Aural Fixations

STEVE EARLE
Jerusalem
(E-Squared/Artemis )
Steve Earle does what the hell he wants, and as much of it as he wants. Jerusalem is his sixth CD in six years that have found him doing the singer-songwriter gig (Train A-Comin'), Southern-informed rock (I Feel Alright), sprawling roots music (El Corazon), bluegrass (The Mountain), and fine pop (Transcendental Blues). And not surprisingly, Jerusalem doesn't fit neatly in any particular box, which is okay. It's got acoustic bits, electric sheen, electronic accents and attitude—lots of attitude.

The intention here is mostly to comment on post-9/11 America, and Earle's a fine candidate for just that. He's always written the kind of razor lines that had critics calling him country music's savior as far back as '86's Guitar Town. Earle's just too honest and untamable to be mentioned in the same breath as Nashville these days, though there's no doubt he's firmly ensconced as a modern songsmith with few equals.

That said, well, Jerusalem just doesn't bring the heat. The press kit uses strong words like "patriot," and makes clear that Earle's love of this nation won't let him turn a blind eye to the siphoning of rights in the interest of chasing terrorists. The CD, though, isn't nearly so interesting. It's hard to say if it's just that hard to make political statements work against a 4/4 backbeat, or if the stiffness lent to the affair by the occasional sample or handclaps undermines the intentions. (more)

Refreshed

THE WHO
My Generation (Deluxe Edition)
(MCA/Chronicles)
We take our classic rock groups for granted these days. There's a huge section of the rock audience for whom artists like Neil Young, Led Zeppelin, etc. have always been there, ubiquitous presences on the radio since before we were born. Sure, there are still plenty of folks around who heard these bands when they were just babies, but for the punters who watch MTV and listen to Hits Mix radio, the Stones' career began with "Start Me Up" and the Beatles have existed since the beginning of the recording industry. It's often hard to imagine these groups as youngsters, still in unpolished form, not the accomplished hitmakers and overarching influences they would become.

The Who is a prime example. Everybody knows Tommy and "Won't Get Fooled Again." Everyone also knows "My Generation," but how many of the band's fans, outside of the true hardcore, have actually heard the album from which it comes? 1965's My Generation, the group's first full-length record, is a perfect portrait of a band in the raw, rushed into the studio to capture its explosive live show on tape for the kids, just tasting the fruits of success with its first single "I Can't Explain." This isn't the sleek classic rock machine of "Who Are You" or Quadrophenia—this is a band of young punks with a serious R&#amp;B jones and a penchant for noise running through its budding repertoire with power and gusto. (more)

Album reviews of new music by:

Hot Club of Cowtown

While there are plenty of sounds from the past, the strongest songs in this batch come when the band steps away from those traditional styles. (more)

Mike Johnson

Framed by gently strummed electric guitars and lush pianos, Johnson's performances suggest a crushing weight settling on his shoulders, but one he can bear with dignity and rugged stoicism. (more)

Living Sacrifice

At its most brutal, the long-running Arkansas quintet rivals any death metal icon you'd care to name. (more)

Lucky Bishops

The band has streamlined its eclectic approach to match its more focused songwriting; the harmonies are tighter than ever and the instrumentation enhances the arrangements instead of distracting from them. (more)

New Bomb Turks

The Night Before the Day the Earth Stood Still is a baker's dozen tracks of the band's high-octane snot-rock. (more)

Missy Roback

Singer/songwriter Missy Roback has a gem of a pop record in her debut Just Like Breathing. (more)

RPWL

RPWL's main strength is its instantly appealing sound, and that's nothing to sneeze at. (more)