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When it comes to contemporary Christian music pioneers who date back to the Jesus movement, Randy Stonehill is one of the elite few who not only has influenced several generations of musicians, but has remained prolific and profound in his songwriting efforts. On his eighteenth recording, Edge of the World, Stonehill recalls several elements that have allowed his compositions to stand the test of time, even reuniting the troubadour with peers from the 1970s. Whether teaming up with Larry Norman, Phil Keaggy, Barry McGuire, Annie Herring (from Second Chapter of Acts), or Sara Groves, Stonehill has been able to delicately balance bittersweet nostalgia with a refreshingly relevant edge. Here's more about the latest from this generation-spanning poet:

How has the Christian music business changed since you first began?

Stonehill:It's changed enormously, and those changes bring both positive and negative things to the table. It started out as a grassroots movement, which I believe was propelled by the Spirit of God. Over 34 years it's evolved into a multi-million-dollar industry.

On the one hand, we've learned how to make great sounding records, and stylistically there's something for everyone, so that's a good thing. On the other hand, it's become far too commerce driven, and I believe generally there's less focus on, and passion for "Who" we started singing about in the first place. That's sad to me, and it endangers the power and longevity of the genre.

How does it feel to be referred to as a pioneer within the industry?

Stonehill: It feels amazing! I mean, that's a rare position within the panorama of music history that I never could have dreamed up for myself. I think it's a gift from God. I just felt compelled to share the stunning reality of God's love with the gifts I'd been given. I couldn't help myself. I really didn't give much thought to the long-term cultural implications.

Where do you feel your place is in the current Christian music spectrum?

Stonehill: Well, I see myself as sort of a musical-spiritual "Johnny Appleseed." I bounce all over the planet with my guitar like "the human ping-pong ball." I just try to bring as much godly passion and artistic excellence as I can to each situation. Beyond that, I'm enjoying the opportunity to pass on what I've learned about faith and art through the years to the next generation—kind of an elder statesman capacity.

How did you choose what guests to include on Edge of the World?

Stonehill: It was a matter of just following my "artistic radar" so to speak. Given the stripped, down-to-earth nature of the project, I knew, for instance, that players like Mike Roe and Phil Madeira fit right in. Having Sara Groves join me for the duet on "Take Me Back" felt like a bit of a divine appointment. I wanted a female voice on the song and had seen her perform a few months earlier. I was really touched by her work and mentioned it to Bob Kilpatrick. He got a big smile on his face and said "I happen to know her and her husband. I've performed at their church in Minnesota. Lets give her a call!"

The main musical moment that includes guests is on the song "We Were All So Young," about the early years of contemporary Christian music. For that one, I tried to select artists whose work really shaped the genre in those formative hears. Looking back, I was also blessed that they each had very distinctive voices that are easy to identify.

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