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

309. PHIL KEAGGY - JOHN THE REVELATOR (EXTENDED STRAT MIX), 1993. From the album 'Revelator', Myrrh.
When the album 'Crimson And Blue' which originally featured Keaggy's version of this ancient blues gospel song was issued in 1993 it marked the return of Keaggy as a true rock artist with his guitars full on and upfront. On certain days you might find me arguing that it was the last great album that Keaggy has recorded. Keaggy takes the song and weaves a number of pretty amazing well crafted guitar lines around the sonorous depiction of he who wrote "the Book Of The Seven Seals". With his McCartneyesque vocals there's plenty of room for Keaggy to mount his Stratocaster and ride off towards the final fade of the song. But there's more. On the 'Revelator' CD you'll find the Extended Strat Mix, a Beatles-like outtake jam that is added to the end of the song. A delight.
Mike Rimmer

310. VIOLA - WE BOW DOWN, 1996. From the album 'Simply Me'', Heart Music.
It was American Bible teacher/prophet Tom Brock who brought Viola Grafstrom to the attention of festival-goers across Europe. This Swedish singer/songwriter has a voice like an angel and as she proved on this, her best known song, could sometimes write exquisite worship numbers which in their pristine simplicity seemed to capture something which more sophisticated songs couldn't. Northern Ireland's Robin Mark later helped popularise "We Bow Down" but this studio recording, made in Sacramento, is the one to search out.
Tony Cummings

311. AUNT BETTYS - JESUS, 1996. From the album 'Aunt Bettys', East West Records America.
"Jesus" is a class song that might well have been a huge hit if only Warner Bros' promotions people had done a half decent job. Instead it, and the whole Aunt Bettys album, passed into the deletion bins with hardly a flicker of interest from Joe Public and the one shot that most quixotic of rock talents Michael Knott had of breaking through into the mainstream was gone. For the small niche of Knott devotees this most inventive of rockers has made a small mountain of recordings (under his own name but also fronting numerous bands) which are never less than interesting. But it is this gritty rocker with gutsy drive from Andrew Carter on guitar, Brian Doidge on bass and Chuck Cummings on drums which is Knott's piece de resistance. The opening verse is a killer - "Jesus, won't you help me find my way/Won't you send me some money in the mail/Jesus, won't you let me drink one more/And help me to ignore how much I fail." Particularly poignant considering Knott's battle with alcoholism, "Jesus" has the ring of spiritual authenticity that few songs emanating from the CCM industry ever get close to.
Tony Cummings

312. SAM BAKER - PRAISE THE LORD, 1995. From the album 'No Love Lost', Salt Incorporated Music Inc.
When this came out I assumed this Sam Baker was the chap who had R&B hits for Sound Stage 7 Records. In fact, this is another Sam Baker emanating from Chicago and one, like the majority of the Salt Incorporated Music Inc roster, who slipped back into obscurity when the label folded. But this simple song of praise with a delicious, ricocheting funk track produced by Sam and Robert Lewis spiced up with some tasty preacher samples stands the test of time.
Tony Cummings

U2

313. U2 - SUNDAY BLOODY SUNDAY, 1983. From the album, 'War', Island.
Whilst the singer was on honeymoon, the guitarist played around with an idea. It was summer 1982 and U2 were about to split up. In turmoil over the choice between rock or religion, both members eventually left the band. A few days later, they thought twice and The Edge, full of tension and confusion, returned to the blaring certainties that the music in his head had suggested. Visceral is one way of describing "Sunday Bloody Sunday" and like the language of a First World War poet, sonically and lyrically its own painful reality wasn't for the faint-hearted. Nor was it for those who held that the Devil had all the best music. The opener on the band's third album, with a strident, (para)military drum beat reminiscent of 12th July Ulster marchers, so loaded was it with political and religious references it was pulled as a single in Britain and Ireland. Not that that stopped it from getting considerable airplay throughout these isles. "Sunday" is clearly influenced by John Lennon ("I can't believe the news today") and Scripture ("We eat and drink while tomorrow they die"). It also alluded to two Bloody Sundays in recent Irish history, but as Bono was always quick to explain before every live rendition, ".this is NOT a Rebel Song." Coming out of spiritual doubt - and previously-held apathy on the subject - "Sunday" railed against, not just sectarianism in Northern Ireland, but against every form of narrow-minded, life-restricting, life-destroying prejudice and in the process not only provided an outlet for their angst over their near-sacrifice and "Isaac-moment", but unashamedly sounded like nothing else at the time. Its climax, in stark contrast to the opening line of the Sex Pistols' (contemporary) "Anarchy In The UK", was the most dramatic declaration of U2's faith up to then: "The real battle yet begun/To claim the victory Jesus won."
John Cheek

