Jars of Clay Albums (12)
'The Long Fall Back to Earth'
Release Date 4/21/2009
Tracks 14
Label Provident
See Album Tracklist and Review
What The Critics Say
For all the critical adoration lavished on them over the years, the biggest thorn in Jars of Clay's side continues to be their critics. In the 15 or so years the band has been in operation, CCM scribes have time and again missed the boat and misconstrued them as something they're not: a rock group. Somewhere, somehow, someone once decided to christen them that, and since then everyone has pretty much run with it. A more fitting home for the foursome is in the realm of alternative pop, particularly in light of The Long Fall Back to Earth, their first non-seasonal full-length as an independent, and easily their most fanciful recordings to date. Sure to surprise even the staunchest Jarheads, The Long Fall sees the quartet adopting, in varying degrees, the electronic pop stylings of David Bowie, the Flaming Lips, and MGMT, partially furloughing their live rhythm section in favor of one inspired by the ‘80s -- keyboardist Charlie Lowell must've had a field day. The bass-drum dynamic was never critical to their method, anyway, so all the electronic gadgetry happens to suit them well, particularly in bouncy, joyful anthems like "Closer" and "Don't Stop," where the synth-tastic nature of the cuts belies the overall somber tone of the entire record. It all makes for an apt, if not a bit harrowing accompaniment to the album's theme -- a stark, honest-to-God look at human relationships, warts and all. Occasionally, the sentiments tend towards the mushy ("There Might Be a Light," "Heart"), but, on the whole, the Jars clan is too cerebral to play it safe with boy-meets-girl pleasantries. Instead, they are at their best when they offer candid snapshots on everything from breaking up ("Headphones") to forgiving oneself ("Boys"), and reconciliation ("Safe to Land"). The endings aren't always happy, much less conclusive, but they're otherwise genuine and true to the messiness of life's interactions. This commitment to authenticity and the band's refusal to not spell everything out for the listener are what makes The Long Fall Back to Earth a rewarding project -- perhaps not their most accessible, but certainly one that grows more meaningful each time around. ~ Andree Farias, All Music Guide
What The Critics Say
A live album was a natural step after 2006's Good Monsters, which lead singer Dan Haseltine claimed was "meant to be played live." Live Monsters has the feel of a bootleg recording, with a limited track listing and no frills. There are few comments between songs, leaving the cuts as raw and honest as they were designed to be. Compared to Jars' other live release -- the second disc of 2003's Furthermore -- Live Monsters leaves you with the sense that this is a rock concert just as much as a faith-promoting experience. The boys are in their prime when they are challenging the status quo of contemporary Christian music, and here they do it again. ~ Jared Johnson, All Music Guide
What The Critics Say
It's unlikely that this is the holiday album Jars of Clay would have created when they first started asking their record label for the chance. With the band's sound evolving from glossy alternative folk-pop to experimental synth rock, their approach to their first full-length Christmas record evolved as well. Other changes contributed, too. After 12 years, the band fulfilled its contract with Essential Records and parted ways, immediately setting up shop as an indie act under the Nettwerk umbrella. Frontman Dan Haseltine reported that the band had wanted to do a Christmas album ever since 1995's four-song EP Little Drummer Boy, but label execs kept it from materializing. The only limit to their creativity now, it seemed, was deciding how deeply to reach into the repertoire of traditional holiday music and how much original material to infuse. Thankfully, the quartet came up with just the right mix of old and new fare, all thickly coated in textured synth layers and drum loops. The result is a highly nontraditional treatment of holiday themes, though one that will suit fans of the band from almost any era. ~ Jared Johnson, All Music Guide
What The Critics Say
