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

894. LEO WELCH - SOMEBODY TOUCHED ME, 2013. From the album 'Sabougla Voices', Big Legal Mess.
Mississippi bluesman Leo 'Bud' Welch left it late in the day to release his debut album at the grand old age of 82 but the result was most definitely worth the wait. Amidst a delightfully rough, raw and ready collection of gnarled gospel blues numbers, a version of the much-covered "Somebody Touched Me" stands out. Those familiar with the banjo-driven version by bluegrass legends the Stanley Brothers may not even recognise Welch's reading as the same song but the seasoned bluesman succeeds in putting his own stamp on a tale of divine intervention. Kicking off with gritty guitar refrain, the scene is set for a down home and impassioned vocal performance from Welch (with backing vocal assistance from Martha and LaVerne Conley) as he tells a tale of how he felt the hand of the Lord on him when he woke up that morning.
Lins Honeyman

895. SIXPENCE NONE THE RICHER - BLEEDING, 1995. From the album 'This Beautiful Mess', REX Music.
One of the hardest subjects to write songs about are those times when God's living presence seems to have departed from us. We know that theologically he's still there but without the experience of our Comforter, life's problems and challenges sweep in until we feel bereft and alone. Few Christian lyricists since King David have been bold enough to tackle this battle between what we know and what we feel but in this song Matt Slocum does just this. The band that Matt and singer Leigh Bingham had begun in 1992 had reached its classic lineup of Tess Wiley (guitar, vocals), JJ Plasencio (bass) and Dale Baker (drums) when they recorded 'This Beautiful Mess' and the fivesome's brooding alt rock sound was brought into focus by engineer/producer Armand John Petri who was to go on to work with such luminaries as the Goo Goo Dolls and 10,000 Maniacs but who asserted that of all the albums he's worked on 'Mess' is one of his favourites. In an interview Leigh explained the creative partnership between her and master songsmith Slocum. "I always felt that my position is the band was to interpret Matt's lyrics from my heart the best I could. Even when my voice was 'new' and very much still developing, I was eager to share the beauty Matt was coming out with in the lyrics. I wanted you, the listener, to get chills the way I did when I read them and performed them." And chills Leigh undoubtedly creates as her wistful voice pierces through the billowing wall of guitars. The poetic verses ("And I'm beating my soul to make it bleed a drop of hope/Then I'll drink it up in a golden cup and let it grow inside") before that memorable chorus ("I fear that you've gone away/But you must be somewhere near") are hauntingly executed. On 'This Beautiful Mess' CD sleeve the lyrics are printed next to a powerful painting by Debbie Taylor of the pierced Christ. The brilliant final touch.
Tony Cummings

896. SISTER ROSETTA THARPE - DIDN'T IT RAIN, 1961. From the album 'Gospel Train/Sister On Tour', Soul Jam Records.
For decades gospel legend Sister Rosetta Tharpe was well-known for being a tour-de-force as a vocalist, guitarist and performer and on this live recording of her characteristically ragged electric guitar playing and some audience handclapping for accompaniment, Tharpe revisits one of her biggest ever hits. She belts it out in just under two minutes of breathtaking power and passion. Originally recorded as a call-and-response duet with her longtime Gospel Highway touring mate Marie Knight, this version sees Sister Rosetta remarkably take on both vocal parts without missing a beat whilst even finding the time and energy to slot a fiery guitar solo into proceedings - all proving that Sister Rosetta was one of the greatest.
Lins Honeyman

897. JARROD COOPER - KING OF KINGS, MAJESTY, 2005. From the album 'King Of Kings, Majesty', Authentic.
This classic worship song is proof that writing a song with the necessary blend of sheer singability and theological truth is much, much harder than it appears. Jarrod, who is of course today established as the leader of the Revive Church across Hull and East Yorkshire was once best known for leading worship at the Kingdom Faith Bible weeks established by Colin Urquhart which in the late '70s were one of THE sources for the first wave of modern worship songs to circulate. In fact, it was at a Kingdom Faith celebration that Jarrod first recorded "King Of Kings, Majesty" though it's his 2005 studio recording, warmly crooned by Jarrod and neatly produced by Andy Green, which best brings out the majesty of the song with its killer line "God of Heaven living in me." In a Cross Rhythms interview Jarrod recounted how he was once asked what it was like to be a one-hit wonder. He responded, "Better than a no-hit wonder!"
Tony Cummings

