Ah, Patience. What's in a name? This collection that opens with the atmospheric sensuality of Jacksie, sing-songs its way through the love-drunk playful pop of How Does It Feel (To Be On My Mind), paints its name on bridges, gathers leaves for long festoons and slips away with Karin thinking out loud to herself as she looks out an after dark third-story bedroom window (you can almost see her warm breath making ghosts on the glass)--this recording was the culprit that landed Over the Rhine a national record deal.

When Jay Boberg, president of IRS Records, whose claim to fame had been discovering and signing R.E.M. heard Over the Rhine's second recording, he couldn't believe his ears. He was quoted in the press as saying, "Over the Rhine's music is extremely unique. It's intelligent and warm without being self-indulgent. I'm taken by their presentation, their style and their vision... Why mess with it? You only change a group if it needs direction. This band doesn't need direction: it knows where it's going."

IRS went on to re-release Patience nationally with all original artwork intact and only a minor change in the sequence of songs. Jacksie, Circle of Quiet and How Does It Feel (To Be On My Mind) received fairly significant airplay and Over the Rhine appeared on syndicated radio shows such as World Café and Mountain Stage.

The band peddled its songs as far as Finland, and Karin still references the powerful image of three young Finnish boys one morning standing in a circle in a field playing their violins, their backs to the universe.

Over the Rhine was flooded with mail from around the world written by people who had discovered this new and strangely reverent soundtrack for their lives. Karin arranged a series of handwritten letters on a wooden table, which separately described people meeting each other to Over the Rhine's music, falling headlong in love to Over the Rhine's music, walking down the aisle to Over the Rhine's music, dancing their first dance, conceiving and giving birth in the hospital to Over the Rhine's music, and especially in the case of Jacksie, reflecting on the memories of recently lost loved ones to Over the Rhine - it was all a bit overwhelming, but raised the issue, "What more could a musician possibly hope for?"

Patience established Over the Rhine as a band that most likely would never be accused of making the same record twice. The record showcased songwriting uniquely out of step with the times. (Much of the world was smitten with all things Seattle after Nirvana's Nevermind shattered mosh pit bones and sound barriers everywhere.) Over the Rhine was whispering instead of shouting, blowing kisses instead of minds and wooing the world with a quiet revolution that continues to unfurl even now.

Parts of Patience feel a tad bit pretentious to the seasoned version of the current band, but at the time, the members of Over the Rhine were young enough not to care. Linford and Tim McAllister's production style, if anything, was informed by a child-like determination to throw out the rule book, while working within the confines of undeniably tight arrangements. "Talk along with the chorus. Sing something in broken French. Bang these pop cans with pencils during the second verse of I've Been Slipping. Stick the microphones out the windows. Do a spoken word piece as if you were Walt Whitman reincarnated as a lovesick teenage girl, ripe with slow curves and soaked with rain."

It was the first time Over the Rhine got to mess around in a 24 Track studio, and although Linford described it as the "Ozark Mountain Daredevils turned loose in the cockpit of the space shuttle," Tim McAllister always figured out how to make things work. Linford used to be fond of saying that if Tim McAllister hadn't moved to Oregon, Over the Rhine would have conquered the world a long time ago. Tim's influence on the first two Over the Rhine recordings is hard to quantify, but at the end of the day, the songs may have never found the life they did without him.

In the spring of 1991 we carried some microphones and sundry recording devices up three flights of stairs there on Court Street and set about the task of capturing the sounds of our instruments in a big empty room with three tall windows. We spent so much time trying to compensate for the quirks and follies of our homespun set-up that we had little time for music. Even the sudden Midwestern thunderstorm that we captured in wide stereo was accidentally erased.

It was then that our friendly German publisher came ringing out of the sky like some surreal savior. Not only did he offer to put us up in a wonderfully garish suite hotel with a guitar-shaped pool, but he obtained for us the use of a recording studio which had been kind to the likes of Lee Greenwood.

August came with brutal heat. We swooped down to Nashville like so many migrating blackbirds for a pregnant week of night recording. Nimble-footed nights. When we realized that more often than not we had succeeded in making Ric's guitar sound like it was being played in a kitchen cupboard it was almost time to go home. Karin would sing and the sun would rise out of the microphone and we would go to bed in this new daylight.

More sketches for the sketchbook: call it foreshadowing.

Anyway, we're off to the Imaginary Apple Orchard to clean the trough which holds cool water from our underground spring. I do wish you could join us.

