Paste magazine just released their list of 50 greatest albums of the decade on their website. Five recordings made by Christian music artists made the list.

We were excited that iconic indie artist Sufjan Stevens was number one on the list with Come On Feel the Illinoise (notice Paste did not get the name correct)  and alternative rock’s darling Pedro The Lion made the list with Control.  The rock cred of Jack White garnered the attention of Paste writers so that country legend Loretta Lynn made the list with Van Lear Rose.  The best movie soundtrack of the decade ‘O Brother Where Are Thou? made the list but why do we include it here?  Well, the soundtrack was the brainchild of Christian music artist and famed producer T Bone Burnett.

Finally, we were shocked and thrilled that one of our favorite cds of the decade, Over The Rhine‘s Ohio made the list. We did not think anyone had noticed the greatness of this folk, rock, jazz, pop masterpiece.

Of course we think the list excluded these masterpieces:

• Brother, Sister- mewithoutyou
• Unviversal House of Prayer- Buddy Miller
• Ships- Danielson
• Ears Will Pop & Eyes Will Blink- Bodies of Water

But worry not we are working on our list of essential recordings by Christian Music Artists.

In the meantime, here is what Paste had to say about these great records.

1. Sufjan Stevens: Illinois [Asthmatic Kitty] (2005) Amazon

In 2005, when Sufjan Stevens released Illinois, the second album in his planned 50-state project, American pride was at a record low—especially among young people. The death toll in Iraq was steadily climbing, and Abu Ghraib was fresh on our minds. Meanwhile, Stevens was beginning to seem brilliant enough to fulfill his ambitious plan. His music pushed boundaries between pop and classical, and the emotional weight of his lyrics grounded his feather-light voice. There was a distinct peculiarity about Illinois and Stevens himself, who gave his songs titles like “To the Workers of the Rock River Valley Region, I Have an Idea Concerning Your Predicament.” Critics embraced the mystery and declared the album a masterpiece. Stevens and his band, The Illinoisemakers, wore cheerleading costumes onstage to promote the record, and once its success took them to larger venues, Stevens switched to giant, colorful bird wings. His band was a spectacle, their performances magical. Thousands of fans gathered in theaters across the country to behold this winged creature and rally behind his songs about America’s heartland. It was a new, weird kind of patriotism.

26. Over the Rhine: Ohio (2004) Amazon

In the liner notes accompanying Over the Rhine’s gloriously self-indulgent double-disc, Ohio, co-founder Linford Detweiler, writes, “We grew up in small coal mining towns in the Ohio Valley, listening to music that could have only been unearthed in America: Southern Gospel, Country Western and Rock ’n’ Roll. This music fertilized the soil of our early lives. We sit down at the upright piano these days with dirt under our fingernails.” And I suppose that’s what I love about this album. The songs feel gritty and real, unpolished and perfect. Just like people. All the artifice (both musical and emotional) has been carefully dismantled, traditional instruments—upright piano, pedal steel, acoustic guitars—have been dusted off, arrangements have been simplified, windows into souls have been propped open a bit wider. In stark contrast, Karin Bergquist’s voice has never felt as undressed and painfully honest as it does in these songs, as if she’s opened her gut and tugged the melodies out like a breach baby. This process is partly masochistic, partly exhibitionist, entirely self-consuming: but such is true art. Ohio, is more than simply a dense, rich, vulnerable collection of songs; it’s a dirt road companion on that difficult journey inward, upward. Homeward. Jason Killingsworth

34. Various artists: O Brother Where Art Thou? [Mercury] (2001) Amazon

This old-timey country album and most unlikely hit may have signaled the last gasp of alternative country. On the bright side, it suggested that those alt-country values (rough-hewn vocals, acoustic instrumentation, a palpable connection to American roots music) had busted out of the sub-genre ghetto and crossed over into the mainstream. After all, the album did win the Grammy for Album of the Year. Some of our favorite female vocalists—one-named artists like Emmylou and Gillian—got much-deserved exposure thanks to this collection, which scored a freewheeling Coen Bros movie and did nothing but good for all concerned. Nick Marino

36. Pedro The Lion: Control [Jade Tree] (2002) Control

David Bazan’s Seattle indie rock is well played, and his voice is perfectly restrained, but his most unique gift lies in storytelling—vivid images and a thoughtful perspective create a deep, dark feeling of sadness. In-depth descriptions of extramarital affairs appear throughout Control, a characteristically bold move for the former Christian singer/songwriter. The music is heavier, too—this time around, electric guitars dare to match the lyrical intensity. Kate Kiefer

48. Loretta Lynn: Van Lear Rose [Interscope] (2004) Amazon
In 2004, 69-year-old Loretta Lynn released her thirty-seventh solo studio album. It could have been a sad affair, the desperate yawp of a legendary Nashville madam teetering into an aged cliché of herself, but with the help of rock ‘n’ roll upstart Jack White, Lynn made the greatest record of her career. Like a bunch of rowdy grandkids, White and a crew of friends (most of whom would converge a year later as The Raconteurs) lent a sly, gritty feel to Lynn’s 13 mostly-autobiographical tracks—Van Lear Rose was her 70th release overall, but it was only the second time she’d written or co-written all of her songs. Her seasoned, tremulous voice paired perfectly with White’s electric guitar warble, pulling off mournful country crooners and all-out rock numbers with equal grit and spunk. She hasn’t released anything since, but it almost doesn’t matter. Rachael Maddux