Podcasts about oceans where feet may fail

Sermon: What is My Purpose? Ephesians 2:1-10 Worship & Praise: God So Loved, Goodness of God, Oceans (Where Feet May Fail) , Jesus Paid it All, Jesus Love Me

Sermon: What is My Purpose? Ephesians 2:1-10 Worship & Praise: God So Loved, Goodness of God, Oceans (Where Feet May Fail) , Jesus Paid it All, Jesus Love Me

Included Music: At the Cross, God So Loved, Praise Him All Ye Little Children, There Is a Redeemer, Oceans (Where Feet May Fail), Lead Me to the Cross, and We Are Called to Be God's People Message Title: Genuine Sacrifice  Text: Matthew 6:16-18  Take Home Point: Fasting is a spiritual discipline that helps us focus our worship on God alone rather than his gifts.

Included Music: The Way of the Cross Leads Home, God of Wonders, We Have Come into His House, Footsteps of Jesus, Oceans (Where Feet May Fail), Same God, and Take My Life and Let It Be Consecrated Message Title: Suffering for God  Text: Matthew 5:10-12  Take Home Point: The more our lives look like Jesus, the more we should expect persecution rather than praise from the world.

Transcript included below…As I string these words together, I've just come from a musical rehearsal I've been leading, where I simply tried to do too much with the limited time I had. I felt my emotional intensity rising as I glanced at the clock, knowing that there would not be enough time to do the remainder of the songs well. What was I trying to do?  Well, with my musical creativity, I brought several untested exercises and some creative musical tools into the mix, and really, the task list was already pretty long.I knew, in the back of my mind, that things were much more hectic and rushed because I had tried to cram too much additional optional musical activity into the early part of the rehearsal.How in the world could I have done this more effectively?  Well, upon reflection, I am noticing two words: “untested” and “optional.”  Both of those words need to be carefully examined. The reality is that if something is untested, it can be super fun, but it might not be “wired tight,” so to speak.  And before we know it, we've run long and have shortened the remaining time for other elements.If something is “optional” it needs to be considered a possibility, but also a lower priority. Perhaps I could have tested and timed the exercises, and then lined them up with the time that I knew would be taken up by other required activities for the rehearsal.It's really nothing that a simple stopwatch couldn't have solved, along with a bit of repetition to hone in on what was possible and/or needed.The Law of Diminishing ReturnsHave you ever come across that phrase?  In basic terms, if we keep everything constant (including a timeframe) but increase the amount of things we want to get done in that timeframe, we'll eventually reach a point where we will be less productive. We'll hit a point on a graph where things will actually start to diminish, instead of increase.So under those circumstances, “more” eventually results in “less.”But here's the thing.  It can be hard to know where that point is, until we hit it. It's sort of like an invisible laser that triggers an alarm.  Once we cross that point of trying to do too much in too short of an amount of time, we know it, but it can often be too late.  Often, the resulting side effects are frustration and stress.And not just for us.  This can also happen for our collaborators.If time had not been so limited in that rehearsal, we would have been able to get a lot more done, in an unhurried fashion, and those untested and optional elements I had brought to the conversation would likely have fit into the mix.But as I mentioned, the timeframe was a constant – it was a limited amount of time where after a certain point, everyone needed to leave. Something had to give.  And it's my opinion, having learned from this, that it makes more sense…to often do less.  And what are some environments where we can err on the side of “Less is more?”  Let's talk about several.The Worship Team RehearsalThis is a group of people, paid or unpaid, who gather to rehearse in some worship tunes.The important question to ask is, “Does the band know the tunes?”I suppose there are varying degrees of how well a band knows songs.  They could have a cursory knowledge, having listened to them on the way to rehearsal. By contrast, they could have them memorized forwards and backwards, to where they could jump in at any point and find their way in seconds.Let's say the band is planning to rehearse songs that are pretty familiar to them. In this scenario, they have 5 songs to prepare, and their rehearsal allows for 90 minutes.  They would still have a 1-hour run-thru to look forward to on Sunday where they would finalize the songs, but the goal of this rehearsal is to help the band gel together.There are all kinds of potential variables, but let's say they know each other well and have played together a lot. Let's say that the songs are average length – 4 or 5 minutes, and that they don't present too many potential pitfalls with odd keys or time signature changes, but that some of the band members haven't played a few of the songs very much. How much time to spend on these five songs?  If I were leading that band, I'd budget a total of 15 minutes per song.  10 minutes for working out any elements that needed to be worked out, and 5 minutes for a final pass. So with an opening prayer and a quick sound check, we'd be 10 minutes or so into the rehearsal, if everyone lands on time. Then, we could spend about 50 minutes working the set, dialing in some of the subtleties. That's our first hour.  I'd open it up for questions at that point, and then if everyone was all good, we'd run the set, maybe with some simple verbal cues as placeholders (announcements, sermon, etc.)  and then as the set wraps up, we'd have a moment to close in prayer and pack up, keeping the rehearsal at an hour and a half.But what has the potential to compromise this infrastructure so that we actually run out of time?Well, there are all kinds of possibilities.  Someone could arrive late, someone could be unprepared and need extra coaching, there could be a crisis that needed to be prayed over.We could have a tech glitch – ever had one of those?  Troubleshooting can eat into the rehearsal time.  Or maybe there's a totally new song that warrants extra time, like twice as much as any of the others.If we only have enough time to get everything done if the scenario is perfect, we could be setting ourselves up for some frustration.  Better to leave a little margin, or at least to know what the team is capable of, as we plan.And if we need to run long with the rehearsal, we would do well to make sure everyone buys in on that. If a rehearsal ends on time but there's still work to do, I always take the measure of making sure everybody knows what they need to be working on in anticipation of Sunday.If absolutely necessary, a song can be cut from the set at some point.  We don't need to chase perfectionism, but we do need to work within the time parameters.The Worship ServiceWhen we get to Sunday, I don't like to add anything new.  I've done this, and it has either resulted in the band struggling, or at the very least, technicians who feel put on the spot because they thought they had the whole picture handled.Some people love a last-minute change, but not the technicians I've served with.  They're doing their best to accommodate multiple variables, and adding something last minute does not equip them well.The only change I might make to a Sunday morning, as mentioned a moment ago, would be to cut a song.  But I'd do this with the buy-in from everyone from pastoral leadership to technicians, so no one is surprised by the change.It's much easier to remove an element than to add one.The Professional Band PracticeThis could refer to a cover band, a house band, or a bluegrass band, but you get the picture. A professional band has a similar paradigm, but there's a bit of a higher bar that's set for preparation and execution.  