The woodcuts used in this booklet were created by Rockwell Kent. Courtesy of The Rockwell Kent Legacies. (Used by kind permission.) Originally published 1931. © Rockwell Kent and Selma Robinson.

KARIN BERGQUIST, Vocals and Acoustic Guitar.
RIC HORDINSKI, Electric and Acoustic Guitars.
BRIAN KELLEY, Drums and Percussion.
LINFORD DETWEILER, Bass and Keyboards.

Jacksie (4:36)
words, melody and music: Detweiler

I've Been Slipping (4:55)
words: Detweiler
melody: Detweiler and Bergquist
music: Detweiler

How Does It Feel (To Be On My Mind) (3:54)
words: Detweiler
melody: Detweiler and Bergquist
music: Detweiler and Hordinski

HDIF (Reprise) (2:10)
words: Detweiler
music: Hordinski

Sister (4:29)
words: Detweiler and Bergquist
melody and music: Detweiler

Il Est Dans Mon Poche (2:34)
words, melody and music: Bergquist

Flanders Fields (1:31)
music: Hordinski
words and melody: Detweiler

Little Genius (1:53)
music: Detweiler

Lullaybe (2:07)
words and melody: Detweiler

Circle Of Quiet (4:14)
words: Detweiler and Hordinski
melody and music: Hordinski

I Painted My Name (5:00)
words and melody: Detweiler
music: Detweiler and Hordinski

Rhapsodie (3:19)
words, melody and music: Bergquist

Grey Monologue (1:25)
words: Detweiler
music: Kelley

Recorded and mixed at MCA Music
Nashville, TN. 17th Ave.
Produced by Linford Detweiler.
Recorded by Tim McAllister.
Mixed by Tim McAllister and Linford Detweiler.
"Circle of Quiet" and "I Painted My Name" mixed by Greg Kane.
Cello performed by John Catchings, recorded by Greg Kane, arranged by Linford Detweiler.
Photographs by Michael Wilson.
Design by Owen Brock of Zender + Associates and Linford Detweiler.

Merci Beaucoup! to Gerd M., Tim M., Michael W., Owen B., Mike Z., Robin M. J., Bob D., Adrian B., Michael B., Denny Y., Stan H., Lenny L., Nigel T., Derek S., Kyle T., Donna H., Jimmy D., Chris H., Mark S., Joey S. to name a very few.
Thanks to all on the mailing list. Thanks to all who post us letters. Thanks to our friends in radio, press and record retail: far too many to name.
Thanks to The Imaginary Apple Orchard for apples.
Equipment thanks: D'Addario Strings, Fender Guitars and Amps, Uptown Technologies, Jimmy D.'s...
Special thanks to Karen Jean.

“Critics’ pick: Top ten most deserving albums of 1993.”
- Billboard Magazine

“Entirely original and completely involving, this Cincinnati band’s delicate musical poetry provides a direct link to the work of the masters of deeply-affecting pop. Shimmering economical arrangements allow Karin Bergquist’s expressive voice to steer dreamy, elegant songs.”
- HITS Magazine

“Tuesday will be a very big day in the life of this Cincinnati-based band. That is the official release day of the group’s major label debut, ‘Patience.’ And it is also a big day for fans of scintillatingly listenable pop, here delivered through the powerful throat of lead singer Karin Bergquist and by the musically inspired players surrounding her. Airy and bright compositions enlivened by a flexibly wondrous voice... Go find this record, buy it immediately and then know you possess the first big-time release by one of the finest new American bands this year.”
- Craig Colgan, Press Journal, Vero Beach, Florida

“Patience, Over the Rhine’s second album and first for a major label, is a riveting work--the best I’ve heard in a long time. It’s worth 10 stars. The Cincinnati group’s singer, Karin Bergquist, grabs hold of the listener on the first track and only reluctantly lets go at the end. Her vocals are a silk thread that binds the group’s satisfying blend of rock, jazz and folk. Although she also plays acoustic guitar, it’s her voice that brings shading to the group’s visual and musical images. The album has a common theme of love and death and the joy and pain that surrounds these. The first cut, an arresting number called Jacksie, seems to comfort a man who has lost a lover with the knowledge that her spirit remains with him: ‘They laid her in the ground/She still comes around/A love that never dies/Takes you by surprise.’ Bergquist shines...”
- Jo Ellen Meyers Sharp, Indianapolis Star

