J.P. Jones


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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.

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