The latest part of the ongoing series chronicling, in no particular order, the greatest 1001 recordings made by Christian artists

470. REUBEN MORGAN - MIGHTY TO SAVE, 2006. From the album 'Everyone', Fierce!.
In an era where modern worship songs are coming at us in enormous quantities it takes a little time for a reviewer to confidently declare that a particular album track, even from one of Hillsong's most talented songsmiths is a worship classic. But now I can declare this is what we have here. Paul Mabury's production added a crisp resilience to Reuben's husky voice while the doodling synth figure on the song's intro brought a bit of pop catchiness. But it was, of course, that anthemic chorus which got the international Church worshipping. Even after singing the lines a hundred times the fact that "He can move the mountains/My God is mighty to save, he is mighty to save" still retains its capacity to swell our hearts with gratitude.
Tony Cummings

471. CIRCLESLIDE - HOME, 2005. From the album 'Uncommon Days', Centricity.
Circleslide are a Nashville-based rock band who in their eight or nine years together have produced only two albums. But both are excellent and this track, a mid tempo song of reflection, is their best. "I was a fool fading away" goes one line in the verse before bursting into an anthemic chorus. There have been countless songs penned down the decades dealing with the theme of finding our spiritual destination but this beautifully crafted piece of pop rock (credit to producers Tommy Collier, Marc Byrd and Steve Hindalong) is as good as any of them.
Tony Cummings

472. MATT REDMAN - THERE IS A LOUDER SHOUT TO COME, 1997. From the album 'The Friendship And The Fear', Survivor.
So often worship songs attempting to express the victory of the King of Kings end up being both shallow and triumphalistic. But Britain's worship songsmith nailed it with this stirring anthem ("There is a louder shout to come/There is a sweeter song to hear/All the nations with one voice/All the people with one fear"). And that surging chorus reminding us that "You deserve an anthem of the highest praise" is underpinned with a masterly Andy Piercy production with Dave Clifton providing the rock guitars and Mark Edwards some tasty flourishes on piano.
Tony Cummings

Blind Gary Davis

473. BLIND GARY DAVIS - PURE RELIGION, 1957. From the album 'Pure Religion And Bad Company', 77.
If you'd walked about the streets of Harlem in the '50s sooner or later you'd have heard the Gospel being proclaimed, either in powerful preaching or brilliant blues gospel music, emanating from a baggy suited street musician. For many years Blind Gary Davis travelled all over the Big Apple on a mission from God. Then as the first stirrings of white society's post war interest in folk music began to grow, the street preacher and musician was "discovered". He was soon performing to admiring folkniks who were hugely impressed by Gary's dazzling guitar technique and the Rev (he was an ordained minister) was even persuaded to re-introduce into his repertoire many of the secular blues songs he'd first sung in the '20s and '30s but dropped after he'd lost his sight and turned to the Church. In June 1957 Gary recorded a batch of songs both secular and sacred which were released on 77 Records, the record label offshoot of the London jazz record shop run by Doug Dobell. They were brilliant and the best cut of all was "Pure Religion" with its searing, gravel-voiced vocal and guitar work which was described by blues authority Paul Oliver in his sleevenote, "The runs and arpeggios on the guitar, brilliantly picked with thumb and first and second fingers are breathtaking."
Tony Cummings

474. DAVE LUBBEN - SPEAK TO ME, 2005. From the album 'A Place Called Surrender', Vertical Music.
This song comes straight from the heart. Recorded by Dave Lubben, a little-known worship leader from North Dakota, the song features on his beautifully titled 'A Place Called Surrender', a fine, though perhaps not spectacular worship disc (initially released as an independent recording). Indeed, the theme of surrender sums up the theme of "Speak To Me", which acoustic track flows from a place of absolute abandonment to God. Lubben's voice constantly croaks with emotion, and it tends to educe similar emotion in the listener as Dave sings, "Change my heart, make me holy/If there's anything in my life/That doesn't honour You/I'm listening Lord, speak to me."
Tom Lennie

