Steve Earle Jerusalem CD

Personnel: Steve Earle (vocals, guitar, banjo, mandolin, harmonica, harmonium, organ, Mini-Moog synthesizer); Emmylou Harris, Siobhan Maher Kennedy (vocals); Eric "Roscoe" Ambel (guitar, background vocals); John Jarvis (electric piano); Mike Bubb, Kelley Looney (bass); Kenny Malone,
Will Rigby (drums, percussion); Patrick Earle (percussion); Dane Clark (loops).
Recorded at Room & Board, Hermitage, Tennessee and Cowboy Technical Rig, Brooklyn, New York.
JERUSALEM was nominated for the 2003 Grammy Awards for Best Contemporary Folk Album.
Personnel: Steve Earle (vocals, guitar, banjo, mandolin, harmonica, harmonium, organ, mini-Moog synthesizer); Eric Ambel (vocals, guitar); Emmylou Harris (vocals); John Jarvis (electric piano); Will Rigby (drums, cymbals, percussion); Kenny Malone (drums, percussion); Ken Coomer (drums); Patrick Earle (percussion).
Liner Note Author: Steve Earle.
Recording information: Cowboy Technical Services Rig, Williamsburg Brooklyn, N; Room & Board, Hermitage, TN.
Illustrator: Tony Fitzpatrick.
Photographer: Glen Rose.
Say what you will about him, but Steve Earle has never been afraid of getting people mad at him if he thought it was the right thing to do, and since his mid-'90s career rebirth after overcoming multiple drug addictions, Earle seems far more interested in stirring people up with a productive purpose in mind rather than cheesing folks off just for the hell of it. Like nearly everyone in the United States, Earle was struck with anger and confusion following the events of September 11, 2001, and his thoughts on the subject form the backbone of his album Jerusalem. But instead of an appeal to patriotism or a tribute to the fallen, Earle has crafted a vision of America thrown into chaos, where the falling of the World Trade Center towers is just another symbol of a larger malaise which surrounds us. Before its release, Jerusalem already generated no small controversy over the song "John Walker's Blues," which tells the tale of "American Taliban" John Walker Lindh as seen through his own eyes. While "John Walker's Blues" is no more an endorsement of Lindh's actions than Bruce Springsteen's "Nebraska" was a tribute to mass-murderer Charles Starkweather, even though it's one of the album's strongest songs, if anything, it doesn't go quite far enough. While Earle's thumbnail sketch of how an American boy could find a truth in the words of Mohammad rings true, it never quite explains making the leap from studying Islam to taking up arms thousands of miles from home. Still, it's makes the point that the issues of our new "war on terrorism" are as relevant to our own backyards as the Middle East. As Earle tries to sort out the hows and whys of our news fears in "Ashes to Ashes" and "Conspiracy Theory," he can't help but think of other evidence of the erosion of the American dreams -- the growing gulf between the rich and the poor ("Amerika V. 6.0 (The Best We Can Do)"), the flaws of our judicial system ("The Truth"), illegal aliens chasing their own bit of an increasing elusive prosperity ("What's A Simple Man to Do"). Earle asks a lot of questions on Jerusalem for which no one has the answers, but for all the rage, puzzlement, and remorse of these songs, the title track closes the album with a message of fervent hope -- that the answers can't be found in hate or violence, but peace and forgiveness. Jerusalem is the work of a thinking troublemaker with a loving heart, and while more than a few people will be angered by some of his views, Earle asks too many important questions to ignore, and the album is a brave and thought-provoking work of political art. ~ Mark Deming
For a singer-songwriter who proclaims himself "somewhat to the left of Mao" it's no surprise that Steve Earle has drawn the ire of the right for challenging the status quo, particularly around the one-year anniversary of the September 11th terror attacks. The bone of conention on his 2002 outing JERUSALEM isRolling Stone (10/02, p.68) - 4 stars out of 5 - "...His most strident work in years...Earle's vocals are raw and blunt throughout."
Spin (1/03, p.73) - Ranked #36 on Spin's list of 2002's "Albums of the Year"
Spin (11/02, p.123) - "...Ominous and subdued country rock..."
Entertainment Weekly (10/4/02, pp.150,153) - "...[His] most boisterous work in some time...indulging in dark, rumbling twang, drum loops, a hint of R&B [and] Springsteen-style organ..." - Rating: B+
Q (12/02, p.66) - Included in Q Magazine's "The 50 Best Albums of 2002."
Q (10/02, p.106) - 4 stars out of 5 - "...Most of the music here finds Earle in admirable form..."
Uncut (1/03, p.95) - Ranked #21 in Uncut's "100 Best Albums of the Year"
Uncut (11/02, p.115) - 4 stars out of 5 - "...Empathetic and compelling...Earle is revelling in a searingly creative purple patch: he jasn't sounded this corrosive since [1988's] COPPERHEAD ROAD..."
CMJ (9/23/02) - "...There are some real gems to be discovered here....The title track is a reflective, political song that proves Earle has brains as well as heart..."