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

David Mullen

140. DAVID MULLEN - REVIVAL, 1989. From the album 'Revival', Myrrh.
When I was out in the States in '90 gazing with disbelieving eyes at the mutation that is the Dove Awards one of the few true highlights for me was catching this man's lazily bluesy set in a Nashville nightclub. Then there was a real industry buzz about this man and his debut album given as it was simultaneous secular distribution alongside the Christian bookstores, was both creatively brilliant and I believe a prophetic glimpse of the revival there is to come. I've recently rediscovered this gem, a romping acoustic-driven rocker with hot drumming and an anthemic hook from some righteous sisters. A thrilling sound.
Tony Cummings

141. GOSPEL SOUND BAND AND ANDIZEJ GASIOROWSKI - OH HOW I LOVE YOUR NATION, 1991. From the album 'Shoulder To Shoulder', Deo.
I have to confess that I have only heard one Polish gospel album and this is it. But on it is featured this little jewel, an exquisite ballad, sung in Polish to a melody which sounds like a Polish folk tune and a surprisingly sophisticated accompaniment with a shimmering wash of synths and some eerie sax weaving in and out in a cascade of reverb and a haunting female vocalist. As and when Cross Rhythms gets to Poland we'll go looking for these guys.
Tony Cummings

142. A GEOFF MANN BAND - NEVER MIND, 1990. From the album 'Loud Symbols', Food For Thought.
I never really got to know Geoff - though the little I saw of him blessed me - and the last thing I want to do is get maudlin over his death, particularly when I consider how utterly wonderful is his new abode. But there's one thing that still saddens me about Geoff's luminous ark through the firmament of rock culture - how most of the body of Christ in Britain never caught on to just how brilliant a talent they had in their midst. For this eerie, slow, darkly moody track, indeed the whole energised, raw, gutsy, anointed, sensitive, searing album from which it is taken, is a classic. Geoff intones his warning with the unflinching courage of the prophet "All the forms of consolation/That are pointers into hell/Leave a taste of dust and ashes in the mouth/When they fall into the balance/Of our deepest human needs/They crumble into nothing and blow away."
Tony Cummings

143. ERNIE TOPPIN - CREATION, 1993. From the album 'Mysteries', independent.
It was Cross Rhythms mix master in residence Karl Allison who, with the help of his Dual Edge buddies, brought this kicker for the Kingdom to the attention of the faithful few who scour the pages of Cross Reviews looking for sanctified dance hotties. And what a delight it is. After a snatch of ragamuffin it launches into a sinuous groove with Ernie Toppin telling the yout' the trut' that only Jesus can stop the madness. Then a rapid rap before back to that achingly soulful voice gliding home the hook "What I'm telling you today Jesus is the only way." A slamming jam my man.
Tony Cummings

144. GOLDEN CHORDS - WAKE ME SHAKE ME, 1963. From the various artists album 'Live From The Sweet Chariot', Columbia.
I'd always loved this traditional gospel song since I first heard it, in a secularised form, on an old Coasters album. This "traditional gospel' rendition is perversely my favourite version of it, all shrill passion, driven with a careering swagger of joy. Why perversely? Because the origins of the album are most peculiar and according to at least one pop music historian gospel music's darkest hour - when a misguided industry hyped 'pop gospel' as the latest New York night club fad and bemused night clubbers were handed tambourines at the door by angel-winged attendants (I lie not). But let not this history lesson about mainstream entertainment attempting to cash in on gospel obscure one fact. This choir-robed fivesome had in Lorraine Ellison a truly GREAT lead singer and though this cut does not reach the pinnacle of her classic soul ballad "Stay With Me", there is still a voice here that conveys raw, foot stomping energy as well as cathartic pain.
Tony Cummings

145. TOURNIQUET - DYSFUNCTIONAL DOMICILE, 1992. From the album 'Psycho Surgery', Intense.
In my wildest dreams I imagine a Christian bookshop manager, buckling under his nth hour of Praise Him On The Elevator tape loops, going for broke and putting this on at triple volume. For here is a seriously alternative band, who knew more than a thing or nine. "Emerson, Lake and Palmer with power tools" as American critic Kevin Allison (no relation to Karl) once described Tourniquet. I'll let Mr Allison do my job for me. "Progressive, classical and bizarre. Think of Tourniquet as Bach meets Frankenstein...no other group in Christendom has ever been able to combine fixed reference points from the 1600s and weave them around self-inflicted heavy metal prophecies that many of us won't experience until the mid 90s. This five-piece ensemble can tease the listener into an instant thrash frenzy, suddenly slam on the brakes and whip out the flamenco guitar without asking for directions... Every adjustment of the headphones brings us one fathom closer to the centre of speed." Yessiree.
Tony Cummings

