There's a moment on Jeremiah when a central connection is made clear. On "So Early Early in the Spring," JP Jones tells the tale of a sailor who, before leaving port, receives a promise from his true love to wed no other. By the time he gets back to shore, however, she's married to a rich man. The narrative easily reminds one of a new twist on Dylan's "Boots of Spanish Leather." The same correlation exists between Jones' "New World A-Coming" and Dylan's "The Times They Are A-Changing," emphasized emphatically by the 'A' prefix on 'a-coming' and 'a-changing.' This connection is further advanced by the simple acoustic guitar-harmonica arrangement used on a number of Jeremiah's cuts, more 1962-63 than 2004. This isn't to suggest that Jones' music is in any way derivative, only that these two artists share a number of things in common. More important than the musical connection is a philosophical and lyrical one. Jones, like the Dylan that sang "A Hard Rain's A-Gonna Fall" and "When the Ship Comes In," projects himself as a prophet who announces impending doom and the changing of the guard. This point is brought home on the opening track, "Prophet in His Prime," a song that manages to be self-reflective ("who am I for second-guessing god?") and prophetic ("love's the only treasure") within the same song. Fans of Jones' previous albums will find much to ponder in Jeremiah's deep musings.
AllMusic Review by Ronnie D. Lankford, Jr.