Given the same amount of time, they will likely get through more material.But here's the thing – there's an additional level beyond technical proficiency with these songs; it's the ability to perform the songs well. Working the song set with transitions, angles, and all those things that help make a concert dynamic, and it's something I learned from performance coach Tom Jackson.Even some of the most seasoned bands out there don't dedicate time to cultivating the nuances of their live show. Sure, they play their songs, and often very, very well…but much of the audience, in the words of Tom Jackson, doesn't know whether the performer is singing High C or drinking Hi-C.  The audience just came to enjoy a great performance.So, if the pro band has 90 minutes (which may only be a quick rehearsal), they may have 10 memorized songs in hand.  If they run each song once, they may stay under an hour.  But the remainder of the time could be spent working onstage interaction: visual handoffs, humorous moments, and more.It's my conviction that a rehearsal is a great opportunity to do some next level work beyond the solo practice, so the better prepared the individuals can be, the further the group can go.The Solo Practice TimeSpeaking of, a solo practice time is a different paradigm.  We're not influenced by collaborators when we practice alone.  And we may not choose to ask as much of ourselves as we work out our skills and repertoire in our “man cave” or studio.Perhaps a beginning guitarist can commit to 15 minutes.  I'll ask a loaded question – would it make sense to try to get through four songs in that timeframe?  Nope.I'd say a good strategy here would be a couple warmups or stretches (3 minutes) some skill-building exercises with strumming, chords, or fingerpicking (7 minutes), ending with a song that's already gaining momentum (5 minutes.)  Finishing with actual music is very rewarding and reminds us why we're doing what we're doing.A more advanced guitarist could simply scale this approach to 30 or 60 minutes. I would keep warmups and stretches at just a few minutes, but maybe focus more on technique (perhaps 20 minutes), ending with repertoire building. Side note: it's always good to expand our repertoire, but also good to work on our existing repertoire, to keep it fresh.So, less can be more in a solo practice time.The ConcertDepending on the number of performers, the variety of skills available, and the attention span of the audience, there can be a wide range of what is offered at a concert.  I'll speak personally from my shows in a few different settings.When I had a band, it made sense to use the band for most of the time, but for one or two songs, a piano ballad could “cleanse the palate.” My drummer was actually gifted with a very good tenor voice, so we surprised the audience when he set down his sticks and sang some harmonies.But in general, the band show was pretty streamlined to be a three-piece with me on guitar, and then my bass player and my drummer. In those years of touring, it made logistical sense to have that simple setup, and to use what we had to present some dynamic and groove contrasts.But when I went solo, which has become the majority of my career, I broke into more sonorities, because I was just one man up there.If I played for a focused adult audience with a long attention span, I'd use fewer instruments, like guitar, hammered dulcimer, and maybe piano.But if I played for a young audience, like a school assembly or a group of wiggly young campers, I knew that I needed to be constantly changing the focus. To this end, I used a loop station (a recording device for live performance) that involved multiple implements (percussion, Boomwhackers – which are pitched percussion tubes, and some hand rhythms on my guitar).  I also sang into the sound hole of the guitar and stacked my voice.Add to this the element of audience participation (whether with people “naming that tune” or actually coming up onstage for a musical exercise that was fun and message-driven), and I had quite the varied show.But there was a price to be paid.  And it was a car filled to the top with gear…sometimes including a portable sound system.  And as I've learned, not only does equipment have a monetary cost, it also bears a set up and tear down cost, to say nothing of load-in and load-out.This has made those multi-faceted performances a labor of love, because not only am I pivoting after every song to a different instrument or piece of technology, I also need to rehearse more at home to make sure those transitions are solid.I now mix my live show from stage, so the 16-channel mixer is something I'd also classify as an instrument.  I'm constantly muting and unmuting channels, depending on which instrument I'm playing.  So I have to ride the wave and check myself. In addition to playing the guitar, I also play piano, hammered dulcimer, banjo, and the Chapman Stick, and I can do some acappella songs as well with my looping technology.  I don't typically bring all my instruments to a show.  I usually leave one or two out – but not my voice, of course.I'm also always evaluating my performance to see which elements need to be added or taken away.Why?  So that I can bring something different to the venue next time and because…less is more.It's been possible for me to hold my audience's attention with far less gear, when I haven't had a choice.  How do I know this?  Because I've flown to some shows, where I could only bring a guitar case, a suitcase, and a shoulder bag.  That's a very different capacity from a full SUV.The Lord gives us what we need to do His will. We also need to be sensitive to what would be appropriate to the venue.  And really, even some of my venues will have perpetual wigglers in the crowd, because they're all sugared up with root beer floats they just consumed before my show, etc.  Even all my gear and all my fast songs might not be enough to accommodate their attention span.It doesn't all rest on me, but I do try to find that fine line in a solo concert where I'm blessing the audience and not wearing myself out.  I like to be “good tired” after a show.The ShowcaseOccasionally, I'll be added to a mix where I get to play just one or two songs, and that's it.  My time slot is 5 or maybe 10 minutes because I'm sharing the stage with half a dozen other performers who have a similar allotment. This could be at a conference where multiple presenters are part of a general session.  I've done this many, many times.I also know that there are college showcases where people register as performers, pay some good money and travel a good distance, so as to be up in front of college recruiters who are looking for talent to share with their students.  I haven't gone this route, because although I've played for a few colleges, it's not my main target audience. But the time slot for these kinds of things could be as little as one song, maybe two.So, what's my mindset for a showcase?  Pack as much into those two songs as possible?  Maybe.  But a better thought would be contrast.What could I do between those songs, or even in the middle of one of those songs, to show different sides of what I can offer?Think about your songs for a moment, and consider which songs might exhibit different sides of your lyricism, technique, tongue-in-cheek humor, or whatever you think the audience might appreciate. My most recent showcase was for the Christian Musician Summit, a conference that has been around since the early 2000s, and for which I've taught since 2007.I had 15 minutes.  And guess what?  My audience was all musicians.  Talk about intimidating.  