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Unfazed

 

One of those rare albums which  feels wholly crafted to be an album, carrying the listener along on terrain  carefully mapped and emotionally guided. The road runs from outright faith and  awe of God to admissions of failure and despair; pleas for strength, recognition  of selfishness, and a return to ultimate, undying, and hard-won faith. Probably  a landmark Christian rock album; only the lyrics slightly suffer, and probably  wouldn't if we hadn't known the heady days of Blue Belly Sky. The textures on  Unfazed are so sonically rich, Brad Olsen's guitar so powerful and inventive -  he belongs in a category with Lindsay Buckingham and Dave Navarro, while  sounding not like either of them. The music punches, rocks, and grooves so  beautifully one cannot imagine better versions or takes. Todd Olsen's voice  shows no strain now and greater inventiveness, reminding me of when Michael  Stipe really started to hit his stride. The rhythm section is muscular and  spot-on; kudos all around. All the songs are great, with "I Am, " "The Company  You Keep, " "Make It Disappear, " "Speak, " and "Too Many Miles" deserving  special mention; the latter anthem ("break my leg if You must, to keep me close  to You") should be any good Christian's prayer. ~ Doug Dwyer

Waiting

 

The Waiting's third album  (1997) offered slightly darker imagery while retaining awe. Nobody writes about  the love of God like Todd Olsen (lead vocals, some guitar); on The Waiting, that  love is alternately grounds for wonder and fear. This tension culminates in the  astonishing "Hands in the Air, " which is likely to become Christian rock's  "Stairway to Heaven" or "Three Days": an incredible epic bearing the listener  along on an unforgettably powerful journey. Sonically, a little more daring than  its predecessor, Blue Belly Sky, and lyrically less dense, pointing the way  toward 1998's Unfazed. ~ Doug Dwyer

Jars of Clay

 

Honest, intense, poetic, and  harmonic, Jars of Clay took the Christian music world by storm with this 1995  debut and never looked back. With sonic influences as diverse as Gregorian  chants, mandolin, and gothic layered vocals, JARS OF CLAY was a refreshing break  from the pessimism and alterna-angst that dominated the mid-'90s music scene.  Even more amazing is how well the music stands up over time. "Liquid" and  "Flood," with their soaring strings and rich harmonies, are as much a revelation  today as they were on first hearing. Fans have credited Jars with reinventing  the acoustic guitar, and while that may be a bit of a stretch, the symphonic  blend of six-string, cello, violin, and oboe in a rock song is certainly  cutting-edge. Lyrically, Jars tackle such heavy subjects as child abuse and  spiritual apathy, always steering clear of Christian lingo -- were it not for  the title of "Love Song for a Savior," one would think it addresses an earthly  lover. Their lyrical tightrope brought the band a crossover audience, but the  Jars of Clay legacy runs deeper than multi-platinum sales: Dozens of post-Jars  bands subsequently lightened up on the Christianese, paving the way for artists  such as Third  Day and Jennifer  Knapp. Lisa Zhito

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