Is There Anybody Here Who Loves My Jesus Lyrics

Anybody Here Who Loves My Jesus – Hymn Lyrics Search

Becky A. is a woman who lives in the United States. Posts:2 Sunday, January 3, 2010 at 3:38 a.m. Contact:

Anybody Here Who Loves My Jesus

Is there anyone out there who knows the lyrics to the Negro Spiritual “Anybody Here Who Loves My Jesus?” That is the very first line in the song, by the way. The rest of the song is as follows: “Is there anyone in this room who loves my Lord? I’d want to know whether you love my Lord, yeah, I’d like to know if you love my Lord.” There may be other verses, and I would very appreciate knowing what they are. Thanks! Guest

Anybody Here Who Loves My Jesus

On June 24, 2012 at 10:34 p.m., PostbyGuest wrote: I’m familiar with the Old Fashioned Revival Hour Quartet’s music, therefore I believe I can assist you in some way. Chorus: Is there anyone in this room who believes in my Jesus? Is there anyone in this room who loves my Lord? I’d want to know, certainly I’d like to know, whether you believe in my Lord. When you love my Jesus, my soul rejoices, and when you love my Lord, my soul rejoices even more! You must proclaim on the mountain that you love my Jesus, and you must proclaim on the mountain that you love my Lord and Savior.

Lewis Crise Shirley B.

Posts:1 Joined:Thursday, September 1, 2016 4:42 a.m.

Anybody Here Who Loves My Jesus

PostbyShirley B on Thursday, September 1, 2016 at 4:54 a.m. Is there anyone in this room who believes in my Jesus? Is there anyone in this room who loves my Lord? I really want to know, I really want to know Do you have a heartfelt devotion to my Lord? Declare your love for my Jesus from the top of a mountain. Declare your devotion to my Lord from the top of a mountain. Are you a follower of my Lord? I’m curious about your feelings about him. When you adore my Jesus, it makes my heart sing. When you adore my Lord, it makes my heart sing.

I’m curious about your feelings about him.

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is there anybody here who loves my jesus by rev louis overstreet

On the eleventh, myn- I’m simply downherestuntin’ on the seventh, myn-on the inside, where is mine? (Jesus) Love and hatred are a fine line; get two for the tenth time (Lord) Dying on the eleventh, myn- When it comes to love and hatred, there is a fine line between the two. (Jesus) Dying on the eleventh, myN- I’m simply downherestuntin’the worst, emptied out by a single word (Lord) There’s a void inside of me right now. So I put my trust in something I don’t understand since I’m living on such lovely nothing.

  • Everyone out there, please pay attention: I performed ‘JesusWalks’ for them, but they declined to sign me.
  • Someone out there, please pray for me and the situation I’m in.
  • I’m in desperate need of a hug from above.
  • Thank you for your time, and I hope you enjoyed my fantasy.
  • The Lord (Lord) has forgiven, but is it really true love?
  • From all of the agony that has been built up, yet they do not sense us (Jesus).
  • Isthereanybodyoutthere?

“Where did I go wrong?” I’m sitting here, staring at a plate, wondering whether anybody has seen the scale.

Also, I’m going to be goddamned if my rims aren’t tooMymoney is light green, and my Jordan is light green Who is responsible?

You’re messing with my brain with all of the things you said.

yet I’m not a part of any industry stuff like this mynigga I needed to find myself, I needed to discover who I wanted to be.

I was saved by his grace.

Almost like a dang jet From a great height in the sky Uncle Earl, Uncle Luke, and other relatives Daisycontemplates distant space till I have the opportunity to perform on Neptune.

I’m a fifethere, and it’s not simple to appeasemypiece of mind.

Someone gave me a fifethere as a gift.

As a result, I’ve flipped my lid.

How did these words come to be written by me, my upbringing in question?

I have a couple of inquiries.

I am yours, and you are mine, and time has no end.Love is eternal.

I intend to convince the entire world that I am head over heels in love.

everyone who isn’t embarrassed of themselves around me I have no qualms about lifting you up, Jesus.

Took IsthereanybodyherewholovesmyJesus?

I really want to know, I really want to know Do you believe in myLord?

All of the love that’s in the air tonight All of the love that’s here tonight Ooh oohIt’s difficult to convey my way of life to individuals who have never experienced what money cannot purchase All the love that’s here tonight All the love that’s here tonight All the love that’s here tonight It’s difficult to convey my way of life to individuals who have never experienced it.

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Preach to them, Brother, in the Name of the Church Yes, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh I preach via my raps, y’all.

Preach to them, Brother, in the Name of the Church Yes, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh I preach via my raps, y’all.

