Musical Style: Metal/Hard Rock	Produced By:
Record Label: Retroactive	Country Of Origin: Sweden
Year Released: 2018	Artist Website: Jerusalem
Tracks: Varies	Rating: Varies
Running Time:

We’ve waited not so much years but rather decades for a proper CD re-issue to the early Jerusalem back catalog.  Previous attempts such as the ill-fated Classics, 1, 2 and 3 from the mid-nineties might have been well intentioned but ultimately left somewhat desired as ‘2-for-1’ releases that in the attempt to combine two albums onto a single CD left off key tracks in the process.  This does not even touch upon the issue of cheap packaging.  The patience of hard music enthusiasts, nonetheless, has been richly rewarded in the form of the June of 2018 Retroactive re-issue to the first six Jerusalem albums, Volume 1 (1980), Volume 2 (1981), Warrior (1982), Can’t Stop Us Now (1984), In His Majesty’s Service - Live In The USA (1985) and Dancing On The Head Of The Serpent (1988).  In addition to re-mastering to ensure superior sound quality, courtesy of Rob Colwell of Bombworks Sound, each album comes separately packaged in a jewel case with a professionally detailed mini booklet, noting the work of Scott Waters of No Life Til Metal, exclusive to lyrics, vintage band photos and high quality scan to the cover art.  

Bonus tracks are includes as well, with Can’t Stop Us Now exclusive to a ‘light remix’ of “Heartbeat” and “Time” (from the Front Row compilation) and Dancing On The Head Of The Serpent “Covered In Blood” (off The Axemen compilation).  Also, note how Dancing On The Head Of The Serpent is a 2-CD set, with the first the USA version and second European, which features the heavier sound with a rawer and grittier feel in comparison.  

The first Christian rock band is open to debate, but few can argue Jerusalem represents one of the forerunners to the scene from how founding member and lead vocalist/guitarist Ulf Christiansson put it together in the mid-seventies.  Swedish versions to the groups first two albums followed on Prim Records in 1978 and 1980, with the first self-titled (and selling 30k copies within the first three months of its release) and second entitled Volym 2.  American attendees of the Greenbelt Festival in the UK brought copies of both albums back to the States with them, which made their way to Resurrection Band front man Glenn Kaiser, whom in turn forwarded them to Pat Boone of Lamb & Lion Records.  Re-recorded English versions to the debut, now under the title Volume 1, and Volume 2 subsequently saw release in the United States and Canada.  The rest, as they say, is history.   

Faced with the daunting challenge of writing detailed track by track reviews to each Jerusalem re-issue, I thought it would be more user friendly - and not just for the longsuffering reviewer but the sites readership as well - to instead write a single review to incorporate all six albums, with several paragraphs devoted to each.

Volume 1

Jerusalem in its earliest form gravitated towards blues based hard rock and classic rock.  Hence, the direction to opener “Noah”, an up-tempo and grainy rocker to feature piano and Hammond B3 alongside a catchy chorus to exclaim, ‘But Jesus is the same today, all days, right now, and to eternity’.  Production is surprisingly clean (much better than I recall) with plenty of audible bass, which directly attributes to re-mastering.

Better in my opinion is “If You Only Care To Listen”, drawing heavily upon the blues with a rollicking boogie rock ardor and saxophone solo to give way to a lead guitar run, and “High Tide”, slower but more deliberate in touching upon driving hard rock with its muscular chorus and protracted stretch of lead guitar.  Unmistakable to the two is Ulf’s signature raspy to soulful mid-ranged vocal abilities.  My favorite is “Maybe”, another heavier cut but starting slow and eerie only to slowly build until a guitar riff reminiscent to Kiss’ “Cold Gin” cuts in.

Also good are albums two heaviest tracks, “Neutral” and “Mr. Ego”.  Former begins to open air vocals prior to driving rhythm guitars muscling in, while latter is more assertive with the faster tempo and aggressively delivered refrain.  In a lighter vein is the haunting acoustic based “Daddy Who Has Made”, in which lyrics come across in the form of questions from an innocent child to a parent, and “Days Passing By”, perhaps Jerusalem’s finest ballad with its classical keyboards and bluesy guitar signatures.

Perhaps due to Jerusalem’s relative youth at the time, but Volume 1 highlights its inconsistencies.  I’ve never warmed up to “What If Jesus Is Right” with its quirky ‘la-lal-la-lalala’ pop based chorus and “Jesus Is The Most Fantastic” in embodying a bouncing child-like rhythm that also strains towards the pop side of things.  Likewise, “Come To Me” is a formula ballad in which I have never grown accustomed.

Final verdict: A good start from a promising band but also somewhat uneven equates to 75%.

Volume 2

On Volume 2 Jerusalem takes the next step in terms of production and songwriting while maintaining its bluesy hard rock to classic rock ways.  “Awake” gets things going in this capacity to a rumbling freight train at the start that transitions to a mid-paced melding of bluesy guitar, Hammond B3 and a cool saxophone solo.  “Rock ‘N Roll” follows in a more upbeat direction, underlining to a weightier riff emphasis and added organ but also every bit romping instrumental moments.

