Jars of Clay

[dgp11776]

contrary to what I once believed, Martin Smith *IS* capable of opening his mouth without being irritating.

     

[Brenden]

I actually thought the duet worked pretty well.

[murlough23]

Heard this today. Man... what a pleasant album. I expected to enjoy it to some degree, but I'm surprised by how much I find myself admiring its craftsmanship.

You seem to find beauty in a lot of things that I think are plain, which does apply to a few of the tracks on this album. We'll have to delve into that someday to figure out what it is that I'm missing. Maybe I just have a knee-jerk reaction against simplicity sometimes?

Of course, I've long held the opinion that Jars of Clay shows more musicianship and artfullness than any other band in CCM, but I've also felt like they've never made the masterpiece that they are capable of. And they still haven't.

Much Afraid fits that bill just fine for me.

In fact, a number of these songs are instant classics, entirely deserving of a place on the inevitable greatest hits package that I'm sure we'll be seeing in a few years.

I thought Furthermore already took care of that, but you're right, if they leave the label, the label will probably release a compilation of their radio hits, though I don't know if the "deserving" songs will be the ones that make it.

I have no idea who Sarah Kelly is, but her voice is well suited to this kind of music.

She debuted last year, I think on Gotee Records. From what I've heard she's kind of a halfway point between Jennifer Knapp and Janis Joplin (mostly due to her voice), but her first single "Take Me Away" irritated me to no end because it was so trite and dull. I did like her guest appearance on Toby Mac's cover of "Mysterious Ways", though. In a few years, she could turn out to be another Ashley Cleveland type - not hugely popular, but well-respected and unique among female CCM singers (since most of them are trained either sound like little girls or June Cleaver).

"Hiding Place" and "Let Us Love and Sing and Wonder" are both gorgeous, the latter being one of Jars' best-ever ballads, and proof that, contrary to what I once believed, Martin Smith *IS* capable of opening his mouth without being irritating.

Say what? Josh doesn't mind a Martin Smith appearance and I end up complaining about it instead? (Maybe it's because I can tell where Martin is borrowing ad-libs from one of his other songs, and I've kind of gotten tired of him reusing lyrics.)

Anyway, I'm glad you like the album. I'll probably grow to love more of the tracks that I initially only sort of liked as the months go by; the same thing happened with roughly half the songs on WWAI, and the vast majority of Zoo and Much Afraid. I think every Jars album has to start at the bottom of my list when it's first released and work its way up, just because I love the others so fiercely, but Redemption Songs has the potential to at least surpass The Eleventh Hour, which currently stands as my least favorite older Jars album (and I still give it 4.5 stars for the mostly excellent songwriting).

[Josh]

You seem to find beauty in a lot of things that I think are plain, which does apply to a few of the tracks on this album. We'll have to delve into that someday to figure out what it is that I'm missing. Maybe I just have a knee-jerk reaction against simplicity sometimes?

That's an interesting comment, because yeah, many of my favorite albums are marked by their simplicity (Good Dog Bad Dog, Ohio, A Boot and a Shoe, Birds of My Neighborhood), but just as many are marvelously complex (OK Computer, Love and Theft, Abattoir Blues, Achtung Baby).

Anyway, I agree with you at this point that a couple of tracks seem a little too simple, like the first one. But I have a feeling those will grow on me.

She debuted last year, I think on Gotee Records. From what I've heard she's kind of a halfway point between Jennifer Knapp and Janis Joplin (mostly due to her voice), but her first single "Take Me Away" irritated me to no end because it was so trite and dull. I did like her guest appearance on Toby Mac's cover of "Mysterious Ways", though. In a few years, she could turn out to be another Ashley Cleveland type - not hugely popular, but well-respected and unique among female CCM singers (since most of them are trained either sound like little girls or June Cleaver).

Well, as I said before, I think her voice works beautifully in the context of "I'll Fly Away," but she also sounds like the kind of singer who would have the tendency to oversing sometimes.

I think every Jars album has to start at the bottom of my list when it's first released and work its way up, just because I love the others so fiercely, but Redemption Songs has the potential to at least surpass The Eleventh Hour, which currently stands as my least favorite older Jars album (and I still give it 4.5 stars for the mostly excellent songwriting).

Right now I'd rank them:

1. WWAI
2. Zoo
3. Redemption Songs
4. Much Afraid
5. Jars of Clay
6. The Eleventh Hour
7. Furthermore, if you even want to count that one at all

[murlough23]

That's an interesting comment, because yeah, many of my favorite albums are marked by their simplicity (Good Dog Bad Dog, Ohio, A Boot and a Shoe, Birds of My Neighborhood), but just as many are marvelously complex (OK Computer, Love and Theft, Abattoir Blues, Achtung Baby).

