American "Sweet Peggy Gordan" (1880). The Irish folk song "Carrickfergus" shares the lines "but the sea is wide/I cannot swim over/And neither have I wings to fly". This song may be preceded by an Irish language song whose first line A Bhí Bean Uasal ("It was a noble woman") matches closely the opening line of one known variation of Lord Jamie Douglas: "I was a lady of renown". However, the content of the English-language "Carrickfergus" includes material clearly from the Scots/English songs not in any known copy of A Bhí Bean Uasal suggesting considerable interplay among all known traditions. The Welsh version is called "Mae'r môr yn faith".

It is related to Child Ballad 204 (Roud number 87), "Jamie Douglas", which in turn refers to the ostensibly unhappy first marriage of James Douglas, 2nd Marquis of Douglas, to Lady Barbara Erskine. 

The modern "The Water Is Wide" was popularized by Pete Seeger in the folk revival. There have been multiple subsequent variations of the song and several names — including "Waly, Waly", "There is a Ship", and "Cockleshells" — which use and re-use different selections of lyrics. The song "Van Diemen's Land" on the album Rattle and Hum by U2 uses a variation of the melody of "The Water Is Wide".

The song "When the Pipers Play", sung by Isla St. Clair on the video of the same name, uses the melody of "The Water Is Wide".

Graeme Allwright translated the song into French. It was recorded in Breton language by Tri Yann as "Divent an dour". In 1991, the French singer Renaud recorded it as "La ballade nord-irlandaise" (The Ballad of Northern Ireland). At the Dunkerque carnival, people sing "putain d'Islande" based on the same melody.

Neil Young's "Mother Earth (Natural Anthem)" uses the melody of "The Water Is Wide".

"O Waly, Waly" has been a popular choice for arrangements by classical composers, in particular Benjamin Britten, whose arrangement for voice and piano was published in 1948. John Rutter uses it for the Third Movement in his "Suite for Strings" (1973).

The tune is often used for the hymn "When I Survey the Wondrous Cross" by Isaac Watts. It is also the tune for John Bell's "When God Almighty came to Earth" (1987) and F. Pratt Green's "An Upper Room did our Lord Prepare" (1974).

Because the melody is consistent with the words of Adon Olam, a prayer closing most modern Jewish services, Susan Colin performed a version with an also-revised prayer. One congregation's choir performed it with the standard Hebrew prayer. One instrumental version is consistent with the stanzas of the prayer.

Esther & Abi Ofarim recorded "Oh Waly Waly" in 1963 for their album Songs Der Welt, and for their live concert album in 1969. Esther re-released the song on the box-set CD Mein Weg zu mir in 1999. Jazz singer Tina May recorded the song—as "Whaley Whaley"—with pianist Nikki Iles and saxophonist Alan Barnes on their 2000 album One Fine Day.

Bob Dylan recorded a version of "The Water is Wide" during the recording sessions for his album Time Out of Mind in 1996, perhaps intended for use on a then soon-to-be-released multi-artist Pete Seeger tribute album. This rendition was first released to the public on the Fragments album in 2023. 

To download the easy alphanotes sheet music, look here. Enjoy!

Take Me Out to the Ball Game

 "Take Me Out to the Ball Game" is a 1908 Tin Pan Alley song by Jack Norworth and Albert Von Tilzer which has become the unofficial anthem of North American baseball, although neither of its authors had attended a game before writing the song. The song's chorus is traditionally sung as part of the seventh-inning stretch of a baseball game. Fans are generally encouraged to sing along, and at many ballparks, the words "home team" are replaced with the team name.

"Take Me Out to the Ball Game" is one of the three-most recognizable songs in the US, along with "The Star-Spangled Banner" and "Happy Birthday." However, most people are only familiar with the chorus. 

Jack Norworth, while riding a subway train, was inspired by a sign that said "Baseball Today – Polo Grounds". In the song, Katie's (and later Nelly's) beau calls to ask her out to see a show. She accepts the date, but only if her date will take her out to the baseball game. The words were set to music by Albert Von Tilzer. (Norworth and Von Tilzer finally saw their first Major League Baseball games 32 and 20 years later, respectively.) The song was first sung by Norworth's then-wife Nora Bayes and popularized by many other vaudeville acts. It was played at a ballpark for the first known time in 1934, at a high-school game in Los Angeles; it was played later that year during the fourth game of the 1934 World Series.

Norworth wrote an alternative version of the song in 1927. (Norworth and Bayes were famous for writing and performing such smash hits as "Shine On, Harvest Moon".)  With the sale of so many records, sheet music, and piano rolls, the song became one of the most popular hits of 1908. The Haydn Quartet singing group, led by popular tenor Harry MacDonough, recorded a successful version on Victor Records.

