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

860. GROUP 1 CREW - THE WONDER YEARS, 2014. From the EP '#Faster', Word.
When we learned that Blanca Callahan had left the group and that the "Crew", at least for recording purposes, was down to one man, producer and composer Jose Manwell Reyes, I for one had doubts that G1C would ever again reach the urban gospel creative heights of past releases. I shouldn't have doubted. From the moment rapper Glory languidly announces "and the beat goes" and we kick into a delicious synth and rhythm groove perfectly complementing Moriah Peters' little-girl-lost vocal it's an urban delight. It also comes with a telling message - stop wishing and dreaming about tomorrow, come together, love one another and enjoy the blessings of today.
Tony Cummings

861. AARON KEYES - NOT GUILTY ANYMORE, 2007. From the album 'Not Guilty Anymore', Integrity Music.
Modern worship continues to produce some timeless songs and this one from the Atlanta-based worship pastor is one of them. At the time of its release in 2007 Aaron spoke about this classic written shortly after his three year old son had had a tantrum resulting in a smashed TV. Aaron remembered, "I placed my hands under his chin and literally lifted up his head so that we were face to face, sitting there on his little twin bed, and I told him, 'Judah, I forgive you. It's all done. You don't need to worry about this ever again.' The next day I'm reading in Psalm 3, and I come across verse seven: 'You oh Lord are a shield about me; My glory, and the lifter of my head.' The lifter of my head? I'd just served as the same for my son, and now the Lord's telling me that he - the Transcendent, Eternal Creator - he is the Lifter of my head? Psalms says that the Lord spread out the stars with his fingers, and those same fingers he would use to lift my head? It was as if I was back in that John 8 story, and the Lord himself was lifting my head out of shame, guilt and condemnation, and looking me in the eye, speaking mercy and forgiveness over my life. I heard in my heart, 'He who knew no sin became sin for us that we might become the righteousness of God in Christ. . .' And I finally started to see that in Jesus, I'm not a broken down sinner; I'm the very righteousness of God in Christ. I finally began to see that, like Isaiah 1 said, though my sins were like scarlet, they could be white as snow. Of course I was a broken down sinner, of course my sins were like scarlet, of course I was guilty. But not anymore. And never again. Jesus paid for that guilt, and he buried it. What I heard the Lord telling me was exactly what I wrote in that song. I didn't realise it would resonate with so many people around the world, but I've gotten letters and emails from just about everywhere (interestingly, in lots of prisons too) about how God's used that song."
Tony Cummings

862. DOROTHY MOORE - MISTY BLUE, 1976. From the album 'Misty Blue', Malaco.
Dorothy, from Jackson, Mississippi, was raised very much a child of the church. Her father performed under the name Melvin Henderson with the Five Blind Boys Of Mississippi and as a teenager Dorothy was singing in the church choir. But then while attending Jackson State University became a member of female trio The Poppies who, signed by Columbia, had a smallish pop hit with "Lullaby Of Love". Then as a solo Dorothy released R&B singles for Avco, GSF and Chimneyville. But it was in 1976, having signed to Mississippi's Malaco Records, that Dorothy recorded one of the great soul records of the era, "Misty Blue". The song had been written by Bob Montgomery who thought it perfect for Brenda Lee. But pop star Brenda turned it down and it was left to Wilma Burgess to take it to number four in the country charts. "Misty Blue" registered again in 1967 when country crooner Eddy Arnold had a hit with it. By then, inspired by Ray Charles' groundbreaking 'Modern Sounds In Country & Western' album, African American soul artists were regularly seeking hits by covering country music songs. In 1972 another singer with gospel origins, Joe Simon, had a small hit with "Misty Blue". But it was Dorothy's rendition, sung in her rich, husky contralto, which brought out the full pathos of the haunting melody and lost-love lyrics. The opening lines, "Oh it's been such a long time/Looks like I'd get you off my mind" followed by the painfully poignant, "But I can't" sums up the song's sad mood of a singer whose world has turned "misty blue". Dorothy was eventually to return to gospel music and in 1986 recorded the album 'Givin' It Straight To You'. But it contained no song or performance equal to the timeless quality of "Misty Blue".
Tony Cummings

Kevin Ott

863. KEVIN OTT - HANG GLIDER, 2011. From the album 'Death, Be Not Proud', Independent.
The undoubted highlight of California-based author, singer and songwriter Kevin's debut 'Death, Be Not Proud' was the simply sensational "Hang Glider". Taking the analogy of soaring ever upwards in God's presence as its theme, Ott painted an aural masterpiece that just gets everything right. Poetic lyrics and a floating vocal performance are underpinned by attacking drum fills and stabbing synth sounds in a track that exudes urgency. The listener is taken above the clouds with evocative images of soaring free with all the deeper spiritual meanings that go with it. Beatlesque tape loops a la "Tomorrow Never Knows" and "Being For The Benefit Of Mr Kite!" spice things up to prove that Ott is an artist keen to press forward in much the same way his musical heroes did back in the day.
Lins Honeyman

864. BOZIE STURDIVANT - AIN'T NO GRAVE CAN HOLD MY BODY DOWN, 1941. From the album 'Library Of Congress: A Treasury Of Field Recordings', Rounder.

