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

Carolyn Arends

398. CAROLYN ARENDS - SEIZE THE DAY, 1995. From the album ' I Can Hear You', Reunion.
Canadian singer/songwriter Carolyn has continually proven over the last 15 years that she is skilled at creating stories-in-song based on real life experiences so perhaps it's apt that one of her finest songs talks of seizing the day. Although the exhortation has been around since ancient writers Horace and Ovid both used the Latin phrase "Carpe Deum", the concept got a contemporary push when it was used by actor Robin Williams in the 1989 film Dead Poets Society. Here Arends gives it a spiritual twist and places her lyric over a gorgeous folky arrangement (complete with piano accordion) and a memorable melody. It reminds us that even if we're engaged in small endeavours we need to seize the day for "grace from God's hand so nothing gets in the way". In a few snapshots, she tells the stories of those she knows seizing the day and reminds us with a fabulous turn of phrase that "life slips away just like hourglassing". In a culture where it's very easy to squander what we've been given, she sings, "You can do what you like with the days you've been given/I'm trying to spend mine on the business of living." Truly inspiring!
Mike Rimmer

399. BOB DYLAN - GOTTA SERVE SOMEBODY, 1979. From the album 'Slow Train Coming', Columbia.
The Dylan cognoscente have long tried to suggest that the "Christian period" of the folk rock bard (1979 to 1981) produced much of the singer/songwriter's weakest albums but such a viewpoint has far more to do with anti-Christian posturing than any honest evaluation of his two and a half gospel albums (1979's 'Slow Train Coming', 1980's 'Saved' and 1981's 'Shot Of Love') recorded by the star. 'Slow Train Coming' was produced at the famed Muscle Shoals studio with R&B masters Jerry Wexler and Barry Beckett and with Dire Straights' Mark Knopfler adding his fluid guitar interjections to the proceedings several tracks are outstanding with this, the opener, a true gem. The vibe is deliciously bluesy and with Beckett's grooving electric piano underpinning Dylan's growled laconic vocals, and a masterly song on which Dylan reminds us that whether the Devil or the Lord, we have to serve somebody, this is a timeless classic.
Tony Cummings

400. MARK HEARD - RISE FROM THE RUINS, 1990. From the album 'Dry Bones Dance', Fingerprint.
After Mark's unexpected and untimely passing in 1992, his 1990 'Dry Bones Dancing' album came to be recognised as the high point of this hippy-ish, roots artist's career. As the opening track, "Rise From The Ruins" shares the same life and hope as the title track, as well as similar lyrical concerns; it also contains an irresistible joie de vivre which still sounds fresh today. No doubt influenced, as well, by the same Old Testament prophecy from Ezekiel, "Ruins" is a driving, Americana-styled declaration notable for perhaps the best accordion part you'll ever hear, the instrument played somewhat like a guitar, with a killer riff and performed (along with songwriting and production duties) by Heard himself. Issuing a wake up call, the lyrics implore us to "Go and tell all your friends and relations/Go and say what ain't easy to say." and Heard is at his rollicking best. Little did we realise the irony of the line, "We can walk, we can talk/We ain't yet pillars of salt/We will rise from the ruins while we can." All the while we can, we must.
John Cheek

401. BEBO NORMAN - WALK DOWN THIS MOUNTAIN, 1999. From the album 'Ten Thousand Days', Watershed.
It was widely reported that Bebo Norman's first international release, 'Ten Thousand Days', was for a time the fastest-selling album on the internet, outselling even every single mainstream artist. A remarkable achievement by the rootsy singer/songwriter from Georgia. With his blend of delightfully catchy folk-pop tunes and poetic inspirational lyrics Bebo managed to strike a note both with the burgeoning student audience and rank and file churchgoers. Here an irresistible melody, emotive vocals and original lyrics combine to deliver a message of real pertinence to the Christian life. Terrific stuff.
Tom Lennie

402. DEBETTE DRAPER - IF YOU TRY, 2002. From the album 'Walk On Gold', Sarah Jean Music.
Urban gospel diva Debette quickly disappeared from view but she left us with this simple, soulful song which floats on a sparse, shuffling rhythm and where the electronic effects on the voice unusually heighten rather than detract from the vibe of the song. The lyric reminds us that "you can make it if you try." Let's hope this gifted singer/songwriter launches another attempt at making it.
Tony Cummings