Its use became popularized by Harry Caray, the announcer of the Chicago White Sox, when he began singing it during the seventh-inning stretch in 1976. He continued the tradition when he became the announcer for the Chicago Cubs in 1982 and games were nationally broadcast.

The most famous recording of the song was credited to "Billy Murray and the Haydn Quartet", even though Murray did not sing on it. The confusion, nonetheless, is so pervasive that, when "Take Me Out to the Ball Game" was selected by the National Endowment for the Arts and the Recording Industry Association of America as one of the 365 top "Songs of the Century", the song was credited to Billy Murray, implying his recording of it as having received the most votes among songs from the first decade. The first recorded version was by Edward Meeker. Meeker's recording was selected by the Library of Congress as a 2010 addition to the National Recording Registry, which selects recordings annually that are "culturally, historically, or aesthetically significant". 

To download the easy alphanotes sheet music, look here. Enjoy!

Below are the lyrics of the 1908 version, which is out of copyright.

Katie Casey was baseball mad,
Had the fever and had it bad.
Just to root for the home town crew,
Ev'ry sou
Katie blew.
On a Saturday her young beau
Called to see if she'd like to go
To see a show, but Miss Kate said "No,
I'll tell you what you can do:"

Chorus

Take me out to the ball game,
Take me out with the crowd;
Buy me some peanuts and Cracker Jack,
I don't care if I never get back.
Let me root, root, root for the home team
If they don't win, it's a shame.
For it's one, two, three strikes, you're out,
At the old ball game.

Katie Casey saw all the games,
Knew the players by their first names.
Told the umpire he was wrong,
All along,
Good and strong.
When the score was just two to two,
Katie Casey knew what to do,
Just to cheer up the boys she knew,
She made the gang sing this song:

— Take Me Out to the Ball Game, 1908 version

Though not so indicated in the lyrics, the chorus is usually sung with a pause in the middle of the word "Cracker", giving 'Cracker Jack' a pronunciation "Crac—ker Jack". Also, there is a noticeable pause between the first and second words "root". 

The song (or at least its chorus) has been recorded or cited countless times since it was written. The original music and 1908 lyrics of the song are now in the public domain in the United States (worldwide copyright remains until 70 years after the composers' deaths), but the copyright to the revised 1927 lyrics remains in effect. It has been used as an instrumental underscore or introduction to many films or skits having to do with baseball.

The first verse of the 1927 version is sung by Dan Hornsby for Columbia Records 1544-D (148277). The Hoosier Hot Shots recorded the song in 1936. Gene Kelly and Frank Sinatra at the start of the MGM musical film, Take Me Out to the Ball Game (1949), a movie that also features a song about the famous and fictitious double play combination, O'Brien to Ryan to Goldberg.

In the early to mid-1980s, the Kidsongs Kids recorded a different version of this song for A Day at Old MacDonald's Farm.

In the mid-1990s, a Major League Baseball ad campaign featured versions of the song performed by musicians of several different genres. An alternative rock version by the Goo Goo Dolls was also recorded. Multiple genre Louisiana singer-songwriter Dr. John and pop singer Carly Simon both recorded different versions of the song for the PBS documentary series Baseball, by Ken Burns.

In 2001, Nike aired a commercial featuring a diverse group of Major League Baseball players singing lines of the song in their native languages. The players and languages featured were Ken Griffey Jr. (American English), Alex Rodriguez (Caribbean Spanish), Chan Ho Park (Korean), Kazuhiro Sasaki (Japanese), Graeme Lloyd (Australian English), Éric Gagné (Québécois French), Andruw Jones (Dutch), John Franco (Italian), Iván Rodríguez (Caribbean Spanish), and Mark McGwire (American English).

To download the easy alphanotes sheet music, look here. Enjoy!

Sweet Betsy from Pike

 "Sweet Betsy from Pike" is an American ballad about the trials of a pioneer named Betsy and her lover Ike who migrate from Pike County (theorized to be Pike County, Missouri) to California. This Gold Rush-era song, with lyrics published by John A. Stone in 1858, was collected and published in Carl Sandburg's 1927 American Songbag. It was recorded by Burl Ives on February 11, 1941, for his debut album Okeh Presents the Wayfaring Stranger.

The melody derives from a popular English comic song "Villikins and his Dinah", first published in London in 1853 and which had become a hit in America by 1855. Villikins and his Dinah closely parodies the lyrics of an old street ballad extant in England from the early 19th century, William and Diana; but it is unclear whether it simply borrowed the same melody as the existing ballad it parodies, or used a different tune written especially for theatrical performance.

Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time. 

The final line of the verse about Betsy's drunkenness is often "censored" from "showed her bare arse to the whole wagon train" to "showed her pantaloons to the whole wagon train" or "made a great show for the whole wagon train". The latter line was used by Burl Ives and Connie Dover, among other artists.

Parts of the song are sung by characters in motion pictures such as The Absent-Minded Professor, A Fistful of Dollars, Butch Cassidy and the Sundance Kid, and Wild Women.

Sam Sackett wrote his book Sweet Betsy from Pike, a novelization of the song, after hearing the song performed at an American Folklore Society meeting.

The tune was used for a song sung by the Muppet Folk Trio for a public tv PSA: "Let's keep our kids learnin' on public TV/To do it we need help from you and from me."

On October 7, 1971, on the show Alias Smith and Jones, the song was sung by Jones, Smith and two other miners in a cave after earning $20,000 in gold on the episode "Smiler With A Gun." 

To download the easy alphanotes sheet music, look here. Enjoy! 

Lyrics:

Oh don't you remember sweet Betsy from Pike,
Who crossed the wide prairie with her lover Ike,
With two yoke of oxen, a big yellow dog,
A tall Shangai rooster, and one spotted hog?

CHORUS:
Singing dang fol dee dido,
Singing dang fol dee day.

One evening quite early they camped on the Platte.
'Twas near by the road on a green shady flat.
Where Betsy, sore-footed, lay down to repose --
With wonder Ike gazed on that Pike County rose.

The Shanghai ran off, and their cattle all died;
That morning the last piece of bacon was fried;
Poor Ike was discouraged and Betsy got mad,
The dog drooped his tail and looked wondrously sad.

They stopped at Salt Lake to inquire of the way,
Where Brigham declared that sweet Betsy should stay;
But Betsy got frightened and ran like a deer
While Brigham stood pawing the ground like a steer.

They soon reached the desert where Betsy gave out,
And down in the sand she lay rolling about;
While Ike, half distracted, looked on with surprise,
Saying, "Betsy, get up, you'll get sand in your eyes."

Sweet Betsy got up in a great deal of pain,
Declared she'd go back to Pike County again;
But Ike gave a sigh and they fondly embraced,
And they traveled along with his arm round her waist.

The Injuns came down in a wild yelling horde,
And Betsy was scared they would scalp her adored;
Behind the front wagon wheel Betsy did crawl,
And there fought the Injuns with musket and ball.

They suddenly stopped on a very high hill,
With wonder looked down upon old Placerville;
Ike sighed when he said, and he cast his eyes down,
"Sweet Betsy, my darling, we've got to Hangtown."

Long Ike and Sweet Betsy attended a dance;
Ike wore a pair of his Pike County pants;
Sweet Betsy was dressed up in ribbons and rings;
Says Ike, "You're an angel, but where are your wings?"

'Twas out on the prairie one bright starry night,
They broke out the whiskey and Betsy got tight,
She sang and she howled and she danced o'er the plain,
And showed her bare legs to the whole wagon train.

The terrible desert was burning and bare,
And Isaac he shrank from the death lurkin' there,
"Dear old Pike County, I'll come back to you."
Says Betsy, "You'll go by yourself if you do."

They swam wild rivers and climbed the tall peaks,
And camped on the prairies for weeks upon weeks,
Starvation and cholera, hard work and slaughter,
They reached Californy, spite of hell and high water.

A miner said, "Betsy, will you dance with me?"
"I will, you old hoss, if you don't make too free.
But don't dance me hard, do you want to know why?
Doggone ye, I'm chock full of strong alkali."


Long Ike and Sweet Betsy got married, of course,
But Ike, getting jealous, obtained a divorce,
While Betsy, well satisfied, said with a shout,
"Goodbye, you big lummox, I'm glad you backed out!" 

Sweet Betsy from Pike

Sometimes I Feel Like a Motherless Child

 "Sometimes I Feel Like a Motherless Child", also "Motherless Child", is a traditional spiritual. It dates back to the era of slavery in the United States.

An early performance of the song was in the 1870s by the Fisk Jubilee Singers. Commonly heard during the Civil rights movement in the United States, it has many variations and has been recorded widely. 

The song is an expression of pain and despair as the singer compares their hopelessness to that of a child who has been torn from its parents. Under one interpretation, the repetition of the word "sometimes" offers a measure of hope, as it suggests that at least "sometimes" the singer does not feel like a motherless child. 

