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

Aretha Franklin

340. ARETHA FRANKLIN, MAVIS STAPLES, JOE LIGON - PACKING UP, GETTING READY TO GO, 1987. From the album 'One Lord, One Faith, One Baptism', Atlantic.
One of the great songs/recordings of gospel's golden era of the '50s was Clara Ward's "Packin' Up" so it was wholly appropriate that the Queen Of Soul should mark her return to the gospel fold in 1987 with a blistering version of the song that blew the roof off black churches in the '50s. Historians have long noted that the teenage Aretha took many of her free flowing vocal licks directly from the Ward Singers, but be that as it may there's no arguing that the passion and white hot call-and-response fervour generated by Aretha and her church-wrecking helpmates Mavis and Joe make most of Aretha's mainstream music sound sedate by comparison. Recorded live at Detroit's New Bethel Baptist Church, "Packing Up." and indeed the whole 'One Lord, One Faith, One Baptism' album remains a milestone of church worship at its most exhilaratingly frenetic.
Tom Lennie

341. ANDRAE CROUCH - HANDWRITING ON THE WALL, 1981. From the album 'Don't Give Up', Warner Bros.
In the '70s, Crouch pioneered gospel music giving it the feel of contemporary soul and funk. The combination of strong music, great vocal performances from the Disciples (though as the years passed they stopped getting an artist credit) and well crafted songs meant that by the end of the decade Crouch was the most successful gospel artist of the era. However all was not harmonious with his label, Light Records, and when the opportunity to sign to mainstream giant Warner Bros came his way he jumped ship. Recording with a top flight collection of soul musicians including some superb bass playing from Abraham Laboriel, guitar from Dean Parks and synth from Greg Phillinganes this is Crouch at his finest. With a variety of Winans family members and former members of the Disciples, the combination of sassy vocals and strutting backing track result in a stunning performance. This is a perfect piece of '80s funk with a head-turning lyric about that supernatural hand writing on the Babylonian king's wall.
Mike Rimmer

342. BOB KAUFLIN - THANK YOU FOR THE CROSS, 1992. From the album 'Chosen Treasure', Hosanna.
A former Roman Catholic who came to know God's free grace through Campus Crusade For Christ, Bob Kauflin travelled as a songwriter, speaker and arranger with American vocal band Glad for eight years, leaving the group in 1984 though continuing to write and arrange for them for many years. He also produced three worship albums for People Of Destiny International, though by that time he had became pastor of a church in North Carolina. He began working with Sovereign Grace Ministries, helping equip pastors and musicians in the theology and practice of congregational worship. Kauflin has long upheld the necessity of theological orthodoxy in worship music, strongly disliking lyrical sloppiness. In 1992 he was asked to lead worship on Hosanna's bi-monthly live worship series, in a collection of theologically rich songs written mainly by Mark Altrogge. A spiritual anointing rested on this little-recognised recording, as Kauflin led worshippers into an intimate and lavish celebration of God's goodness and love. One gorgeous song flowed seamlessly into another (though none were to receive much congregational acceptance). The absolute standout is the reflective "Thank You For The Cross", which focuses on the centre-point of all Christian experience, glorying in all that was there accomplished.
Tom Lennie

Washington Phillips

343. WASHINGTON PHILLIPS - TAKE YOUR BURDEN TO THE LORD AND LEAVE IT THERE, 1927. From the various artists album 'Storefront And Street Corner Gospel', Document.
Like Robert Johnson, Charlie Patton and Blind Willie Johnson, Texas street preacher and singer Washington Philips was a musician who lived a life of obscurity but whose recordings, decades on from their making, are acknowledged by blues and gospel aficionados as works of genius. With accompaniments provided by the mysterious zither-like doceola and a plaintive, heartbreaking voice Texas-based Washington sang the hymn composed by Charles Albert Tindley "Take Your Burden To The Lord And Leave It There" with such other-worldly poignancy that it's impossible to forget. Devotees of the track, and the whole Phillips output, include Ry Cooder, Will Oldham and most recently, as published in Mojo magazine, Paul Weller.
Tony Cummings

344. JERUSALEM - SODOM, 1982. From the album 'Warrior', Lamb & Lion.
Sweden's Jerusalem were pioneers of Christian hard rock who had in Ulf Christiansson one of the most passionate and powerful communicators in Christian music history. Their third album, 'Warrior', remains a classic. Critic John L Thompson wrote, "'Warrior' stand as one of the finest Christian hard rock albums ever. The production (by Ireland's Andy Kidd) was thick, the lyrics challenging and the vocal and guitar work devastating." I wouldn't disagree. Pride of place on the album is this 12-minute epic decrying worldly culture ("Sodom in Sweden/Sodom in Europe/Sodom in America"). Compelling stuff.
Tony Cummings

