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

Alwyn Wall Band

428. THE ALWYN WALL BAND - DREAMS ON SAND, 1977. From the album 'The Prize', Myrrh.
Having established himself as one of the UK's most accomplished Christian singer/songwriters in the UK as one half of Malcolm And Alwyn, Wall left Malcolm Wild and formed a band with his guitar virtuoso buddy Norman Barratt. The Alwyn Wall Band's 'The Prize' should have been the start of an international music ministry but it wasn't to be. But they did deliver a fine album which featured a timeless piece of Jesus music. Built around a beautiful drifting melody and featuring a lyric that challenges the listener to question what they're living for the song features fabulous changes of intensity which build up as Wall sings, "Faith is a rocket ship climbing far across the stars and doubt is a submarine going down". The arrangement includes some sensitive strings and backing vocals that counter Barratt's guitar work. Barratt's playing comes to the fore in the last minute of the song as a coda. With state-of-the-art production for the era, this is a delight.
Mike Rimmer

429. STEVE ARRINGTON - FEEL SO REAL, 1985. From the album 'Dancin' In The Key Of Life', Atlantic.
What was so startling about this undulating piece of dance funk when it first charted in 1985 was that the lyrics were so clearly about the Lord and the benefits of prayer. Arrington had enjoyed success with funk outfit Slave and going solo one expected him to continued the lyrical themes of clubland bliss. Instead, he weighed in with this bold proclamation of his newfound faith and a fine synth riff from Joey Galio, some tasty guitar interjections from George Johnson and even a trumpet solo from acclaimed jazzman Freddie Hubbard all add to a funk jam made in Heaven.
Tony Cummings

430. BOB DYLAN - SAVED, 1980. From the album 'Saved', Columbia.
The critics HATED Dylan's gospel albums, of course. For instance, the Rough Guide To Rock asserted "Being born again may have been good for Dylan's soul but it wrecked his music as a series of less than ecstatic evangelical albums were to prove." Such statements have of course far more to tell us about the prejudices of rock scribes than they have about the quality of post-conversion Dylan's music. In fact, the 'Saved' album, though on the whole not quite as riveting as 'Slow Train Coming', does contain some delicious black gospel-styled gems particularly the title track. The nasal bleat of Dylan's voice was never the most attractive of musical sounds but with some sublime two fisted piano from Muscle Shoals' mighty Spooner Oldham and three righteous sisters (including the wonderful Clydie King) the result is pure storefront church abandon. "I've been saved by the blood of the lamb" may have been an embarrassing assertion for cool rock critics to swallow. But for converted folk it remains a glorious truth.
Tony Cummings

431. ESTHER ALEXANDER - LOVE IS A DECISION, 2003. From the album 'Rhyme Or Reason', Authentic.
Esther is surely one of the most underrated singers on the whole UK scene. Her voice glows with pristine purity, her phrasing is intuitively right and whether she sings a sad relationship song or a praise and worship chorus the effect is consistently heart warming. On this album, her short-lived stab at Christian retail, producers Phil Baggaley and Mark Edwards gave her a wide range of songs and arrangements and over all of them Esther sounds perfectly at ease. The R&B groove of "Love Is A Decision" is a particularly effective vehicle for Esther's elegant phrasing.
Tony Cummings

432. AZITIS - (CREATION) LORD I SAW YOU CRY, 1970. From the album 'Help', Elco.
Azitis (pronounced "as it is") were true Jesus music pioneers. In 1970 Larry's Beatles-influenced musings were perceived as rad as Christian music got. In fact, this jaw-dropping four piece from Sacramento were playing full blown psychedelic rock that to most church goers must have seemed birthed in LSD-drenched Hades. In fact, the band skilfully played psych rock without chemical assistance and their one independently recorded album is a classic of its kind. This opening track starts with an arresting dissonant organ from Dennis Sullivan, some eerie chanting from the guys and a go-for-the-throat wah wah guitar played with rhythmic venom by Mike Welch. Very much music of a certain era and today an acquired taste. When Cross Rhythms originally reviewed this the bemused reviewer didn't get 'Help' at all. But in fact the whole album fully deserves its growing reputation among psych rock collectors.
Tony Cummings

Shawn McDonald

433. SHAWN MCDONALD - ALL I NEED, 2005. From the album 'Live In Seattle', Sparrow.
Seattle-based singer/songwriter Shawn Mcdonald carries a raw, rootsy folk sound that is every bit as arresting as his personal testimony is dramatic. Sounding most convincing in a live setting, Shawn's 'Live In Seattle' recording - cut during a concert at Mars Hill Church in January 2005 - ably captures this songsmith's passion. While "Gravity" has perhaps become the most popular track from the recording it is "All I Need" which is the standout. Self-accompanied on intriguing, staccato-form acoustic guitar, Macdonald launches into a lyrically-abundant song that marvels at the riches of God's grace to himself and seeks to commit himself utterly to that love. A masterful performance.
Tom Lennie

434. ERIC CHAMPION - GENERATION OF RIGHT, 1991. From the album 'Revolution Time', Myrrh.
This slice of early '90s dance pop saw the 21 year old Eric Champion create thoroughly contemporary sounding pop music for "yoof". Here's a song which is rhythmic and upbeat featuring some excellent programming from Champion and producer Chris Christian and great guitar work from seasoned Nashville sessioner Jerry McPherson. It's an anthemic dance rock tune with a strong prophetic message for this generation to stand up for God. It's a stirring song to encourage those who hear it to turn "what should be into reality, that's how it's going to be with this generation." Seldom has a call for revolutionary Christianity also been such a strong invitation to get up and dance!
Mike Rimmer