314. THE VIOLET BURNING - THERE IS NO ONE LIKE YOU, 1992. From the album 'Strength', Bluestone.
The Californian rock worship revolutionaries had a sound which they made their own. Built around Michael J Pritzl's emotive voice which would range from a guttural croak to soaring swoops of passionate acclamation over layered guitars awash in reverb, it was to become one of the most distinctive sounds in Christian music. Originally recorded for the Vineyard church stream's New Breed label 'Strength' was rejected by those in charge who had problems with some of the album's lyrics which expressed Pritzl's pain and despair at the deaths of several people close to him. Thankfully, Bluestone released what is a fine, fine album, being a label owned by Jesus music pioneer Tom Stipe and sponsored by a church in Denver, Colorado. However, sales of 'Strength' were harmed by the group being denounced, completely unjustly it seems, as "fornicators and drunkards". But this unforgettable song of adoration is testament to Pritzl and co's passion and love of the healer of hearts.
Tony Cummings

315. ROBERT RANDOLPH & THE FAMILY BAND - JESUS IS JUST ALRIGHT, 2006. From the album 'Colorblind', Warner Bros.
The Doobie Brothers did the original and dc Talk introduced it to the Christian crowd and then in 2006 Robert Randolph and his fine band came along and completely transformed "Jesus Is Just Alright". With the kind of fiery pedal steel which has forged his reputation, Randolph took it a step further by inviting Eric Clapton onto the song adding even more bluesy elements as each virtuoso sought to outdo the other with an avalanche of pyrotechnic licks, building to a fake climax and then starting all over again! Every time I played it on the radio, I was inundated with enquiries about the track. With a catchy riff, memorable chorus and two of the world's greatest musicians, it's a rendition impossible to better.
Mike Rimmer

316. HELEN BAYLOR - LOVE BROUGHT ME BACK, 1996. From the album 'Love Brought Me Back', Word.
Baylor's cover version of D J Rogers' 1978 minor R&B hit seemed to effectively bring out all of the soulfulness and underlying gospel testifying of the original. Built on a solid funky rhythm section of bassist Alex Dunbar and drummer Bill Maxwell, the whole track is propelled along by Paul Jackson Jnr's perfect guitar. But it's the organ of Billy Preston and piano of The Crusaders' Joe Sample which really make the track sparkle. The call and response refrain has Howard and Linda McCrary hollering back the response to Helen's rich contralto. Add to this blistering mix some sassy horns and you get a track of power and magnificence. My favourite moment happens three minutes in when Helen says the words "Go Joe" heralding a superb piece of gospel jazz piano that lifts the whole song. The song itself is simply an acknowledgement that at life's lowest point, it's the love of God that brings you back to life again. We all need to be reminded of that sometimes.
Mike Rimmer

317. TOM & OLLY - THE LITTLE THINGS, 2009. From the album 'Tom & Olly', Elevation.
I first heard this at the end of 2008 when it was just a demo and Tom & Olly were in the process of getting signed. This song encapsulates everything that is great about the duo who have had an exceptional year but don't seem to be gigging much currently. Their debut album is packed with memorable songs and this one combines Tom's ranting vocal style with Olly's melodic choruses. Honest songwriting is their thing and it's in place here as is the excellent musicianship and production skills of Dan Wheeler. Acoustic indie is the best way of describing it and this has got everything going on. It's impossibly catchy!
Mike Rimmer

318. T-BONE BURNETT - TRAP DOOR, 1982. From the EP 'Trap Door', Warner Bros.
Best known these days as a Platinum-selling record producer, T-Bone Burnett's work as a solo artist is well worth investigating. "Trap Door" closes the six song EP of the same name and contains a wry opening observation: "It's a funny thing about humility, as soon as you know you're being humble, you're no longer humble." Burnett paints a simple picture of the juxtapositions of the spiritual life and warns the listener to "watch out for the trap door." The potential for hypocrisy surrounds us everywhere. The backing of acoustic guitar, strong drum rhythms and insistent bass, all topped by Burnett's dry, laconic vocals and ethereal backing voices only make this more powerful and haunting. The EP fades to a close and leaves the refrain "watch out for the trap door" intentionally seared on your soul.
Mike Rimmer