Arguments and theories about who wrote what is now a gospel blues standard aside (many believe it was penned by a white Pentecostal Holiness preacher called Claude Ely whilst others feel it's more likely to have been passed down through slave circles), this 1941 US Library of Congress recording of the virtually unknown Bozie Sturdivant is every inch the definitive version. The recording itself is crackly and muffled and listening to it is like peering into the mists of time of what is an eerie and enchanting slice of early 20th century blues but the enigmatic Sturdivant cuts through the poor sound quality with an other-worldly vocal performance that takes the song's words of defiance against death and turns them into a haunting yet uplifting victory call. The song is never rushed and, as Sturdivant floats in and out of falsetto, each line draws the listener in before the track's abrupt end. One can but ponder that subsequent versions by luminaries Russ Taff, Johnny Cash and Tom Jones may never have happened if someone hadn't placed a microphone in front of one Bozie Sturdivant over 70 years ago.
Lins Honeyman

865. ADRIAN SNELL - GOODBYE OCTOBER, 1976. From the album 'Goodbye October', Dovetail.
In his early years before the British singer/songwriter expanded his musical vision to offer his legion of European fans symphonic theatric soundscapes, singer and pianist Adrian made simpler pastoral, folk-tinged music exuding a meditative mood of poignancy. His early albums even got US release, one American critic praising Snell's "stirring mellow music mostly dreamy ballads and quiet moods" while a British fan called "Goodbye October" "a good song that spoke to my Leonard Cohen-esque heart." And good it certainly is. The title track of the songsmith's second album is a thoughtful contemplation of changing seasons moving poetically to its climax "I wonder as the seasons turn/And autumn slowly breaking/Are we walking with the summer in our eyes?"
Tony Cummings

866. BOB AYALA - DO YOU KNOW HIM?, 1976. From the album 'Joy By Surprise', Pure Joy.
Blind singer/songwriter Ayala was one of the artists who bridged Jesus music's journey into CCM. In the '70s he was a Jesus movement figure while by the '80s Bob began working with Melody Green at Last Days Ministries after the tragic death of Melody's husband Keith. The singer/guitarist penned beautifully crafted declarations of faith and though the production on this, Bob's debut album, sometimes veers towards John Denver territory, there is no doubting his warmth and sincerity. The 12-string guitar on this evangelistic opus is a delight.
Tony Cummings

867. DEITIPHOBIA - TAKE THE SIN, 1994. From the album 'Clean', Myx.
An extraordinary song on an extraordinary album. Fusing guitar-driven industrial with a heavy techno vibe, Deitiphobia was the brainchild of keyboard man Wally Shaw. They were a groundbreaking ensemble who also recorded under the name Massivivid. This tumultuous track takes an unflinching look at sin with even the distorted-effect on the vocals comes home loud and clear. "Every night I kiss the clay/Every night I turn and say to you/I'll do better when the sun comes up/Every time I hear you say/'Every breath you take is authored by myself/I am the Lord you neglect to glorify.'"
Tony Cummings

Needtobreathe

868. NEEDTOBREATHE - FEET DON'T FAIL ME NOW, 2014. From the album 'Rivers In The Wasteland', Atlantic.
With changes in personnel and the release of an unflinching "on the road" documentary some thought the Southern rockers from Seneca, South Carolina were falling apart. But the band took time off, found new focus and returned to record and release 'Rivers In The Wasteland'. Critics have proclaimed it their best ever album. The band's frontman Bear Rinehart said in an interview, "When we first started this out [in 1998] we just loved to do it and loved each other and loved the experience. We wanted to get back to that innocence." And indeed they have. So as well as rock'n'roll swagger and, as the Cross Rhythms reviewer wrote, "a guitar riff to run on hot coals for," "Feet." wittily depicts the spiritual battles we all face. "Don't wanna look up and it be over/Don't want to wish that I had longer/It's my time, yeah, it's my town/I pray my feet won't ever slow me down." A band of righteous rockers truly at the top of their game.
Tony Cummings

869. REVEREND CLEOPHUS ROBINSON - WRAPPED UP, TIED UP, TANGLED UP, 1969. From the various artists album 'I Heard The Angels Singing: Electrifying Black Gospel From The Nashboro Label 1951-1983', Nashboro.
Thanks to a prolific recording career with labels like Nashboro and Savoy Records and a self-presented gospel TV show that ran for some 20 years, the Mississippi-born Reverend was sometimes dubbed "The World's Greatest Gospel Singer." On this, his biggest hit, it's easy to hear why. Without any time to waste, the track kicks into an infectious groove with piano on the left of the mix and a gurgling Hammond organ on the right whilst handclaps and some delightfully fluid electric guitar all serve to put Robinson's supreme tenor vocals centre stage. Cleophus delights in the fact that he is bound together with his Saviour as he throws out warnings about the Devil and the dangers of not praying. Throughout Robinson and his tight band keep the listener hooked as they bounce with effortless ease to an improvised ending that demands listen after listen.
Lins Honeyman