Like many other African American spirituals, this song conveys the sadness that many enslaved people felt at being such a “long way from home,” both in the sense of being far away from their native Africa and in the sense of being forcibly separated from family and friends. 

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Sometimes I feel like a motherless child
Sometimes I feel like a motherless child
Sometimes I feel like a motherless child
A long way from home, a long way from home

Sometimes I feel like I'm almost done
Sometimes I feel like I'm almost done
Sometimes I feel like I'm almost done
And a long, long way from home, a long way from home

True believer
True believer
A long, long way from home
A long, long way from home

Skip To My Lou

 "Skip to My (The) Lou" (Roud 3433) is a popular American folk song and partner-stealing dance from the 1840s.

Carl Sandburg, poet and biographer of President Abraham Lincoln, writes that "Skip-to-my-Lou" was a popular party game in Lincoln's youth in southern Indiana, with verses such as "Hurry up slow poke, do oh do", "I'll get her back in spite of you", "Gone again, what shall I do", and "I'll get another girl sweeter than you".

John A. and Alan Lomax wrote that "Skip to My Lou" was a simple game of stealing partners (or swapping partners as in square dancing). It begins with any number of couples skipping hand in hand around in a ring. A lone boy in the center of the moving circle of couples sings, "Lost my partner, what'll I do?" as the girls whirl past him. The young man in the center hesitates while he decides which girl to choose, singing, "I'll get another one just like you." When he grasps the hand of his chosen one, the latter's partner moves to the center of the ring. It is an ice-breaker, providing an opportunity for the participants to get acquainted with one another and to get into a good mood. "Skip to My Lou" is no. 3593 in the Roud Folk Song Index.

S. Frederick Starr suggests that the song may be derived from the Creole folksong "Lolotte Pov'piti Lolotte", to which it has a strong resemblance. See also "La Savane", which is based on the Creole song.

The "lou" in the title comes from the word "loo", a Scottish word for "love". 

"Skip to My Lou" was featured in the 1944 film Meet Me in St. Louis. Sections of the song arranged by Hugh Martin and Ralph Blane are sung to the tunes of "Kingdom Coming" and "Yankee Doodle". In the 1951 film Across the Wide Missouri it is sung by Clark Gable (while playing a Jew's Harp) and others throughout the movie. In the classic Western The Searchers (1956), Ken Curtis uses the song to serenade Vera Miles. In the film, Pee Wee's Big Adventure (1985), Pee Wee is slowly driven to distraction by an old man riding box car, who will not stop singing verse after verse of the song.

The song has been recorded by various artists including Lead Belly, Pete Seeger, Judy Garland, Nat King Cole, Elizabeth Mitchell, The Blue Sky Boys, Dickie Bishop and His Sidekicks, and Dale Warland Singers, among others. The song remains a favorite piece performed by various classic choirs with a popular arrangement by Paul Busselberg.

The song has been adapted to dancehall by various Jamaican artists. In 2009, it was released by QQ featuring Ding Dong in a College Boiz Productions release. In 2010, the Jamaican dancehall artist Serani released another version of the song under the title "Skip to My Luu" featuring Ding Dong, and a second version that in addition to Ding Dong also included Raz n Biggy with additional lyrics. In 2011, RDX released a dancehall reggae adaptation titled "Skip".

In the Thomas & Friends fourth series episode "Peter Sam & The Refreshment Lady", Peter Sam sings "I'm Peter Sam I'm running this line" which has a similar melody. 

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics

Lost my partner
What'll I do?
Lost my partner
What'll I do?
Lost my partner
What'll I do?
Skip to my lou, my darlin'

Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip to my Lou, my darlin'

I'll get another one
Prettier than you
I'll get another one
Prettier than you
I'll get another one
Prettier than you
Skip to my Lou, my darlin'

Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip to my Lou, my darlin'

Can't get a red bird
Jay bird'll do
Can't get a red bird
Jay bird'll do
Can't get a red bird
Jay bird'll do
Skip to my Lou, my darlin'

Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip, skip, skip to my Lou
Skip to my Lou, my darlin'

Thick of It

 Thick Of It, originally performed by KSI, Trippie Redd, the musical genre of this composition is Pop, Rap.

