Roy Hicks Jr.
A simple, theologically sound chorus of Christological worship with scriptural precision and deep singability. Its strength lies in its clarity and accessibility, not lyrical complexity. The single-octave range and repetitive phrasing make it ideal for congregations of all ages and musical abilities. The tight focus on Jesus' name as worthy of praise aligns with Philippians 2:9-11 and Acts 4:12 without theological overreach. Best used as a response to teaching on the person and work of Christ, or as a meditative entrance into worship.
Five lenses
The song anchors in the biblical exaltation of Jesus' name. Philippians 2:9-11 declares God has given Jesus the name above every name, at which every knee will bow. The lyric declares Jesus' name worthy of praise, echoing the heavenly worship of Revelation 5:12 where the Lamb is declared worthy. The second line naming Him 'Son of God' and 'Son of Man' reflects the dual nature affirmed in the Gospels (Matthew 16:16, Mark 10:45). The concluding declaration of Jesus as 'risen King' is resurrection theology from Romans 1:4 and Acts 2:32-36. There is no theological overstatement, no unbiblical attribution, no speculative claim. Every phrase rests on explicit New Testament witness.
The song is Christologically precise and worship-directed. It names Jesus as worthy of praise, identifies Him by His dual nature, and declares His resurrection. The radio test is straightforward: a listener unfamiliar with Christian theology would understand this song is about Jesus and His worthiness to be worshiped. The metaphors 'rock, fortress, deliverer' come from Davidic Psalms but are applied to Christ, a move consistent with New Testament Christological reading of the Old Testament (1 Corinthians 10:4, Ephesians 1:7). The theological arc is simple: declaration of Jesus' worthiness, rehearsal of His identity and saving work, response of praise. There is no therapeutic drift, no vague spirituality, no ambiguity about who is being worshiped or why.
This is one of the most singable choruses in the modern worship canon. The melody sits comfortably in the D4-D5 range, exactly one octave, with no wide leaps or awkward intervals. The repeated melodic phrases make it instantly memorable after one hearing. The simplicity is intentional and effective: this song was written in the Jesus Movement era when congregational participation was the goal, not performance. The D5 ceiling note occurs on the word 'Jesus' in the title phrase, which is strong placement but may strain older adults or those with limited range. Key of D is ideal; transposing down to C would lose brightness, and up to E would push the ceiling note beyond reach.
This is a functional worship chorus, not a literary achievement. The lyric is spare, repetitive, and declarative. Repetition serves memorability and meditative focus, not poetic laziness. The imagery is borrowed entirely from Scripture (rock, fortress, deliverer from Psalm 18), which gives theological weight but limits originality. The dual naming 'Son of God and Son of Man' is precise and economical. The phrase 'risen King' is strong, compressing resurrection and reign into two words. There are no fresh metaphors, no unexpected turns of phrase, no linguistic artistry. The grammar is clean and simple. For a Jesus Movement chorus written to be sung by new believers in small gatherings, the simplicity is appropriate. For a liturgically rich or literarily sophisticated congregation, it may feel thin.
The song's simplicity and Charismatic origin may draw critique from liturgically formal or cessationist congregations, but its scriptural integrity and theological clarity leave little ground for substantive objection. The Old Testament metaphors are defensible under Messianic typology, the Christology is orthodox, and the worship posture is biblically aligned. The most likely critique will come from those who prefer hymnody's complexity or who are uncomfortable with Jesus Movement era choruses on stylistic grounds.
Full analysis
This 1976 Jesus Movement chorus represents a generation of worship writing that prioritized accessibility, scriptural grounding, and participatory simplicity. The song does one thing well: it declares the name of Jesus as worthy of praise and identifies Him by His biblical titles and saving work. There is no narrative arc, no theological complexity, no literary artistry. What it offers instead is a singable, repeatable, theologically sound declaration that a new believer or a lifelong saint can sing with equal confidence. The melody sits in the exact middle of congregational range, the lyrics are memorizable after one hearing, and the theology is defensible from multiple New Testament witnesses.