Well, sure, I didn't mean for that to always apply, but when simplicity is present, especially in a more stripped-down complex, you seem to see more in it than I do.

Right now I'd rank them:

1. WWAI
2. Zoo
3. Redemption Songs
4. Much Afraid
5. Jars of Clay
6. The Eleventh Hour
7. Furthermore, if you even want to count that one at all

For the sake of comparison, my current ranking:

1. Much Afraid
2. If I Left the Zoo
3. Who We Are Instead
4. Jars of Clay
5. The Eleventh Hour
6. Redemption Songs
7. Furthermore

Incidentally, I decided to flesh out the Wikipedia entry on Jars of Clay today. Don't know if I'm an expert on writing from a netural POV, but I tried my best.

NP: "You and Me", Lifehouse

[danny316]

She debuted last year, I think on Gotee Records. From what I've heard she's kind of a halfway point between Jennifer Knapp and Janis Joplin (mostly due to her voice), but her first single "Take Me Away" irritated me to no end because it was so trite and dull. I did like her guest appearance on Toby Mac's cover of "Mysterious Ways", though. In a few years, she could turn out to be another Ashley Cleveland type - not hugely popular, but well-respected and unique among female CCM singers (since most of them are trained either sound like little girls or June Cleaver).

I just wish she knew what to do with that voice - "Take Me Away" is the only song of hers I like (I'll admit the lyrics are lame, but her vocals sound great there), and the rest of her songs (that I've heard) don't use her vocals well. I saw her live and really hated it. She keeps complaining that she thinks she has a terrible voice, then she tries to "lead worship" with all kinds of praise choruses with soaring vocals that no one can sing along to. It was the only time I've ever seen a group of people show up for "morning worship" at a Christian festival and then just end up staring at each other the whole time. I think she's the only artist I've ever ratted on for sounding too passionate at the wrong times, but she was just that irritating to see. I don't entirely get the Jennifer Knapp comparison either, but I guess that's a whole 'nother can of worms.

I liked her appearance on "Mysterious Ways", but I really hate hearing her with Jars, on both cuts of "I'll Fly Away". She sounds terribly out of place again, and I think she didn't do a very good job of filling in compared to Ashley Cleveland's work on Who We Are Instead. Maybe it's just me, but Ashley Cleveland seems (to me) to know more about how to control her voice and make it sound good. I really wish they'd brought Ashley back instead of recording with Sarah Kelly - heck, Ashley Cleveland even recorded some of the same fricken' songs for her hymns album, they should have just collaborated.

Say what? Josh doesn't mind a Martin Smith appearance and I end up complaining about it instead? (Maybe it's because I can tell where Martin is borrowing ad-libs from one of his other songs, and I've kind of gotten tired of him reusing lyrics.)

I can't place any borrowed ad-libs here, but I think his voice is an awkward fit for the album. It could grow on me yet though.

I'm really starting to like the songs with the Blind Boys though.

Now if only I didn't find Sarah Kelly's vocals so irritating here, I think I'd like "I'll Fly Away". Who knows, that could grow on me yet too....

[murlough23]

I can't place any borrowed ad-libs here

The part where he blurts out "Never fails me". It's from the Delirious? song "Jesus' Blood". I guess that's the only real noticeable occurrence, but it kind of bugs me, like "Stop pimping your own songs, Martin".

[Josh]

The part where he blurts out "Never fails me". It's from the Delirious? song "Jesus' Blood". I guess that's the only real noticeable occurrence, but it kind of bugs me, like "Stop pimping your own songs, Martin".

But isn't that also a reference to another Jars of Clay song?

[danny316]

The part where he blurts out "Never fails me". It's from the Delirious? song "Jesus' Blood". I guess that's the only real noticeable occurrence, but it kind of bugs me, like "Stop pimping your own songs, Martin".

But isn't that also a reference to another Jars of Clay song?

You could say it's from "Jesus' Blood Never Failed Me Yet", but that was a cover too.

Maybe Murlough's Rattle and Hum jest was right.... "We like praise-rock too!" "....but we still like that other song we liked a few years ago, let's try a little of that again!"  

[murlough23]

But isn't that also a reference to another Jars of Clay song?

If so, that's not gonna win it any points with me.

