By Jeff Goins, Editor
There are few artists in the Christian music industry that I respect as much as Jason Gray. His humility, talent, and testimony of brokenness all packaged together create an authentic singer-songwriter in an age of hyped-up Christian rock stars.
When Jason stepped out of being an independent artist, signed with Centricity Records, and released All the Lovely Losers, I immediately became a fan (after meeting him in-person and hearing an unplugged acoustic performance at my old workplace, of course). On that album, he sang about brokenness, authenticity, and grace. The songs coupled with a speech impediment (which he doesn’t shy away from revealing in live performances) that he has had his whole life make Jason a shining example of what it means to be truly genuine in a culture that lauds authenticity without risk or cost.
Having the opportunity to personally meet Jason, later interview him, and banter back and forth with him via email, I know that he is the real deal. He cares about creating good art, and he also cares about the people that listen to it. It matters to him not just that he sells CDs, but also that he makes a profound spiritual impact on the buyers of his music. He is a practitioner of what he preaches — an honest, almost raw grasp of God and the truths of Scripture.
With his new release Everything Sad Is Coming Untrue, Jason Gray is taking his writing another step, exploring the themes of redemption, reconciliation, and victory. Thematically, this is a much-needed addition to the Christian conversation (and to Jason’s discography). With so many artists, authors, and speakers talking about “being real” and authentically sharing the less-than-wholesome aspects of their lives, it’s encouraging to see someone illuminate the fact that brokenness is only one side of a multifaceted spiritual reality — a precursor of coming triumph for those who are weary and weighed down.
Lyrically, Everything Sad is some of Jason’s best work. He picks up the rest of the story, where All the Lovely Losers left off. Song themes include death and rebirth, war and peace, prayer and worship, and, of course, social justice. An advocate of World Vision and other causes, Jason criticizes himself (and the rest of us who claim to love mercy and try to do justice) in the track “Fade with Our Voices”, where he sings:
Does our worship have hands, does it have feet?
Does it stand up in the face of injustice?
…Does it fade with our voices?
Musically, Gray’s new release has moved in a different direction from his typical folk/acoustic rock feel, leaving, in my opinion, much to be desired. A great example of this is “More Like Falling In Love,” in which Jason sings poignantly (as expected), “Give me rules / I will break them / Show me lines / I will cross them / I need more than a truth to believe / I need a truth that lives, moves, and breathes.” The lyrics make an incredible case against legalism and for a relational faith. However, the percussion track, harmonized vocal “ooh’s”, and melodic chorus actually detract from the song’s powerful message.
The album seems to be an effort to get Jason’s music in front of a larger audience (which is understandable), but for the most part, I was disappointed. In a press release, Jason acknowledged, “Pop music has gotten a bad reputation over the years as being fluffy and insubstantial, so I came into this project asking ‘What if I could aim for writing intelligent and weighty lyrics with a pop discipline?'” While Everything Sad Is Coming Untrue may is certainly intelligently written, it doesn’t sound like Jason Gray. It’s his voice and music, but it resolves too much with too many predictable hooks and overall “bubble gum” feel. For someone who has been compared to the late Rich Mullins, Jason Gray has taken a step away from the great ragamuffin’s delightfully honest and raw angst in Everything Sad. Given the title, I would have expected more.
Nonetheless, there is still much to be enjoyed in Gray’s new release that hangs onto his original style, such as “How I Ended Up Here” and “Holding the Key.” Moreover, those who are looking for catchier tunes may enjoy “Hold Me Back” or “Better Way to Live,” which certainly achieve the goal Jason set out to accomplish in crafting pensive, three-minute songs for radio play. He even whips out a banjo in the simple (but worshipful) “Help Me, Thank You,” which is a nice change. However, the best song on the CD (and probably least likely to win an award) is the allegorical cowboy-style ballad, “The Golden Boy and the Prodigal” (which clocks in at 4:13).
Everything Sad Is Coming Untrue will be a new and different introduction to Jason Gray for those who know his work and may be an opportunity to introduce his thought-provoking music to a brand-new audience. Despite my initial reservations, some of the songs are already growing on me. Yet, I’m still holding out for Jason to do a broken-down, acoustic studio session (a la Rosie Thomas’ These Friends of Mine or Derek Webb’s Mockingbird), re-releasing tracks like “The Cut” and “Everything that I Own” and maybe even doing a few covers. Even then, I may not be satisfied with the final product. There’s nothing quite like seeing him in-person. If you’re looking for a truly authentic Jason Gray experience, I recommend seeing him in concert or listening to his live Acoustic Storytime album.
If you have your own thoughts on Everything Sad Is Coming Untrue, feel free to share them in the comments section here. You can listen to all variations of Jason’s music on his Myspace page and find out more about him (including tour schedule) at his website.
Jeff graduated from Illinois College, a small liberal arts school, with a degree in Spanish and Religion. He lives in Nashville, TN with his wife Ashley. He works for Adventures in Missions, edits this silly little magazine, and loves to do new things. Check out his blog: Pilgrimage of the Heart.