“Two words come to mind repeatedly when listening to Patience, the national, major-label debut from Over the Rhine. Those two words are strange and wonderful. The lyrics, primarily the work of Detweiler, are literate, full of obscure metaphors and terrific turns of phrases in equal numbers. And Detweiler’s vocabulary is superb. When was the last time you heard “festoons” used in a pop song, or “myriad,” or... On the wonderful side, Patience is filled with haunting, rapturous music. This music transports us to a world beyond. Bergquist’s voice is both supple and strong. Most of the music is composed by Detweiler, who also produces with a sure and steady hand. Detweiler has an amazing touch with pop music. He is willing to experiment as well, allowing the band’s unique presence to shine through. Captivating.”
- T.L. Faris, Syndicate Magazine

“Grade A+. The best new pop disc of 1993. The frist thing that strikes you is Karin Bergquist whose voice manages to sound feathery and substantial at the same time, fluttering over and around melodies which from a less skillful throat could sound jagged, but which from hers sound simple and obvious. In fact, the feeling of casual virtuosity is everywhere on this album--these are master musicians who are apparently secure enough to resist showing off. The next thing you notice are the lyrics. I’ve been a music head my whole life, and I don’t believe I’ve ever come across a line as tight, as apt and as unusual as “I’m the moth that’s resting on your windowsill/With a lust for light and an iron will.” The last thing you notice is how you feel when this remarkable album is over. There is no cheap catharsis and no easy feel-good manipulation in its music or words, but you are left feeling clean, refreshed and somehow encouraged. Find this disc and realize how worthwhile pop music can be.”
- Rick Anderson, The Utah Herald

“Haunting and ethereal, revealing a band with a ton of promise, a sense of direction and a very definite sound to be reckoned with.”
- Sunday Republican, Springfield, Massachusetts

“I can’t help feeling that we have something very unique on our hands when it comes to Over the Rhine. It is truly rare that an independent band comes along with a completely original sound wrapped up in a beautifully produced and packaged album. Over the Rhine defies the status quo by releasing two albums that stand up to any label releases, and surpass most hands down. Their debut, “Till We Have Faces” set quite a watermark for this Cincinnati group to live up to. “Patience” does more than live up to its predecessor’s quality, it surpasses it. OtR has perfected their blend of alternative pop into one of the most beautiful recordings I’ve ever experienced. A Mideastern horn opens the first cut “Jacksie” which quickly transfroms into an emotional, clear and mystical song. Karin Bergquist’s sultry voice is at its best throughout this recording, but “I’ve Been Slipping” seems to especially showcase its beauty. Never before have I seen an independent band achieve this level of artistry after only two albums. I would almost guarantee that Over the Rhine will someday be among the most respected and appreciated bands in the world. Until then? Patience.”
- John J. Thompson, Chicago, Illinois

“Very melodic, a strong soulful voice, engaging, with a tendency towards the unusual. Abstract and minimalist at times... Meaningful songwriting and engaging vocals, a compelling album.”
- Glenn Gregory, L.A. Village View

“Over the Rhine has all the makings of a great band. Unorthodox but instantly memorable melodies, a distinctive identity, and a lead singer both ethereal and earthy. This band may become important... For now, though, Patience is a lovely document of a band whose reach exceeds its grasp.”
- Eric Rasmussen, Capital Times, Madison, Wisconsin

“Intelligently focused, clear-headed melodies. Filled with refreshing, introspective, simply lovely tunes.”
- Randee Dawn, The New Review of Records

“Dreamy textures, an exceptional recording. Crisp, palpable, earthy.”
- Car Audio and Electronics

“Not your average Midwestern band. Simple but passionate musicianship, strong songwriting, a welcome stylistic change. The musical pace here is generally mid-tempo and seductive with Karin Bergquist’s translucent vocals carrying the melodies. And her words are inspired, clearly articulated, sung deeply amidst the solid but swelling rhythms and guitar lines.”
- Jeff Leisawitz, Redlands Daily Facts

“Over the Rhine breathes new life into today’s suffocating pop culture. Patience deserves a listen for its strong vocals and moving lyrics which blend well with the breezy guitar riffs. So dismiss the second wind of grunge and the last gasps of techno for the inspiring sounds of Over the Rhine.”
- Shane Promtet, The Mercury, University of Texas at Dallas

“Over the Rhine makes albums that are the stuff of legends. Patience bears a deep rich finish that’s usually found on recordings that have stood the test of time. But enough of this beating around the bush. Patience beats hands down any second-effort album released by the majors in 1992. Period. End of story.”
- Cincinnati Enquirer