[murlough23]

I probably should have thought of this a long time ago, but it struck me as funny that one of the Jars is named Mason.

[bdg13disciple]

hey, just noticed that your next review is number 350 murlough...

anyway, my Jars review went up over at CMCentral



peace... love... bdg...
 

[murlough23]

hey, just noticed that your next review is number 350 murlough...

Yeah, I'm wondering if I should do something special. (I generally do every 100, but not necessarily for the 50's.)

anyway, my Jars review went up over at CMCentral

Yeah, I read that, and I felt that it was a little lacking in terms of giving more than a general idea of what kind of music this even was. I mean, the songs differ from each other a fair amount on a musical level, and other than the notorious "It Is Well", I didn't feel like the review really informed people of that. Sure, WWAI is a touchstone, but it doesn't sound the same as WWAI.

Not that it was a bad review. That's just one of those little things that bugs me about reviews in general, especially for Christian publications - when the review is long on statements of fact about the lyrical content but short on descriptive info regarding the actual music.

[bdg13disciple]

Yeah, I read that, and I felt that it was a little lacking in terms of giving more than a general idea of what kind of music this even was. I mean, the songs differ from each other a fair amount on a musical level, and other than the notorious "It Is Well", I didn't feel like the review really informed people of that. Sure, WWAI is a touchstone, but it doesn't sound the same as WWAI.

Not that it was a bad review. That's just one of those little things that bugs me about reviews in general, especially for Christian publications - when the review is long on statements of fact about the lyrical content but short on descriptive info regarding the actual music.

fair enough...

i wasn't entirely happy with my reviews last week, just a lot going on these days personally, so i don't think they were my best batch...
i agree that i should have gotten more into the music, especially since i made the statement...

Since the texts are largely familiar to the intended audience, the real concern of making the album work lies in the modern arrangements and performance of the hymns.

i opened the door and never really walked through it...
sorry...

i do think, as i've been pondering this, that perhaps your initial assesment of "It Is Well" might be inaccurate...
it certainly sticks out on the album and feels very radio-format-friendly forced, i'm not denying that...
but, regarding the tone of the music when compared to the content of the lyrics...

this is about as appropriate as hiring a circus clown for a funeral

i'm not so sure... yes, the hymn was written in dire straights...
but it's not a hymn so much of mourning as it is a hymn of celebrating the grace and peace of God that enables the author to rejoice despite these circumstances...
i don't know, i think perhaps a poppy tone is actually very appropriate...
we should be in good spirits when considering the eternal hope that we have in Christ...

just a thought...

peace... love... bdg...

 

[murlough23]

i do think, as i've been pondering this, that perhaps your initial assesment of "It Is Well" might be inaccurate...

No. It's not, and I'll tell you why. Is the song meant to be hopeful and hapy? Sure. Hymns aren't supposed to start depressing and stay depressing. There's always a good dose of hope in them. But "It Is Well" is not a jump-up-and-down-happy song. It's not a song that says, "Everything's great and I'm so full of glee!" It's a song of solace, knowing that things will be OK, but they're not necessarily all OK now. The writer is looking forward with hope and there's more of a quiet awe to it.

You don't hire a circus clown for a funeral. You may choose to have someone tell a few lighthearted jokes during the eulogy, but overall, most folks are going to appreciate a more quiet and respectful mood.

The music was inappropriate for the song and the band themselves knew that, and only recorded it that way under pressure from Beeson and their record label. This is not conjecture; I know it for a fact, unless you want to say that the person who I discussed this with over the phone last December, who heard it from the band personally, was lying to me. This song was a huge battle for the band, and it's not the first such battle that they've lost. If the band were to become what their label wanted them to be, it would be an insult to the intelligence of all of their true fans. That's why they're doing one more album for the label (contractual obligation; this one didn't even count because the label wouldn't fund the project) and then they're done. They'll either go indie or look for another label.
 

[glatisant]

If the band were to become what their label wanted them to be, it would be an insult to the intelligence of all of their true fans. That's why they're doing one more album for the label (contractual obligation; this one didn't even count because the label wouldn't fund the project) and then they're done. They'll either go indie or look for another label.

Hmm.  Did the unnamed source tell you this, or is this conjecture on your part?  I'm really hoping for the former, cause at this point, Essential is nothing but dead weight on them, imo.

Music question, since I haven't heard this one yet: One of my worries way back when the album was being recorded was that it would wind up sounding similar to some of their blander efforts (such as "The Comforter Has Come") on City on a Hill, WOW, etc.  Are the songs on this album generally above that caliber?

