The harvest of the crop planted in 1994-1995 continues. Those were the years that independent artists and small labels showed what they had to offer the listening world of Christian music, and the major labels took notice. Sarah Masen and Third Day were snapped up by re:think and Reunion, nominated for Dove awards, and allowed to perform during the televised Dove Award presentations. Fleming and John moved to Universal Records and made it onto secular radio and NBC, with a new album due later this year. And Caedmon's Call has already proved a worthy investment for Warner Alliance. Now, The Waiting joins the club with their self-titled debut for Sparrow. Following in the delightful footsteps of their Blue Belly Sky release, Clarke Leake, Brandon Thompson, and brothers Brad and Todd Olsen take their sixties-tinged rock in a more muscular direction that shows why they may be the most worthy inheritors of the "most fun band" crown recently abdicated by PFR.
Superficial similarities to They Might Be Giants remain, from the nasal vocals to the quirky, creative lyrics. But where TMBG use their lyrics mainly for non-sequitur humor, primary Waiting songwriter Brad Olsen twists common Christian themes, forcing the listener to see them from a new direction. "Awe at God" is a major topic, forming the core of "How Do You Do That?" and "Beautiful Blood" and popping up in several other tracks also. Olsen dodges the standard clichés with an agile wit, such as viewing our commitment to God as a platonic relationship when God wants marriage (in "Better Off As Friends"). The awe and wonder found here is infectious, sticking around long after the disc ceases spinning.
The retro-guitar pop which graced Blue Belly Sky songs like "Look At Me" and "Staring At A Bird" reappears here in such tracks as "Never Dim," the album opener and first single. But producer Steve Hindalong guides the band toward a wider sound, from the crunchy-guitar pop of "Number Nine" (which is, alas, only track number seven) to the mellow, destined-for-CHR-radio contemplations of "It Is Enough" and "Beautiful Blood." But the album's center track, "Hands In The Air," is also its masterpiece. This tale of eventual submission to divine guidance begins with a lovely English horn accompaniment which barely hints at the powerful, distortion-driven ending awaiting some six minutes later. It's too long for radio play, but this track alone is enough to make me glad to own the album.
This Atlanta quartet deserves the wider hearing that comes with major-label status. Together with their previous efforts, this album gives The Waiting a firm foundation for a claim as one of the major talents of the near future, playing toward the same audience that PFR and Jars of Clay proved was out there. Fans of those bands should have no problem finding room for The Waiting in their own private listening rotation.
Other coverage for this album
The Phantom Tollbooth 1997Reviewed by Steven S. BaldwinI gave up pop music for lent about ten years ago, and I just never got back into it. Occasionally, however, I'll break my fast and listen to a band that makes pure pop music. Those days are rare. The Waiting, however, convinces me that those days should be more frequent. The Waiting have been billed as a band that makes well-crafted alternative pop rock. The alternative part is a bit misleading,…The Phantom Tollbooth 1997Reviewed by Josh SpencerI love these guys. Ordinarily their type of midwestern guitar pop alternative rock isn't something I listen to, and ordinarily I don't listen to lyrics much at all. But The Waiting has a great knack for writing openly-Christian lyrics without falling into religious cliches like many Christian bands do. I worship when I listen to these guys; not much music causes me to do that! The music is maybe…