Many of them were professionals.I started out with an original song called “Satisfied” to warm up the crowd, then played a tongue-in-cheek blues song I wrote called “Blues for Lazarus,” and then finished with my rendition of “The Little Drummer Boy,” mostly because Christmas was right around the corner.My song choices allowed for different tones, tempos, techniques, and even looks.  But they were all on the guitar. By tones, I mean joyful, clever, and innovative.By tempos, I mean upbeat, medium, and intense.By techniques, I mean strumming with a partial capo and palm muting, then touch-style blues, then “August Rush”-style Christmas tapping.As for looks, my first song began with me standing at a boom mic, and then I switched to a headset mic, for which I sat on a stool to play the second song, and then I stood with the headset mic for the third song.Did you catch it?  All three songs were with just one guitar.  No instrument switching.  I was very limited by time and instrumentation, but I offered a lot of contrast.   Each song felt totally different...all within the limitations of just my guitar and my voice.And the audience was very appreciative.So, the showcase seemed to be a great place where “less” was “more.”The Artistic InterpretationSeveral years ago, there was a viral video out there of a drummer who played on the Hillsong song “Oceans (Where Feet May Fail).”  Bless this guy – he could play those drums.But there was something about how he played that seemed out of alignment with the script of the song.  There's an instra break about 2/3 of the way through where the band takes over, but this guy really took over.  I mean, he played as many notes as he could.His interpretation, in my opinion, was too much.I like when a musician plays less at times, because they can. Brian Reding, my producer, who is also one of our guest experts in my online guitar experience called GuitarSuccess4U said in our interview that it actually takes more skill and experience not to play. It takes more courage.  It's easy to just play a bunch of notes.  Playing less sometimes takes more effort.So, depending on the song, there could be room for “less” musical articulation, so as to let the song “breathe” a bit more.  It depends on the song, but the first step is looking and listening for opportunities not to play.  That way, when we do play, it means more.The Songwriting SessionThere's a rather intense phrase out there that says “Kill your darlings.”  But where it gets its roots is in literature.  Sir Arthur Quiller-Couch and Stephen King, both writers, basically said we need to get used to the idea that not everything we create needs to be shared…at least not in its current state.It's ok to create – don't misunderstand this – we need to create as much as we feel called to create.  But certain things need to be prioritized in terms of how much they are brought forward and presented to an audience…especially when they're not ready.Some of these creations need to be re-shaped.  Someone once told me, “Great songs aren't written; they are re-written.” Imagine if some of the greatest songs out there had been recorded only in their first draft form.  I reckon that the quality of these offerings might be significantly lower.I know this, because as a songwriter, I know what it's like to stare at a version of an original lyric or progression and say to myself, “It's good…but I know the best version of this is not here yet.”I wrote a song for my father called “I'll Tell You Now.”  It's a very reflective fingerstyle ballad about telling our loved ones that we love them…while there's still time.As I wrote this song, I went through revision after revision.  I woke up at 3 a.m. with the third verse.  When the song finally coalesced into its finished form, I had made 13 drafts to get it right.I had to “kill” each of the previous revisions so that it could be recreated as a subsequent draft.  But it was worth it.I was in a songwriting workshop where the presenter said that some people have brought him their songs and said, “God gave me this song,” to which the songwriting coach has harshly responded, “I see why – He didn't want it anymore.”Ouch.But sometimes we need a bit of a reality check to realize that not everything we write comes out perfect at first.And this can lead us to yet another instance where “less is more.”The AlbumI'm not sure if you aspire to record an album, but it can be the culmination of an artist's efforts.As of this episode, I've recorded and recouped four professional albums.On an album, there can be wonderful contrasts where some songs have full textures and others are more minimal…and yet, they all still feel like they come from the same artist.My latest album kicks off with an easy shuffle medium tempo tune, then moves into a full-tilt funk tune.  Then, I have a world-beat reflective tune, and then the fingerstyle ballad, “I'll Tell You Now,” which I alluded to earlier. All of these songs sound like me. What has had the most impact on people?  I've gotten a ton of positive feedback on the fingerstyle ballad.  Brian Reding, whom I mentioned earlier, produced my album and provided all the instruments besides my guitar and piano.He had to do very little with “I'll Tell You Now”…mostly some gentle keys, cello, and a little synth.  We didn't even do background vocals.  Less was more.I'm always wary of producers who want to add instrumentation and extra vocals just to fill the texture.  This can lead to over-producing.James Taylor, a guitarist and singer/songwriter whom I've followed for many years, included some rather poignant liner notes in one of his albums as he expressed his gratitude to the players on the record.He said: “Thanks for the notes you played, and for the notes you didn't play.”Again, for some of the songs, less was more.So, if you've got a production mindset and want to record an album, do a lot of listening – to your own stuff, but also to the musicians whose music you admire.And then look for ways to peel back layers and reengage the ears of your listener as you arrange the songs for recording, sometimes with full textures, sometimes with sparse textures.When Less is Less and More is MoreI realize that by closing this discussion with a contradictory argument, I may be undoing what I've been putting together today, but hear me out.There's something to be said for variety.Some performances incorporate literally hundreds of onstage musicians, to say nothing of the vast technical support they need behind the scenes.These people are capable of variety.If all I do is play instrumental guitar, I can still present variety in my fingerstylings.If I'm more of a ballad musician, I can still bring lighthearted moments to add variety my song sets.But once in a while, it's important to add something to the mix just to change it up.  Remember how I mentioned that my drummer sang harmonies?  That's adding more.Doing a multi-generational concert as a solo artist sometimes takes more – more gear, more transitions, more contrasts.  But it does help keep the audience engaged.It's all about meeting the paradigm head on and doing what you do…well.The German philosopher Johann Wolfgang von Goethe once said, “It is working within limitations that mastery reveals itself.”  If we have limitations, perhaps that's an opportunity for our mastery to be cultivated and revealed.So, as you look at your scenario for music, whether it's the worship team rehearsal, the worship service, the professional band practice, the solo practice time, the concert, the showcase, the artistic interpretation, the songwriting session, or the album, perhaps today's discussion has helped shed some light on where you can focus.And perhaps you'll find darlings to kill, or at least words or notes to re-finesse, so that you can make things just right.  Be ok with saying “no” to adding some things to the mix, so as to avoid the point of diminishing returns.But don't forget to have – you know it – serious fun.Hey, leave me a comment if something about this episode rang true for you.  I'd love to hear from you.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

