The eyes of Rich Mullins peek out from behind the songwriting of Derek Webb and Aaron Tate, Caedmon's Call's chief lyricists--not a surprise considering Mullins' well-known influence on the band. Their attention to detail and love of metaphor, coupled with the bold acoustic guitars and pop smarts that have become Caedmon's Call's musical trademark, makes 40 Acres an enjoyable piece of rock 'n' roll. The Caedmon's Call sound has evolved from the simple, gutsy folk rock of their 1997 eponymous release to muscular guitar pop. On 40 Acres, the band ties a thick knot of crispy rhythms, gently yearning acoustic guitars and sweetly spoken testaments to God's faith. Simply put, the band strikes the balance between their past work and their inner jam band self, a side of them which has always shown onstage but not always on record. As on the last album, lead vocals are shared by Derek Webb and spouses Cliff and Danielle Young. While the latter two's vocal presence is strong enough to carry an entire album, it is Webb who steals the show. His sinewy voice glitters with a hint of a country twang and a raspy undercurrent that makes it quite distinctive. The majority of 40 Acres is surprisingly rooted in Southern rock, whether it's the Black Crows-swagger of "Daring Daylight Escape," or the Gin Blossoms-styled power pop of the lead-off single "There You Go." Even when these touches are subtler, such as the delicately plucked banjo that worms its way into the shuffling "Faith My Eyes," the results are warm, but unblushing, just like Webb and Tate's songwriting. Shiny threads of organ, earthy percussion and strings bring depth to such songs as the show-stopping ballad "Somewhere North," about a quickly-unraveling relationship. Webb turns in a beautifully affecting performance, a first-person account of heartbreak that resonates like a grand piano. Toward the end, where Webb admits I may never find the sleep ... I've lost all feeling in my hands, the listener is sucked in, making it an emotional highlight. All things considered, 40 Acres is a pleasant, cohesive effort, one that certainly casts quite a shadow over the majority of bland acoustic rock that seems bred for radio. 40 Acres has heart, about as much heart as some of Mullins' greatest work.
Other coverage for this album
ReAL Magazine 1999Reviewed by Kevin D. HendricksCaedmon's Call, the seven member acoustic folk-rock band from Texas, released its second national album on Tuesday, April 13, 1999 called 40 Acres. It's the follow up to their 1997 self titled national debut that sold more than 250,000 copies. Caedmon's Call tried to capture their compelling live show in 40 Acres, and they succeeded. The album is dynamic, fun, passionate, and honest. "When I was…The Phantom Tollbooth 1999Reviewed by Linda T. StonehockerCaedmon's Call is an alternative band in the best sense of the word. Stylistically, their sound falls into the light acoustic folk/rock camp, but the secret of their success lies in choosing unorthodox alternatives to the decisions every band has to make. Instead of the easy route of playing at churches for youth groups, this thoughtful group of Christian musicians found their niche on major…The Phantom Tollbooth 1999Reviewed by Shari LloydFollowing up a successful debut isn't easy, but 40 Acres proves Caedmon's Call has met the challenge. Although none of the songs grab me like "Bus Driver," this isn't surprising when you consider even their initial release took awhile to grow on me, yet now sees heavy rotation in my CD player. Like their previous album, these new songs are about Christianity lived out in our everyday lives, and…The Phantom Tollbooth 1999Reviewed by James StewartCaedmon's Call's debut label release planted them firmly on the list of Christian artists who could shift units with the best of them, but the band are eager to leave that category and return to their roots touring colleges. And it is probably a college audience who will best appreciate the self-aware lyrical confessions and many-levelled allusions contained here. As the album title suggests,…The Phantom Tollbooth 1999Reviewed by Steven S. BaldwinWith an album as solidly strong as 40 Acres, the catapulting popularity of Caedmon's Call is no conundrum. Delivering great multi-generational appeal, their pleasant mix of pretty pop folk and good-time honky-tonk-lite is safe yet honest, catchy but not cliché. You'd be hard pressed to find another band this consistent, and every familiar song here will bring a big ol' happy smile to your face.…The Phantom Tollbooth 1999Reviewed by Alex KlagesCaedmon's Call is back, on a new label, but with the same signature sound as the first album contained. If there is a weakness to this new album, that would likely be it--it just doesn't seem to be breaking any new ground. I'm not suggesting that the old ground was anything to be ashamed of. What Caedmon's Call does, they do very well. The acoustic guitars, percussion, and organ blend well…The Phantom Tollbooth 1999Reviewed by Cathy CourtwrightCaedmon's Call's follow-up to their debut album is a project worthy to bear the band's name. 40 Acres is an acoustic, pop driven record which compels the listener to think about the redeeming power of Christ. This seven-member ensemble covers a gamut of songs ranging from simple melodies all the way to excitement packed rockets. The principally acoustic guitars and strong rhythm/percussion…Similar sounding releases
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