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

I'm in the thick of it, everybody knows
They know me where it snows, I skied in and they froze
I don't know no nothin' 'bout no ice, I'm just cold
Forty somethin' milli' subs or so, I've been told

I'm in my prime and this ain't even final form
They knocked me down, but still, my feet, they find the floor
I went from living rooms straight out to sold-out tours
Life's a fight, but trust, I'm ready for the war

Woah-oh-oh
This is how the story goes
Woah-oh-oh
I guess this is how the story goes

I'm in the thick of it, everybody knows
They know me where it snows, I skied in and they froze
I don't know no nothin' 'bout no ice, I'm just cold
Forty somethin' milli' subs or so, I've been told

From the screen to the ring, to the pen, to the king
Where's my crown? That's my bling
Always drama when I ring
See, I believe that if I see it in my heart
Smash through the ceiling 'cause I'm reachin' for the stars

Woah-oh-oh
This is how the story goes
Woah-oh-oh
I guess this is how the story goes

I'm in the thick of it, everybody knows
They know me where it snows, I skied in and they froze (woo)
I don't know no nothin' 'bout no ice, I'm just cold
Forty somethin' milli' subs or so, I've been told

Highway to heaven, I'm just cruisin' by my lone'
They cast me out, left me for dead, them people cold
My faith in God, mind in the sun, I'm 'bout to sow (yeah)
My life is hard, I took the wheel, I cracked the code (yeah-yeah, woah-oh-oh)
Ain't nobody gon' save you, man, this life will break you (yeah, woah-oh-oh)
In the thick of it, this is how the story goes

I'm in the thick of it, everybody knows
They know me where it snows, I skied in and they froze
I don't know no nothin' 'bout no ice, I'm just cold
Forty somethin' milli' subs or so, I've been told
I'm in the thick of it, everybody knows (everybody knows)
They know me where it snows, I skied in and they froze (yeah)
I don't know no nothin' 'bout no ice, I'm just cold
Forty somethin' milli' subs or so, I've been told (ooh-ooh)

Woah-oh-oh (nah-nah-nah-nah, ayy, ayy)
This is how the story goes (nah, nah)
Woah-oh-oh
I guess this is how the story goes

World Outside Your Window

 The song “World Outside Your Window” by Hillsong Young & Free is a powerful reminder of the importance of living out our faith and sharing the good news of reminder of the importance of living out our faith and sharing the good news of Jesus with the world. The lyrics call us to lift our hands to the heavens and our voices to the sky, praising the God of all creation and letting His name be lifted high. This is a reminder of the words of Jesus in Matthew 28:19-20, "Go therefore and make disciples of all nations, and baptizing them in the name of the Father and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you." We are called to be witnesses of the gospel and to share the good news of Jesus with the world. 

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Oh, oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh, oh-oh-oh-oh

Oh, oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh, oh-oh-oh-oh

There's a song that stirs the spirit
And it calls the heart to life
It's an anthem in the making
Can you feel it start to rise?

Can you hear the generations
Getting louder over time?
Every son and every daughter
Singing out into the night

It's not time to be silent
Don't you dare hide your light
There's a world outside your window
So don't let it pass you by

Lift your hands to the heavens
Lift your voice to the sky
Praise the Lord of all creation
Let His name be lifted high

Singing
Oh, oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh, oh-oh-oh-oh

From the famous to the faceless
From the palace to the streets
I can feel that drumbeat pulsing
And it's calling you and me

I can hear the world awaken
Oh, the sound is heavenly
Every tribe and every nation
Singing, "Jesus, I believe" (c'mon)

It's not time to be silent
Don't you dare hide your light
There's a world outside your window
So don't let it pass you by

Lift your hands to the heavens
Lift your voice to the sky
Praise the Lord of all creation
Let His name be lifted high

Singing
Oh, oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh, oh-oh-oh-oh
(Oh, sing it with all that you got)

Singing
Oh, oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh, oh-oh-oh-oh

See the world light up, one heart at a time
See the strongholds break in a blink of an eye
Death and all our sin, nowhere in sight
For the Lord, He is alive

See the lost return from the dead of the night
Every captive freed, every chain left behind
Have you ever seen such a beautiful sight?
All the world coming alive

See the world light up, one heart at a time
See the strongholds break in a blink of an eye
Death and all our sin, nowhere in sight
For the Lord, He is alive

See the lost return from the dead of the night
Every captive freed, every chain left behind
Have you ever seen such a beautiful sight?
(It's on your freedom, let's clap) all the world coming alive

Oh, oh-oh-oh
Oh-oh-oh-oh-oh (can you feel it?)
Oh-oh-oh, oh-oh-oh-oh (can you feel it?)

Singing
Oh, oh-oh-oh
Oh-oh-oh-oh-oh
Oh-oh-oh, oh-oh-oh-oh (sing it again)

It's not time to be silent
Don't you dare hide your light
There's a world outside your window
So don't let it pass you by

Lift your hands to the heavens
Lift your voice to the sky
Praise the Lord of all creation
Let His name be lifted high