“Crying Holy Unto the Lord” became a staple of the bluegrass circuit and was sung by the likes of Bill Monroe and Flatt & Scruggs. Here we have Waters standing on the rock of Moses, crying out, subjunctively, and establishing an intimate relationship to the father and the son. She seeks intimacy and she achieves it to the degree that she is capable of communicating with sinners. Missionizing to and toying with, Waters gets her message across.
In the last lines, we have Waters riffing over the infectious rhythm and offering an object lesson to those who seek to escape the conditions of their shared being. She encourages sinners to run to the rock and hide their faces, all for the purpose of revealing to them that there is no hiding place after all.
You should have known this from the beginning.