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IN REVIEW hymns and modern worship songs, The Way We Worship showcases the sounds that made FFH one of Contemporary Chris- tian’s best-selling acts. The unmistakable harmonies created by the husband and wife team of Jeromy and Jennifer Deibler are delivered with the incredible passion of those who have overcome through the power of Christ. This intensity engages the listener and imparts the sense of being led in worship rather than listening to worship. This album differs from other FFH projects, in that vocally Jen- nifer has a larger role, satisfying fan requests without losing the FFH vibe that is anticipated and expected by those same fans. This provides a depth that has only been hinted at in previous projects and is a delightful addi- tion to the FFH sound. More: Equally appealing to fans as well as to those who are being introduced to FFH, The Way We Worship is a melodious primer of spiritual life. Less: Those who are fans of the FFH of the early 2000s won’t find a “Daniel” or “Open Up The Sky” in this collection. RANDY CROSS Less: Most of the album features upbeat rhythms and encourag- ing lyrics. The last track, “Where Love Stays,” while beautiful and thought provoking, seems out of place. RANDY W. CROSS GABRIEL WILSON TYRUS MORGAN Gabriel Wilson brings something special to the worship and gospel table. Guitar-driven ballads with a touch of Southern flare is a welcome introduction to The McGuire Side. With the opportu- nity to over-produce this project it takes a more vulnerable direction reminiscent of Michael Card or a youthful Glenn Campbell. “How to Keep a Girl” and “Hold Your Head Up” are vibrant and yet simple for sing-a-longs and tuned for the campfire. “The McGuire Side” is a per- sonal journey that is worth looking into for those seeking encourage- ment and reconciliation. The CD flows well and the old school gospel collaboration of “I Know He’s Real” is a tribute to his family legacy and the bliss of “Joy in the Church” alone are worth the price of admission. The project offers hope and encouragement for indie artists to do their thing instead of releasing formulaic tunes, which seem to be excessively common, of late. Tyrus Morgan boldly expresses his faith with Straight Line, his second full album release, but in a subtle way. He mixes the nuances of his spirituality with head-bobbing rhythms that hint at Jars of Clay. The Nashville pro- duction and influence is evident as you wind your way down the road to Christian pop crossover land. The immediate appeal of Straight Line causes the listener to hit the repeat button on the stereo and enjoy again and again the beautiful blend of songwriting and musicality. The first track, “Something to Believe In” sets the stage in a large way, causing you to wonder what may be awaiting on the next song. Throughout, that intense desire to hear more never leaves. The happy feel of Straight Line continues with the declara- tive “Can’t Stop Singing,” Tyrus Morgan’s ode to his acute need for each of his songs to sound dif- ferent from what has come before. He has definitely achieved that on Straight Line. As an added bonus, he features Nicol Sponberg formerly of Selah, on “Song to the Savior,” which encourages us to do as the Psalmist instructs: “sing.” The McGuire Side Independent More: Acoustic sensibilities of the opening tune “McGuire Side” and country swing of “Joy in the Church” which have a nice easy listening blues and country feel. Less: Ballad-focused songs that tend to be a bit melancholy over the course of the album. DARRYL BRYANT 84 WORSHIP LEADER Straight Line Sycamore Sound Recordings More: Upbeat and full of variety, Straight Line features a mixture of music that is sure to be a great addition to your personal playlist. JEREMY VANDERLOOP All Creation Sings Mosaic Artistry Group All Creation Sings is the latest self-penned release from Jeremy Vanderloop, his third to date. This album is an effort to “love the unlovable, reach the unreachable, and touch the untouchable,” ac- cording to Vanderloop. Take the vocals of Train, the vibe of Need- ToBreathe, the orchestral mix of early Jars of Clay, and the lyrical poetry of Burlap to Cashmere and combine. The result? One Jeremy Vanderloop. More: Strong and original lyrics provide the listener with a depth sometimes lacking in today’s song palette. A nice mix of rock, orchestral, and folk influence. Less: While lacking strong hooks, this is an interesting album, musi- cally speaking. The oddly placed, “His Prize” with its Salvador- esque Latin rock influence felt mostly out of place within this body of work. MIKE PUESCHELL