His love language is the act of giving gifts.

My mother was humiliated when my father returned home from the piano store. My father had just purchased a kid, and if you’re looking for a Biblical worldview, there’s no longer a choice. Here is the lowly beast, there are no complexities, there is no sarcasm, this is what I have to offer.

The Negro Spiritual Inc.

WHATIS A NEGRO SPIRITUAL? OtherArticles BlackAmerican spirituals provide one source for much of the textualcontent of today�s gospel music.For more than a century,these Afro-American religious songs served as a dominantmedium through which the black American expressed his dissatisfactionwith his station in life, vented his longing desire to liveas a free man, and humbly sought peace and salvation fromGod: Thesongs of the slave represent the sorrows, rather than thejoys, of his heart; and he is relieved by them, only asan aching is relieved by its tears.Sorrow and desolationhave their songs, as well as joy and peace.Slavessing more to make themselves happy, than to express theirhappiness.(1) As anotherobserver wrote: Theysang so that it was a pleasure to hear;with all theirsouls and with all their bodies in unison, for their bodieswagged, their heads nodded, their feet stomped, their kneesshook, their feet stomped, their knees shook, their elbowsand their hands beat time to the tune and the words whichthey sang with evident delight.One must see thesepeople singing if one is rightly to understand their life.I haveseen their imitators�.who travel about the country paintedup as negroes, and singing negro songs in the negro manner,and with gestures, as it is said; but nothing can be moreradically unlike, for the most essential part of the resemblancefails�namely, the life.

(2) Themethod of compsosition, style of performance, and sociologicalsignificance of black spirituals are vital parts of blacklife and are easily recognizable through the texts of spirituals.

Additional examples of this discontent are expressed insuch spirituals as �Didn�t My Lord Deliver Daniel� in whichblacks communicated directly with a God whom they believedwould deliver them from the evils of slavery, and �I�m Goingto Live with Jesus� where they tried to assuage their hardshipsand grasp some hope for a better future.

Dorsey (1899-) was greatly influencedby C.

Tindley.In defense of his �bluesy� songs,composed in a style similar to that of Tindley, he stated:Themessage is not in the music but in the words of the song.

eras.Inthe midst of these periods of severe hardships and struggles,the gospel song, like the spiritual during slavery, wasa source of strength and vided twentieth-century gospelsingers with words that were strong in their spiritual convictionsand carried a message of the social pressures and frustrationsthat had burdened black Americans since slavery.Sucha revival of interest serves to connect and pressures andfrustrations that had burdened serves to connect and preservean oral tradition passed down from the earliest existenceof the spiritual that continued through the 1940s.

Threesections of the spirituals� texts frequently borrowed forthe texts of gospel songs are the chorus, an incipit, andpart of an inner verse.In addition to these directborrowings, gospel texts often substitute or omit some ofthe original words (see Appendix A).

A gospelsong of the 1950s, �Oh, Get Away, Jordan�, borrows onlythe text of the chorus.It is sung in a call and responsestyle: CALL: Get away RESPONSE: Get away Jordan CALL:Get away RESOPNSE: Get away on chilly Jordan CALL:Get away RESPONSE: Get away Jordan ALL:I want to cross over to see my Lord.

The original text, �Oh, give way, Jordan, I want to go acrossto see my Lord, �becomes in the gospel song, �Get away,Jordan, I want to cross over and see my Lord.� Thesecond stanza appears as follows: Oh,stow back de powers of hell, I want to go across to see my Lord And let God�s children take de field, I want to go across to see my Lord I want to go across to see my Lord Now stan� back Satan, let me go by, I want to go across to see my Lord Gwine to serve my Jesus till I die, I want to go across to see my Lord.

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�Stowback� means to shout backward.�(6)This term is usedin reference to the religious dance that was an integralpart of the early folk church worship.This shoutceremony took place after the main part of the service:Afterthe sermon they formed a ring, and with coats off sung,clapped their hands and stomped their feet in a most ridiculousand heathenish way.I requested the pastor to go andstop their dancing.At his request, they stopped theirdancing and clapping of hands, but remained singing androcking their bodies to and fro.This they did forabout fifteen minutes.(7) Thewords �stow back� indicate that this spiritual was usedspecificallyfor the shout ceremony.As the term ispass down into gospel music, �stow back� becomes �step-back�:CALL: Oh, stepback RESPONSE: Stepback Jordan CALL:Step way back RESPONSE: Stepback oh chilly Jordan.

Whenthis stanza is currently sung, the gospel singer may makeappropriate movements indicated in the text.