[murlough23]

Hmm.  Did the unnamed source tell you this, or is this conjecture on your part?  I'm really hoping for the former, cause at this point, Essential is nothing but dead weight on them, imo.

Well, I said three things there, so I'll break them down individually.

If the band were to become what their label wanted them to be, it would be an insult to the intelligence of all of their true fans.

Obviously that bit was a statement of opinion on my part, but it's a fairly well-founded opinion, I think. To actually know that I'd have to know who all of their "true" fans were, and actually talk to all of them about this matter, So yeah, it's a conjecture.

That's why they're doing one more album for the label (contractual obligation; this one didn't even count because the label wouldn't fund the project) and then they're done.

That was told to me by my unnamed source. He wasn't some mysterious informant or anything, just a guy I ran into on CMC who worked for an organization that the band was associated with, which is how he met the band. He and I had a lengthy phone conversation about what was going on, and while he was upset about it, what he was saying seemed pretty rational and not surprising.

They'll either go indie or look for another label.

That's what naturally follows for a band that leaves its label, so while this wasn't explicitly said to me, these are the two most likely options for Jars, unless the band were to split up, which I'm not expecting.

Music question, since I haven't heard this one yet: One of my worries way back when the album was being recorded was that it would wind up sounding similar to some of their blander efforts (such as "The Comforter Has Come") on City on a Hill, WOW, etc.  Are the songs on this album generally above that caliber?

While much of the album is very low-key, I think that several of the songs are very rich on a musical level (even some of the songs with plainer melodies that I wasn't a huge fan of before). There are a few tracks which do seem a bit more dull, but they don't dominate the record by any means. The album is definitely short on upbeat songs, even more so than WWAI, but I don't think that's to its detriment. There are usually enough folk influences shining through that add ambience to the slower tracks to keep them from sounding dull.

[jocfreak]

Boy, I hope they don't disband. Jars of Clay is the greatest thing that's ever happened to CCM. I can't believe Essential is doing this to the when they were the band that held Essential together.

[murlough23]

Boy, I hope they don't disband. Jars of Clay is the greatest thing that's ever happened to CCM. I can't believe Essential is doing this to the when they were the band that held Essential together.

Again, I really don't expect a split-up. The band's problems are because of the label, not because of each other, and I think that even in the worst case scenario where they couldn't sign with another label, they'd still sell enough records (they have a fairly solid fanbase) to get by. It might not be easy, but I think they've already been together through a lot, so I wouldn't expect this to break them up. They've been trying to get out their label deal, as far as I can tell, so I don't think they intend to call it a day as soon as they do.

[-TheWanderer-]

Boy, I hope they don't disband. Jars of Clay is the greatest thing that's ever happened to CCM. I can't believe Essential is doing this to the when they were the band that held Essential together.

The greatest thing? No.  that's just your overzealous fanatical mind taking over.  They are a great band, but not the greatest thing ever in Christian music.  They are one of the most influential and groundbreaking bands (per se), but there are so many other bands that surpass them in talent, musicianship, and lyric writing.

[bdg13disciple]

i see i struck a sore spot...

that's fine for you to feel that way...
i'm just expressing a different side of things...
and, i'll hold to my belief that there is some value to that version...
and that'll be that...

but riddle me this, if you so please...
i believe i know who you're talking about from cmc, as i've had a similar conversation...
(the source apparently likes to chatter)...
but the statements really don't make total sense to me...

if Essential didn't fund any of the album or count it towards their contractual agreement, why do they have any input on the music anyway?  Paul Colman did something interesting with "Let It Go" in that he wrote two albums worth of songs, one specifically for Inpop and a CCM audience and a second with a more creative, challenging tone for a wider audience.  Inpop funded the recording and production of "Let It Go" and had a certain degree of input for it, but the second album was funded out of pocket for Paul, went to production with "Let It Go" but Inpop had no say in the content, style etc.  And why should they have?  It was independently funded.  Why would Essential be different.  Obviously it's a bigger organization than Inpop but still, if it's Jars funding the production and all Essential is doing is distro than why wasn't Beeson told to shove off... hey, one album left on the contract? can you say greatest hits and bye bye?  There's obviously more to the story...

Also, if Essential was so gung ho about making It Is Well so festive and radio-friendly why is God Will Lift Up Your Head on the airwaves instead?  Sure, there's still a chance that It Is Well will release to radio, but Essential has simply dropped the ball too many times with their artists lately to bank on that.  One single per is sadly becoming a trend with them.  

