The early 1990s was one of the most productive, wonderful periods for the Christian arts. While Christian music is still produced and is powerful, it is but a mere echo of what was happening twenty-something years ago, when Christian acts were putting out songs that were somehow ending up on the greater pop music stations (Sixpence None The Richer comes immediately to mind). In retrospect, it may even be described as a golden age or renaissance-but this is not a historical analysis. This is a highlight of a specific album, from a specific band, one that may even have truly been at the forefront of this rebirth.
That band was Jars of Clay and this is about their first album.
What it is:
Jars of Clay was a band coming out of Nashville, Tennessee, having met in college in Greenville, Illinois during the early 1990s. For the most part, they have kept the same lineup and have continued to put out albums, the latest being 2013’s Inland. Their first, self-titled album, which came out in 1995, is my favorite album of theirs and also the point of this selection, though I also like Much Afraid and The Eleventh Hour.
How it Relates to the Hearth:
Now, I know that everyone’s hearth is unique unto themselves, but when I think of a soundtrack to go with the formation of your interpretation of the hearth, I can’t think of a better place to begin than here with the first Jars of Clay album. The music presented here, especially on the songs Boy On A String, Flood, and Blind is such a rich, warm, acoustic sound, full of stringed instruments and deep, sober ambiance. And despite what you may have gathered from my opening paragraph, this type of music wasn’t found solely in the Christian music scene; in fact, it was greatly shown off to the world via M-TV’s Unplugged series of performances, such as Alice In Chains, The Cranberries, R.E.M., 10,000 Maniacs, Nirvana, et cetera. The fact that this music blossomed during the post-grunge period is probably not a coincidence either. But what’s weird is this type of music really didn’t carry on too much longer past the mid-nineties, and as far as I can tell, it wasn’t prevalent during the 1980s either. Not even Jars of Clay really continued this style past their early albums, which is why I’m solely talking about this first album (though to their credit, it still shows up here and there). Whatever the reason, it doesn’t change the power of this first album. I want to highlight the song Blind in particular; recall my statement that the hearth is a realm of both darkness and light (point seven, specifically). This is the defining song for that point in the Manifesto, the prime melody for that mood of both light and dark. Nay, in full disclosure, I believe I wrote the Manifesto of the Hearth while listening to that song and the entirety of this album itself.
Another important aspect as to why this is the quintessential hearth sound relates to the apparent beliefs of the band itself. In a later interview with NPR, which I remember hearing on it’s original air date, the band spoke of how they choose subtlety in expressing their Christian beliefs in order to make their music more accessible. I think this directly relates to my belief that the hearth shouldn’t be constricted by the ideals of dogma, that the hearth should be an inviting, neutral place in order to foster personal relationship, faith and the producing of art.
If all of this interests you, then turn off the lights, light some candles, grab some wine and go listen to Jars of Clay.
The band takes it’s name from the Bible verse 2 Corinthians 4:7:
“But we have this treasure in jars of clay to show that this all-surpassing power is from God and not from us.”