SARA GROVES
Tell Me What You Know (INO)
On her latest project, singer-songwriter Sara Groves serves up a compelling collection of songs that strikes the difficult balance between education, inspiration, and entertainment. In the past few years, Groves has put her faith into action, helping Hurricane Katrina survivors and becoming involved in other humanitarian efforts. But what could have become a heavy, hard-to-digest album of important-but-hardly-palatable songs has, instead, become an engaging musical work that will resonate with a broad audience. There’s the lyrical depth fans have come to expect from Groves; yet she envelops her thoughtful, literate words in music that draws the listener in immediately. And, of course, there’s that sweet, strong voice that pierces the heart with honesty and conviction. —Deborah Evans Price
MERCYME
All That Is Within Me (INO)
“We were never meant to compromise / Settle for mediocrity,” croons frontman Bart Millard on “Goodbye Ordinary.” A cursory listen to MercyMe’s latest project confirms this is a message the band has taken to heart. After enduring a couple years of personal tragedy that colored its recent albums with a tinge of melancholy, All That Is Within Me is, by contrast, an exuberant, defiant, stand-up-and-shake-your-fist-at-the-devil, rock roll worship album. With plenty of time to sink its teeth into the song, the band delivers more emotion than on any tune since “I Can Only Imagine.” Bottom line: All That Is Within Me is MercyMe’s best work to date. —Mike Parker
GREY HOLIDAY
The Glorious Revolution (Essential)
After grinding it out on the coffeehouse and college scene covering Jars of Clay tunes, Grey Holiday eventually earned the attention of its heroes’ original record company. And while the lush acoustics and artful nuances of those “Flood” founders permeate this freshman disc, British influences also abound a la Muse, Bloc Party, and Oasis. This album is also unique in that it contains hours upon hours of bonus materials exclusively created by the band members themselves. Given the attention-commanding atmospherics, apparent chemistry, and creative ingenuity on this first go-around, Grey Holiday could literally follow in the footsteps of labelmate Leeland as one of the most worthwhile buzz bands in current contexts. —Andy Argyrakis
SARAH MASEN
The Sarah Masen EPs
(Independent)
The latest project from singer/songwriter Sarah Masen showcases a maturity she has developed both spiritually and lyrically. Sixteen songs on three EPs: Magic That Works, History of Light and Shadows and Women’s Work Is Alchemy comprise her first release in six years. Much like the lyrics, the music throughout takes an insightful journey. Magic That Works displays the tradition of a singer/songwriter mingling with the tasteful contrast of electronic percussion to produce laid-back, catchy tunes. The folk/pop/country essence continues into and throughout History of Light and Shadows, which includes the remarkable song “The River.” Masen’s music is purely honest. Her organic approach states that she was made to sing; you’ll feel as though she is singing to you only.—Jonathan Isaac Harms
PHIL WICKHAM
Cannons (INO)
For INO recording artist Phil Wickham, the progressive, synth-driven sounds of British pop have clearly struck something within his soul. On his new release, Cannons, Wickham uses such atmospheric sonics—also evident on Coldplay, U2 and Travis records—that have taken hold of him to make something completely original. The tracks are lush, layered, melodic and beautiful. The vocals are supple and delivered with urgency. But the real genius is in the song lyrics. Every word illuminates Wickham’s desire to lead people to Christ, especially the closing track, “True Love”: “Search your hearts/You know you can’t deny it/Lose your life so you can find it/The Father gave His only Son just to save.” —Lizza Connor Bowen
OHMEGA WATTS
Watts Happening
(Ubiquity)
While on hiatus from the hip-hop trio Lightheaded, producer/MC Ohmega Watts released his solo debut, The Find, in 2005 to rabid critical response. In the face of weighty comparisons to hip-hop legend DJ Pete Rock, Watts has responded with an adventure in classic New York hip-hop, international music and wild imagination. As with his debut, Watts elevates vocalists above glorified chorus-hook-singer status. Ultimately, for all the cameos and collaborations, Watts’ talent is still the star. His melodic ability to blend head-nodding, horn-based funk with international percussion and left-field, bass-heavy minimalism (a la iconic hip-hop producer J. Dilla) makes Watts Happening a sonic feast for the ears, heart and mind. —Anthony Barr-Jeffrey
PLUMB
Blink (Curb)
It’s been 10 years since a band called Plumb hit the scene with its electronic-rock-driven self-titled disc that paved the way for future mega-bands Evanescence and Flyleaf. Since 2000, Plumb has gone from being a band to being the stage moniker for lead vocalist-turned-soloist Tiffany Arbuckle Lee. But an even bigger change for Plumb came with her marriage and the subsequent birth of her two sons. The result became Blink, a collection of modern pop lullabies and reflective narratives on life as a wife, mother, artist and follower of God. Missing are the driving guitars and pulsating drum programs, instead replaced by ethereal synthesizers and understated electronic rhythms a la Dido. At times, the lack of any up-tempo songs might leave longtime Plumb fans feeling a bit slighted. But with a balanced mix of vocal, instrumental and lyrical beauty—and the realization that this is basically a concept album—Blink could very well become a timeless work of art. —Chad Bonham
MOYA BRENNAN
Signature (Sparrow)
Moya Brennan’s musical career began as a teen in 1970 as the voice of the legendary Irish band Clannad. More than three decades later, she has recorded what might possibly be her best solo album. Signature finds Brennan at the top of her game, delivering a dozen songs and featuring one of the most compelling voices in all of music. Musically, it overflows with a mix of traditional Celtic sounds and contemporary pop, all with an alternative edge. Lyrically, Brennan bares her soul, revealing a vulnerability both empathetic and instructive. This is a beautiful, thematic album that deserves a wide hearing.