146. JOE ENGLISH - TO LOVE IS TO LIVE, 1980. From the album 'Lights In The World', Refuge.
The ex-drummer for Mcartney's Wings burst onto the American Christian music scene with this gem. But an ill advised British tour and some increasingly mediocre albums saw the drummer with a rich, R&B-tinged baritone voice and a feel for jazz rock slip from view. But memories linger. This, the opening cut from his debut album, is everything a piece of funky pop-rock should be with a hook strong enough to overcome the naivety of the synth playing.
Tony Cummings

147. RICK ELIAS - I WOULDN'T NEED YOU (LIKE I DO), 1992. From the album 'Ten Stories', Frontline.
Anyone who saw the songsmith's superb performance at Cross Rhythms '93 will need no convincing that Rick is a major talent. This was a dark, sombre element with none of the immediacy of Rick's debut with each song a vignette of faith, hypocrisy or pain. I sometimes wear a T-shirt which sports the words of this gem, "They tell us down here we can save ourselves/But that isn't very good news/Because if I could have/I would have saved myself/And I wouldn't need you like I do."
Tony Cummings

148. SWAN SILVERTONES - TROUBLE IN MY WAY, 1959. From the album 'Love Lifted Me', Specialty.
The Swan's most popular cut and what an exhilarating, spine tingling slice of vintage quartet music it is. With just a drummer in attendance the guys loop into a deceptive easy mid tempo groove before Claude Jeeter effortlessly raises the tension and the goosebumps. Timeless music from 1952 I'll still be playing in my dotage.
Tony Cummings

Bruce Hibbard

149. BRUCE HIBBARD - NEVER TURNIN' BACK, 1980. From the album 'Never Turnin' Back', Myrrh.
The kind of slinky, soft-pop, radio-friendly ditty that only Californians seem able to make. I like Bruce's little bits of falsetto, I like that undulating groove, I like those soulful sax oozing in and out, and I like the sentiments that however tough it might get there's no turning back. Hope you walked what you talked, Bruce.
Tony Cummings

150. THE SEVENTY SEVENS - KITES [WITHOUT STRINGS], 1992. From the album 'The Seventy Sevens', Brainstorm.
Mike Roe's chameleon voice has never sounded more other-worldly. As he ducks and swoops in dizzying falsetto the lads lay down a conga-driven groove. Delicious, while that line "You were determined I was found" is inspired.
Tony Cummings

As published in CR20, 1st April 1994
151. VIOLET BURNING - RISE LIKE THE LION, 1991. From the album 'Chosen', New Breed.
Possibly Christian indie rock's finest moment, the whole 'Chosen' album throbs and ripples with the eerie, droning force of the best indie rock. Tubbs has one of the most spine tingling voices in Christendom while the ringing guitars and socking drums are intuitively right. But what lifts this album to the heavenlies is the anointing. For these black-fingernailed neo-goths weren't third-rate secular rock imitators copping a few guitar licks and a trendy haircut to get street relevant, but radical worshippers taking the message to the club land darkness. When will we see their like again?
Tony Cummings

152. CHANNEL OF PRAISE - SHADOWS OF DEMONS, 1989. From the various artists album 'At The Edge Vol 3', Kingsway.
Little reggae gospel has so far been committed to tape which is a shame; particularly for these UK based JA brothers. For the Channels, as they are now known, are an utterly superb group. Where do they fit in the stylistic order of things? Well, if you are a connoisseur of the golden age of reggae harmony groups think of teams like the Pioneers and the Techniques and a lead singer with the rough-edged soulfulness of Toots Hibbert (the Maytals) and you might get some idea of the Channels' thrilling sound. The origins of this cut are obscure. Originally released on a poorly distributed cassette-only album produced by Paul Poulton (the Midlands singer/songwriter who'd once played guitar with Ben Okafor), this track was subsequently remixed by engineer Kevin Edwards to great effect, giving the track a much more authentic, strictly rockers groove. Then the remix turned up on this Kingsway 'cutting edge music' sampler cassette despite the fact that no other Channel Of Praise material was ever released by Kingsway! The Channels have been sorely neglected by Britain's Christian music industry, but at least they've given us this minor classic.
Tony Cummings

153. DENNY CORRELL - LIES, 1992. From the album 'Emily's Eyes: Cry Of The Heart', Broken.
John Andrew Schreiner's stunning concept album 'Emily's Eyes' quickly ended up in the deletion racks - the presence of rising CCM star Julie Miller on the title track didn't stop its quick disappearance from view. Presumably the theme of child abuse proved too potentially painful for casual album browsers. If they had investigated they'd have discovered some truly moving music, of which this is the finest cut. In my book veteran Denny is one of the great voices in CCM though too often in the past he has been saddled with mediocre material. But here the gravelly voiced blue-eyed souler makes a searing, smouldering denouncement of the Father Of All Lies. Another lost gem.
Tony Cummings