The CCLI 2015 Top 100 Songs for United Methodist Congregations list

Found here. Critiques found here. My comments in bold.

It's interesting indeed how the Doctrinal Police ascertains heresy. Here we have the United Methodists evaluating song lyrics with some peculiar criteria. 

My comments are found in the synopsis at the end. They are brief, largely restricted to quoting passages that contradict the assessments of the authors.
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The Green List includes those that generally scored 3.5 or higher on a five point scale across our criteria and that we have agreed present few if any obstacles for our congregations to sing with confidence. The Yellow List includes songs that have one or more significant issues we believe may require some conversation between musicians and pastors about whether or how to include them in worship, but are generally sound. 

The italicized items at the bottom of this list may require additional attention, either because they include language that could be understood as racist, or overuse exclusively male images of God, or could be interpreted as theologically problematic. We still commend them, but we especially encourage further conversation to occur around how these might be performed. 

Songs that appear in the 2015 CCLI Top 100 but not on either of these lists we have chosen not to commend. All of our scoring and comments on all 100 songs will be published later this spring on the Discipleship Ministries website. (...)

2015 CCLI Rankings appear in parentheses.

Green List (No or Minor Reservations) 

The Wonderful Cross (57) 

Because He Lives (58) 

Jesus Messiah (22) 

Great Is Thy Faithfulness (51) 

Amazing Grace (My Chains Are Gone) (13) 

Christ Is Risen (59) 

10,000 Reasons (1) 

Blessed Be Your Name (14) 

Everlasting God (15) 

Never Once (80) 

Our God Saves (99) 

Relentless (91) 

You Never Let Go (48) 

Cornerstone (6) 

You Are My All in All (69) 

You are Good (Houghton) (77) 

How Great Thou Art (21) 

One Thing Remains (Your Love Never Fails) (7) 

Here I Am to Worship (17) 

Your Grace Is Enough (18) 

Better Is One Day (85) 

Before the Throne of God Above (94) 

Glory to God Forever (42) 

Lord, I Lift Your Name on High (50) 

We Believe (49) 

Open the Eyes of My Heart (33) 

Oceans (Where Feet May FaIl) (3) 

Shout to the Lord (41) 

You Are My King (Amazing Love) (34) 

Today Is the Day (78) 

Set a Fire (75)

Yellow List (Some Reservations) 

I Will Rise (97) 

Forever (30) 

Breathe (87) 

Hosanna (27) 

At Your Name (66) 

We Fall Down (70) 

God of Wonders (64) 

Forever (We Sing Hallelujah) (24) 

How Great Is Our God (4) 

Hosanna (Praise Is Rising) (16)

Mighty to Save (9) 

Your Name (54) 

Lord I Need You (8) 

Stronger (43) 

Man of Sorrows (53) 

Alive (28) 

Desert Song (93) 

You Are Good (Riddle) (81) 

I Give You My Heart (86) 

Indescribable (84) 

How Deep the Father’s Love for Us (26) 

Build Your Kingdom Here (47) 

Victory in Jesus (72) 

This Is Amazing Grace (2) 

Your Love Never Fails (McClarney) (32) 

Love Came Down (100) 

Revelation Song (12)

Comments on Cautions for Yellow List 

1. I Will Rise—Theology: Concerns raised about first verse, that the assurance that “I will rise” seems to be understood as based on the “peace I’ve come to know,” with no mention of sanctification, and an unclear connection to discipleship.

2. Forever—Singability and Language: Verse low and complex, chorus high, limits congregational participation. Many “his” references to God. (Apparently they don't like it that God describes Himself with the male gender.)

3. Breathe— Language: Unclear who “You” is. “I’m desperate for you” may be understood as an indication of a poor relationship, and more indicative of sexual that spiritual intimacy. (It isn't necessary to identify "You," since there is only one "You" whose "holy presence" is "living in me.")

4. Hosanna—Language: Concerns raised about “King of Glory” language in the way it is used—not as in the Psalms, but as a replacement for “Son of Man” in Daniel/Revelation/synoptics. This kind of usage sounds biblical, but isn’t. (Unfortunately, the Bible contradicts this assertion. Mt. 24:30: “At that time the sign of the Son of Man will appear in the sky, and all the nations of the earth will mourn. They will see the Son of Man coming on the clouds of the sky, with power and great glory." Notice the "Son of Man" is coming with "glory." 

He is seated on the throne in glory. Mt. 25:31: “When the Son of Man comes in his glory, and all the angels with him, he will sit on his throne in heavenly glory." 

He is also the King of kings (Rev. 17:4). So it is quite correct to refer to Jesus as the "King of Glory.")

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6. We Fall Down-- Theology, Language and Music: Trinitarian collapse: The term Holy is ascribed to “the One who sits upon the throne” (the Father) in Revelation, or the “Lord God” in the Old Testament and not to Jesus (Lamb). Yet this song says “we fall down… at the feet of Jesus.” Again the language sounds biblical but isn’t. (Again incorrect. Ph. 2:10 "...that at the name of Jesus every knee should bow, in heaven and on earth and under the earth..." And, "Re. 5:6 Then I saw a lamb, looking as if it had been slain, standing in the center of the throne...")

Musically, there is an apparent misfit between the text (“we fall down”) and the tune (a rising motif). 

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9. How Great Is Our God-- Theology and Language: While, unlike many modern worship songs, this one is explicitly Trinitarian, it only celebrates God’s power and never mentions God’s love, which is at the center in Wesleyan theology. The reference to “darkness” in verse one, as opposed to light, could be understood to be racist. (This is crazy. Darkness has nothing to do with racism. All reference to darkness in the Bible have to do with evil and sin. Otherwise how could Scripture tell us in Lk. 22:53 for example, "Every day I was with you in the temple courts, and you did not lay a hand on me. But this is your hour — when darkness reigns.”?)