Roy Acuff (right) with Nitty Gritty Dirt Band members

319. ROY ACUFF WITH THE NITTY GRITTY DIRT BAND - I SAW THE LIGHT, 1972. From the album 'Will The Circle Be Unbroken', Liberty.
The Nitty Gritty Dirt Band were the band of Californian longhairs who introduced tens of thousands of second generation rock'n'rollers to the rich delights of country and bluegrass. And it was their hit album of 1972 'Will The Circle Be Unbroken', where they gathered together many of the best veteran country artists to sing and play on their album as all star guests, that banished the stereotypes of Nashville sound muzak. Mother Maybelle Carter, Merle Travis, Doc Watson and Earl Scruggs all added their towering talents to the double album project but it was the legendary veteran Roy Acuff who particularly caught the ear. He took the old gospel number "I Saw The Light" which Hank Williams "borrowed" from an old Chuck Wagon Gang song and which had hit for Acuff in 1947 and with a delightfully swinging accompaniment featuring superlative banjo from Earl Scruggs and son Randy Scruggs on autoharp together with the Californian country rockers on harmony vocals succeeded in delivering the definitive version of the much recorded song.
Tony Cummings

320. PFR - GREAT LENGTHS, 1994. From the album 'Great Lengths', Vireo.
Down the years many Christian acts have been influenced, or indeed copied, the Beatles. But few got as close to the Lennon/McCartney styled harmonies or brought such a fresh twist to the Liverpudlians' seminal sound as Patrick Andrew, Joel Hanson and Mark Nash which might explain why PFR were briefly picked up by Capitol Records who tried (unsuccessfully) to break the band into the mainstream. But PFR did make some great pop records and the two minutes, 32 seconds title track of their 'Great Lengths' album deserves its description in the Encyclopedia Of Contemporary Christian Music as a "pop masterpiece". The Beatlesesque harmonies are stunning while the pain of its confessional lyric (Why didn't I go to such great lengths to try to please you") are conveyed with genuine pathos.
Tony Cummings

321. SIMPLY ANDY - BIBLES, BIBLES, 2008. From the EP 'The Good News', Independent.
Of all the hundreds of tracks that have poured out of the London gospel hip-hop underground this has been one of the most successful (with a huge number of downloads and views of the You Tube video) and is definitely one of the best. With the help of some hip-hop big hitters like Victizzle and Guvna B, here Andy delivers the most hard hitting tribute to the power and might of the Scriptures since King David's Psalm 119. Superfast rapping doesn't stop memorable lines leaping from the verbal torrent ("Bibles always bring revival," "I'm cool with the NIV," "I'm better off packin' Scriptures") while the joyfully shouted hook of "Bibles, Bibles" is a delight.
Tony Cummings

322. MAL POPE - THIS IS YOUR LAND, 1997. From the various artists album 'City Of Gold', Gold.
When Phil Baggaley, Dave Clifton and Ian Blythe began to write songs for what was to become the 'City Of Gold' project they probably had few expectations that the album and stage presentation were to make an international impact and indeed, with the essential contributions of poet Adrian Plass, become the template for a whole series of other multi-media presentations. But it's 'City Of Gold' which remains the undiminished classic and, for me, it's this song which beautifully captures the visionary mood of the work - a thrilling contemplation of the eternal destination, Heaven. And this is the work's classic song. Over a haunting synth wash, Mal Pope intones the opening two verses with soulful elegance. Then after a haunting sax solo from Dave Fitzgerald comes that epic third verse: "You'll be given the robes of princes/You'll be flying on golden wings/You will live in pavilions of splendour/Be surrounded by beautiful things/So hold on to these promies/And keep them in your hand/Didn't anyone ever tell you/This is your land." Breathtaking.
Tony Cummings

Alvin Slaughter

323. ALVIN SLAUGHTER - GIVE GOD THE GLORY, 1995. From the album 'Revive Us Again', Hosanna! Music.
A member for many years of New York's renowned Brooklyn Tabernacle Choir, Alvin Slaughter launched a solo career in 1990 when he was signed by Integrity Music. His powerful voice and infectious energetic style quickly allowed him to gain a stronger footing in CCM than in contemporary gospel. Commissioned to lead worship for the Hosanna Praise series in 1994, Slaughter was accompanied by the Lee College Campus Choir in Cleveland, Tennessee. The live album flows in a string of raw, soulful praise and worship, all the time building up to a crescendo on the penultimate track, "Revive Us Again", which continues into "Give God The Glory". As the passion builds, the arena virtually erupts into an unrehearsable outburst of uninhibited praise, which, over 15 years later, still sounds as exhilarating and liberating as it did in '95. Alvin said of those particularly precious moments, "There was dancing, singing, weeping and rejoicing. It was definitely a time of revival".
Tom Lennie