ALBUM REVIEW

Jars of Clay:
Good Monsters

What more can a Dove and Grammy-laden band achieve? Jars of Clay is no longer constrained by needing to prove anything. With Good Monsters, they go against the grain with a delightfully unexpected concept album; an intricate and masterful mix of styles that fit together in a platinum-bound puzzle. This is not a typical Jars of Clay album, except that it's typically brilliant.

The album begins with Work, an excellently produced, in-your-face rock song introducing you to the theme of the album. It's percussion-heavy, with great drums as well as Steve Mason and Matt Odmark's guitars driving the song.

Dead Man (Carry Me) follows with another electric guitar pop mix. If you're able, listen to this on a quality stereo; there's a lot going on production-wise that will be missed on FM radio. Even though Dead Man deals with the Scriptural concept of becoming a new creature, its hook gives it great potential as a crossover song. Though this album is full of musically well-written songs, it is the lyrics that are destined to make most other albums pale in comparison.

From the first two rock songs, Monsters transitions seamlessly into a mellower mood with All My Tears, penned by Julie Miller in 1993. Tears really adds a wonderful lighter touch, yet it is still uniquely Jars of Clay. They adapted a gorgeous song to their own style, one that'll give you those good shivers you feel in a worship service. It’s a moving song, as is the following track, Even Angels Cry has a Randy Stonehill feel with deep lyrics and Dan Haseltine's vocals mixed on top so we don't miss one word. Kate York's delicate backups give this song an airy tenderness. Cry strengthens the concept of the album, that Christians are real people with real problems, and that faith is the only answer.

Many of Monsters' songs have the potential to cross over to mainstream radio because the message is often somewhat obscure. Not so with There is a River. The lyrics are straightforward gospel truth, set to today's music. It has a loose-acoustic style with well-laden backup vocals which assist the continuity of the CD and keeps the listener attentive (though no one in their right mind will stop this disc from playing to its completion). River's message is reliance on the One. Its musicianship is as good as the lyrics, with tasteful guitar integration and background vocals that turn a good song into an excellent one. Its tempo and mix is radio-friendly, and while River is not the best song on the album, it will receive plenty of spins on Christian radio stations.

Going even more up-tempo is the title track. Like the rest of this album, Good Monsters’ lyrics are top shelf, requiring those listening to reach up for understanding rather than dumbing it down. There's a lot for listeners to digest throughout the CD, and like a truly great piece of art, each person will be coming away with something a little different and relevant to their own lives. Musically, Monsters has a great hook and questions, "Do you know what you are?" The lead vocals are pure on every song, but Haseltine's unique voice takes on an especially tender timbre on Oh My God. Its soothing nature is truly relaxing and really makes you appreciate the immense writing talents of this band. But don't get too relaxed -- the lyrics will cut deeply as the writers reprove the futility of a people who neglect the hurting in favor of comfort. My God is the longest track on the album, yet because it builds and builds, the lamentation does not come across as too long.

Surprise keeps up the somewhat gentler pace with strings and a mix which complements the production. It's melodically simpler than many of the others, but interesting nonetheless. Continuing with the Oh My God mood, Surprise is a wake up call to get busy and do something. Take Me Higher has well-written guitar hooks and a cranking lead, and is just a good pop tune -- complete with a strong melody and imaginative song structure. Higher could chart across a few different genres, with its catchy hook and alt-rock guitars. Do you recognize that sweet female voice on Mirrors & Smoke? It’s Leigh Nash, adding the June to his Johnny, and it's very effective. Mirrors smoothly crosses into country-rock, and does so with a hit song. The change-up from electric to acoustic guitar in the middle adds a lot, and Charlie Lowell's organ in the background anchors the song. This is a very visual song, drawing pictures in your mind. Its four minutes ends all too quickly.

Light Gives Heat starts off with the African Children's Choir. Surprisingly, it doesn't come across as gimmicky, but as integral to the song. Light seems to be a not-so-subtle diatribe on the mindset of some Western missions. It cuts to the heart of those xenophobes with a "hand-me-down" approach rather than a "hand-up" one. It's not coincidental that Jars' Blood:Water Mission takes the latter course.

Do you ever have one of those times when you just need to listen to an angst-filled love song? Water Under the Bridge is it. Anyone who’s been married for many years will be able to relate to the lyrics; when you stand in the pit of despair as the dark waters rise, and you think things will never get better. Water shows a maturity and a faith that what God has put together should not be torn apart because of circumstance. It echoes that divorce is “The end that never does”. I predict a lot of tears shed as memories good and bad flood the listener. Monsters would be worth the price just for this one song; it’s that good. This is destined to be covered by artist after artist in the coming years, from country to rock.

The music on this disc shows sophistication and heightened creativity, and a united effort to bring the music up a notch (mission: accomplished). Production-wise, Monsters has a full "wall-of-sound" and, while self-produced (Vance Powell and Mitch Dane assisted), shows the amazing depth this band has achieved in their dozen-year existence. This album was mastered by accomplished mastering engineer Richard Dodd, underscoring the energy and expense that went into making this CD a sure hit. It's early yet to be naming this the album of the year, but it will surely be in contention.

A perfect 10! Eight Legs Up!