The scriptural fidelity is exceptionally strong. The exaltation of Jesus' name comes directly from Philippians 2:9-11, where God gives Jesus the name above every name. The dual identification as Son of God and Son of Man reflects the Gospel writers' own Christological precision (Matthew 16:16, Mark 10:45). The metaphors of rock, fortress, and deliverer are drawn from Davidic Psalms (Psalm 18:2, 2 Samuel 22:2) and applied to Jesus, a move consistent with New Testament Christology. First Corinthians 10:4 explicitly identifies Christ as the rock, and Ephesians 1:7 names Him as deliverer. The declaration of Jesus as 'risen King' compresses resurrection theology (Romans 1:4) and ascension theology (Acts 2:32-36) into two words. There is no speculative language, no therapeutic drift, no vague spirituality.
The congregational singability is among the highest in the modern worship catalog. The one-octave range (D4-D5) fits nearly every voice, with the ceiling note falling on a strong lyrical moment (the name 'Jesus' in the opening phrase). The melody is repetitive and stepwise, with no wide leaps or rhythmic complexity. This was written for Jesus Movement gatherings where participants often had no formal musical training, and it shows. The simplicity is not a flaw but a design feature. The key of D is ideal: bright enough to feel celebratory without pushing the ceiling note out of reach. A worship leader could teach this song to a congregation in under two minutes, and it would be singable by the second round.
The poetic quality is functional rather than artistic. The lyric borrows all its imagery from Scripture, which gives theological weight but limits originality. The repetition ratio is high, as expected in a chorus-only song, and serves memorability rather than development. The grammar is clean, the syntax is straightforward, and there are no awkward phrases. For a congregation that values theological precision and accessibility over lyrical creativity, this is a strong choice. For a congregation that expects literary richness or fresh metaphor, this will feel thin. The song's enduring presence in CCLI's catalog suggests its simplicity has served the church well across multiple generations, even as worship trends have shifted toward more complex forms.
Defense brief
Who raises this: Theologically conservative members concerned about blurring Old Testament references
The New Testament explicitly applies Old Testament Yahweh-language to Jesus (1 Corinthians 10:4 identifies Christ as the rock, Ephesians 1:7 names Him as deliverer). Messianic typology allows the church to read David's praise of God as ultimately fulfilled in the person of Christ.
This song applies Davidic worship language to Jesus, following the New Testament's own Christological interpretation of the Psalms. We are not replacing the Father with the Son, but recognizing that Jesus shares the divine identity and saving work of Yahweh.
Who raises this: Worship leaders or pastors who prefer hymns or longer-form worship songs with more content
Simplicity in worship is not a theological flaw. The Psalms include both complex theological meditations (Psalm 119) and short declarations of praise (Psalm 117). Brevity does not equal shallowness when the content is scripturally accurate.
This chorus functions as a focused response of praise, not a teaching moment. Its value lies in its singability and accessibility, allowing the entire congregation to participate in declaring Jesus' name as worthy. Pair it with richer content elsewhere in the service.
Scripture map
Primary foundations
Supporting connections
Story behind the song
Roy Hicks Jr. wrote this chorus in 1976 during the height of the Jesus Movement, a time when simple, Scripture-saturated worship choruses were replacing traditional hymnody in many evangelical and Charismatic gatherings. The song reflects the movement's emphasis on accessible, participatory worship centered on the person of Jesus.
CCLI database and Jesus Movement historical records
The song was published by Latter Rain Music, a label associated with the Charismatic renewal movement of the 1970s. It quickly became a staple in both Pentecostal and evangelical congregations due to its singability and theological clarity.
Latter Rain Music catalog
The chorus has remained in use for nearly five decades, appearing regularly in CCLI's top 500 songs during the 1980s and 1990s and continuing to be sung in traditional and blended worship services today. Its endurance speaks to the strength of its simplicity and scriptural foundation.
CCLI historical song usage data
Themes
Sermon series fit
Audience fit
Maturity
All levels; accessible to new believers, satisfying to mature saints
Age group
Intergenerational; particularly strong with those familiar with Jesus Movement era worship
Service type
Blended, traditional, contemporary; works as a response or entrance chorus
Visitor-friendly
Highly visitor-friendly due to simplicity and immediate singability
Special contexts
Baptism services, communion responses, Easter celebrations, evangelistic gatherings
Similar songs
If you love this song
His Name Is Wonderful - Audrey Mieir
Jesus, Name Above All Names - Naida Hearn
Holy Is the Lord - Chris Tomlin
Blessed Be Your Name - Matt Redman
If this concerns you
Cornerstone - Hillsong Worship
Christ the Sure and Steady Anchor - Matt Boswell
In Christ Alone - Keith Getty & Stuart Townend
How Firm a Foundation - Traditional Hymn