"For All My Life" singer, songwriter, and worship leader TAYA is our guest in this episode of The Walk. She tells a story of how she has consistently chosen the way of Jesus in the midst of really difficult seasons. Her faith in God's goodness and mercy led her through a redemption process even though she continues to face the same hurt and letdown over and over and over again. Matthew 11:28-30 (NIV) 28 “Come to me, all you who are weary and burdened, and I will give you rest. 29 Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls. 30 For my yoke is easy and my burden is light.” Along the journey and through those broken relationships she mentions, TAYA also tells of her father stepping away from the church and the deep hurt that caused her. But her constant companion of scripture, prayer, and worship are at the center of her faith journey. TAYA teaches us all, through her suffering, that God will comfort the broken hearted and is working all things for his glory. Psalm 34:18 (NIV) 18 The Lord is close to the brokenhearted and saves those who are crushed in spirit. - - - - - - Please subscribe to our social channels for more information and great content surrounding building a lifestyle of worship. This podcast is brought to you by Authentic Media and Worship Leader Magazine. Our host is Joshua Swanson and the show's co-producer and editor is Matt McCartie. More episodes can be found here. Who is TAYA Gaukrodger?  Long before TAYA became one of UNITED's most acclaimed and impactful vocalists, with over one billion streams and numerous world tours over the last decade, her journey with Jesus began in the small town of Lismore, Australia. Her mother led her in the sinner's prayer at age five and she attended a small community church with her family where her father was an elder & worship leader. The singer grew up listening to the local radio stations, her father's record collection (Fleetwood Mac, Beatles) and classical music. After starting to lead worship in her high school years, TAYA cried out to God to use her: “I love to sing but whatever you want God.” After that, she couldn't shake the strong feeling she associated with singing faith-based songs. TAYA left Lismore for bustling Sydney at the age of 21 with only $200 dollars to her name and a very specific goal: to make music her career. Not wanting to just attend a church, TAYA began serving as a youth leader in her local church on Friday nights when she was off from her retail job. Her church began offering her opportunities, culminating in UNITED longtime producer & guitarist, Michael Guy Chislett, inviting her first to sing backing vocals on a recording project (which turned into UNITED's Zion album) then singing lead on the song that became the group's record breaking worship anthem of the decade, “Oceans (Where Feet May Fail).”