Skip James

403. SKIP JAMES - JESUS IS A MIGHTY GOOD LEADER, 1931. From the various artists album 'Goodbye Babylon', Dust To Digital.
"Let Jesus lead you, all the way/All the way from earth to Heaven." So sang one of the great Delta bluesmen, Nehemiah Curtis "Skip" James. The levee-building labourer turned peripatetic bluesman travelled to Grafton, Wisconsin where he recorded some tracks for Paramount Records including his searing rendition of this old spiritual driven by his open D-minor tuned guitar with his intricate finger-picking technique. The Great Depression meant that this and his other Paramount recordings sold poorly. Skip gave up the blues singing lifestyle and was ordained as a minister in both the Baptist and Methodist churches before being rediscovered by white blues enthusiasts who found him in a hospital in Tunica, Mississippi. Along with Son House, Skip became a revered figure in the Blues Revival and rock band Cream recorded two versions of one of his songs "I'm So Glad". Skip died in 1969 no doubt finding that Jesus is indeed a mighty good leader.
Tony Cummings

404. CHARLIE PEACOCK - ALMOST THREW IT ALL AWAY, 1990. From the album 'The Secret Of Time', Sparrow.
Having flirted with major record labels and recorded as an indie artist, this album was supposed to be Charlie's breakthrough album and yet it's interesting to note that one of the most successful producers in Christian music was on this set produced by Brown Bannister. The song is autobiographical and explores the true nature of a love which doesn't give up and has echoes of 1 Corinthians 13. Peacock has always been a skilful lyricist and here he manages to mix regret and hope in equal measures. The dynamic of the song is built around a very hooky chorus but what really makes this song work is the dynamics where there are dramatic peaks and troughs. This is particularly effective at the four minute mark where there is a dramatic peak immediately followed by some gorgeous spine tingling gospelly vocals. For anyone who has ever teetered on the brink of losing everything, this is a celebration of love that makes it.
Mike Rimmer

405. THE DETROITERS - MOTHER, I NEED YOUR PRAYER, 1952. From The Detroiters/The Golden Echoes album 'Old Time Religion', Specialty/Ace.
Originally from Texas before settling in Motor City, the Detroiters were never to hit the bigtime enjoyed by quartets like the Soul Stirrers and the Pilgrim Travelers but were in many ways the equal to those gospel giants. The Detroiters had two lead singers - Oliver Green on high tenor and Leroy Barnes on lower lead - while their baritone singer and assistant manager Bill Johnson sometimes wrote their songs, like this one, recorded for Art Rupe's Specialty Records. They recorded at least three songs on the theme of motherhood but this was their best. Gospel expert Ray Funk called it "a classic cry of guilt over a son's failure to live up to a mother's expectations". Seldom has the condemnation that sin brings been so powerfully and so soulfully portrayed.
Tony Cummings

406. THE GENTLEMEN - PUSH BACK, 2009. From the single, Stereo Tree.
The album 'A Candid History Of Faith, Hope, Love' didn't deliver the chartbusting singles that the band hoped it would. But they gave it their best shot. This remixed version of the song added some well placed synth to propel it along and removed Nicolas Noble's little rant. Short, simple and brilliantly catchy, this is everything a hit single should sound like, and its staccato phrasing and punchy rhythm will have you wandering around the house singing the chorus to yourself. In fact, it felt like I spent two months doing just that, annoying everyone else in the house. Powerful and snappy, "Push Back" shows the band at their commercial best. Let's hope they push back with some more music.
Mike Rimmer

407. DICKY OCHOA - MADI'S SONG, 2000. From the album 'Dicky Ochoa', Metro.
For the briefest moment this singer/pianist pitched a delightful album into the Christian marketplace before disappearing to re-emerge as a mainstream artist a few years later under the name Richard Swift. The 'Dicky Ochoa' album was a fine set with "Please Don't" getting some Cross Rhythms airplay at the time. But it's this haunting song, presumably a tribute to his baby daughter, which stands the test of time. Images like "I thought I saw angels crawl in your crib and you started laughing" and "When I'm away, I dream of you lying in the tenderness of your mother's prayers" are delivered without the slightest hint of mawkishness. Instead they build a picture of adoring parenthood which is hauntingly convincing. An unacknowledged gem of songwriting craft and a tender-hearted performance.
Tony Cummings