“Gethsemane” is above the line as well in inclining towards fast-paced hard rock with a pointed disposition and dramatic instrumental interlude as is “I Depend On You Jesus” but slower in further playing up the bluesy elements and emotional proclivities.  My choice cut is “Introduction”, eight minutes of classy progressive rock indicated by a slight worshipful veneer but also multiple instrumental passages (including the church organ driven opening and mid-point run carried by galloping riffs) to play up Jerusalem’s technical musicianship.

Notable as well is “Dialogue (Between One Person)” with a keyboard driven demeanor in which piano and Hammond B3 combine for a theatrical statement.  I also like “By By World” in spotlighting a minute long opening drum solo before turning into a blithesome rock piece carried by lively piano and clapping hands in the backdrop, although I am somewhat taken aback by the childlike ‘nunu-nunu-nunu’ breakdown at the mid-point.

Despite its musical maturation, Jerusalem still presents with some chaff in the form of ballads “Love Song” and “Flower”, with former piano based and latter home to lounge style keyboards.  Perhaps it is just me, but the slower Jerusalem material does not always hold up in more often than not receiving the skip button treatment, although to be completely fair I can see the group also having no other option than to yield to label pressure (i.e.: give us something mellow to put on the radio).

Final verdict: There is too much to like here not to give a grade less than 80%.

Warrior

Warrior, originally released in Sweden in 1981 under the title Krigsman, might not be Jerusalem’s best album but in my opinion is inclusive to several of its best songs.  Musically, it sees the group sustaining its blues based hard rock ways while beginning to imbue a stronger metal basis to its guitar sound.  Opening cut “Constantly Changing” draws upon both sides of the fence, interspersing tastefully done organ (former) with rhythm guitar of a crisper and assertive nature (latter).  The song also reveals how the Colwell re-mastering allows production to stand out in that much cleaner of a manner.

Albums title track ensues as perhaps my favorite ever Jerusalem cut.  “Warrior” breaks down into two parts, with the first instrumental to feature militant riffs that give way to ethereal guitars and second taking a metal anthem heading with unflagging verses and a crushing, near doom-like refrain.  Twelve minute “Sodom” is every bit good with its emphatic progressiveness.  Not to go into too much detail, but twists and turns abound, including the keyboard and piano driven opening, metal based riffing and heavy hitting chorus to follow and atmospheric final minute to feature Ulf’s distinct vocal harmonizing as he continuously repeats “We’re living in Sodom!”

Two additional classic cuts are present.  The upbeat “Man Of The World” fumes with its screaming organ but also mirrors a darker form as pummeling guitars and eerie keyboards carry things instrumentally.  “Ashes In Our Hands” further plays up the darker vestiges, slowly fading in over its first minute until a portent bass line and Ulf’s snarling vocal performance carry things the rest of the way.

The remaining Warrior material is not quite as focused.  You will find two medium-good mellower cuts in “Pilgrim”, better with its acoustic lacings and bluesy soloing, and “Farewell”, wearing out its welcome from coming in at over six acoustic minutes.  “It’s Mad”, a campy, keyboard driven take on the Battle of Jericho, might come across fun on first listen but fails the test of repeat play. 

Final Verdict: Despite some inconsistency, the Warrior better material more than justifies an 85% score.

Can’t Stop Us Now

Jerusalem sheds its bluesy hard rock skin on Can’t Stop Us Now - with the Swedish release from 1983 entitled Vi Kan Inte Stoppas - in favor of an up to date joining of arena rock and melodic hard rock with occasional pop/wave nuances.  It mostly works beginning with its inaugural title track, a spirited outburst of catchy pop-based hooks and airy guitars that at times hint of U2.  Impression on first listen is how re-mastering brings out the low-end in a much more pronounced manner.

Other notable cuts include “Loves You More”, tempered and moodier but maintaining the melody driven demeanor, along with “Tomorrow’s World”, albums finest with its engaging hooks and creative guitar and keyboard interplay, and “The Waiting”, of equal quality in straining towards the atmospheric and expeditious to also bring to mind U2.  In a more melancholic vein is “Mourners Parade” with its intricate guitar work and plodding bass driven groove and “Read Between The Lines in further slowing tempo but elevating keyboards and melody in the process.

Quality dips on the four remaining cuts.  “The Missing Piece” is not bad in also prioritizing keyboards but also strains a bit too much towards the techno wave side of things, while “Let’s Go (Dancing)” comes across too fanciful and pop hook driven for its own good.  Of course, Jerusalem delivers a signature keyboard ballad in “The Wind Is Blowing” and filler instrumental “Heartbeat” to close things to acoustic guitar over a backdrop to a beating heart.

Of the bonus material, “Time” is killer in incorporating shredding guitar work its six minute length while drifting between moments both slower and reflective and those of a more brusque form.  “Heartbeat (Light Remix)” improves upon the album version to include a vocal track as opposed to being instrumental (I am reminded of the direction Jerusalem went on its 1994 sixth album Prophet).

