Published on Nov 9, 1999
We all like to root for the underdog. It’s part of the American
psyche. We love it when David beats Goliath. Perhaps that’s why
CCM’s Goliath band – Audio Adrenaline – named their latest release
Underdog.
After the creative high they rode with 1996s’
Bloom and 1997’s
Some Kind Of Zombie, expectations were high for Will
McGinniss, Mark Stuart, Bob Herdman, Ben Cissell, and Tyler Burkum
to take that next step to solidify their reputation. Maybe that’s
part of the problem – perhaps expectations were too high.
Whatever the reason,
Underdog comes off as a half-baked attempt. Undoubtedly,
because of the loyalty and the way the CCM industry works, it will
be a huge success, but it’s not the disc Audio Adrenaline should
have made at this point. It’s the “safe” disc.
Rumor has it the first single, “Get Down,” has been given the
prime end-of-the-concert spot previously reserved for their
breakthrough hit “Big House.” That’s unfortunate because “Get Down”
never really takes off and shifts into high gear – and it’s not as
fun to sing as “Big House.” The lyrics, though simplistic, speak to
the times in our lives when we’re feeling overrun by the demands of
our lives, but the music is lacking – something. It’s just there,
and that’s not good.
“All I need’s another day/Where I can’t seem to get
away/From the many things that drag me down, yeah/I’m sure you’ve
had a day like me/When nothing seems to set you free/From the
burdens you can’t carry all alone/In your weakness He is
stronger/In your darkness He shines through”
Musically, this disc is all over the map – from the pseudo jump,
jive, and wail feel of the ridiculous “DC-10” (“If a DC-10 ever
fell on your head and you’re/Laying in the ground all messy and
dead.” What is that? Poetry by an 6th grade boy?) to the
VeggieTales Silly Song reject “The Houseplant Song” to a bizarre
cover of Pete Townshend’s “Let My Love Open The Door” (what were
they thinking?) – the guys never quite seem to pull their act
together.
There are some highlights to the disc — some very nice touches.
The Charlie Peacock produced “Good Life” beautifully melds music
and lyrics. Set to a full pop-music palette, the song gives
testimony to how the bad things in our lives can lead us to “true
riches.” The chorus (“this is the good life, I’ve lost everything”)
perfectly captures the idea of giving up our own lives and the
things we want for Christ, and His will in our lives.
“Loneliness has left me searching/For someone to
love/Poverty has changed my view/Of what true riches are/Sorrow’s
opened up my eyes/To see what real joy is/Pain has been the
catalyst/To my heart’s happiness”
Another plus is the band’s updating of the classic hymn, “It Is
Well With My Soul,” featuring the exceptionally gifted Jennifer
Knapp, who has a sort of Tracy Chapman thing going on in this
song.
“Jesus Movement” started off promising to be one of the most
interesting pieces of the album musically with a harmonica leading
into a mild calypso feel, but in mid-song all that dies as there’s
a complete music break and a Spanish-speaking woman talks for
several bars before the music stumbles back in.
Thematically (the song is about coming to the realization that
Jesus doesn’t just belong to America) I understand what they were
trying to do, but the break was unfortunate. At that point all
interest in the song dissipates. Perhaps if they’d taken the time
in the booklet to translate the woman’s speech into a couple of
different world languages so all those listening would know what
she’s saying it would have worked better. But, for all I know, she
could be giving instruction in how to change a tire.
The title song also loses something because of a break mid-song
to bring in a spoken passage. This one would have worked except the
band brought the music back in before the speaker was done – and
then you’re trying to listen to two different messages and catching
neither. dcTalk successfully pulled this type of thing off with
their song “Mind’s Eye” from Jesus Freak, but Audio Adrenaline is a
bit off the mark.
This disc disappoints not because it’s bad, necessarily, but
because it’s not what it could have been. Perhaps the problem lies
in the fact the disc is mostly self-produced. The band needed
someone to tell them, “Hey, guys, this really isn’t working. Let’s
take a different approach.” The three songs on the disc produced by
those outside the band are the high points.