The evolution to a pure rock sound on Jars of Clay's seventh studio album, Good Monsters, is not a far cry from traces of alternative rock that surface on nearly all of their recordings in one degree or another. Fans accurately predicted a return to a harder-edged rock outing after the band's three previous efforts -- 2003's Furthermore and Who We Are Instead, as well as 2005's Redemption Songs -- leaned primarily toward a stripped-down folk sound. Monsters stretches the four-piece band past any set of expectations and results in its boldest effort to date. Known for introspection and openness, their lyrics this time around offer no singular message other than an unapologetic admittance that they don't have all the answers. Songs bounce from haunting to lilting, pensive to provoking, ultimately creating a set list that is cohesive only in its self-examination. Among the many standouts, the jarring opener, "Work," manifests within seconds that acoustic guitars have been set aside in lieu of a more raw, glaring sound. "Dead Man (Carry Me)" gets going with a jangly guitar riff and heavy beats resembling secular contemporaries the Killers. "There Is a River" finds its place among the band's greatest, taking an Americana drive à la Counting Crows' "Mrs. Potter's Lullaby" or Ingram Hill's "The Captain." "Mirrors & Smoke" features a duet between lead vocalist Dan Haseltine and ex-Sixpence None the Richer frontwoman Leigh Nash. The bandmembers continue to bear sonic ode to Toad the Wet Sprocket and U2 on this record, but they draw upon enough of their own trademark sound that only isolated moments would evoke comparisons to the latter's mid-decade classic How to Dismantle an Atomic Bomb. Good Monsters doesn't aim for arena rock, but it remains well-crafted and vulnerable at the core. Jars of Clay bear the cross of being compared to their self-titled debut with every following record. Good Monsters is a departure from that debut, but assuredly a welcome one that yet again demonstrates the band's depth and talent. ~ Jared Johnson, All Music Guide
'Who We Are Instead'
Release Date 11/4/2003
Tracks 13
Label Brentwood
See Album Tracklist and Review
What The Critics Say
For 2002's Eleventh Hour, Jars of Clay seemed to transfer the inherent power of their music from soulful vocals and grassroots gospel to the din of ragged electric guitars and anxious drum machines. That wasn't a bad decision, necessarily, but the album did seem to be more of a mood piece than anything. For Who We Are Instead, the band settled into the comfortable Tennessee environs of its own Sputnik studio and set about tuning up those old acoustic guitars. The resulting 13 songs still nod to modernism with slick production and the occasional twinge of programming. But where the electronics of Eleventh tracks like "Disappear" or "Revolution" seemed to cast a shadow, the gritty, percolating bottom end of Who We Are Instead's "Trouble Is" adds resolve to the song's slide-guitar tale of darkness and light. "My heart ain't built to stay," vocalist Dan Haseltine sings in an appropriately world weary tone. "Jesus told me so." It's in this way that Jars of Clay unites their own beliefs with the larger church of American roots music. "Amazing Grace" (with its fabulous guest shot from vocalist Ashley Cleveland) is another signpost on that long U.S. route to redemption; it finds its spiritual brethren in Live's "Lightning Crashes" and U2's "I Still Haven't Found What I'm Looking For." The band even reveals the reverent heart of America's "Lonely People," transforming the song's "Don't give up!" message into a pep talk supported by mandolin and impressive '70s vocal harmonies. While the CCM-pop of single "Show Me Love" and lively "I'm in the Way" is pleasant enough, it doesn't resonate as effectively in the midst of Who We Are's more honest moments. These arrive again with "Jesus' Blood Never Failed Me Yet" -- influenced by the grace of the homeless, nameless street singer at the center of Gavin Bryars' epic piece -- which expertly mixes naked, almost whispered vocals with slowly surging instrumentation, and closer "My Heavenly," where a simple, yet determinedly effective, paean to God weaves quietly through the strains of a chamber pop piano. Jars of Clay's devotion will ensure the embrace of Who We Are Instead by alternative CCM fans. But the band's reverence for the Americana canon aligns them with a stable of secular artists -- Counting Crows, Train, and Ryan Adams, to name only a few -- who till the same fertile soil. ~ Johnny Loftus, All Music Guide
'Furthermore: From the Studio/From the Stage'
Release Date 2/4/2003
Tracks 21
Label Essential
See Album Tracklist and Review
What The Critics Say