Misty Edwards

408. MISTY EDWARDS - YOU WON'T RELENT, 2008. From the album 'Relentless', Forerunner.
It has been the breathtaking vocals of worship leader and songwriter Misty Edwards which have been instrumental in giving Kansas City's International House Of Prayer its reputation for being on the cutting edge of contemporary worship music with Ms Edwards powerfully demonstrating the prophetic dimension to her innovative (sometimes spontaneous) songs. "You Won't Relent" is the most gripping song from a superb album. Vocal interaction from guitarist and co-producer David Brymer is winsome - David's voice intertwining beautifully with Misty's. All begins gently before bursting open in a flame of energy as the lead players lose themselves in their Lord and Lover. Check the passion and devotional intimacy of the lyrics: "I'll set you as a seal upon my heart/As a seal upon my arm/For there is love that is as strong as death/Jealousy demanding as the grave/Many waters cannot quench this love."
Tom Lennie

409. GAITHER HOMECOMING FRIENDS - TELL ME THE STORY OF JESUS, 1998. From the album 'Down By The Tabernacle', Spring House Music Group.
Certainly there are elements within the Gaither machine that make you laugh or cringe, depending on your temperament - the big hair and often OTT attire; the on-camera instant smiles or tearful ejections, as deemed appropriate; and the cheesiness of some of their musical arrangements. Yet no one should underestimate the global phenomena that is Gaither Music; no one, surely, can legitimately deny the high standard of musical ability of the Gaithers' throng of Friends nor how the updating of the Southern gospel sounds of old has breathed new life into what was an anachronistic musical sub-genre. "Tell Me The Story Of Jesus" is a clever adaptation of an old-time gospel tune - bringing in various vocalists at different stages of the flowing, ponderous melody. Tanya Goodman Sykes starts off tenderly, harmony vocals coming in from Reggie Smith and Wesley Pritchard. The second verse is beautifully delivered by Cynthia Clawson, later joined by Ivan Parker, before group vocals round the song off - though not before adding a refrain from "I Love To Tell The Story". A gorgeous rendition - six minutes of Gaither music at its finest.
Tom Lennie

410. STEPH MACLEOD - HOPE SHINES ON, 2010. From the album 'Light In The Darkest Of Nights', Steph Macleod Music.
Some knowledge of Steph's previous life of homelessness caused by alcohol addiction helps the listener appreciate why this Scottish singer's self-composed lyrics are so rich in their focus on grace and hope in Christ. Steph is a fine songwriter, this being more apparent than anywhere on the opening cut from his striking debut. Adopting his inimitable rootsy blues style, "Hope Shines On" is vividly and at times hauntingly autobiographical, as Macleod vulnerably evokes the darkness of his past - before the entire mood changes suddenly as Steph sees "a light, shining in the darkest of nights/And it's calling me/And the sound of my name it is so sweet". Steph emerges as a new man, with hope shining on. A terrific piece of musical drama.
Tom Lennie

411. MICHAEL & STORMIE OMARTIAN - MS PAST, 1979. From the album 'Seasons Of The Soul', Myrrh.
As the only record producer who has enjoyed number one US singles in three decades ('70s, '80s, '90s), Michael has long been a fixture in the US music scene. In the '70s he recorded some groundbreaking albums, some with his wife Stormie (today a best selling author) and some solo. His distinctive production style, which often used pulsating synth pop rhythms, worked well behind his and Stormie's voices while "Ms Past" is as catchy a piece of pop as you're likely to hear. It also contained a brilliant lyric which reminded us that in Christ we didn't have to be defined by our history. A perfect example of uplifting pop music.
Tom Lennie

412. SILAGE - BILLBOARDS, 1998. From the album 'Vegas Car Chasers', Essential.
Taken from the second Silage album, this is probably the peak of the band's creativity as they dropped the more extreme ska influences of their debut and created a very catchy hybrid of pop, rock and hip-hop. Built around an infectious guitar riff and hip-hop groove, this is an angsty cry out against the swamping effect of living in a bubble of overpowering consumerism. I love the repeated chanted refrain "Billboards and buildings is all that I see, will someone please show Jesus Christ to me". And overall, this has got the perfect combination of strong message and killer vibe. Listening to it today there is also the sadness of missed potential. What might this band have been capable of if they'd stayed together?
Mike Rimmer