As part of the Hillsong family, Taya Gaukrodger (better known as simply Taya) has given voice to some of the most recognizable worship anthems of our generation— including Oceans (Where Feet May Fail), Touch The Sky, Captain, & Even When It Hurts (Praise Song). That powerful voice is now coming into its own through her debut solo album, TAYA.This episode of Trevor Talks is a deep dive into the season of life that fueled her solo venture, which was co written and produced by Jon Guerra. Taya explains how the sweetness of the Lord was the theme that wove its way through this project, how that was manifested even in the right people being led to collaborate at the right time. She also offers insight into some of the cornerstone lyrics on this project, and her perspective on the Hillsong community that she has faithfully served alongside.Get her debut album TAYA at taya.lnk.to/tayaTP.Follow Taya:Facebook: TAYAInstagram: @tayagaukrodgerTwitter: @TayaGaukrodgerYouTube: TAYAFor more Trevor Talks:SpotifyApple MusicGoogle PodcastsInstagramFacebook

UNITED presents The People Tour: Live from Madison Square Garden (Act IV) Song List: 0:00 - So Will I (100 Billion X) 08:25 - With Everything 13:47 - Oceans (Where Feet May Fail) 21:19 - Good Grace 28:38 - Echoes (Till We See The Other Side) Team UNPLUGGED.