All pronouns for God are masculine.

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11. Mighty to Save—Theology and Language: The phrase “Jesus conquered the grave” is not biblical. (Again incorrect. Re. 1:18: "I am the Living One; I was dead, and behold I am alive for ever and ever! And I hold the keys of death and Hades." 

And. Ro. 6:9: "For we know that since Christ was raised from the dead, he cannot die again; death no longer has mastery over him."

And 1Co. 15:26-27: "The last enemy to be destroyed is death. 27 For he “has put everything under his feet.” 

It seems pretty clear that Jesus conquered the grave.)

It leaves out the work of the Father to raise him. (No song can be a theological treatise.)

The New Testament refers to Jesus as King rarely, but this song does so with great frequency. 

(Actually, the kingship of Jesus is one of the primary threads of thought regarding the Gospel. "The Kingdom of Heaven" is the center of the Gospel message, and that Kingdom presumes a King.

Indeed, that Jesus is frequently referred to as King is beyond dispute:

Matt 2:2 "King of the Jews"

Mt. 16:28 "...they see the Son of Man coming in his kingdom.”

Mt. 21:5 “See, your king comes to you..."

Mt. 25:34 “Then the King will say to those on his right..."

Mt. 27:11 “Are you the king of the Jews?” “Yes, it is as you say.”

Ep. 5:5 "For of this you can be sure: No immoral, impure or greedy person — such a man is an idolater — has any inheritance in the kingdom of Christ and of God."

1Ti. 1:17 "Now to the King eternal, immortal, invisible, the only God, be honor and glory for ever and ever. Amen."

2Pe. 1:11 "...and you will receive a rich welcome into the eternal kingdom of our Lord and Savior Jesus Christ."

Re. 11:15 “The kingdom of the world has become the kingdom of our Lord and of his Christ, and he will reign for ever and ever.”

Re. 17:14 "They will make war against the Lamb, but the Lamb will overcome them because he is Lord of lords and King of kings."

Re. 19:16 "On his robe and on his thigh he has this name written: KING OF KINGS AND LORD OF LORDS.")

This is another song that sounds biblical in its use of language, but is not. 

12. Your Name—Theology and Language: The Name we are praising is actually never named until verse 2. This makes the initial intention of the address unclear. The song is also unclear how salvation is in “your Name.” (Outrageous! The song writer waits until verse two to tell us who we are praising? The nerve!)

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20. Indescribable— Theology: One word is theologically problematic— “unchangeable.” While God’s faithfulness is unchanging, and Hebrews 13:8 affirms “Jesus Christ is the same, yesterday, today and forever”, the Bible overall does not portray God as unchangeable. 

(Nu. 23:19 God is not a man, that he should lie, nor a son of man, that he should change his mind.
1Sa. 15:29 He who is the Glory of Israel does not lie or change his mind; for he is not a man, that he should change his mind.”
Ps. 110:4 The LORD has sworn and will not change his mind: “You are a priest for ever, in the order of Melchizedek.”
Mal. 3:6 I the LORD do not change.
Ja. 1:17 Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows.)

Songs Requiring Additional Caution 

21. How Deep the Father’s Love for Us—Language and Theology: All language for God is masculine, and “bring many sons to glory” (Hebrews 2:10) in verse 1 requires serious attention. (Apparently the authors do not realize that it is a longstanding literary device that the masculine pronoun represents all of humanity.)

Could be altered in performance (but not legally in print or on screen without permission from the copyright holders) to something like “bring sinful ones to glory.” Atonement imagery of the Father turning his face away derives from Calvinism not the Bible and may be seen as problematic.
(Mt. 27:46 About the ninth hour Jesus cried out in a loud voice, "Eli, Eli, lama sabachthani?” — which means, “My God, my God, why have you forsaken me?” [Psalm 22:1])

22. Build Your Kingdom Here—Language: The line “Let the darkness fear” in the chorus could be read as having racist overtones. (Preposterous. 1Jn. 2:8 "Yet I am writing you a new command; its truth is seen in him and you, because the darkness is passing and the true light is already shining.")

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24. This Is Amazing Grace—Theology and Language: The references to God seem to collapse the Father onto the Son, generating a sort of unitarianism of the second person of the Trinity. The whole song, and the bridge in particular, emphasizes “king” language, which is a fairly rare way of referring to Jesus in the New Testament. (As we have seen, this is false.)

The Bible never refers to Jesus as “the king of glory.” (Again, false.)

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27. Revelation Song— Theology, Language and Singability: Possible Trinitarian collapse. The scriptures ascribe the term “worthy” to the Lamb (Jesus) but ascribe “holy” only to either the Trinity as a whole, to the “One who sits upon the throne” (Father, or Lord God). Since verse 3 is addressed to Jesus, singing the chorus after it seems to heighten the confusion of persons.

Mk. 1:24 “What do you want with us, Jesus of Nazareth? Have you come to destroy us? I know who you are — the Holy One of God!”
Lk. 1:35 The angel answered, “The Holy Spirit will come upon you, and the power of the Most High will overshadow you. So the holy one to be born will be called the Son of God.
Jn. 6:69 We believe and know that you are the Holy One of God.”
1Pe. 1:19 but with the precious blood of Christ, a lamb without blemish or defect. 
Re. 15:3-4 and sang the song of Moses the servant of God and the song of the Lamb: “Great and marvelous are your deeds, Lord God Almighty. Just and true are your ways, King of the ages. 4 Who will not fear you, O Lord, and bring glory to your name? For you alone are holy. All nations will come and worship before you, for your righteous acts have been revealed.”