Final Verdict: Frustratingly erratic but also underlined with enough choice moments to fall within 75% territory.

In His Majesty’s Service - Live In U.S.A

Being that I am not a big fan of live albums, I passed on In His Majesty’s Service back in the day.  Problem is that if ‘falls victim’ to the various trapping that turn me off to the live album segment to begin with. 

First, the track listing limited to nine songs leaves somewhat wanting.  In terms of specifics, In His Majesty’s Service features four previously unreleased songs, one of which is “Time”.  Also performed are three from Can’t Stop Us Now” (title track, “The Waiting” and “Read Between The Lines”) and two off Warrior (“Man Of The World” and “Ashes In Our Hands”).  I appreciate the new material, but the album feels incomplete without any songs off Volume 1 and 2 and just two from Warrior.  Why not instead make it a double live album and include a more generous sampling to the bands back catalog instead?

Second, with the exception of crowd noise at the start and ending to each song, In His Majesty’s Service does not set itself apart in the manner a live album should.  Missing, for instance, are the impromptu moments that define live recording such as banter between the band and audience, guitar, bass and drum solos and introduction of individual band members.  Did Ulf not speak to the audience any further than introducing individual songs?  Similar to most ‘live’ albums, overall feel sadly is of a compilation of studio tracks doctored on the back with an accompanying audience track.

I am going to focus song commentary on the new material since the group performed that previously recorded pretty much verbatim as it was in the studio.  Albums opening title track represents a Jerusalem classic as an appealing arena rocker with an elevated tempo and catchy chorus, while “The Tide” is equally essential as six minutes of razor edged guitars, punchy bass and notable melodies.  Add the two along with “Time” to Can’t Stop Us Now and it would have made it that much better of an album.  “From The Bottom Of Our Heart” is not bad with its atmospheric tinctures and flowing keyboards, but I would much rather have preferred an older cut or two in its place instead.

Final verdict: A double album inclusive to more of Jerusalem’s classic older material would have left the more positive impression.

Dancing On The Head Of The Serpent

Dancing On The Head Of The Serpent embodies the quintessential Jerusalem album from how it brings a constancy of songwriting (no skip buttons) and heaviness (trending straight on metal territory) not realized on previous releases.  Retroactive re-mastering makes a good album even better with the warmer and fuller sound to pinpoint the greater low-end backbone and crisper feel to guitars.

Album opens to its melodic title track as majestic keyboards and driving guitar riffs lend to the victorious semblance at hand.  Ensuing is “Plunder Hell And Populate Heaven”, slower and weightier with the thicker guitar inclining, and “Rebels Of Jesus Christ”, settling the more expeditious tone as a three minute burst of incessant energy and exuberant backing vocals.  Ending the first half is the mid-paced bass driven groove that is musical Book of Proverbs “Listen To Me” and crushing mentality and lower register vocal angst characteristic to “Woe, Woe… The Great Fall”.

Two melodic pieces open the second half, with “We’re Gonna Take Europe” distinctive to pleasing guitar harmonies and luminous vocal melodies and “Come Higher” albums best catchy hooks joined with an animated low end and accenting organ.  My favorite is “Catch The Devil, Catch The Thief” with its darker allure found in boding keyboards and chorus resonant of the doom-like.  Closing the album is “The Night When Revelation Came Into My Life”, mid-paced with a dramatic allure found in its spoken word delivery, and “Still”, a very good piano and keyboard ballad with occasional hints of atmospheric guitars.

Bonus track “Covered In Blood” is a more than album worthy melodic hard rocker defined by unwavering verses and refrain that speaks of the exalted.

As noted, the European version to Dancing Upon The Head Of The Serpent gives prominence to a heavier vibe found in a rawer and earthier mix.  Notable changes to specific songs include a better guitar solo on “Plunder Hell…” and lengthier rendering to “Rebels…” with its distorted guitar feedback opening.  An even bigger bass sound imbues “Listen To Me”, while larger doses or organ accent “Come Higher” and “Catch The Devil…”.

Final verdict: By far the best Jerusalem album is more than deserving of a 90% score.

Summary

Credit Retroactive Records for not only making the Jerusalem back catalog available after such an extended period, but also professionalism to the final product in the form of improved re-mastering and commendable packaging.  I encourage you to pick up the re-issues before they go out of print; however, where to start?  My favorite remains Dancing On The Head Of The Serpent with its consistency and for including both its USA and European versions, but you cannot go wrong with Warrior and Volume 2 due to encompassing so many choice cuts.  I might not value Volume 1 and Can’t Stop Us Now to quite the same extent but still strongly recommend both, particularly if a long term Jerusalem aficionado.  Whereas In His Majesty’s Service might have improved as a double live album, I commend its solid track listing (even if just nine songs) and inclusion of several unreleased cuts.  

Review by Andrew Rockwell