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

442. GOD'S PROPERTY - STOMP, 1997. From the album 'Kirk Franklin's Nu Nation', B-Rite.
"For those of you who think that gospel music has gone too far." So opened "Stomp", the collaboration between Kirk Franklin and small choir God's Property that really did cause some gospel commentators to be outraged when it was first released in 1997. The song is built on a solid '70s funk groove that owes a lot to Parliament's seminal "One Nation Under A Groove", this infectious uplifting gospel song combines the magnificent choir vocals of God's Property with Franklin's customary role as hype man. The accompanying video was played to death on gospel channels and the tune itself was one of the biggest crossover gospel hits ever. It is unfeasibly funky and right in the middle, there's Cheryl "Salt" James of R&B hitmakers Salt-N-Peppa contributing a few bars of rap. At the time of release, the track was at the very cutting edge of gospel music and as usual there were plenty of detractors willing to complain that it sounded too "worldly" not to mention those in the Church with misguided theological convictions that Christians shouldn't dance. That didn't stop "Stomp" surging on a tidal wave of popularity so that Franklin helped to push gospel in a fresh direction.
Mike Rimmer

Paul Poulton

443. PAUL POULTON - ANGEL, 2001. From the album 'Angel', Temporary Music, 2001.
If you're a follower of Britain's grassroots Christian music scene you'll know that journeyman Paul is one of the wittiest and most thought provoking lyricists in Christendom and although his part Larry Norman, part Bob Dylan voice is an acquired taste, his stream of recordings down the years have maintained a high standard. This is his classic. A song about entertaining angels in disguise, the tongue-in-cheek lyrics are a delight ("He walked along the street I live in/Seemed to be heading straight for me/This could be an angelic visitation/Shrouded in mystery?/ I thought of 20 different questions/I'd like to ask the Heavenly Host/Abraham gave a meal to the angels/I wondered should I offer him some toast"). A satisfyingly organic rock funk groove, with some tasty guitar from Paul, drives the track along and a decade on, "Angel" still shines bright.
Tony Cummings

444. UBC BAND - ALL I CAN SAY, 1998. From the album 'All I Can Say', Worship Underground.
Since the early years of the millennium the David Crowder Band have been one of the most successful and popular worship outfits on each side of the Atlantic, their high-energy praise anthems (such as "Everything Glorious" and "How He Loves") being favourites among armies of young worshippers. It is perhaps ironic that one of Crowder's most striking compositions is one that many of David's supporters are unfamiliar with - originally appearing on an album that doesn't even bear his name on the front sleeve. 'All I Can Say' - a classic in its own right - was released in 1998, a few years before almost anyone in the UK had heard of David; appearing as part of the UBC Band, the aggregation ministering out of the University Baptist Church in Waco, Texas, which Crowder co-founded back in 1995. Not a praise anthem but a song of acoustic reflection, it is a delicate expression of heart-touching vulnerability, as the singer/songwriter bares his feelings of frailty and failure before his Father. The emotions expressed are ones anyone can identify with and it's difficult to listen to this track and not be deeply touched.
Tom Lennie

445. PHIL AND JOHN - FEELS LIKE THE SUMMER, 1985. From the album 'Waiting For Summer', Kingsway.
Following on from Malcolm And Alwyn, over a decade previously, it probably seemed a pastiche of Christian rock to have an '80s pop act called Phil And John performing in church halls and evangelistic rallies. But there was always more to this Nottinghamshire duo, even before Steve Taylor brought some much-needed production clout to the lads with 1989's '.Hallelujah' album. It was in a live setting, with just the two of them with acoustic guitars, that the intimate nature of their songs came to the fore. "Feels Like The Summer" is a gem. Not entirely unlike the Style Council's "Long Hot Summer" from the year before, it has that same summer-feel, combined with a poignancy which grows after several listens but moreover, possesses a rare innocence which transcends any possible hint of mawkish sentimentality. It captured perfectly the feeling of having received the most profoundly-important occurrence in human experience and the warmth and reassurance this song conveyed has continued to work its emotive all these years on. Remember this song; remember your first love...
John Cheek

446. FLYING CLOUDS OF DETROIT - PEACE IN THE VALLEY, 1946. From the various artists album 'Flying Clouds Of Detroit 1942-1950', Heritage.
Down the decades literally hundreds of artists have recorded the song "Peace In The Valley" composed by that "Father of gospel" Thomas A Dorsey. Pat Boone, Jim Reeves, Bill & Gloria Gaither, Connie Francis, Roy Rogers and, of course, Elvis Presley have all offered their takes on the song and in truth most have been maudlin, sentimental, and to this reviewer, all but unlistenable. But, as it turns out, as well as the countless soporific, easy listening renditions of the gospel hymn, there's this beautiful acappella version by a group of jubilee harmonisers who in the '40s and '50s were popular broadcasters on Detroit radio stations like WJLB and CKLW. With a rich, smooth lead in Elmer A Stallworth who brought out all the poignancy of the song and an accompaniment (described on a CD reissue) "rendered as closely as kittens in a crib", this is still a listening delight. And as a bonus listeners are given singer William "Windy" Turner singing lead on a verse in a bass profundo that makes most Southern gospel bassmen sound falsetto in comparison.
Tony Cummings

