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

283. SONSEED - JESUS IS A FRIEND OF MINE, 1980. From the album 'First Fruit', Independent.
It was, of course, the popularity of the YouTube video that catapulted this song to a very odd kind of success. The video was shot for cable TV in 1980 and is hilarious to see. Nearly 30 years later, it seemed so cheesy that many thought it was a newly recorded spoof. In fact, Sonseed were a Roman Catholic pop rock band from New York trying to communicate in a modern style and using a cod ska groove for the purpose. The lyrics are funny and there can be no argument that this is an infuriatingly catchy song. You'll be singing along the first time you hear it and then you won't be able to get it out of your head! Forget that many unbelievers laughed uproariously at the video - catchy is catchy.
Mike Rimmer

284. CHASEN - DOUBT OR DISBELIEF, 2008. From the album 'Shine Through The Stars', OMG.
When I wrote about this three-piece from South Carolina I described them as "a performance orientated rock outfit" but I had not noticed quite how infectious "Doubts Or Disbelief" actually was. Its laid back, acoustic-driven shuffle rhythm is deceptively stripped down while the violins in the background are (thankfully) low in the mix. But over the months as Cross Rhythms radio continually played that hook sung by Chasen Callahan, "oh-oh-oh, oh-oh-oh, I'm free", all my resistance was dispelled. A laid back classic.
Tony Cummings

285. ETERNAL SUNSHINE - BEAUTIFY ME (D3 DEEP FUNK REMIX), 2008. From the single, Independent
Meshach, Akin and Steve were London-based Eternal Sunshine and this was their debut single. It was issued in nine different mixes and if you search around on the net, you'll probably find it for free. It really is the guys putting their toe in the water and trying to get some attention for what they're doing. It's clubby and it has elements of old school but somehow it really works! With so many different mixes, you're bound to find one you like. For me the D3 Deep Funk Remix worked best but whichever version you pick, one thing is for sure - this is one uplifting track! Featuring tight vocals and creative grooves, it works on a home stereo as well as a clubland sound system.
Mike Rimmer

286. CRUCIFIED - FOCUS, 1992. From the album 'Pillars Of Humanity', Ocean.
P.O.D.'s Sonny Sandoval once said, "The Crucified is one of the reasons why I joined and started P.O.D. 'Pillars Of Humanity' was the first Christian album I'd ever heard." And considering America's Roxx Productions recently considered the album worthy of a remastered re-issue, it wasn't simply the P.O.D. frontman who considered it a classic. The standout track is "Focus" with its powerful proclamation rasped by vocalist mark Salomon (later to make his name in Stavesacre), "We're here to do the Father's will." With low and chunky guitar work from Greg Minier and powerhouse drumming from Jim Coffin it is up there with the very best thrash metal of the secular scene. Tragically though, the Crucified weren't able to walk it as defiantly as the could talk it. The band broke up shortly after this album when Minier made his girlfriend pregnant. But they left behind a thrash gem.
Tony Cummings

287. BELL JAR - FOLLOW THE ROAD, 2000. From the EP 'The Follow The Road EP', Independent.
By his own admission Paul Northup is something of "a glass half empty" Christian which in these days of a Christian scene riddled with songs of shallow triumphalism isn't such a bad thing. The one time frontman for Eden Burning has hearteningly kept the "hobby band" Bell Jar together down the years while the outfit's occasional releases are all of a high standard. This, to my ears, is their piece de resistance. With a dark and eerie groove, Paul's wistful vocal speaks of a journey where we struggle to hold on to the truth of "the story we once told." The song conveys hope as well, hope that the Spirit will get us to journey's end. And if the song and arrangement aren't sufficiently affecting there's also a wonderful backwards guitar solo courtesy of Charlotte Ayrton and producer Dave Pick.
Tony Cummings

288. GOOD NEWS - RUN TO THE END OF THE HIGHWAY, 1997. From the album 'Good News 2', Sonrise.
Good News were a groundbreaking Jesus music band bristling with musos who were to go on to big things including Maranatha's Bill Bastone, jazz fusion man Dave Diggs and fine vocalist Bob Carlisle. For the session which produced this delightfully bouncy piece of pop they brought in the song's composer Keith Green and it's his rollicking piano which drives the whole thing. A song exuding a joyful innocence.
Tony Cummings

289. DOWNHERE - A BETTER WAY, 2006. From the album 'Wide-Eyed And Mystified', Centricity.
There are love songs and there are Love Songs! There has been no greater act of love than Jesus laying down his life for us and it is, of course, THE central truth of our faith. However when it comes to songs on the subject, it's hard to create something that is original. But Downhere managed it. The first time I heard this song was at a music showcase in Nashville and it moved me. The interplay of the Canadian band's two singers Jason Germain and Marc Martel combines with a great melody and a lyric that makes you realise afresh the height and depth of Jesus' love. A stunning song that encouraged me throughout 2006.
Mike Rimmer