I'm not trying to be a jerk, but i'm trying to look at the big picture logically.  There are of course pieces of the industry that escape logic, but this scenario just doesn't add totally up.

peace... love... bdg...  

[murlough23]

i see i struck a sore spot...

No, you didn't. You were just wrong, that's all. I didn't take it personally, but you made a statement that needed to be corrected, and I corrected it.

but riddle me this, if you so please...
i believe i know who you're talking about from cmc, as i've had a similar conversation...
(the source apparently likes to chatter)...
but the statements really don't make total sense to me...

The guy works for Blood:Water Mission, OK? He's not just some random yahoo who likes to chatter. I could understand if it was just some joe schmo trying to stir up trouble, but I don't think he'd be making this up and going to the trouble of arranging to talk to a stranger on the phone about it if it was just conjecture.

if Essential didn't fund any of the album or count it towards their contractual agreement, why do they have any input on the music anyway?

Because the label still released the project and had to promote it, etc. I can see the business side of that - you don't have to pay to stock and advertise a product that you don't believe in. However, I think it's ludicrous for the label to jerk the band around like that. Um, hello, didn't you want Jars to do a worship record, guys? Isn't that what they did? And now you're going to hold it hostage because it doesn't fit your Candy-Land definition of worship?

Paul Colman did something interesting

Well, that's a first.

Why would Essential be different.  Obviously it's a bigger organization than Inpop but still, if it's Jars funding the production and all Essential is doing is distro than why wasn't Beeson told to shove off... hey, one album left on the contract? can you say greatest hits and bye bye?  There's obviously more to the story...

Well, that's what I'd like to know. I didn't talk to somebody who knew the guys at Essential, so I don't know what their motives were for doing that... but motives don't matter in this case, because the record would have sold just fine without that song (it didn't even end up getting released as the radio single; instead another song which was appropriately upbeat got released, thank God), and there was no reason to manipulate the band to get that song on there. The label could have had the best of intentions, and that action would have still been wrong. You just don't interfere with artistry like that. Sadly, it's all too common in this day and age, and I could probably make a stink about it with several other major-label releases as well, but it hits me especially hard here, because it's Jars.

Also, if Essential was so gung ho about making It Is Well so festive and radio-friendly why is God Will Lift Up Your Head on the airwaves instead?

Maybe because somebody got smart at the last minute? I don't know. Albums generally have more than one single released, so it wouldn't surprise me to hear Air1 playing the crap out of it in the future.

I don't pretend to know everything about this situation, and frankly, I don't need to. Essential did what labels do all too often - they stuck their fingers in the pie and screwed things up. The band was forced to do something that they didn't want to do. There's no conceivable excuse for that.

[murlough23]

They are a great band, but not the greatest thing ever in Christian music.  They are one of the most influential and groundbreaking bands (per se), but there are so many other bands that surpass them in talent, musicianship, and lyric writing.

You know what's funny? I actually agree with that, but Jars is still my favorite band. It must have something to do with a personal connection or something. I think that Iona surpasses Jars in all three of the categories you mentioned, for example, and I love Iona to death, but something about Jars still makes them #1 in my book. I would say it's sentimentality because I've loved Jars for so long... but I discovered Iona only about a year after Jars, so that can't be it.

Maybe Jars is just relatable for me regardless of what mood I'm in (they have an album or song for every occasion, it seems, though I'm probably exaggerating a bit there), and I have to be in a certain mood to listen to some of the more artsy bands.

[Aaron]

You know what's funny? I actually agree with that, but Jars is still my favorite band. It must have something to do with a personal connection or something. I think that Iona surpasses Jars in all three of the categories you mentioned, for example, and I love Iona to death, but something about Jars still makes them #1 in my book. I would say it's sentimentality because I've loved Jars for so long... but I discovered Iona only about a year after Jars, so that can't be it.

Maybe Jars is just relatable for me regardless of what mood I'm in (they have an album or song for every occasion, it seems, though I'm probably exaggerating a bit there), and I have to be in a certain mood to listen to some of the more artsy bands.

and what you have said is perfectly fine.  My favorite band, O.A.R., is not the greatest band in the world, but I like them for many of the same reasons you like Jars.  There are many bands that run circles around them musically and as a fan I can accept that.  It is when people cannot accept that fact when it turns from being a fan to being a fanatic worshipper of an artist.

