MercyMe Albums (9)
What The Critics Say
With All That Is Within Me, MercyMe show why so many bands that attempt to copy their sound will never be able to duplicate their success. Having flexed their crossover muscles on previous records, Bart Millard and company returned to a church-focused theme for their sixth national release. The album title refers not only to the collective substance of the songs, but also to how deeply within themselves the bandmembers had to dig in order to create the album under an enormous time crunch. The group had a mere three weeks to write the entire record. Rather than lower their expectations or sacrifice their craft, they retreated to a secluded Idaho studio with producer Brown Bannister and set immediately to work. And regardless of whether the credit goes to the change of scenery or the backs-against-the-wall pressure, it is impossible to deny that this is the group's best effort to date. What emerged among the recording sessions in the woods were signs that MercyMe had yet again set a new standard for themselves. Millard's raw emotional connectivity on each track, combined with a sparkling array of musical styles, continues to be unmatched by the numberless knockoffs heard on Christian airwaves. There is the Keane-like piano melody of "I Know," the modern rock gusto of "Time Has Come," and the sunny pop flavoring of "All Right." The album's crowning moment is "Finally Home," a mesmerizing acoustic journey that takes listeners to a place where they are reunited with loved ones. Although many things have changed in the five years since I Can Only Imagine climbed the CCM and mainstream AC charts, MercyMe's latest record shows that the band's penchant for making hits might always remain. ~ Jared Johnson, All Music Guide
What The Critics Say
There's a reason MercyMe is the hottest act in Christian music. The band has written hit after hit, time after time. With their latest opus Coming Up to Breathe there appears to be more coming. In a concerted effort to revert back to the days when they were more a rock band and less of a hitmaking machine, MercyMe delivers. While it's certainly not heavy metal, the songs definitely keep driving forward. Guitars are more prominent and production leans on a more earthy formula. "No More No Less" is a perfect example of straightforward rock meeting MercyMe; it isn't brain surgery but it is rock & roll and it's done well. The half-time breakdown at the song's conclusion takes it to a whole different level. The background vocals literally sound like the Temptations and are some of the best heard yet this year. One area MercyMe will never ignore is in the lyric department. Vocalist Bart Millard delivers some of the most poignant and heartfelt thoughts on Coming Up to Breathe. He and band take the cut "Bring the Rain" and weave it into praise & worship splendor while lyrically telling a relevant story. "Last One Standing" turns up the rock. There's a musical breakdown that could easily be the Foo Fighters when the vocals re-enter the distorted mix and set the tune off. "Hold Fast" is rock with polish and Nathan Cochran's bass groove not only sounds heavy but its very tone exudes sweat. The mid-song bridge shows the band at their pinnacle when the guitars build to Millard's intense vocals. "One Trick Pony" is one of the most diverse cuts, sounding like it's being played from the front porch in the swamps of Kentucky. This feel-good vibe drips with blues and country swagger, with acoustic leads sprinkled throughout and growling with soul. Even when the band plays what appears to be a more subdued melody like "Where I Belong," the guitar nuances and dynamic shifts soak the tunes with flavor that build to the lead guitar. Don't think MercyMe aren't delivering the hits. "So Long Self" has mass appeal musically and lyrically; the coolest part about the poppy hook is the ELO type vocals that penetrate the song's middle. MercyMe is able to rock on portions of each song but they always bring it back to a memorable chorus or a hooky verse. That's the formula that has always worked for them, and it does here, too. ~ Steven Douglas Losey, All Music Guide
What The Critics Say
If you want to hear hard-rocking Christmas songs from a good Christian band, then your best bet is still Duvall's Oh Holy Night on Asian Man. But if you want something a bit slicker that still rocks pretty hard, this one is a good choice as well. Quite a few of these arrangements work really very nicely -- the emotional hugeness of MercyMe's setting of "It Came Upon the Midnight Clear" is very effective, as is their chugging rendition of "Angels We Have Heard on High" (although rewriting the melody in the chorus wasn't the greatest idea). Singer Bart Millard can be a bit mannered in his delivery, though, and he sounds pretty silly trying to maintain his dignity while singing "pa-rump-a-pum-pum" on "Little Drummer Boy." Then there's the really ill-advised country setting of "Silent Night," for crying out loud. But they pull off the devilishly difficult trick of turning "I Heard the Bells on Christmas Day" into a U2-esque power ballad, and they do it with class. That's no mean feat. Not bad at all. ~ Rick Anderson, All Music Guide
What The Critics Say
MercyMe returns from the platinum and Dove Award buzz of Almost There and Spoken For with Undone. It's a melody-rich album that mixes soaring balladry with a little fizzy rock pizzazz, tying everything together with Bart Millard's easygoing vocal and faith-based lyrics. "Where You Lead Me" kicks off the album, building from a spare acoustic guitar and vocal to an outsized crescendo of keening synthesizers and the cleansed racket of the band's two guitarists (Barry Graul was added to the lineup in 2003). That formula also guides "Everything Possible," though it opts for a more propulsive beat, and also features a cool instrumental breakdown full of chunky power chords. Lyrically, it's the usual devotion to the Big JC -- the lush "Here With Me" might be a Robbie Williams pop gem were it not for its devotional bent. At the same time, Millard also spends time on Undone dealing with the relationship between his faith and his earthly worries and responsibilities. "How can I further Your kingdom/When I'm so wrapped up in mine?" he asks in "In the Blink of an Eye." "Though I'm living the good life/Can my life be something great?" The lines reference Millard and MercyMe's still-fresh ascendancy to CCM's upper crust, where more pressure and bigger tours probably put a premium on praise & worship time. "Homesick" is a delicate ballad about being apart, while the atmospheric title track is full of quiet resignation. With its slick production and MercyMe's full lineup of guitars, percussion, and keys, Undone suggests the tangent of Nashville contemporary country that favors straightforward pop melody over any sort of hard twang. Likewise, the album's more upbeat moments reflect the trend in secular adult alternative toward earnest vocals over whitewashed rock (à la Vertical Horizon). Both sounds work well for MercyMe on Undone, doubtless giving fans of the band's music and devotion plenty more to believe in. ~ Johnny Loftus, All Music Guide
'Spoken For'
Release Date 10/1/2002
Tracks 11
Label Word Entertainment
See Album Tracklist and Review
What The Critics Say
After six independent releases, MercyMe strikes gold with their first national disc, entitled Almost There. While praise & worship music seems to be the trend, MercyMe offers a disc that tends to be the exception and not the norm. While lyrically sending vertical kudos, each cut is geared toward sending praise to the heavens. "I Worship You" kicks off the disc with a grand entrance; falling somewhere between adult contemporary and rock, the cut utilizes a swirling synth and acoustic guitars to weave a potent melody. "How Great Is Your Love" is a cut with an emotionally impressive chorus. Here, vocalist Bart Millard's delivers a compelling performance via effect-laden delays and a poignant delivery. "I Can Only Imagine" is a passionate piano-driven ballad. The tune begs the question what it would be like to be in the presence of God. Delivered with conviction, the song is emotionally compelling. Throughout the release, the guitar nuances of Mike Scheuchzer are reminiscent of U2's Edge, while keyboardist Jim Bryson places intense but subtle keyboard traces within the context of each tune. Almost There is a disc that holds power. It builds framework for the kingdom of God while lifting the souls of listeners along the way. ~ Steven Douglas Losey, All Music Guide