The Holy Spirit is an essential aspect of the Christian faith and sometimes can feel like a mystery. In part 2 of this two-part message, we are continuing our conversation about who the Holy Spirit is and what the Holy Spirit does. It is JAM PACKED with goodness! So, get ready! You can find the Bible I use HERE Mine is a softcover, but other than that, they are the same. If you decide to use this link to purchase, I will receive a small commission from Amazon at no additional cost to you. The commission helps to keep the Esther Endeavors Community going. Thank you! The featured verses for this week are: John 14:15-17 John 14:23-27 Luke 11:11-13 John 16:7-8 Ephesians 1:13-14 Romans 8:26-27 1 Corinthians 2:6-16 2 Corinthians 3:17 2 Corinthians 3:18 2 Corinthians 12:1-11 Romans 12 Ephesians 4 1 Peter 4:10-11 Footnote regarding John 16:7-8 was pulled from the Chronological Life Application Study Bible and was found on page 1465 Recommended worship song: Oceans (Where Feet May Fail) by Hillsong Connect with us over on Instagram @EstherEndeavors or on the blog at EstherEndeavors.com Resources: Unless otherwise indicated, all Scripture quotations are taken from the Holy Bible, New Living Translation, copyright 1996, 2004, 2007 by Tyndale House Foundation. Used by permission of Tyndale House Publishers Inc., Carol Stream, Illinois 60188. All rights reserved. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In today's episode, we're talking all about water, the many religious and Biblical references, and the ways in which we can engage with water to further our spiritual lives. I hope these resources will help you to engage this topic in a deeper way. 1. Weston Priory, the Vermont monastery I reference in today's episode 2. Remembering God's Gift of Water, an article by Leadership Education at Duke Divinity School 3. Women and Wells in the Hebrew Bible, an article at Bible Odyssey 4. Old Man River - Vocal Section, by the Beach Boys 5. Wade in the Water, by The Staple Singers 6. Come to the Water/I Will Run to You, by John Foley, S.J. and Matt Maher 7. One of many beautiful water-inspired spiritual works by Scott Erickson 8. Jesus Met the Woman at the Well, by Mahalia Jackson 9. Oceans (Where Feet May Fail), acoustic version, by Hillsong 10. Journal prompt: How have I felt the presence of God in water in my lifetime?

Hillsong United recorded a wonderfully powerful song entitled, "Oceans (Where Feet May Fail). To me the song represents the moment where Peter steps out of a boat in the middle of a tremendous storm and attempts to walk on the water to Jesus (Matthew 14). Peter fails as his eyes move from Jesus to the turbulent waters around him. In this episode we will be reminded that in the midst of life's storms Jesus is there to lift us up and restore our faith in Him.

Thank you to Don, Kristin and Amy for being part of the service.Songs from this service include: Oceans (Where Feet May Fail) - https://youtu.be/kMBt8mkW9as -- Amazing Grace (My Chains Are Gone) - https://www.youtube.com/watch?v=Jbe7OruLk8I -- 10,000 Reasons (Bless The Lord) - https://youtu.be/DXDGE_lRI0E -- The Lion and the Lamb - https://youtu.be/L1ldhHXK8IkScriptures from this service include: Welcome: Jeremiah 17:7-8; Hebrews 11:1-4. Sermon: Luke 7:2-10; Mark 9:23-24; Hebrews 13:5; Matthew 13:54; 13:54-57; Mark 30:20-21; Mark 3:20-21; Mark 3:31; 3:31-35; John 1:11; John 7:53-8:1; Mark 8:31-33; Mark 16:9; 16:9-20; John 20:25; Hebrews 13:5.Image by Steve Buissinne from Pixabay

Thank you Dave, Don and Kristin for your participation in this service. Dave will read the scripture as part of his welcome.Scriptures from this service: Welcome - Deuteronomy 8:1-5. Sermon - Hebrews 12:22-23; John 16:33; Hebrews 13:5; Job 1:1; Psalm 73:2-6; 73:11; 73:21-24; 73:26; 73:28; Hebrews 12:22-23; Genesis 37:1-28; 39:1-6; 39:19-23; 40:5-22; 41:53-57; Matthew 23:11; John 3:16; Romans 8:18; 8:18-19; 8:20-21; 8:22-24; 8:26-27; 1 Peter 4:12-13; Hebrews 12:22; Revelation 21:1-5. Communion - Matthew 27:15-25 (NLT); 2 Corinthians 5:17 (NLT); 1 Peter 2:24 (NLT); Matthew 20:28 (NLT); Hebrews 2:9 (NLT). Closing prayer - Romans 8:39; 2 Corinthians 13:14.Songs from this service: Oceans (Where Feet May Fail) - https://youtu.be/bd8mf_3TshQ -- Desert Song https://youtu.be/745fx9ealBw -- Blessed Be Your Name - https://youtu.be/aeSqP4LhtsQ Image by Ben Kerckx from Pixabay