447. MALI MUSIC - NO MUSIC, 2009. From the album 'The 2econd Coming', Independent.
Mali's 'The 2econd Coming' was one of the best albums of 2009. It introduced us to an urban music loose cannon with plenty to say and a variety of ways of saying it. The album is so diverse musically that it is difficult to highlight a single song but "No Music" caught my ear right from the start. Based on a rhythm pattern recorded at a relative's church with its unique beats and tambourines, Mali takes us back to simple worship when there was no music, just hand made rhythms and voices lifted up to God in praise. An accomplished producer, songwriter and instrumentalist, Mali was only 21 years old when he recorded this yet demonstrated he has the talent to become one of the most creative people in urban music.
Mike Rimmer

448. THE BARRATT BAND - MY FATHER'S HOUSE, 1983. From the album 'Clean Tape', Chapel Lane.
The sad death of Norman Barratt in July 2011 brought forth a lot of tribute to the great man's guitar skills. From the heavy prog power of Gravy Train to his work as a guitarist for numerous Christian artists in the '70s and '80s plus his work with the Barratt Band, there are plenty of opportunities to sample his talents. This blues number was left off Barratt Band's debut album 'Voice', probably because it didn't quite fit in with the polished sounds of the rest of that album. Instead, this glorious chunk of BB King-esque blues was featured on a Chapel Lane compilation album, 'Clean Tape'. The song had long been a live favourite with fans and clearly demonstrates the talents of the rest of the Band as each is given an opportunity to shine. But front and centre there's Norman, singing his heart out about his heavenly destination before letting his guitar do the talking and pouring out a couple of dazzling solos. Incidentally, there is a great live performance of this on YouTube from the Band's headlining set in 1982 which is essential viewing.
Mike Rimmer

Blackwood Brothers

449. THE BLACKWOOD BROTHERS - LEARNING TO LEAN, 1976. From the album 'Learning To Lean', Skylite.
Southern gospel certainly isn't to everyone's tastes but this SG classic from 1976 shows that the genre is much more than the cornball nostalgia and overblown productions sometimes served by the Gaithers. These superstars of the genre had some sensitively sweet harmonies, Pat Hoffmaster was a moving lead singer and this song, a melodious hymn from the pen of John Stallings, is one of the most wistful melodies in the whole Southern gospel canon. Even the corny spoken exhortation for listeners to join in at the close is effective. We all need to learn the lesson of daily dependence on the living God and this haunting performance brings that truth home with reverence.
Tony Cummings

450. THE KRY - FAITHFUL, 2004. From the album 'God Of Infinite Worth', Independent.
Down the decades thousands of songs must have been written about God's faithfulness, but this is the finest one I've heard. A deftly tuneful song of worship, its effect when it gets to that chorus "Faithful, you are faithful/Always faithful/Faithful as the sun" is to immediately take one to a place of thankfulness. Pop rockers The Kry, fronted by the hugely underrated French Canadian singer/songwriter Jean-Luc Lajole, had their moments in the Nashville CCM spotlight and now that that season has passed, continue to minister around the world. Back in 2004 when the 'God Of Infinite Worth' album was released, The Kry (by then a duo - Jean-Luc and his brother Yves) somehow found the funds to not only make an outstanding album but to produce a memorable video for "Faithful". Rather than the typical band-mimes-to-camera-with-one-costume/venue-change so typical of low budget CCM vids, this mini-drama depicted a lighthouse keeper sacrificing himself to save the lives on board a ship heading towards the rocks when the lighthouse light goes out. The deeply moving video brought a new dimension to an already anointed song.
Tony Cummings