Ernestine B Washington

898. SISTER ERNESTINE B WASHINGTON WITH BUNK JOHNSON'S JAZZ BAND - WHERE WOULD I GO BUT TO THE LORD, 1946. From the various artists album 'As Good As It Gets: Black Gospel', Disky.
Most jazz historians play up the part the brothels of New Orleans had in the development of jazz and downplay the role the sanctified churches had after USA's Great Awakening. In fact these churches, with their invitation to musicians to attend bringing whatever instruments they could get their hands on so they could improvise worship "in the Spirit", had a key part to play in jazz history. However, by the time recording of jazz began in the '20s it was the danceable delights of hot brass and rhythms improvisations of the clubs, brothels and dancehalls rather than the joyful freedom of improvised worship which held sway although old spirituals ala "When The Saints Go Marching In" continued to be part of the repertoire of hundreds of New Orleans jazz ensembles. So, having played a key part in developing early jazz the Church abandoned it to the partygoers, even subsequently denouncing the music form as "worldly" (a theological mistake it was to repeat decades later with rock music and then hip-hop). Such strange twists of musical history has ensured that there are few recordings of genuine New Orleans jazz musicians accompanying authentic gospel singers. This recording, made in New York in 1946 for Jubilee Records, is one of the few. Bunk Johnson was an important figure in the early days of New Orleans and though no Louis Armstrong showed that after being re-discovered in the 1940s by white jazz historians could still blow a hot trumpet solo while his band, also featuring the fine clarinettist George Lewis made a far more convincing sound than all the white trad jazz revivalists of the '60s. Ernestine Washington was a renowned church singer from Little Rock, Arkansas who, in the '40s, with husband Frederick Washington established a thriving COGIC church in Brooklyn, New York. Gospel author Bil Carpenter wrote about Sister Ernestine's singing style which combined "the somewhat shrill, nasal and loud singing style of her Sanctified musical heroine Arizona Dranes with the softer eloquence of her Baptist heroine Roberta Martin. It's an acquired listening taste but nonetheless earned Washington a reputation as a church-wrecker for the pure theatrics of her racy vibrato." The combination of Madame Ernestine's shrill declarations of Godly devotion accompanied by Johnson and Lewis' free flowing improvisations made a sound that I'm hazarding a guess is close to the music you'd have heard in a deep South Sanctified church in the 1890s.
Tony Cummings

899. WILL DERRYBERRY - TELL ME WHAT KIND OF MAN JESUS IS, 2003. From the album 'Roots', Independent.
Californian singer/songwriter Will Derryberry's 'Roots' album featured mostly gospel blues numbers and was a joy to hear. It's Will's inventive reading of the much recorded "Tell Me What Kind Of Man Jesus Is" which is the gem. Based on legendary bluesman Big Bill Broonzy's version, Derryberry maintains the big man's stripped back approach with only a couple of acoustic guitars providing the backdrop to a funky depiction of Saul's post-Damascus road questioning of Jesus' apostle Ananias. Immediately after a straightforward but utterly effective guitar solo, Derryberry showcases his panache as a vocalist and performer by whispering the eponymous question before mumbling and scatting his way to the end of this kooky but brilliant slice of gospel blues.
Lins Honeyman

900. MELODIME - LITTLE PEOPLE, 2013. From the album 'Where The Sinners & The Saints Collide', Independent.
A husky vocal from Brad Rhodes, lead man with Virginia's Melodime, take on a bluesy, Southern rock swagger particularly when Brad goes up an octave. The midtempo song is a memorable plea to show respect to all humanity. "We're all little people, little bitsy people, but we forget from time to time," Brad roars, and who could argue? One of the best pieces of Southern rock that Third Day never recorded.
Tony Cummings

901. ROY ACUFF - THE GREAT SPECKLED BIRD, 1938. From the album 'The Essential Roy Acuff', Columbia Legacy.
The story of this song, which since its success in the '30s for country music pioneer Acuff was subsequently recorded by such acts as Johnny Cash and Lucinda Williams, goes back to the 1920s. "Fundamentalist" is today a completely pejorative word used by the media for any kind of religious fanaticism. But in the 1920s fundamentalist had a far more narrow meaning. It goes back to America when a number of American Bible-believing theologians were understandably aggravated by decades of liberal theologian pronouncements which re-interpreted or disregarded the Bible. This reaction against the liberals was articulated in a series of books called The Fundamentals pinpointing the fundamental doctrines of true, biblical Christianity. The liberal churchmen weren't prepared to leave it there though. They launched virulent attacks on these "fundamentalists" and those who believed the Bible was the inspired source of church doctrine. Into this decidedly heated debate strode the Rev Guy Smith. He took a traditional melody that in the '20s had been recorded under such titles as "Thrills That I Can't Forget" and "I'm Thinking Tonight Of My Blue Eyes" and wrote lyrics based on a Scripture found in Jeremiah 12:9, "Mine heritage is unto me as a speckled bird, the birds round about are against her; come ye, assemble all the beasts of the field, come to devour." The Rev Smith's lyrics were memorable indeed. "What a beautiful thought I am thinking/Concerning a great speckled bird/Remember her name is recorded/On the pages of God's holy Word/All the other birds are flocking 'round her/And she is despised by the squad/But the great speckled bird in the Bible/Is one with the great church of God." Acuff sang Smith's hymn with rough-hewn passion and when released by Vocalion Records in 1938 it proved to be the launch pad which saw the singer/fiddle player become possibly the first country music superstar and an omnipresent at the Grand Ole Opry.
Tony Cummings