345. U2 - VERTIGO, 2004. From the album 'How To Dismantle An Atomic Bomb', Island.
Back in the autumn of '04, I brought my wife home from hospital following an accident which had necessitated surgery. The next morning, after a late breakfast, the radio in our living room announced Jo Whiley on Radio 1 was about to have the first, exclusive play of the new U2 single: the first material from the band for a couple of years. We were taking it easy and in a restful mode, were in no tearing hurry to go anywhere - we waited for it with eager anticipation. It didn't sound like U2; it didn't sound like anything we'd heard in ages, not since the advent of some neo-punk bands at the start of that decade. Bono later described it as taking-revenge-on-The Vines, but it initially sounded like The Clash, circa 1982, with its 'Unos, does, tres...catorces (fourteen)' counted-intro. Sonically, it's almost 'Anarchy In The UK'-territory, and not just because of The Edge's punk guitar riff: it's a stirring, clarion-call to arms, surely...but closer inspection of the words suggest that the battle is more in the realms of spiritual warfare. Bono later described the lyrics as setting the scene in a nightclub, where you're meant to be having the time of your life, and yet it's anything but - you don't like the music, you're scared of the people and then, you catch a glimpse of someone and she's got a cross around her neck and it suddenly hints at salvation to you, in this dizzy, dangerous place. The song clearly alludes to Jesus' 40 days in the wilderness, with the devilish-sounding, "Just give me what I want/And no-one gets hurt..." Driving and demanding, "Vertigo" cuts through fog and spiritual confusion on an individual level, rejecting narcissism to radically suggest a holy alternative. Whilst more like Night Of The Hunter than a James Stewart film, 'Vertigo' is a Year-Zero anthem which encapsulates what the Christian experience can be like, in the 21st century.
John Cheek

346. MANCHESTER MASS CHOIR FTG JUNIOR ROBINSON & JENNIFER PHILLIPS - EVERYBODY SAY FREEDOM, 1993. From the various artists album 'Soul Stirrings: The Nu Inspirational', 4th & Broadway.
Every few years a major label has a stab at selling British gospel to mainstream record shop album browsers and the 'Soul Stirrings' album was Island Records' attempt. Despite some fine vocal talents and snappy R&B style production from Nicky Brown (not to mention a Cross Rhythms magazine cover story) the various artists project quickly sank without a trace. But this powerhouse performance with Junior and Jennifer swapping vocal licks over a rich voiced choir and a nice funky R&B dance rhythm is a gem, even if the lyric - one of those universal love "message" songs - is pretty stereotypical.
Tony Cummings

347. BILL MASON BAND - STAND UP AND BE COUNTED, 1977. From the album 'No Sham', Kingsway.
Years before any American Christian band were even thinking about using punk music as a viable form to bawl Gospel truth, Bill and his cohorts were giving the Pistols and the Clash a run for their money with a raw, neurotic and bratty sounding set of songs hammered home with no thrills intensity. While elsewhere on their groundbreaking album they exhorted us to "check out Mr G" and lambasted the media's anti-God discrimination on "Radio" it's this pounding, pogoing exhortation for young believers to emerge from their holy huddles and stand up and be counted which hit home hardest.
Tony Cummings

348. SISTER ROSETTA THARPE - THIS TRAIN, 1948. From the album 'The Original Soul Sister', Proper.
Sister Rosetta was a world class gospel singer and contemporary of Mahalia Jackson. But where Jackson was smooth and sophisticated, Sister Rosetta was a scandal, a guitar-toting mama with a raw delivery and oodles of passion. There are many arguments about the roots of rock'n'roll being firmly in gospel and further arguments about what could be classed as the very first rock'n'roll record. This is my contender. Tharpe penned the song and recorded a number of different versions but the take from 1948 is the best. Tharpe was an excellent guitar player and the sight of her pulling out licks whilst playing in church must have been a wonderful thing. In this case the opening riff sounds like classic Chuck Berry from a decade later. Perhaps we have an idea of where Berry's real influences lie. The track chugs along on a rock'n'roll groove whilst the sister hollers about a gospel train, a clean train that's heading into eternity and there's an invitation for us to hop on board. There are plenty of other songs that have been based on the same theme but none that have the impact of this classic.
Mike Rimmer

Ian White

349. IAN WHITE - PSALM 21, 1985. From the album 'Psalms Volume 1', Little Misty Music.
What an unlikely way to begin a career in music - pick around 80 of the biblical Psalms and set out to record them - in a series of six volumes, to your own eclectic musical style - all the while sticking as closely as possible to the New International Version translation. That's what Ayrshire-born Ian White succeeded in accomplishing back in the mid-'80s, until the sixth disc was released in 1992. These songs were promoted by Ian in a relentless touring schedule which took him to virtually every town and village in Scotland, as well as to other parts of the UK and many nations worldwide. The necessary breadth of moods captured in this solo venture (reflecting those of the biblical poets), combined with the diversity of musical styles, clearly proved the remarkable gifting of this Scottish musician - as evidenced from the Psalms albums impressive sales figures over the years despite being released on Ian's tiny Little Misty Music label. Although he's recorded many albums since the Psalms, some would say - and I'd be among that number - that Ian has never matched the quality and sense of spiritual anointing that rests on this most ambitious of projects. A great many tracks could be picked out as particular standouts, among the most beautiful being Psalm 147, which carried a unique congregational atmosphere when recorded on the lowest of budgets in Aberdeen's Cowdry Hall. But I'll plump for his haunting interpretation of Psalm 21, with its gentle, wistful melody and some of the most elegant piano you'll hear anywhere, care of friend and series collaborator Chris Eaton.
Tom Lennie