Noah and Bill put on their finest liturgical vestments from Supreme to become full-fledged members of the disgraced Australian megachurch. @noahandbillshow -- @williamscurry -- @noahtarnow 00:00 -- Introduction, and What is Hillsong Church? 19:53 -- Why is Hillsong Church so popular? 25:15 -- Would you have liked Hillsong Church if you were a kid? 29:16 -- Is Hillsong Church a sign of the apocalypse? 32:29 -- Is your irrational hatred of Hillsong Church based on jealousy, and conclusion This week's theme: "Oceans (Where Feet May Fail)” by Hillsong United. New episodes every Monday morning on Spotify, Soundcloud, iTunes, Stitcher, and GooglePlay!

Worship for Sept the 20th Acts 28: 23-31, Paul in Rome, The End of Acts Musicians: Bev B., Olivia E., & Janice M. Music: Devotion by Oceans (Where Feet May Fail), by Joel Houston, Matt Crocker, Salomon Ligthelm

05 03 2020 - Oceans (Where Feet May Fail) by Snowmass Chapel

3/10/20. Five Minutes in the Word scriptures and sources: Commanding Your Morning (Galatians 6:7-8; Music from the Fire (Exodus 14:3-4, 13-14; Oceans (Where Feet May Fail by Hillsong United). Praying that the podcast blesses you! Please share. --- Support this podcast: https://anchor.fm/esbc-webmaster/support

Sorry guys, this episode is a little heavier than normal.  I'm just struggling right now, but this week's reading assignment really helped me and I hope it helps you too.  Especially Jeffrey R. Holland's talk "An High Priest of Good Things To Come", which is my favorite conference talk EVER.  Ever.  For real.  We talk about that, about drawing near to the Lord in faith, the Melchizedek Priesthood, The Day of Atonement (Yom Kippur), and you get to hear the song "Oceans (Where Feet May Fail)" by Hillsong United.   For more fun, visit:  http://www.facebook.com/thesaviorsaid https://www.instagram.com/thesaviorsaid/ http://thesaviorsaid.blogspot.com/    

Case Study 1: Jesus Christ (vs. 5-11)Case Study 2: Paul (v. 17)Case Study 3: Timothy (vs. 19-21)Case Study 4: Epaphroditus (vs. 25-30)SONGS:Good Grace #7122177 by J Houston2018 Hillsong Music PublishingHoly Spirit #6087919 by B Torwalt & K Torwalt2011 Jesus CultureI Exalt Thee #17803 by P Sanchez1977 Pete Sanchez, Jr.Revelation Song #4447960 by J Riddle2004 Gateway Create PublishingOceans (Where Feet May Fail) #6428767 by M Crocker, J Houston & S Ligthelm2012 Hillsong Music Publishing--------------------------------------------Love Well Change Lives Through ChristIt's the vision of Woodmen, led by Pastor Josh Lindstrom, in the Pikes Peak area of ColoradoFind more at https://woodmenvalley.org or download the Woodmen app at https://subsplash.com/woodmenvalleychapel/app —Connect with UsWebsite:https://woodmenvalley.org Woodmen Instagram:https://www.instagram.com/woodmen_valley_chapel/Woodmen Twitter:https://twitter.com/Welcome2WoodmenWoodmen Facebook Pages:Central https://www.facebook.com/WoodmenValleyChapel Heights https://www.facebook.com/WoodmenHeights Monument https://www.facebook.com/WoodmenMoument  Rockrimmon https://www.facebook.com/WoodmenRockrimmonSouthwest https://www.facebook.com/WoodmenSouthwest

Songs Inspired from Hoem Retreat 2019, in Humble, TX Tracks 1)New Wine 2)Living in the overflow 3)Oceans(Where Feet May Fail) 4)Come to the Altar 5)King of Glory 6)Psalms 23 (I Am Not Alone) 7)Joy

The song "Oceans (Where Feet May Fail)" by Hillsong attempts to communicate a strong faith, but misses the point of Mathew 14 and Peter walking on water. The post The Weak Faith of Hillsong appeared first on Reconstructionist Radio Reformed Podcast Network.