902. HILLSONG WORSHIP - NO OTHER NAME, 2014. From the album 'No Other Name', Hillsong Music.
In this particular era when spiritual darkness and divine light have both begun world wide revival there has never been a time when it is more important the true Church upholds its bold declaration that there is no other name given to man through which we can be saved other than that of Jesus Christ of Nazareth. The team of worshippers from New South Wales, Australia now labelled Hillsong Worship (which must be about their seventh re-branding since those early days in 1993 when the Hills Christian Life Centre released the 'Stone's Been Rolled Away' album) have seen this magnificent worship song impact the world Church. And so it should. "No Other Name" was written by Hillsong's hard working worship leader Joel Houston and Swedish composer of Christian mega-hits Jonas Myrin and from the moment the first verse commences ("One name holds weight above them all/His fame outlasts the earth he formed") the lyrics bite into our souls. By the time that epic chorus is reached ("Holy is the name/Holy is the name of Jesus, Jesus, Jesus") the adoration has reached the point of abandon.
Tony Cummings

G.L.O

903. G.L.O - NAME ABOVE ALL NAMES, 2010. From the album 'Breakthrough', Independent.
Nearly four years beforer Hillsong were recording their epic worship anthem "No Other Name", a lady rapper from Texas (who goes by the dual identities of Glo and G.L.O) was releasing her third album. It was a gem. This track, based in part on the same Scripture as Hillsong's recording, Acts 4:12, "For there is no other name under Heaven given to mankind by which we must be saved," is fearlessly expanded by the tricky-tongued emcee. With the bold confidence of a prophetess Glo asserts the inevitable conclusion - that no other god, be it sports or Buddah, materialism or Hinduism, girlfriends or ganja, can lead us into Heaven. The fact that this compelling track was recorded in a tiny garage studio with Glo's husband doing the engineering is impressive. Even more impressive is that Glo shows herself able to sing a catchy hook as well as rap words of timeless truth. I recently had the privilege of seeing a multi-national, all-ages congregation in an inner city church in London dancing in worship of the One who inspired this unheralded hip-hop classic which was being played. No wonder God is now opening a door to the nations for hip-hop warrior Glo.
Tony Cummings

904. PAPA SAN - STEP UP, 2014. From the album 'One Blood', Beloved.
Ever since his conversion, in 1997, dancehall reggae maestro Papa San has proceeded to up the anti with reggae gospel bringing in ragamuffin elements but also making sure there are plenty of West Coast hip-hop fire and R&B to bring international appeal to his output. In fact, there are some diverse US talents such as Fred Hammond and Lecrae guesting on Papa's 'One Blood' album with Da'T.R.U.T.H. adding his powerhouse deliveries to Papa's impossibly frenetic rhymes on "Step Up". I can't say my grasp of patois makes such utterances as "Busta come wikidie bum/Say what? My bam laba" understandable though the American rapper's assurance that he's "Running' and gunnin' after Messiah/And I'm really pushing and making my way to Zion" is clear enough. Exciting listening.
Tony Cummings

905. THE WORD - GLORY GLORY, 2015. From the album 'Soul Food', Vanguard.
The 'Soul Food' album features blues jam supergroup The Word on a charged-up rollercoaster of blues experimentation that explores the very extremities of pedal steel supremo Robert Randolph's slide playing. On the closing track - a seemingly impromptu version of the old spiritual "Glory Glory" - Randolph and crew turn off the electricity but not the power with a no less high octane acoustic outing that showcases the band's dazzling skill. With guest vocals from Amy Helm, it's Randolph's incredible slide playing that takes the breath away whilst simultaneously breathing new life into a much-covered gospel blues standard.
Lins Honeyman

906. PILGRIM TRAVELERS - I WANT MY CROWN, 1948. From the various artists album 'As Good As It Gets: Black Gospel', Disky.
"When I've done the best I can, I want my crown," emotes the soulfully assured Kylo Turner as his fellow Pilgrim Travelers chant their desire for Heavenly rewards. A perfectly executed piece of mid-tempo gospel from 1948 which shows how rhythmic acapella can be when you've got top travellers on the old Gospel Highway prepared to minister for a pittance in ghetto churches and record for record companies notorious for not giving any rewards to their artists. No doubt the lack of record royalties for Kylo has long been compensated in Heaven.
Tony Cummings

907. THE BLUES BAND - PEOPLE GET READY, 1999. From the album 'Brassed Up', Hypertension.
There have been a myriad of great covers of the Curtis Mayfield Impressions classic "People Get Ready" over the years ranging from Aretha Franklin and Rod Stewart to the Everly Brothers and even Yazz. But this stripped-back acoustic version by long-serving UK group The Blues Band - tucked away near the end of an otherwise beefed up and brass section-adorned release - is really something else. Following a tender intro courtesy of Manfred Mann colleagues Tom McGuiness on guitar and Paul Jones on blues harp, the latter gives an utterly heartfelt and considered vocal performance in the now familiar encouragement to get on board the Lord's train before it's too late. Some expressive but sensitive slide from guitarist Dave Kelly hovers around Jones' rich tones whilst a brief foray in falsetto from the Radio 2 presenter adds the icing on the cake of this easily-missed nugget of gold.
Lins Honeyman