JUMP5
Hello Goodbye
(Slanted)
Long before High School Musical and Disney-mania were sweeping the airwaves, Jump5 was making its debut album. Now, nine years later, the group is calling it quits, ending an illustrious career spanning nearly half its young members’ lives. Hello Goodbye features the perky quartet at its peak. Although it’s a farewell album, these teens take the high road, cranking out a stellar set of fresh material (and a Spanish-influenced “Throw Your Hands Up” remix) sure to please even mainstream critics. Overall, Jump5 offers a grown-up version of “tween” pop, leaving its teen audience singing along—and maybe their parents, too. —Grace S. Cartwright
MANIC DRIVE
Reset Rewind
(Whiplash Records)
Following the band’s auspicious debut, Reason for Motion, Canada’s Manic Drive reunites with producer Brian Hardin for Reset Rewind, an engaging sophomore effort that jackets dark-but-spiritual themes with a fast-and-loose blend of rock, funk, pop, classical, hip-hop and RB. Musically, it’s a veritable musical smorgasbord, mixing dance grooves with metal guitar riffs, acoustic guitar with hip-hop flava and industrial drive with pop choruses. Throughout, the songs are infused with thick, urgent and sometimes surprising vocal harmonies. With its second disc, Manic Drive continues to push the boundaries of faith music. Reset Rewind will quickly dismiss questions about any “sophomore slump.” —Chris Well
DUSTIN KENSRUE
Please Come Home
(Equal Vision)
Taking something of an artistic vacation from his day job with post-hardcore quartet Thrice, Dustin Kensrue’s solo effort, Please Come Home, is a surprising bit of folk/alt-rock that has more in common with street-corner troubadours than any Thrice fan could ever expect. Lyrically, Kensrue’s thoughtful ruminations range from the dark and philosophical to the introspective and tender, all the while holding onto faith, hope and love. Co-produced by Kensrue with Thrice guitarist Teppei Teranishi, the stories are told in a musical style at times stripped down to a lone acoustic guitar, other times bathed in harmonica blasts or organ swirls. The album is a solid statement that will have listeners coming back to Home again and again —Jarrod Barkley
CONNERSVINE
Connersvine (INO)
THE GLORIOUS UNSEEN
Tonight the Stars Speak (Tooth Nail)
Days after the Indianapolis Colts Superbowl win, punter Hunter Smith shifted his focus from athletic pursuits to more artistic ventures. With Chris Wilson, his songwriting partner of seven years, whom he met while leading worship at an Indiana church, Smith entered a recording studio to create what would become the group’s outstanding self-titled debut. All the songs are vertical in nature, save for standout “Hero,” which communicates a man’s willingness to protect and honor the love of another until he dies. Overall, Connersvine is a 12-song prayer of intense adoration and praise that will strike a chord in the heart of any contemporary worship fan. Meanwhile, the Nashville-based worship project the Glorious Unseen, is what happens when musicians from the indie and hardcore scenes seek to create their own worship music. Singer/guitarist Ben Crist had been leading worship for a small Bible study when a few friends persuaded him to incorporate one of his original songs into the worship set, with favorable results. Eventually, those songs came together as the album Tonight the Stars Speak. Produced by Steve Hindalong and Marc Byrd (Leeland, Jeremy Camp), the music complements the message well, taking cues from ambient and space music, with shimmering electric guitars and huge reverb that create a mood of transcendence, but with overdriven amps and drums that keep it from simply fading into the background. Crist’s voice ties it all together with an understated confidence that adds to the album’s urgency. Tonight the Stars Speak is a different sort of worship album, but it’s not different just to be different—there is a definite sense of authenticity here. —Lizza Connor Bowen and Andrew Scates

And here are 2007’s Top-10 music picks by Chris Well, Andrew Schwab, Lindsay Williams and Jay Swartzendruber, our friends over at our sister publication CCM:
RELIENT K
Five Score and Seven Years Ago (Capitol/Gotee)
ANBERLIN
Cities (Tooth Nail)
DAVID CROWDER BAND
Remedy (sixstepsrecords)
THE INNOCENCE MISSION
We Walked in Song (Badman)
CHILDREN 18:3
Songs of Desperation (Tooth Nail)
SARA GROVES
Tell Me What You Know (INO/Sony)
JON MCLAUGHLIN
Indiana (Island/EMI)
THE GLORIOUS UNSEEN
Tonight the Stars Speak (BEC/EMD)
TOBYMAC
Portable Sounds (ForeFront)
LOST OCEAN
Lost Ocean (Credential)