Miss Angie

290. MISS ANGIE - 100 MILLION EYEBALLS, 1997. From the album '100 Million Eyeballs', Myrrh.
With a Blondie-influenced sound which fused crunching guitars with a little-girl-lost vocal, Miss Angie catapulted onto the CCM scene with the heavily promoted '100 Million Eyeballs' album. (In case you hadn't guessed the imagery of "Eyeballs" came from the apocalyptic vision of weird creatures described in the Old Testament book of Ezekiel.) As it turned out Miss Angie was a tad too radical for conservative Christian radio and when the followup album, 1999's 'Triumphantine' flopped, Miss Angie and her band were dropped from Word Records. They left behind this gem, propelled by the biting guitar work of Oran Thornton, the man whose Johnny Q Public band had once featured Angie Turner as a backup singer and the man who provided those unforgettable guitar riffs to dc Talk's "Jesus Freak". The two Thorntons (Oran married Angie) are a perfect musical match which should have gained much more recognition for their precocious talent.
Tony Cummings

strong>291. RICK ALTIZER - MAKE A MONKEY, 1998. From the album 'Blue Plate Special', KMG
It's an injustice that a hyper creative guy like Rick Altizer is capable of making cutting edge pop rock which is witty, artful and wrapped up in catchy tunes only to find his recordings falling on deaf ears. "Make A Monkey" is a monster tune where Altizer wrote and arranged one of those fabulous riffy rock'n'roll things which simultaneously made the listener question the values of modern society and allows you to dance at the same time. No mean feat but from the first bars of this punchy guitar riff you want to get on your feet. Add to that the superb and other worldly lead guitar work of one-time King Crimson man Adrian Belew and you have an absolute classic. Also, it's well worth checking out the video to this on youtube!
Mike Rimmer

292. PARADISE SQUARE - ROSEMARY'S SONG, 1974. From the album 'Never Thought I'd See The Day', Independent.
The story of how this rare vinyl release from 1974 came to be a British folk classic worth £900 plus was told recently by Cross Rhythms. This is the best cut with a haunting vocal from bandmember Donovan Gibbons supported by Rashiba Qureshi (violin) and Pete Ryder (guitar). Not quite the absolute classic archivist Ken Scott contends it is but still a beautiful example of pastoral folk by a talented bunch of Sheffield students.
Tony Cummings

Degarmo & Key Band

293. DEGARMO & KEY BAND - LIVIN' ON THE EDGE OF DYIN', 1977. From the album 'Straight On', Lamb & Lion.
In the early years of Christian music rock bands would often endeavour to clone any style of rock which was currently selling in the mainstream. Before they were officially a duo there was a Degarmo & Key Band credited on their debut and it was hardly surprising that "Living' On The Edge Of Dyin'" sounded very much like something lifted from 'Born To Run' era Springsteen. What WAS surprising was that Eddie DeGarmo's Keith Emerson-like keyboards on the intro gave the track a distinctly prog rock-meets-Kansas feel while Dana Key's vocal is gritty and passionate. A great cut from an influential CCM album.
Tony Cummings

294. MARY MARY - SHACKLES (PRAISE YOU), 1998. From the album 'Thankful', Word.
Probably the first praise and worship song ever to make the UK Top 10, this gem not only elevated Erica and Trecina Atkins to crossover gospel stardom, it reminded the whole Church that contemporary praise doesn't always have to be performed in stadium rock style but a funky groove (here provided by producer Warryn "Baby Dubb" Campbell) would do equally well. I clearly remember a BBC Radio One DJ expressing his puzzlement over the lyrics. But for others, not suffering from spiritual deafness, "Take the shackles off my feet so I can dance/I just wanna praise ya, just wanna praise you" meant only one thing - and dancing in the sanctuary still continues today.
Tony Cummings

295. SKILLET - LOCKED IN A CAGE, 1998. From the album 'Hey You, I Love Your Soul', Ardent.
For their second album the Memphis-based band took their grungy rock in a whole new direction, adding elements of synths and broadening out their sound. This is a perfect fusion with the gritty soulfulness to John Cooper's voice fused to a superb driving rhythm. The peaks and troughs of the song only add to the atmosphere especially in the moments after guitarist Ken Steorts delivers an economic yet blistering solo. The marriage of techno synth sounds and big rock guitars might have been done louder by the band on later albums, but never better!
Mike Rimmer

296. AARON SHUST - MY SAVIOUR, MY GOD, 2006. From the album 'Anything Worth Saying', Brash.
The UK Christian record companies were hopelessly slow in picking up the rights to the wonderful debut album by the Atlanta-based worship leader and so the huge popularity of this classic anthem was never really replicated in the British Church, which is a great shame as it is unquestionably one of the best worship songs of the last decade. Aaron's gritty voice and a simple-yet-perfect production make this a gem which deserved every bit of its US popularity.
Tony Cummings