Jerusalem
Cooler Than Antarctica
Angel Air
2016
Jerusalem (UK), not to be confused with a Swedish white rock/Christian band of the same name, came out in the early 70s with an album that was quite scarce and often top on lots of collector lists, quite famous as a rather decent slab of rock, produced by none other than Deep Purple’s Ian Gillan and featuring a rather striking cover depicting a kneeling knight that you’d definitely remember If you’ve seen it.
Their initial incarnation didn’t last for too long and they were presumed dead, until they decided to reform in 2008 to release their sophomore album “Escalator”, with a third album “Black Horses” arriving in 2014. Release number four and 2016 finds original members, vocalist Lynden Williams and Bob Cooke joined by such prog luminaries as Geoff Downes and Nick D’Virgilio (Tears For Fears & Spock Beard) as well as a few more younger musicians to deliver a rather fascinating album of interesting rock with prog leanings, which the stentorian delivery of Williams, who sounds like a much fuller Arthur Brown, with the quirks of an Ian Anderson and the rather off the wall lyrics of most of the tracks make quite an experience…
“Snake” that kicks of the album has a great sense of melody, but some quite poisonous lyrics…
“Steaming Hot” is probably a nice slab of 80s pop/prog, with extremely ironic lyrics about today’s consumerism and materialism…
“Specks” continues in a similar direction with dystopian future predictions fueling its lyrical themes… it’s hook is delivered at the most unexpected moment, which makes it rather interesting indeed.
“Drums, Bass & Guitar” takes a trip down memory lane starting from the 50s and continuing up to the millennium and beyond, describing each era with just rhyming words, which makes it an interesting experiment…
“Northern Nights” probably looks to the past and compares it with today, over some nice melodies, but “Simple Man” gets that formula perfected, with some pretty great guitar taking center stage on it.
“The Book of You” is a much softer number, with even some “harmonica” in it and a rather enjoyable departure from the usual fare of the album…
“All My Doors Are Open” has some totally politically incorrect lyrics, which however seem to hit bullseye, with a lot of today’s troubles, but do so in a rather humorous way…
“Simple Simons” similarly stilts people being treated as lesser entities, by the power that be… another humorous, but callously realistic metaphor for the sorry state of affairs we’re facing, complete with one hell of an inventive solo… hehe…
Lastly, “Cry” begins with a pretty epic if not lamenting intro that’s followed by a rather muscular riff and it’s pretty reminiscent of the 70s days of the band. A nice way to bring closure to the album and do so on a rather high note and a jig (you’ll have to find out that for yourselves).
A rather unexpected discovery (to find out that Jerusalem were back together – sort of and making music) but by no means one that I regret as the band seems to be having a great time doing what they do and this adventurous album, should be experienced by as many as possible. A highlight for the year for me…
Their initial incarnation didn’t last for too long and they were presumed dead, until they decided to reform in 2008 to release their sophomore album “Escalator”, with a third album “Black Horses” arriving in 2014. Release number four and 2016 finds original members, vocalist Lynden Williams and Bob Cooke joined by such prog luminaries as Geoff Downes and Nick D’Virgilio (Tears For Fears & Spock Beard) as well as a few more younger musicians to deliver a rather fascinating album of interesting rock with prog leanings, which the stentorian delivery of Williams, who sounds like a much fuller Arthur Brown, with the quirks of an Ian Anderson and the rather off the wall lyrics of most of the tracks make quite an experience…
“Snake” that kicks of the album has a great sense of melody, but some quite poisonous lyrics…
“Steaming Hot” is probably a nice slab of 80s pop/prog, with extremely ironic lyrics about today’s consumerism and materialism…
“Specks” continues in a similar direction with dystopian future predictions fueling its lyrical themes… it’s hook is delivered at the most unexpected moment, which makes it rather interesting indeed.
“Drums, Bass & Guitar” takes a trip down memory lane starting from the 50s and continuing up to the millennium and beyond, describing each era with just rhyming words, which makes it an interesting experiment…
“Northern Nights” probably looks to the past and compares it with today, over some nice melodies, but “Simple Man” gets that formula perfected, with some pretty great guitar taking center stage on it.
“The Book of You” is a much softer number, with even some “harmonica” in it and a rather enjoyable departure from the usual fare of the album…
“All My Doors Are Open” has some totally politically incorrect lyrics, which however seem to hit bullseye, with a lot of today’s troubles, but do so in a rather humorous way…
“Simple Simons” similarly stilts people being treated as lesser entities, by the power that be… another humorous, but callously realistic metaphor for the sorry state of affairs we’re facing, complete with one hell of an inventive solo… hehe…
Lastly, “Cry” begins with a pretty epic if not lamenting intro that’s followed by a rather muscular riff and it’s pretty reminiscent of the 70s days of the band. A nice way to bring closure to the album and do so on a rather high note and a jig (you’ll have to find out that for yourselves).
A rather unexpected discovery (to find out that Jerusalem were back together – sort of and making music) but by no means one that I regret as the band seems to be having a great time doing what they do and this adventurous album, should be experienced by as many as possible. A highlight for the year for me…