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

750. THE HOLY GHOST RECEPTION COMMITTEE #9 - KNOW THEY'RE YOU, 1969. From the album 'The Torchbearers', Paulist.
Few could make up a band name like this. The little bit of history we know about Mark Puleo (lead guitar), Bob Kearney (guitar), Larry Johnsen (bass, organ) and Dennis Blair (bass) is that they were Roman Catholic high schoolers out of New York who in 1968 and 1969 made two privately pressed albums. Their sales were minimal but today vinyl originals of both LPs would cost you several hundred pounds such is their reputation among non-Christian psych folk collectors. Fortunately both 'The Torchbearers' and the earlier 'Songs For Liturgical Worship' have been re-issued on CD. What is particularly intriguing is the differing perspectives of believers' and non-believers' reviews. Jesus music expert Ken Scott wrote about the band "joining raw garage band enthusiasm with that jangled '60s electric Byrds sound" while the Forced Exposure website suggested they played "Christian psychedelic songs that are sure to blow your mind. These boys were going to Catholic high schools in the late '60s, dropping acid and listening to the Beatles." There is of course not a scintilla of evidence about the drug assertion.
Tony Cummings

751. JILL PHILLIPS - GOD BELIEVES IN YOU, 2003. From the album 'Writing On The Wall', Fervent.
Pierce Pettis is a fine, and rather underrated, singer/songwriter and his song "God Believes In You" had to be something special to encourage another hugely gifted songsmith, Ms Phillips, to record his song. In fact, Jill cut the song twice, it first appeared on her independent album 'God & Money' (2002). This version, recorded for Fervent Records, is on an album where many of CCM's finest (Andrew Peterson, Bebo Norman, Jars Of Clay's Stephen Mason) contribute to Jill's lilting music and here Jill's warm and rich voice pulls out all the truths from Pettis' clever, esteem-building lyric with its attention-grabbing couplet "When you start to doubt that you exist/God believes in you."
Tony Cummings

752. HERITAGE BLUES ORCHESTRA - DON'T EVER LET NOBODY DRAG YOUR SPIRIT DOWN, 2012. From the album 'And Still I Rise', Raisin Music.
Having come to the British blues public's attention through a host of festival appearances and generous airplay on Paul Jones' R&B show on Radio 2, the Heritage Blues Orchestra are now recognised as one of the most authentic and satisfying acts of their genre as evidenced in this cover of an Eric Bibb showstopper. Notching Bibb's predominantly acoustic guitar-led song up a gear, the Orchestra gives an electrifying performance in which every factor just works. From the simple electric guitar intro before the shuffling drums kick in to Junior Mack's no nonsense vocals and some delicious BB King-like soloing, it's clear that the Orchestra knows exactly how to serve up its blues. Elsewhere, a boxy brass section is placed deliberately at the forefront of the mix adding extra kick to an already thrilling track. As the title suggests, this is a song of defiance and positivity that encourages the believer to carry on regardless of naysayers or life's pitfalls with the ultimate destination always in mind. Perhaps tellingly, this version sees Bibb's verse about "preaching the Gospel" because he "believes that it's true" jettisoned - presumably to make the song more faith generic and to avoid running the risk of offending the Orchestra's target audience.
Lins Honeyman

Georgia Peach

753. GEORGIA PEACH - OH LORD HAVE MERCY, 1960. From the album 'Lord Let Me Be More Humble In This World', Gospel Friend.
In 1960 Clara Hudman Gholston made her last entry into a recording studio. As The Georgia Peach, Clara had been hugely popular in the '40s and '50s becoming recognised as one of gospel music's pioneers. But the Atlanta-born singer, then 57 and in poor health, had seen her popularity wane as new singers and groups got the big sales and media attention. Savoy Records decided the veteran was still worth a shot though with organist Herman Stevens providing the sole accompaniment the resulting tracks were never likely to get the sales Clara had once enjoyed with labels like Manor and Apollo. As it turned out, Savoy released only two singles from the 30th April 13 song session on their World Wide label and both sold poorly. It was only years later when gospel expert Anthony Heilbut compiled an album for his Spirit Feel label that this magnificent track came to light. Its appeal rests completely in Clara's spine-tingling voice, which over Stevens' stately organ lifts the simple spiritual to become a deeply soulful prayer. Gospel authority Horace Clarence Boyer described Georgia Peach's voice as "a fully developed dark contralto, filling empty spaces in musical time [which shows Clara] to be one of the early great gospel singers." Tragically, the electrifying effect of that magnificent voice has been today largely forgotten.
Tony Cummings