451. HOWARD HEWETT - POTTER'S HOUSE, 2001. From the album 'The Journey', Epic.
Brenda Holloway, Smokey Robinson, Alexander O'Neal - there is a long list of artists who have made classic R&B/pop records but when they switched to recording gospel the results have been decidedly underwhelming. But that was not the case of the one-time singer with hitmakers Shalamar. After a few years of slipping gospel songs into his mainstream solo albums Howard finally got his wish in 2001 and recorded an all gospel album (and then the following year released 'The Journey Live' to make the spiritual point doubly clear). The studio set made full use of Howard's rich, gritty voice which during the time of his big solo hits showed he was every bit as good as that other romantic soul crooner Luther Vandross. When Howard came to record 'The Journey' no expense was spared in terms of production and with this cut produced by Tony Prendatt featuring a slinkily funky bass line from Tom Barney, Angela and Anissa Hewett sounding like a small choir and Howard righteously testifying about his spiritual sanctuary ("When I'm down and feelin' low/To the potter's house I go") the effect is electrifying. There is a theological glitch in the lyrics - calling the Holy Spirit "it" rather than "him" - but that's such a common error in the black gospel realm I'm prepared to let that pass.
Tony Cummings

452. LAVINE HUDSON - INTERVENTION, 1987. From the album 'Intervention', Virgin.
In 1987, Lavine Hudson was well known on the London gospel scene and blessed with a voice that saw her garnering comparisons to Whitney Houston. For my money, she's way better than that. Virgin Records were so impressed with Lavine's voice that they signed her to a multi-album deal and gave her complete artistic control. So, she recorded a contemporary gospel album that really showed off her towering talent. This is the title track and on release it only made it to number 57 in the single charts but it deserved better! It's got a fabulous '80s groove and a stunning vocal performance from Lavine that sends shivers down the spine, especially as she stretches the notes and sings the bridge starting "Prices are sky high." The song has a strong spiritual and social message which is still as relevant now 25 years later.
Mike Rimmer

Eli

453. ELI - THINGS I PRAYED FOR, 1998. From the album 'Things I Prayed For', Forefront.
There are some pages on Facebook - search for Eli (CCM musician) - which are full of fans' testimonials about the Californian singer/songwriter ("He was a huge part of my early walk with Christ and listening to him now is still helping strengthen me"; "The song 'Brother' changed my life") coupled with anguished, and still unanswered, enquiries about the present whereabouts of Paul Falzone/Eli/eLi (he had various monikers). Anyone who has yet to hear any of the five albums released by the songsmith between 1995 and 2004 may wonder what all the fuss is about. But anyone who has experienced Eli's passionate, cathartic music will know that Eli is a monumental talent able to pen and perform songs that speak profoundly to those with ears to hear. This is one of several Eli classics. Over a crisp acoustic rock accompaniment put together by producer David Zaffiro, Eli huskily intones the three eras of his prayers - childhood, teens and the present (well, 1998) as he gropes for greater understanding and maturity. It's a clever concept executed by a highly skilled songwriter. The first verse goes, "Things I prayed for when I was young/That my father would love me like his only son/That my mother would be patient with me/And my sister would not leave/And if my grandpa could see me beyond the grave/That he'd think his little man was so brave/That my hair would not stick up in weird places/And I'd be someone someday." By the time Chris Kent's bass bursts in on the chorus we are ready for the reflection, "Years go by so easily that sometimes I forget/Years go by and make me see that there's no time for my regrets." Achingly poignant a song as good as anything the giants of music can deliver.
Tony Cummings

454. ELI - BEGGARS, 2001. From the album 'Now The News', Forefront.
Mike Rimmer and I are in complete agreement that the seeming self-imposed obscurity of this Californian singer/songwriter needs to come to an end. Here's hoping that the growing pressure from fans keen to know that all is well with Paul/Eli and, even better, he has some new songs to bless us with brings forth some results. In the meantime we devotees will continue to admire his impressive body of work. This is an Eli gem, with another masterly lyric. First the verse: "Well, I went before a king and I/Played my finest song/With every word I fought the urge to weep/Though it did not take long/'Til I saw his friends laughing/As I looked up I found the king asleep/So I gave it to the beggars/I gave it to the lost/The ones the world forgot/So we threw a wedding feast/And we invited all the best/The rich, the famous, those who had great teeth/I even wore my brand new vest/But when the doors were opened/A thousand chairs stood empty." And then finally, that soaring chorus, "And as a crowd gathered 'round a man nailed up to a tree/We couldn't say or do anything/Then he began to speak/He said, 'I came to feed the beggars/I came to save the lost/The ones the world forgot.'" Masterful.
Tony Cummings

455. JANNY - PRAISE HIM, 1979. From the album 'Think On These Things', Sparrow.
This wasn't one of Janny Grein's best known recordings (it was her songs "More Than Conquerors" and "By His Word" that were US Christian radio staples in the early years of Jesus music) but it's her best. Janny possessed a mellow, laid back style that more than one critic compared to Carole King while this song, a simple worship opus written by Janny and her husband Bill with a wistful string arrangement conceived by producer Billy Ray Hearn, is a delight. Janny was a faithful minister of the Gospel almost right up to the time of her death in August 2011.
Tony Cummings