Barton (1899), is an example in which, again, only thechorus is borrowed: Is thereanybody here that love my Jesus Anybody here that love my Lord?

I want to know if you love my Lord.

Thiscustom of borrowing texts was already commonplace amongblack Americans during slavery: We havetoo, a growing evil, in the practice of singing in our placesof public and society worship, merry airs, adapted fromold songs, to hymns of our composing; often miserable aspoetry, and senseless as matter, and most frequently composedand first sung by the illiterate blacks of the society.(8)Similarborrowings are found in spirituals.William Bartonstated: Onesong is satisfied to snatch a single line from any convenienthymn, and pair it with one of its own in the refrain, whileborrowing couplets right and left for the stanzas.

Whilethe fitting together of couplets and refrains almost atrandom leads to some odd and incongrous combinations, uponthe whole one is surprised to find with what good tastethe mosaic is made, especially when the singing is led byan old-time leader with a wide range of couplets to choosefrom.Some of these men when confronted by an inquirerwith notebook and pencil can hardly recall half a dozenof these stanzas; but in the fervor of their worship theynot only remember them by the score but by a sort of infrom different sources without a second�s reflection orhesitation.(9) Threespirituals that examplify these customary borrowings areKeep Your Lamps Trimmed and Burning, Rise and Shine, andJacob�s Ladder (see Appendix B).

ObserveKeep Your Lamps Trimmed and Burning from the collection,The Story of the Jubilee Singers with Their Songs by J.B.

Andthe stanza: Brothers,don�t grow weary Brothers, don�t grow weary Thereare two additional sections that are repeats of the chorus.

Of the three lines of text, two are borrowed from the spiritual, We Are Climbing Jacob�s Ladder: Tisreligion makes us happy, (etc.) We are climbing Jacob�s ladder, (etc.) Every round goes higher and higher, (etc.) For this work�s almost done.

Riseand Shine, from Jubilee and Plantation Songs (1887), usestwo inner stanzas from the spiritual, Keep Your Lamps Trimmedand Burning.The first phrase, �Keep your lamps trimmedand burning,� appears as the second part of the second stanza:Youmay keep your lamps trimmed and burning, burning You may keep your lamps trimmed and burning, burning You may keep your lamps trimmed and burning, burning For the year of Jubilee.

Thesecond inner stanza, substituting �children� for �Brothers,�appears as the beginning of the third stanza: Oh,come on children, don�t be weary, weary Oh, come on children, don�t be weary, weary Oh, come on children, don�t be weary, weary For the year of Jubilee.

KeepYour Lamps Trimmed and Burning, the gospel song, maintainsthe original character of the spiritual, but incorporatesmany gospel features.The text, �Keep your lamps trimmedand burning,� is retained, but �For this nigh.�Also,�Brother don�t get weary� becomes �Children don�t be weary.� A new stanza is also added: Christianjourney soon be over Christian journey soon be over Christian journey soon be over The time is drawing nigh.

An exampleof incipit borrowing occurs in the chorus of the spiritual,I Don�t Feel Noways Tired, found in the collection, Hamptonand Its Students, (1903).The first phrase of thechorus of the spiritual: Lord,I don�t feel noways tired Children oh glory hallelujah For I hope to shout glory when dis world is on fiah Children on glory hallelujah.

  • W.
  • Accordingto William Frances Allen in Slave Songs (1867), this spiritualwas sung approximately 150 years ago: We havereceived two versions of the Old Ship of Zion, quite differentfrom each other and from those given from Col.
  • The first was sung twenty-five years ago by the coloredpeople of Ann Arundel Company, Maryland.The wordsmay he found in The Chorus (Philadelphia: A.
  • Jenks, 1860),p.
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Thisspiritual, popular among black Americans of the nineteenthcentury, remains a favorite gospel song in the twentiethcentury.The song, with textual variations, appearsin at least three gospel collections:Wings Over Jordan(1940s)�I version:Thomas A Dorsey (1950)�lVersion: and Modern Gospel (1985)�l version.

The primary connection is the chorus: Tisthe old ship of Zion, hallelujah Tis the old ship of Zion, hallelujah whichappears in all but two or the versions.The secondconnecting feature is the stanza: KingJesus is the Captain King Jesus is the Captain whichis borrowed from the spiritual for the gospel versions.Thelongevity and popularity of The Old Ship of Zion, as botha spiritual and a gospel song, indicate the importance ofthe text:when the black man of the twentieth centuryneeded to express his dissatisfaction with this world, heoften used the words inherited from the rich oral traditionof the spirituals of the nineteenth century.Throughthe power of the texts of these songs, dealing with thestruggle for survival, black Americans continue to findhope and affirmation, and, according to W.