754. EMMANUEL JAL - 50 CENT, 2008. From the album 'Warchild', Sonic.
If there was ever an emcee more entitled to pass comment on the violence-glorifying output of the gangsta rappers it is Emmanuel Jal. As we all know, Jal was forced to fight in the Sudanese People's Liberation Army from the age of six and was emotionally scarred by the senseless killing and violence he was caught up in. A featured track on his 'Warchild' album, "50 Cent" holds forth about the mainstream rap star whose verbal skills Emmanuel admires but whose Bulletproof video game he abhorrs, "You have done enough damage selling crack cocaine/Now you got a kill a black man video game/There ain't a Jewish or a white man, Chinese or an Indian blowing up the brain of their fellow man/We have lost a whole generation through this lifestyle/Now you want to put it in the game for a little child to play/Bugga bun 50 cent." A powerful denouncement indeed.
Tony Cummings

755. GRANT MACASKILL - GRACE, 2002. From the album 'Fragile Strength', Vigorous.
At the turn of the millennium, Grant MacAskill was regarded by some as one of Scotland's most promising singer/songwriters and this song, taken from his second and (to date) final album, shows why. From the punchy acoustic guitar intro, it's clear that "Grace" is out to make an impression and a number of factors including MacAskill's throaty vocals, the adept production skills of Phil Lidstone and some wonderful drum and bass interplay make this track truly stand out. Add to the mix MacAskill's measuredly cryptic lyrics which invite the listener to explore the vast subject of grace for themselves and a virtuoso and whammy bar-festooned guitar solo from Phil Melstrom that warps, screams and soars its way to the fade out and you have a hidden gem of a song that is up there with the best.
Lins Honeyman

756. CASTING CROWNS - EAST TO WEST, 2007. From the album 'The Altar And The Door', Beach Street.
The ability of songsmith Mark Hall to encapsulate actual spiritual experience - lows as well as highs - in the lines of simple pop rock songs is beautifully demonstrated in this CCM hit from the Georgia band. Many believers found themselves empathising with Hall's confessional "I start the day, the war begins/Endless reminding of my sin time and time again/Your truth is drowned out by the storm I'm in/Today I feel like I'm one mistake away from you leaving me this way."
Tony Cummings

757. THEOCRACY - MIRROR OF SOULS, 2008. From the album 'Mirror Of Souls', Ulterium.
I realise that a 22 minute, 26 second song by a power metal band, even one as melodically inclined as Georgia's Theocracy, would be tantamount to musical torture for those not sympathetic to crushing guitar lines, multi-layered choruses, shrieking axe solos and lots of unexpected tempo shifts. But for those metal devotees who like their music "progressive", singer/composer Matt Smith and his bandmates have produced a track here that more than one metal website has proclaimed a classic of the genre. It helps hugely that Matt has the vocal range to carry the whole thing off. The first part of "Mirror Of Souls" deals with the central figure caught up in a hall of mirrors. These mirrors show desirable people and things, but always leave those who gaze at them unsatisfied. The second section depicts the song's subject locked outside the hall of mirrors where he stands in a torrential downpour with no hope in sight save for a light shining across the dark chasm. The third section introduces a stranger who builds a bridge to cross the dark gap. There is much more imagery than this and it says much for the musical skill of Smith and co that it caught and held the attention of many non-believing metal heads. Wrote one reviewer, "It feels like a classical masterpiece, incorporating several different musical sections into one beautiful song. [It] feels more like a story than a song. It grabs my attention every single time and it offers something new each time. It took several listens to fully grasp the main concept but it's a story that keeps giving."
Tony Cummings

Hank Williams

758. HANK WILLIAMS - I SAW THE LIGHT, 1948. From 'The Many Sides Of Hank Williams', Spectrum.
Whilst not a hit at the time of its release in 1948, this country gospel song by legendary country pioneer Hank Williams has become one of Hank's most famed works. Favoured by Williams as the closing number for many of his live shows, its uncomplicated lyrics tell a tale of redemption set to a straightforward yet instantly memorable melody complete with a passionately believable vocal from the great man himself. Successfully walking the tightrope of cliché, Williams uses familiar imagery such as being blind and now seeing, Jesus being a "stranger in the night" and the "narrow is the way" instruction in Matthew 7, to give some context as to the difference the Lord can make in a sinner's life whilst declaring optimistically that he is now "so happy" with "no sorry in sight" having had the scales from his eyes removed. How this enthusiastic testimony played out in real life is up for debate thanks to Williams' heavy dependence on alcohol and painkillers - in part due to severe back pain - right up to his untimely passing on New Year's Day, 1953 at the tender age of 29. Williams was set to appear live at Canton, Ohio on the day of his death and the remaining performers along with the mourning crowd closed the show by singing "I Saw The Light" - simultaneously paying tribute to one of popular music's creative giants and catapulting the song into the annals of musical history.
Lins Honeyman