350. BARRY CROMPTON - SOME KIND OF MADNESS, 1981. From the album 'Hot In The Pot', Marshalls.
Crompton was a Canadian singer/songwriter resident in the UK from the late '70s until the mid '80s. He recorded five albums for Christian labels and established himself as the consummate opening act for any UK Christian gig. Crompton's mix of songs and comic banter always connected with audiences. His 'Hot In The Pot' album from 1981 spawned this excellent piece of songwriting. It's a critique of some of the choices people make with their lives which the songsmith paints in a series of colourful and vivid mini portraits which highlight human frailties without being judgmental. One character is watching TV, Barry sings, "It's lewd and it's crude, it ought not to be allowed/There's nothing on TV now except violence and sex/It's so crazy and we're lazy" before pausing and delivering the punchline, ". has anyone seen my specs?" The song is packed with great wordplay and a memorable chorus which describes what's happening in society, our sin, as "Some Kind Of Madness" which seems to have overcome humanity. With a decent production from John Pantry, it's true that this track does sound a little dated to 21st century ears - particularly the warbling synth interjections - but you can't keep a good song down. And where is Barry Crompton now?
Mike Rimmer

351. BROTHER JOE MAY - DO YOU KNOW HIM?, 1950. From the
album 'Thunderbolt Of The Middle West', Specialty.
For some critics, Brother Joe May was the greatest male soloist in gospel music history. His first 78 "Search Me Lord" released in 1949 reportedly sold a million as too did this one (if one is to believe the notoriously unreliable boss of Specialty Records, Art Rupe). This jaunty mid-tempo song of faith, written by Mary Lou Parker, is good but it's Brother Joe's breathtaking delivery that takes it Heavenwards. Critic Lee Hildebrand wrote, "Whether stretching out on a slow selection without fixed tempo or rocking hard at a brisk clip, he could move effortlessly, often within the space of a single phrase, from a quiet, calming whisper or a low, mournful moan to a terrifying roar that shook church rafters. His command of dynamics and vocal projection were without equal and were matched by the animated dramatics of a master showman." A classic from a masterful singer.
Tony Cummings

352. RITA SPRINGER - I REMAIN IN YOU, 1995. From the album 'Love Covers', Kindred Joy.
Rita's intimate piano-based worship is marked by her strikingly open expression of love to the One she so obviously adores. The vulnerability with which she bares her soul before the Lord is affectingly direct while the poetic lyrical dialogue draws the worshipper into the inner sanctuary of worship. Initially brought to the Christian world's attention through her contributions to various Vineyard projects, Springer set up her own label in the 1990s, before receiving greater recognition after signing with Floodgate Records in 2000. But it's her independent offering 'Love Covers' that contains her most anointed worship on record. The self-sacrificial "A Fragrant Offering" flows into the gorgeously delicate "I Remain In You", an 11-minute stream of adoration that is exquisite in its otherworldly beauty.
Tom Lennie

Elim Hall

353. ELIM HALL - HYPOTHERMIA, 1986. From the album 'Things Break', Reunion.
In the mid-'80s Blanton and Harrell's Reunion Records recognised that Michael W Smith, Kathy Troccoli, et al might satisfy the needs of CCM buyers but they were light years away from the edgy, indie rock that was selling big in the mainstream. So they signed this trio from Canada and remixed their debut 'Things Break', originally released independently, and gave them a push in the CCM market. Neither that album nor the followup 'Let It Thrive' sold and soon Elim Hall had broken up with guitarist Glenn Teeple and drummer Steve Marsh going off to join One Hundred Hours for one of that group's albums, 'Feels Like Love' (tragically Steve Marsh dying of liver cancer the day that album was released). Elim Hall might have failed to connect with conservative Christian radio but they left behind some gutsy indie rock with Ross Teeple's laconic, British-sounding vocals working well against Glenn Teeple's jagged guitar riffs while this song, a meditation of being out in the cold rather than enjoying the warmth of God's love, is extremely effective.
Tony Cummings

354. THE CITY HARMONIC - MANIFESTO, 2010. From the EP 'Introducing The City Harmonic', Kingsway.
This Canadian outfit wowed many people with this, their debut EP. The leading song "Manifesto" feels like the beginning of a new wave of worship where community and worship come together. The song manages to cut through the blandness of the majority of today's modern worship to create something which is effortlessly anthemic. There is something joyfully raw and uplifting about the way the song builds and the fact that there's a rowdy chorus of voices joining in whilst this remains firmly a studio track. Musically this is modern rock with plenty of bite and lyrically the song is a combination of the Apostles' Creed and an amazing take on the Lord's Prayer.
Mike Rimmer