435. TOO BAD EUGENE - THEOLOGICAL, 2003. From the album 'Moonlighting', Tooth & Nail.
Noisy, fast tempo'd punk performed blasted out with maximum passion. But wait. What set Too Bad Eugene apart from those dozens of bands entertaining the crowds with lyrics about being a girl magnet, loving their skateboards or why George Bush was such an (expletive) were the Santa Cruz-based band's lyrics. The words on this song were particularly arresting - "Has it occurred to you that this is all you've ever had/have you yet thought it through, the things you see as gospel and bad are nothing more than learned projections, recollections from your childhood?" An intriguing band who even used the last song on their album to sing in Latin!
Tony Cummings

436. CAPSTONE - BETTER, 2000. From the album 'Integreality', Independent.
Canadian songwriter Joel Auge is now an established solo artist with two acclaimed recordings issued by Integrity Music. Previously frontman of Ontario-based groups Capstone, Six Days and Hewitt, it was the debut album from the first of these teams which contained some excellent slices of catchy pop praise. The song "Better" especially stood out. A ponderous, moody song of reflection, it built stealthily as Auge considered the transformation Christ had wrought in his life. As the song progressed, so increased the sense of passion oozing from the lead vocalist - turning into an intense demonstration of intimate adoration. A remarkable expression of personal testimony.
Tom Lennie

437. JEFF JOHNSON - BORINAGE, 1983. From the album 'Shadow Play', Ark.
Ever since 1977 keyboard player and producer Jeff Johnson has been turning out a stream of evocative, usually instrumental soundscapes from his home studio in Portland, Oregon. His music has been sometimes dubbed New Age though it's Johnson's strong Christian faith rather than New Age religion that colours his work. Christian fanzine True Tunes once suggested that the studio maestro had more in common with the more atmospheric material of Pink Floyd. Leaving aside such pigeon-holing, suffice to say that elements of jazz, classical, pop, electronica and Celtic music on occasions are glimpsed into Johnson's always evocative musical palate. The 'Shadow Play' album explored what one magazine called "the dreams and shadows that follow each of us before and after conversion" and this haunting reflection on the thought of Vincent Van Gough is breathtaking.
Tony Cummings

Bruce Cockburn

438. BRUCE COCKBURN - INDIAN WARS, 1991. From the album 'Nothing But A Burning Light', Columbia.
Over the years the Canadian singer/songwriter has developed a loyal international fanbase for his deftly crafted, deeply challenging music. Best known for his songs of social, political and environmental justice, one particularly pertinent protest song is "Indian Wars", which laments the injustice accorded by "white" America to native Americans. The song was recorded in one take, the album being produced by acoustic roots master T-Bone Burnett. With a stripped down Americana arrangement and carrying a pleasant, unhurried melody, Cockburn's rootsy vocals are accompanied by rock icon Jackson Browne on dobro guitar and harmony vocals, while virtuoso fiddle-player Mark O'Conner also makes a fine contribution.
Tom Lennie

439. FIRE ISLAND FTG LOVE NELSON - THERE BUT FOR THE GRACE OF GOD, 1994. From the single, Junior.
The origins of this song are intriguing. Penned by August Darnell, better known to club music aficionados as Kid Creole, it originally came out by a short-lived act called Machine. But it's this version, recorded 15 years later, which is the quintessence of gospel house with a pumping groove that defies you to stay still, a soulful sister (the mysterious Love Nelson) who sounds like she was plucked from a particularly fine storefront church choir, and a narrative lyric which tells the sad tale of a girl selling her body on the streets before that memorable chorus reminds us that it's compassion not judgment that the young lady needs.
Tony Cummings

440. RALPH VAN MANEN - SHEPHERD OF LOVE, 1999. From the album 'Don't Waste The Dawn: Live At Willibrord'. Novation.
Christian music lovers in the UK have never been too hot at appreciating good CCM music from the Continent - particularly the Netherlands - even when it's first rate material. Former lead vocalist of popular Dutch group Target, Ralph Van Manen has released a string of excellent solo releases throughout the course of the last 20 years, though most have gone unnoticed this side of the North Sea. On the semi-live 'Don't Waste The Dawn', Ralph is aided by a host of top Dutch musicians, including Kees Kraayenoord, Luca Genta and Henk Pool. With his beautiful, well-rounded voice - akin at times in sound and style to Steven Curtis Chapman, Van Manen renders a delightful self-composed ballad, based on that most famous of Psalms, number 23. Gorgeous melody, nice strings accompaniment, Ralph gently and beautifully guides the listener into the arms of the true shepherd of souls.
Tom Lennie

441. STAPLE SINGERS - DON'T DRIVE ME AWAY, 1960. From the album 'Glory It's The.', Snapper Music.
I first heard this powerfully soulful gem years before I became a Christian when I'd started to investigate blues and gospel music and the old Fontana label released a vinyl album of tracks the Staples had recorded for Chicago's legendary Vee Jay Records. Dirge slow, with Roeback's heavily amplified guitar providing most of the minimalist accompaniment, it's Mavis' growling, soaring heart-tearing vocal that wrenches every bit of pathos from the lyric about a straying child returning to the fold. Raw, cathartic and intense, it's a long, long way from those classy soul classics the family were to record for Stax in the next decade. But, thanks to Mavis' astounding, virtuoso performance, "Don't Drive Me Away" is just as magnificent.
Tony Cummings