[danny316]

I don't know, I think you probably could make an argument for Jars being one of the best things to happen to Christian music. I don't think I'd say they're "the" greatest, but it'd be interesting to really research it and see just how much CCM changed after they got popular and brought that sound into the mainstream of CCM. I can't say I know enough about what I'm talking about to say that the folk-rock stuff being fairly popular in CCM is entirely Jars' fault, but I generally think of it that way. I also tend to think that the trend towards "crossover" music was largely lead by Jars (again I might be wrong, feel free to jump in here). I think all of us who doubt that Essential would have made it without them are right on the mark too, although I don't know if I'd consider keeping Essential in business a "great" thing.

You have to admit though, if nothing else, it's scary to think of what "oldies" CCM radio would be playing now if they weren't still spinning "Love Song" and "Like A Child".  

[Josh]

I don't know, I think you probably could make an argument for Jars being one of the best things to happen to Christian music.

I can't think of a single CCM band who consistently shows the same level of artfullness and ingenuity that Jars does, so yeah, I'd definitely stand by that statement.

I can't say I know enough about what I'm talking about to say that the folk-rock stuff being fairly popular in CCM is entirely Jars' fault, but I generally think of it that way.

Well, folk rock has been around since the 1960s-- WAAAY before Jars' time-- so their debut album was hardly any kind of innovation. Sure, it's possible that they may have introduced the style to CCM, but, really, who cares? Christianizing a genre is not the same thing as pioneering one.

I also tend to think that the trend towards "crossover" music was largely lead by Jars (again I might be wrong, feel free to jump in here).

They certainly played a big role in it, but they weren't the first. If nothing else, Amy Grant beat them to it.

[murlough23]

I don't know, I think you probably could make an argument for Jars being one of the best things to happen to Christian music.

I don't know if there needs to be a single artist that is considered "the" best things, but I think they've had a significant impact to be considered "one of the best things", unless you're a person who just flat out doesn't appreciate the influence they've had, or thinks that they've had very little influence at all (in the latter case, you'd be demonstrably incorrect).

I don't think I'd say they're "the" greatest, but it'd be interesting to really research it and see just how much CCM changed after they got popular and brought that sound into the mainstream of CCM. I can't say I know enough about what I'm talking about to say that the folk-rock stuff being fairly popular in CCM is entirely Jars' fault, but I generally think of it that way.

I think you're on to something. Jars wasn't the first band to do it, but they more or less popularized it. To me, it felt like from about 1995-1998, there was this whole influx of "alternative pop" and even a lot of the established CCM artists were finding ways to be more oblique or "edgy". I can't say that Jars was responsible for all of it, but it sure felt like the acoustic guitar was the hottest instrument in the world after they debuted, often paired with programmed beats and stuff.

One could also say that PfR was a huge influence in terms of pop and rock co-mingling instead of having this huge separation where rock was for the headbangers and pop was for the mellow people or whatever. They didn't invent it, obviously, but their music was one of the big breakthroughs for Christian radio. Musically, they didn't do much that was original, if anything at all, but they were creative in their synthesis of styles and they experimented from album to album.

One could even claim that Larry Norman was the best thing ever to happen to Christian music. He was one of its founding fathers. Does that mean that he had the best music and/or the best lyrics? No, but he was a huge influence simply because he helped to get the ball rolling. I don't like most of his stuff, personally, but I respect that he had the guts to do things that a lot of others were too timid to do.

So I don't think you have to be the best artistically in order to be one of the best things ever to happen to Christian music (or any genre). If you invent something, there's actually a fairly good chance that someone else will learn from what you've done and come along with the ability to do it better.

I also tend to think that the trend towards "crossover" music was largely lead by Jars (again I might be wrong, feel free to jump in here).

I can sort of see that. Folks like Amy Grant and MWS had done it before, but it was definitely with more calculated attempts at making general-market pop songs. Jars of Clay kind of had a happy accident that may have been facilitated by some cunning effort by someone in their PR department, but that I don't think was a definite plan when they penned "Flood". To me, that showed an acceptance, however minor, of an artfully written religious song on its own terms. It's true that not everyone interpreted it as a religious song, and that some people rejected the band upon finding out they were Christians; however, the song doesn't appear to have been written with the intent of obscuring the band's religious beliefs for the sake of mainstream radio play. I think a lot of the crossover attempts that followed misunderstood the success of "Flood", and tried to get on mainstream radio by purposefully obscuring the meaning of things with poetic window-dressing, and then people got indignant about it when it didn't work.

I think all of us who doubt that Essential would have made it without them are right on the mark too, although I don't know if I'd consider keeping Essential in business a "great" thing.