E. B. DuBois,�a faith in the ultimate justice of things.�(11)APPENDIXA Textsof Spirituals Borrowed for Gospel SongsI. Chorus Only Borrowed

JesusIs a Rock WitnessI Wantto Be Ready GoodNews de Chariot’s Comin’ Oh, GiveWay Jordan O RedeemedWe’llStand the Storm Fix MeJesus The LordWill Provide Is ThereAnybody Here? I ShallNot Be Moved Dustand Ashes WhyMy Jesus Is a Rock in a Weary Land My SoulIs a Witness for My Lord Walkin Jerusalem SAMETITLE Get AwayJordan Oh Redeemed,Redeemed.I’s Washed in the Blood of the LambOh! Stand the Storm, It Won’t Be Long Fix MeJesus, Fix Me Right SAMETITLE AnybodyHere SAMETITLE He Arose. He Arose free the Dead

II. The beginning of the story Borrowed

WeAre Out On the Ocean Sailing I Don’tFeel No-Ways Tired WhatShip Is That A-Sailin’? SAMETITLE SAMETITLE Tisthe Old Ship of Zion

Substitution of Words, Part III

SwingLow,Sweet Chariot WhenI Lay My Burden Down Letde Heaven Light Shine on Me SAMETITLE Glory,Glory Hellelujah Shineon Me

IV. Chorus and Stanza from a Different Work

WhenI Am Gone, Gone, Gone Someo’Dese Moaning’s RollJordan, Roll SAMETITLE LookAway in de Heaven Roll,Jordan, Roll, I Want to Go to Heaven
When Moses Smote the Water Ever’Time I Think about Jesus StealAway InDat Great Gettin-up Mornin’ A GreatCamp Meeting in the Promise Land O Lord,Remember Me BeReady When He Comes Again O Marry,Don’t You Weep HeLed My Mother All the Way TheBlood Has Signed My Name Hush,Hush, the Angels Calling Me Didn’tIt Rain? ThereIs a Balm in Gilead SAMETITLE CalverySAMETITLE SAMETITLE SAMETITLE DoLord SAMETITLE SAMETITLE LetJesus Lead You Ohthe Blood SAMETITLE SAMETITLE SAMETITLE

RISE AND SHINE APPENDIXB RISE AND SHINE Oh, rise and shine, and give God the glory, glory, glory to the highest degree. Rise and shine, and give God the honor, glory, glory, to the highest degree. Rise and shine, and give God the honor, glory, glory, to the highest degree. In honor of the Jubilee year Jesus carries the baby lambs in his bosom, in his bosom, in his bosom Jesus carries the baby lambs in his bosom, in his bosom, in his bosom Jesus carries the baby lambs in his bosom, bosom of the Father.

get you prepared, get you prepared Get ready, mourners, get ready, get ready.

Forthe year of Jubilee KEEP YOUR LAMPS TRIMMED
Youmay keep your lamps trimmed and burning, burningYoumay keep your lamps trimmed and burning, burningYoumay keep your lamps trimmed and burning, burningForthe year of Jubilee Keep your lamps trimmed and a-burningKeep your lamps trimmed and a-burningKeep your lamps trimmed and a-burningFor this work’s almost done
Oh,come on, children don’t be weary, weary Comeon children don’t be weary, weary Comeon children don’t be weary, weary Forthe year of Jubilee Brothersdon’t grow weary Brothersdon’t grow weary Brothersdon’t grow weary Forthis work’s almost done
Oh,don’t you hear them bells a-ringing, ringing Don’tyou hear them bells a-ringing, ringing Don’tyou hear them bells a-ringing, ringing Forthe year of Jubilee Preachersdon’t grow weary Preachersdon’t grow weary Preachersdon’t grow weary Forthis work’s almost done
WEARE CLIMBING JACOB’S LADDER Weare climbing Jacob’s ladder Weare climbing Jacob’s ladder Weare climbing Jacob’s ladder Soldierof the cross KEEPYOUR LAMPS TRIMMED (continued) Weare climbing Jacob’s ladder Weare climbing Jacob’s ladder Weare climbing Jacob’s ladder Forthis work’s almost done
Everyround goes higher, higher Everyround goes higher, higher Everyround goes higher, higher Soldierof the cross Everyround goes higher, higher Everyround goes higher, higher Everyround goes higher, higher Forthis work’s almost done

Sinnerdo you love my Jesus Sinnerdo you love my Jesus Sinnerdo you love my Jesus Soldierof the crossIfyou love him why not serve him Ifyou love him why not serve him Ifyou love him why not serve him Soldierof the cross

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