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Ignoring conventional industry standards, Jonathan Rundman gives us Protestant Rock Ethic, a 42-song compilation of demos, live performances, new songs, old songs, convention theme songs, and a plethora of guest appearances.   Designed as a companion piece to his 52 (!) song Sound Theology, this project is designed more for use in the church, rather than for personal reflection. 

"A Heartland Liturgy" opens the project, a seven part praise that travels from Psalms to Revelation and back again.   "Were You There?" is a modern version of the old spiritual, and "The Serious Kind," a highlight of disc 1, makes its third appearance on a Salt Lady release.  "Oh Love How Deep" is an English minstrel, while "For as the Rain" could be a lost Sufjan Stevens track. 

Disc two opens with "Hey Hey Samuel," featuring an electric guitar, a rarity on this collection.  "By Grace" is a duet with folkie Nate Houge, and "Because He Lives" is notable in that is most definitely is not a cover of the Gaither Trio chestnut.  "King Jesus is All," a church camp standard, fits well into Rundman's range.   "Workin' My Committee" shows Jonathan at his most Neil Young-like, and is a standout on the second disc.

Guests abound – Beki Heminggway appears on several tracks (most of the Rundman/Hemingway EP Present is scattered throughout), while Echelon, camp staffs, Agape, and a host of others appear.   While ambitious, the project ends up a tad too long in its two plus hours of running time.  Taken in small doses, it is a fun project that reveals Rundman's desire to serve and glorify God, without pandering to the adult contemporary crowd.     As always, Rundman claims his title as my favorite Finnish Lutheran bluegrass Americana liturgical quirky folk singer.  Granted, it's not a title that has much competition. 

Brian A. Smith 
April 2007

ndie songwriter Jonathan Rundman meanders through the earlier part of his career, and his pleasantly nasal vocals, as always, range in the familiar Minnesota territory of Bob Dylan and Paul Westerburg, mixed with Neil Young. Tom Petty, and Elvis Costello.   In short, Rundman is the cousin of the Traveling Wilburys, twice removed, the one who didn't make it to either recording session and was replaced by Jeff Lynne. 

"Tape," a Rundman standard, leads off, recalling the glory days of the mix tape, and claiming its superiority to that of compact disc or vinyl.   "Meeting Nixon" is a 90's alt rock rave, and "Janesville" is a wistful song touching on a Wisconsin city.  Relationships are examined in "Ask Me in Nebraska" and "Nothing Old, Nothing New" (which contrasts gentrification with failing love), while "Only If" ends one.   "Continental Divide" is a fun rocker with Rundman's brother Bruce guesting.

Guesting is a common trait of Rundman's projects.  Labelmate Beki Hemingway appears on "No More Walls", while Bruce Rundman shows up on three tracks.   Dag Juhlin (Slugs, among others)  adds guitar to "Only If", and musical savant Matt Patrick (Sara Groves, solo work) appears on several other songs.   Meanwhile, Rundman himself plays a number of instruments, including trash cans and plastic spoons on "Front Row at the Fashion Show".

Storytelling with a bit of tongue in cheek irony is a gift of Rundman's.  "The Con Prefix Song," reminiscent of INXS' "Mediate," is built around a grammatical hook, yet remains coherent.  "My Helen" is a Cliff Notes version of Edgar Allen Poe's writings in three and a half minutes.   "Brad N.," a tale of a local boy, is Rundman's "Jeremy" (Pearl Jam).  "The Princess Wants to Spend Her Time With Me" is a poke at social castes, or is it? 

The bonus disc, _Myopia,_ sounds a bit more dated, and features a few earlier versions of songs included on the first disc.   "The Bass Guitar Song" name checks Michael Penn and Aimee Mann, and the "Sick of Eric Blues" excoriates the influence and ubiquity of Eric Clapton.  Recorded between 1991 and 1998, you can hear Rundman exploring different areas musically, but he still usually comes back to Tom Petty/Soul Asylum vocals, with a dash of Neil Young thrown in, especially on "Soluble." 

With forty songs and almost three hours worth of music, the fan gets more than they bargain for in this collection.   Still, it never feels like three hours.  The trademark humor, and heartfelt songwriting that characterize Rundman's career to date are present and in fine form.   My only question is wondering when the song "Carol of the Bells" was written.  If it was before 2000, its omission is a glaring error. 

Brian A. Smith
21 October 2007