With four studio releases to its credit, Jars of Clay returns with Furthermore, a two-disc set that features a disc of live material plus an entire disc of reworked material and three new tracks. One could be a bit apprehensive about a band whose sound is already traditionally "unplugged" and stripped down to begin with. How could a band like this rework songs and offer anything new to the listener? Starting with the "From the Studio" disc, the band kicks things off with its mega hit, "Overjoyed." Stripped down and laid-back, the Jars add a jazzy piano to the mix, changing the complexion of the song completely. "Liquid" is transformed with elegance and grace. The cut's prior mode featured violins and chants kick-starting the intro, while the latter uses pianos and acoustic guitars to turn the cut into a moving, emotional ballad. "Dig" is one of the new tunes on the release. Originally done by Adam Again, the song has a somber vibe that sends the listener into a melancholy orbit, truly stirring the soul. Other cuts of note from the studio disc include "Love Song for a Savior," which retains the singalong qualities of the original while breaking into a Seals & Crofts mode on the verse, and "Frail," which reflects its predecessor but becomes much richer with the acoustics and vocals out front. What you get with the studio disc is a coffeehouse vibe that exudes coolness. It's truly Jars of Clay at its finest moment. The second disc ("From the Stage") features the band live from its Eleventh Hour tour. Cuts like "Disappear" and "Crazy Times" translate well into the live setting. Vocalist Dan Haseltine had developed stronger chops over the previous few years, helping to breed cuts full of energy and flavor, while guitarist Matt Odmark blazes midsong on "Crazy Times." "I'm Alright" is a cut with energy and funk. The tune bolsters incredibly soulful background vocals while keyboardist Charlie Lowell uses his Hammond B-3 to bring the cut into the sanctuary with gospel flair. "Flood" is the band's crowning achievement as a live concert staple. The Jars play the tune very close to the vest. The complexities and orchestral bridge of "Flood" are enough to warrant the tune as is, and the band pulls it off flawlessly. Furthermore is a disc that does not come off as a collection of retreads, but as a crowning achievement for the fans. On one hand you're pulled into the most intimate of coffeehouses for disc one, while soaking up the energy of an outstanding live performance on disc two. Truly the best of both worlds. ~ Steven Douglas Losey, All Music Guide
What The Critics Say
In September 2001, the alternative pop/rock band Jars of Clay performed their first concert in over a year. The event served to foreshadow the group's March 2002 release The Eleventh Hour, an album heralded as comparable to the band's debut project. With this release, Jars of Clay -- composed of members Dan Haseltine, Matt Odmark, Charlie Lowell, and Stephen Mason -- held fast to the creative reins from start to finish. Serving as writers, producers, designers, and directors, the band was able to return to the vision which drove their self-titled debut. The result was a collection of 11 songs unlike any released from the band since their 1995 album. Musically, the project blends alternative rock and pop with elements of folk. Lyrically, it examines aspects of honesty and transparency, exploring human longing. The album opens with the edgy pop track "Disappear," a song expressing the difficulty people face in accepting the existence of unconditional love. Other notable tracks include the first radio single, "I Need You," a driving and passionate expression of a deep desire for God, and the tender yet haunting ballad "Scarlet." The Eleventh Hour is a much needed album from Jars of Clay. It is a return to the elements that drove the sudden success of the band in 1994 and 1995. ~ Ashleigh Kittle, All Music Guide
What The Critics Say
If the stripped-down, neo-vaudevillian sound of If I Left the Zoo's opener suggests that Jars of Clay is following a different path with their fifth album, that's because it's a little misleading. There are a few new quirks in the group's mature jangle pop, but overall, If I Left the Zoo is very much in the same vein as the group's other releases. That's not necessarily a bad thing, however, since Jars of Clay does this kind of thing really well, and with producer Dennis Herring, they have figured out how to add little sonic flourishes that distinguish the album, even if it's stylistically similar to their other efforts. The reason the record works is that the band's songwriting is getting stronger, and Herring has decided to let the music be direct and even a little ragged. The result is a bit like Herring's work with Counting Crows -- at its core, it's simple, immediate melodic folk-pop, but there are enough little quirks in the arrangements, from accordions to a toy piano on "Sad Clown," to keep things interesting and flowing smoothly. Consequently, If I Left the Zoo is Jars of Clay's strongest since their mainstream, self-titled breakthrough. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Jars of Clay's second mainstream, adult alternative album, Much Afraid, finds the group refining the anthemic, folky neo-jangle that made its predecessor, Jars of Clay, a crossover hit. While Much Afraid lacks a single as catchy as "Flood," it is a solid, well-crafted collection of alternative folk-rock, highlighted by the single "Crazy Times." ~ Thom Owens, All Music Guide