759. KYM MAZELLE - HERE COMES THE LIGHT, 2008. From the single, Independent.
In my book, Kimberley Grigsby from Gary, Indiana (better known to Joe Public as Kym Mazelle) has one of house music's greatest voices. "A quiet still voice" (to quote from the lady herself) told the hitmaking diva to quit the excess of drugs, sex and partying of clubland and sing for God. So since then I have been expecting a dazzling R&B gospel album from Kym. So far, I'm still waiting. In the meantime though we have this top notch R&B gospel single. Here's hoping more explosions of those dazzling vocal pyrotechnics over juddering dance grooves are on their way.
Tony Cummings

760. SANDRA McCRACKEN - FORGIVENESS, 2013. From the album 'Desire Like Dynamite', Independent.
Down the decades there have been thousands of songs written about the empowering truth of forgiveness. But few have come close to finding the power and poetry that Nashville's gifted singer/songwriter delivers on this gem of a ballad. Over a stripped down piano and strummed guitar Sandra wistfully reflects, "When the blessed assurance is hidden behind a great cloud/When the joy is a secret and pain like a trumpeted sound/Oh for grace to be measured by more than my means/And to love with a love that gives free without strings." Exquisite.
Tony Cummings

761. DOROTHY LOVE COATES & THE ORIGINAL GOSPEL HARMONETTES - THAT'S ENOUGH, 1955. From the album 'The Best Of Dorothy Love Coates And The Original Gospel Harmonettes', Ace.
The story goes that the mighty lunged Coates gave out such soul power in her churh-wrecking performances that onlookers feared she'd drop dead from a heart attack, mid performance. Certainly, this supreme gospel shouter from Birmingham, Alabama with the "raggedy" voice and a preacher's fire was a tour de force as she and her Gospel Harmonettes burnt up the miles on the '50s Gospel Highway. Dorothy went on to contribute to the civil rights movement with Martin Luther King and before her death in 2002 saw one of her records with the Gospel Harmonettes used in the Ghost movie soundtrack. Dorothy penned some great songs too and this one was later reworked by Ray Charles and Johnny Cash. Dorothy's powerhouse version is best though.
Tony Cummings

762. BRITT NICOLE - BREAKTHROUGH, 2012. From the album 'Gold', Sparrow.
To my mind Britt is currently the world's best performer of Christian pop, not "pop" in the sense that stodgy US Christian radio often uses the word, but "pop" like current pop radio would relate to. With its infectious hook and its delightful dubstep style breakdown, this song of immanent spiritual breakthrough clearly demonstrates that given the right producers (in this case David Garcia and Christopher Stevens) this North Carolina-born granddaughter of a pastor has the sound to be high up the pop charts. And wouldn't THAT be a breakthrough!
Tony Cummings

Rascal Flatts

763. RASCAL FLATTS - CHANGED, 2012. From the album 'Changed', Big Machine.
Country music is best when it tells stories and down the decades there have been many a song of hard times, hard drinking and hard lessons, plucked from the country songsmith's melodramatic take on life. But seldom has a song and recording emerged which so neatly bridges the gap between the pathos of the mainstream country confessional and the uplifting dimension of Christian testimony. Ohio's Rascal Flatts are, of course, one of the most popular country acts who have enjoyed 12 number one country singles. Yet though a number of their songs have made reference to the fact that all three group members are believers "Changed", released as a single in December 2012, went further and deeper than anything previously recorded. Said guitarist Joe Don Rooney, "It's a really special song that Kenny [Chesney] wrote [along with Neil Thrasher] and it's really powerful. We have gotten a lot of emails about how that song has impacted them." "Changed" is a bold testimony of redemption: "I came up out of the water/Raised my hands up to the Father/Gave it all to him that day/. . ./There I was, now here I am/Here I am/Changed." Poignantly sung and deftly harmonised, with a crisp production from Dann Huff, it closes powerfully: "Here I am, here I am, here I am/Changed/Yes I am/I'm changed for the better/Thank God I'm changed."
Tony Cummings