We are indeed saved by faith in Christ, but that saving faith should lead to works of righteousness. People (and demons) can affirm truths about God, but that alone is not evidence of salvation. A truly transformed life will seek to live according to God's word in faith and action.1. Our faith is either active or it is dead (vs. 14-17)2. Our faith is more than intellectual agreement (vs. 18-19)3. Our faith is demonstrated by our actions (vs. 20-26) a. The example of Abraham (vs. 21-24) b. The example of Rahab (vs. 25-26)Songs:All The Earth #7035179 by A Rozier, J Ingram, J Smith, & M Andrews2014 © Word MusicLove So Great #7068428 by J Snell, J Grimmett, and R Morgan2016 Hillsong Music PublishingGod With Us (Torwalt) #7054539 by B Torwalt and K Torwalt2015 © Capitol CMG GenesisHe Is The Light #7001303 by B Torwalt and K Torwalt2013 Jesus CultureOceans (Where Feet May Fail) #6428767 by M Crocker, J Houston, and S Ligthelm2012 Hillsong Music Publishing

1. Jesus uses normal people (v. 18)2. Jesus calls us to follow (v. 19) a. Jesus promises change (v. 19b) b Jesus gives purpose (v. 19c)3. Jesus expects a positive response (v. 20)4. Jesus desires our all (vs. 21-22)SONGS:He Is Faithful #6087902 by B Torwalt and K Torwalt2011 Jesus CultureForever Reign #5639997 by J Ingram and R Morgan2009 SHOUT! Publishing, SonyHow Deep The Father's Love For Us #1558110 by S Townend1995 Thankyou MusicOceans (Where Feet May Fail) #6428767 by M Crocker, J Houston, and S Ligthelm2012 Hillsong Music Publishing

The God Who Calls Exodus 3:1-22Moses was watching the flocks of his father-in-law Jethro and could never have imagined the encounter that was to occur. The God of his forefather Abraham appeared to him in a burning bush and told Moses of his plan to use him to rescue his people. Though removed by 1000's of years, God still calls us and sends us to set captives free.1. God calls (vs. 1-6)2. God sends (vs. 7-10)3. Moses doubts (vs. 11-15) a. Who am I? (vs. 11-12) b. Who are you? (vs. 13-15)4. God directs (vs. 16-22)Songs:Unstoppable God #7011436 by C Brown, S Furtick, and W Joye2014 Sony/ATV Tree PublishingLove Came Down [J Riddle] #5148938 by J Edwardson, B Johnson, I McIntosh, and J Riddle2009 Brian And Jenn Johnson Music, Bethel Music, Jesus We Love You #7030068 by H McClure, K Heiligenthal, and P McClure2014 © Bethel Music PublishingOceans (Where Feet May Fail) #6428767 by M Crocker, J Houston, and S Ligthelm2012 Hillsong Music Publishing

We can find ourselves taking our eyes off Jesus and sinking fast, this text reminds us that Jesus always commends our faith. 1. Things do not always make sense (v. 22) a. Jesus went to pray (v. 23) b. The disciples left to struggle (v. 24) 2. Jesus is closer than you think (v. 25) a. Jesus brings comfort (vs. 26-27) b. Jesus welcomes crazy (vs. 28-29) c. Jesus always rescues (vs. 30-31) d. Jesus deserves praise (vs. 32-33)SONGS One Thing Remains God With Us You Alone (L Daigle) Oceans (Where Feet May Fail) O Praise The Name (Anástasis)

Tracy sings to our Lord Jesus (1) In the Secret by Andy Park (c) 1995 Mercy/Vineyard (2) Fix my eyes on you Lord by Gian Carlo Villatoro (c) 2016 Inspiration (3) Oceans (Where Feet May Fail) by Matt Crocker, Joel Houston, and Salomon Lightelm (c) 2012 Hillsong

The convicting work of the Holy Spirit in the lives of believers is practical and gracious. Properly understood, the conviction of the Holy Spirit will draw us closer to Jesus and not drive us away from him. 1. The Purpose of the Spirit (vs. 4b-8)2. What is Wrong: Confessing My Sin (vs. 9)3. What is Right: Embracing Christ's Righteousness (vs. 10)4. What to Choose: Understanding Life's Purpose (vs. 11)SONGSHoly SpiritHosanna (B. Fraser)When You Walk Into The RoomJesus We Love YouOceans (Where Feet May Fail)

Oceans (WHere Feet May Fail) cover... :)

Oceans (WHere Feet May Fail) cover... :)

Oceans (WHere Feet May Fail) cover... :)

Oceans (Where Feet May Fail) acoustic cover by Zeejan.

Oceans (Where Feet May Fail) acoustic cover by Zeejan.

Hillsong's masterpiece of Oceans (Where Feet May Fail) leads us to Peter and Jesus walking on water in Matthew chapter 14. In this episode I challenge you to meditate on this section of Scripture and allow God to reveal where He may be calling you...perhaps like Peter it will be deeper waters in the middle of a storm.