475. JACOB'S TROUBLE - SHE SMILES AT THE FUTURE, 1989. From the album 'Door Into Summer', Alarma.
Atlanta's Jacob's Trouble, helped hugely by producer Terry Taylor, had an uncanny knack of creating radio friendly pop rock that echoed many of the hit sounds of the '60s. On various tracks the Monkees, Crosby, Stills & Nash and, of course, the Beatles were all referenced though never slavishly copied while their songs showed far more wit and invention than many of the Christian radio hitmakers of the '90s. "She Smiles At the Future" is a track which exudes the flower-power-pop feel of the Cowsills though with a lyric about the "excellent wife" paid tribute to in Proverbs 31. It's a little gem.
Tony Cummings

476. JOHNNY CASH - ONE, 2000. From the album 'American III: Solitary Man', American.
Since it first appeared on U2's 'Achtung Baby' there have been some fine recordings of "One", not least Bono's rendition with the Soweto Gospel Choir. But it's this version from the Cash album, heralded by Mojo magazine as the Best Album Of 2000, which keeps drawing me back. I understand there is some debate amongst U2 authorities as to precisely whom the painful, heartbroken lyrics were directed but whatever stimulated their creation they portray someone wracked with sadness as the composer sees his hopes and expectations in another turning to dust as he desperately tries to remind him or her that we only have one life and we can't afford to blow it. The stark accompaniment of little more than an acoustic guitar and the Man In Black's huskily pained vocal are a perfect fit while that unforgettable line "Have you come here to play Jesus to the lepers in your head" is heart-stopping.
Tony Cummings

477. LUCILLE BARBEE - LET THE CHURCH ROLL ON, 1960. From the various artists album '20 More Gospel Greats', Cascade.
In 1960 Nashboro Records released a single of rocking exuberance "Let The Church Roll On" on which the mighty voiced Lucille was deftly accompanied by her long-time musical associates the Babb Brothers (otherwise known as The Radio Four). Catch the way the track's rollicking rhythm is interrupted half way through when Lucille rasps out the question "what you gonna do?" and The Four respond with a sweet harmonied "pray together" before taking off again into its foot stomping rhythm. Sister Lucille Barbee after a handful of singles for Tennessee, Republic and Nashboro turned to deejaying with Nashville's WVOL-AM. She died on 21st September 2009. But through this timeless piece of recorded joy reminded those left behind that the Church does indeed roll on.
Tony Cummings

Karen Sibilia

478. KAREN SIBILIA - DEEPER STILL, 2011. From the album 'Deeper Still', Lord & Associates.
Anyone who was privileged to see those globe trotting musical evangelists Tony Loeffler & The Blue Angels will know that Karen had a beautiful voice and an anointed way with worship music. Shortly before her death earlier this year after a lengthy battle with cancer Tony Loeffler coaxed Karen into his Fort Worth studio and recorded a batch of Karen's songs. This is Karen's greatest song. If there was any justice in the dissemination of new worship songs (which, I'm afraid, there often isn't) "Deeper Still" would now be connecting with believers around the globe. As it is, it will probably remain a song known only to a small cognoscente. But be that as it may, this is a classic song, a wistful, mid tempo number sung with aching conviction by Karen in a voice which recalls the pure tones of Julie Felix. The song is a plea for healing but a more important healing than that of our bodies. "I'm falling on my knees/Touch me please/Where only you can heal/Deep within my very soul is where I know/Your mercy's deeper still."
Tony Cummings

479. GRAHAM KENDRICK, MARTIN SMITH - LORD YOU'VE BEEN GOOD TO ME, 2001. From the album 'What Grace', Make Way Music.
After some years of worship output of rather mediocre quality, Mr Kendrick emerged in 2001 with a true gem of an album in 'What Grace'. Marked throughout by deft musicianship, songwriting craft and true Spirit anointing, the gently-ambling "Lord You've Been Good To Me" stands out as a worship gem whose mellow beauty has a truly melting effect on the soul. The song flowed out of a private moment of praise when the worship veteran was recalling God's goodness throughout his life. Simple in structure, and oozing with heart-thankfulness, the stripped-down arrangement helps focus the listener on the lavish goodness of God with the duet showcasing the outstanding worship leaders of two generations honouring each other's gifting. Graham and Martin's dual voices blend wonderfully together. A moment of adorational bliss.
Tom Lennie