I think Essential was doing some pretty good work up until about 1999 or so. They had a fairly diverse roster of artists like Plumb, Eric Champion, All Star United, Imagine This, Caedmon's Call... some were popular, some weren't, but it seemed like these groups were signed because they were good artists, not because they were trendy. When they kicked ASU and when Plumb voluntarily left the label, and when they started signing horrid acts like V*Enna and True Vibe, that was the beginning of the end in my mind. That was when the need to keep up with trends and make money seemed to override the need to get well-crafted Christian music out to the general public, which should be the primary goal of any Christian record label.

Record labels aren't a bad thing, and I wish no ill will against them as corporate entities, so long as they exist in service of the artist and not vice versa.

You have to admit though, if nothing else, it's scary to think of what "oldies" CCM radio would be playing now if they weren't still spinning "Love Song" and "Like A Child".

The cafe at my church has like 5 CD's that they play on infinite rotation while people are hanging out there on Sunday mornings. One of them is Jars of Clay's first album, and while I'm delighted to hear it, I kind of wish they'd diversify a bit. Still, when it comes on, there's a part of me that thinks, "Now there's a classic rock album."  

NP: "Did You Feel the Mountains Tremble?", Delirious?

[danny316]

I think Essential was doing some pretty good work up until about 1999 or so. They had a fairly diverse roster of artists like Plumb, Eric Champion, All Star United, Imagine This, Caedmon's Call... some were popular, some weren't, but it seemed like these groups were signed because they were good artists, not because they were trendy. When they kicked ASU and when Plumb voluntarily left the label, and when they started signing horrid acts like V*Enna and True Vibe, that was the beginning of the end in my mind. That was when the need to keep up with trends and make money seemed to override the need to get well-crafted Christian music out to the general public, which should be the primary goal of any Christian record label.

Record labels aren't a bad thing, and I wish no ill will against them as corporate entities, so long as they exist in service of the artist and not vice versa.

You might be right there. Some of my earliest experiences with Christian music were back when Essential was still pushing Plumb and Jars of Clay. Actually, those two (and Sixpence) are really the only CCM artists I can say I had heard before I got into that whole Jesus thing. To be honest, I don't remember Eric Champion, ASU, or Imagine This at all. I guess I just got into CCM too late and missed when Essential was better. I don't know though, it seems odd to me that they didn't push Jars more right after Flood hit, and I have heard some horror stories from Plumb about what the label was like before she left too.

Actually, I just remembered that I never did post the horror stories Plumb told me on my website. I really should be doing that instead of posting here.

[murlough23]

You might be right there. Some of my earliest experiences with Christian music were back when Essential was still pushing Plumb and Jars of Clay. Actually, those two (and Sixpence) are really the only CCM artists I can say I had heard before I got into that whole Jesus thing.

Wow, Dan, I didn't realize that you weren't a Christian before that. As someone who wasn't a Christian yet, how did you get into those artists?

To be honest, I don't remember Eric Champion, ASU, or Imagine This at all.

Well, I said they were good, I didn't say that they were popular. In the case of Imagine This, I don't even know if "good" applies... they were kind of a cheesy disco-funk-rock thing... but it was fun and it showed that Essential was willing to take a chance on something decidedly non-trendy. Eric Champion had some success doing the dance/pop thing while he was still signed to Myrrh in the early 90's... he kind of did a rock reinvention when he signed to Essential. Transformation is my favorite album of 1996, actually. And as for All Star United... well, you haven't lived until you've heard "La La Land". I'll pub it sometime.

Actually, I just remembered that I never did post the horror stories Plumb told me on my website. I really should be doing that instead of posting here.

Ooh, I wanna hear the horror stories!

NP: "Smile Like You Mean It", The Killers

[danny316]

Wow, Dan, I didn't realize that you weren't a Christian before that. As someone who wasn't a Christian yet, how did you get into those artists?

I got hooked on Sixpence on the radio. With Jars, it was a combination of some modest radio play on a favorite station and some movie soundtrack placement. I didn't know who they were for a while, but I remember really liking "Unforgetful You". I had heard Plumb's "Stranded" a few times on the radio too, and it was in the "Drive Me Crazy" movie alongside "Unforgetful You". I can't say I was actually into Plumb back then though, but I do remember hearing her. I had a weird deja-vu experience when I heard "Stranded" on Wow 2000 a few years later.