480. THE BROTHERS AND SISTERS - THE TIMES THEY ARE A CHANGING, 1971. From the album 'Dylan's Gospel', Ode.
In a move that in hindsight seems prophetic, in 1971 Ode Records record producer/owner Lou Adler hired 28 of Los Angeles' finest gospel-cum-session singers, shut them in a Hollywood studio for two days and had them sing 10 of Bob Dylan's best known songs. The resulting album is a clear demonstration of how, right from the beginning, the folk rock icon's songs were rich in biblical imagery and truth while Adler and veteran R&B arranger Gene Page assembled a choir that sounded like something made in Heaven. Amongst the stunning lead voices were Edna Wright (who had enjoyed R&B success with femme trio The Honey Cone), Gloria Jones (who recorded the original version of "Tainted Love" before teaming up with Marc Bolan) and Merry Clayton (whose esoteric cries had played a key part in the Rolling Stones' 'Let it Bleed' sessions). Merry's lead on the opener "The Times They Are A Changing" is timeless. As soul journalist Lois Wilson wrote, hers was "a heart-stopping rendition, she took Dylan's snarled polemic and turned it into a jubilant spiritual."
Tony Cummings

481. THE ORANGE COUNTY SUPERTONES - SUPERTONES STRIKE BACK, 1997. From the album 'Supertones Strike Back', BEC Recordings.
At its worst the Orange County ska bands were merely a pale derivative of Britain's Two Tone ska sound of an earlier decade. As that in turn was an overrated variation on the Jamaican ska originators it was hardly surprising that by 1999 America's belated romance with fast offbeat rhythms and pumping brass sections was over. However, even before the honeymoon ended the OC Supertones were integrating plenty of rock inventiveness into the ska template and this, their second album, produced by Steve Kravac (The Offspring, Home Grown) has some captivating tracks. This bombastic cut with its biting guitar riffs and staccato singing over the careering rhythm may not have the greatest lyric in the world ("We want this band to be a big love letter/So we play the ska and it makes you feel better") but it sure conveys the rowdy dance-or-mosh cheerleading-for-Jesus feel of the best of the genre.
Tony Cummings

482. RADIO FOUR - AN EARNEST PRAYER, 1955. From the album 'There's Gonna Be Joy', Nashboro.
In the '70s the Rev Dr Morgan Babb, as pastor of Nashville's King Solomon Baptist Church was a big timer in the African American church scene. As well as leading a thriving church with a 900 member congregation, he broadcast twice daily on WVOL and his fiery, declamatory preaching even got him featured in a BBC documentary with the Radio Times devoting a two page feature on this larger-than-life minister in sharp suits and gold jewellery. Back in the early '50s Morgan and his brothers - George, Ray, James and Claude Babb - made a heap of fine gospel singles for Republic and Nashboro Records as the Radio Four. This cut which begins with a blistering sermonette from Morgan, some delicious coo-ing from the guys and some inspired slap bass from white bass man Ernie Newton is a joyful noise.
Tony Cummings

Love Song

483. LOVE SONG - WELCOME BACK, 1972. From the album 'Love Song', Good News.
In 1971 four recently converted longhairs - Chuck Girard, Tom Coomes, Jay Truax and Bob Wall - met with MGM executive Freddie Pito at the Samuel Goldwyn Studios in Hollywood. They played Pito two of their compositions which, as Love Song, they had been gigging in the first flush of the Jesus Movement. The executive ended up on his knees in the studio parking lot, praying with them to ask Jesus into his heart. Filled with the Spirit and new convert zeal Pito left MGM and launched his own record label, Good News Records on which Love Song recorded their self-titled album. According to The Encyclopedia Of Contemporary Christian Music 'Love Song' was to go on to sell a phenomenal 250,000 copies and is, according to that book's author Mark Allen Powell, "the best Christian album ever recorded on a par with 'Sgt Pepper's Lonely Hearts Club Band' not only musically but influentially." Certainly 'Love Song' proved the template for much of what was eventually to be dubbed "contemporary Christian music" and even nearly 40 years on its luminous joyfulness and its celestial West Coast harmonies still work their magic. This haunting mid tempo song with its harmonised repetition of the title, its lilting acoustic rhythm and Chuck Girard's high, expressive lead all create a mood of devotional love. "Welcome Back" was one of the two songs that so effected that record executive and from the first line "Welcome back to the things you first believed in/Welcome back to what you knew was right from the start" it continues to be a beautiful anthem of re-commitment.
Tony Cummings