Well, I said they were good, I didn't say that they were popular. In the case of Imagine This, I don't even know if "good" applies... they were kind of a cheesy disco-funk-rock thing... but it was fun and it showed that Essential was willing to take a chance on something decidedly non-trendy. Eric Champion had some success doing the dance/pop thing while he was still signed to Myrrh in the early 90's... he kind of did a rock reinvention when he signed to Essential. Transformation is my favorite album of 1996, actually. And as for All Star United... well, you haven't lived until you've heard "La La Land". I'll pub it sometime.

I don't think I've heard it. I have an odd habit of confusing All Star United and All Together Seperate, and I haven't heard anything from either one that sticks out as memorable. Then again, I haven't heard much from either one of them either.

Ooh, I wanna hear the horror stories!

NP: "Smile Like You Mean It", The Killers

Actually, now that I reread it, I'm realizing that the 'horror stories' don't really say much. I need to listen to this again when I'm more awake to make sure I have the quotes right, but there isn't anything as meaty as I seem to remember.

I can keep whining about Essential anyway. I'm still mad that we never saw "Trouble Is" or "I'm In The Way" as a radio single.  :angry:

[murlough23]

I got hooked on Sixpence on the radio.

Wow. I guess I figured hardly anyone was buying their album based on radio singles, since the album was so different from the singles... but then again, how would most people know that?

I had a weird deja-vu experience when I heard "Stranded" on Wow 2000 a few years later.

I had my own deja-vu experience when I heard Michelle Branch's "Everywhere" on the radio in 2001, and thought it sounded like "Stranded" at the beginning.

Actually, the first time I heard "Stranded" on the radio was in 1998, when the band only had a rough cut of it available because they were still working on candycoatedwaterdrops. I actually still like that version better. Maybe I'll Pub that someday as well.

I don't think I've heard it. I have an odd habit of confusing All Star United and All Together Seperate, and I haven't heard anything from either one that sticks out as memorable. Then again, I haven't heard much from either one of them either.

ASU was intentionally over-the-top power pop/rock with a bit of Brit influence. They were sometimes cheesy, but a whole lot of fun. Ian Eskelin had a flair for sarcasm that has sadly been lost in his more recent work. ATS was more funk/jazz-influenced rock, though only slightly. They had some really excellent songs like "Paradigm" and "Make It Not So", and a lot of really generic-sounding ones as well.

I can keep whining about Essential anyway. I'm still mad that we never saw "Trouble Is" or "I'm In The Way" as a radio single.  :angry:

"I'm in the Way", despite being a really short song, would have annoyed the crap out of people because of how repetitive it is. Then again, this is Christian radio we're talking about. So most of the people who got annoyed would only have been annoyed because they didn't understand the song.

But yeah, having a year and a half between albums and not releasing "Trouble Is" was a major blunder on Essential's part. Remember the good old days when nearly every track from a Jars record became a single?

NP: "I Wasn't Prepared", Eisley

[Josh]

"I'm in the Way", despite being a really short song, would have annoyed the crap out of people because of how repetitive it is. Then again, this is Christian radio we're talking about. So most of the people who got annoyed would only have been annoyed because they didn't understand the song.

That song has always struck me as something of a "Can't Erase It" rewrite, and, since I prefer the original, it's never been one of my favorites on WWAI.

But "Trouble Is" as a radio single? Wheeeeeeeeew boy! That would have been SWEET. Not sure how well it would have fared, but it would have been a daring move.

[danny316]

Actually, the first time I heard "Stranded" on the radio was in 1998, when the band only had a rough cut of it available because they were still working on candycoatedwaterdrops. I actually still like that version better. Maybe I'll Pub that someday as well.

I'd like to hear that. To be honest, I've just never gotten around to checking out Plumb's older stuff. Knowing who played on her album, I'd probably love it if i gave it a chance.

"I'm in the Way", despite being a really short song, would have annoyed the crap out of people because of how repetitive it is. Then again, this is Christian radio we're talking about. So most of the people who got annoyed would only have been annoyed because they didn't understand the song.

I think it would have done well as a single, mostly because it is a bit more poppy, repetitive and accessable than a lot of stuff.

But yeah, having a year and a half between albums and not releasing "Trouble Is" was a major blunder on Essential's part. Remember the good old days when nearly every track from a Jars record became a single?

NP: "I Wasn't Prepared", Eisley

They only did that on the first album though, right?

[murlough23]

They only did that on the first album though, right?

I think that MA and Zoo had more singles than non-singles, but then maybe my memory is exaggerating things. There were longer gaps in between albums back then.