Jerusha | Muses Use Us

Go To Artist Page

Recommended if You Like
Astrud Gilberto

Album Links
Audio Lunchbox MusicIsHere PayPlay Apple iTunes Bitmunk Emusic GroupieTunes PassAlong QtrNote Tradebit

More Artists From
United States - Massachusetts

Other Genres You Will Love
Folk: Modern Folk Spiritual: Judaica Moods: Type: Lyrical
Sell your music everywhere
There are no items in your wishlist.

Muses Use Us

by Jerusha

"compelling and enjoyable" [Boston Herald]original songs ranging from funny to sublime, with diverse instrumentation. The aural equivalent of a good read.
Genre: Folk: Modern Folk
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
just a few left.
order now!
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Little Guru
2:54 $0.99
2. Life Is Not a Race
2:05 $0.99
3. You
4:35 $0.99
4. Just Surviving
2:02 $0.99
5. Where Is America?
4:25 $0.99
6. Memouna
anonymous artists (field recording)
1:01 $0.99
7. Family Tree
2:38 $0.99
8. A Mayse Mit a Ber
1:36 $0.99
9. Artemis
2:26 $0.99
10. Stars Like You
2:00 $0.99
11. Hazel
9:01 $0.99
Downloads are available as MP3-320 files.


Album Notes
Modern folk/world fusion, with lyrics ranging from silly to sublime, with diverse instrumentation that sonically travels from Cape Cod to New Orleans to the Middle East to the comic-strip world of Lulu without missing a beat or breaking the spell.

Debut CD by multi-media artist-activist/songwriter Jerusha: 10 originals in settings that include folk, salsa, jazz and middle eastern elements, with Rick Arnoldi on guitar,Tom Beaver on keyboards,Hila Karni on cello,Bruce Abbott on horns, Lisa Brown, Guillaume Faure Pouget, Pat deGroot and Mohsen Subhi on drums, latin and middle eastern percussion, interspersed with field recordings and surprises. You will hear snatches of hebrew, arabic and spanish as well as a brand new song in yiddish that sounds like a folk lullaby. Cat-lover alert: the last few minutes are pure hi-fi catnip.
"A fascinating piece of work. Remarkable and amusingly varied. The aural equivalent of a good read. You never get bored, because things keep changing in unpredictable (yet hardly random) ways. Lovely, mysterious, beguiling." (see complete review from Day & Night below)



to write a review

Dan Strauss

The first time I heard "Muses Use Us" was on the subway from Brooklyn to the Bro
I didn't know what to expect when I first put "Muses Use Us" into my CD player. Would the music be unusual? Would it be foreign to my pop music-trained ear? The cover lead me to believe it might be heavy and dark. And then...drums and horns and a catchy little melody with a hook. WOW! And then it just got better. I listened to "Where is America" without ever taking my eyes off the photograph that accompanies it. It's folk, it's ethnic, and it is pop music at its best - thoughtful, musically intelligent, memorable, catchy, warm, with a lot of heart and soul.


This CD was one of the best I have ever heard
This CD is one of the best I have ever heard, I just loved it since the first time I heard it. I enjoyed all of the songs and I keep listening to it every day. Most of my friends have already heard it too and they all agree with me saying that it is really beautiful!
I'm glad that I got to listen to it and I'm sure that everyone else is enjoying it as much as I am...

Paul Salstrom

outstanding performance of original songs both whimsical and profound
Muses Use Us is a gracious & companionable CD revealing a first-rate performer, Jerusha. Suffusing the selections is an aura of empathy for all beings and a remarkable blending of American, Irish, Hebrew, Arabic, Spanish undertones. The CD is a remarkable achievement by an artist who isn't yet widely known. Equally first-rate is the quality of her accompaniment. This is a CD that easily becomes part of one's life, a companion. -Paul Salstrom

Stella Van Renesse-walling

Simply Wonderful
Muses Use Us is a wonderful collection of songs. This CD would make a great gift to anyone you care about.

Boston Herald

Compelling and enjoyable...

Thurston Kelp, Day & Night

fascinating debut with international influences and cinematic style
...I really like Muses Use Us, the new debut CD by Wellfleet local Jerusha. It's a fascinating piece of work, a sprawling epic that is also modest and gentle to a fault.
Jerusha, whose real name is Harriet Korim, lives in Wellfleet and is a history buff. Her new record has a real sense of place, or places. It travels all over the world, incorporating bits of salsa, African high-life, Jazz, folk and especially Middle Eastern musics, but in the end nests firmly in her home on the Cape.
Perhaps because you should always take a good book when you go on a trip, the CD is accompanied by a 20-page booklet that includes photos and pictures that admirably and painstakingly help set the scenes, making the historical contexts of some of the songs a bit more specific. The songs themselves almost never dwell on particular people, places and events; instead they most often offer intimate impressions of a world in flux...
Lest this all sound too much like a dusty old text book, please note that Jerusha opnes the proceedings with a semi-nonsense song (featuring a terrific African flavored hornchart by producer/husband/local legend Rick Arnoldi) about that unlikeliest of feminist icons, the comic strip character Lulu. This is by far the albums silliest moment. But considering the singer's global and sometimes political concerns, the whole is refreshingly free of self-righteousness and anger.
The tone of her singing is always gentle, sometimes even a bit tentative and awkward in a folky sort of way, but it usually draws you in. The music is remarkably and amusingly varied, featuring appearances from many renowned locals, including saxophonist Bruce Abbott, percussionist Lisa Brown of Cayenne, and playwright Gip Hoppe, who turns up on hammered dulcimer, lending a lovely medieval-via-Brian Jones flavor to "Life is not a Race." Unusual instrumentation and sporadic samples and field recordings help turn "muses use us" into the aural equivalent of a good read. You never get bored, because things keep changing in unpredictable (yet hardly random) ways. Also, because Jerusha is an excellent editor, no song wears out its welcome
There's a wealth of fascinating stories behind the songs. "Life is not a Race" is dedicated to theater director and lifetime peace activist Anne Upshure. Percussionist Guillaume Faure's visa was, ironically enough, running out while he was recording his track for "Where is America?" Drag queen Dorian Corey and blacklisted writer Meridel LeSueur inspired the song "Just Surviving."
The CD ends with a song called "Hazel," which is about Hazel Hawthorne Werner, a novelist of the '30's and a pioneer of the dune shacks of Provincetown. (It's very much to the album's credit that it raises as many questions as it answers, for it includes no specific information about Werner, only a lovely and intriguing photograph.) The song starts with the sound of waves, eventually augmented by the author's a cappella vocal, that gives way to a brief but lingering sampling of an old Louis Armstrong recording of "St. James Infirmary," in turn yielding to a five minute location recording of birds and peepers recorded at twilight so that the birds eventually leave the peepers to themselves. The effect is lovely, mysterious and beguiling...
The albums constant shifting of contexts (on this subject Jerusha quotes her saxaphonist Abbott: "art disease is hardening of the categories") makes it feel a bit like a soundtrack, and the author is in fact at work on the soundtrack for a film version of one of the songs, "a story with a bear' (a phrase that signifies a far-fetched story or old wives' tale)

Bill O'niell Cape Cod Times

one of year's best
Holy Moly! What do you say about an album
that sonically travels from Cape Cod to New Orleans to the
Middle East to the comic-strip world of Lulu? I say
I love it. Wellfleet artist-activist Harriet Korim (Jerusha)
is a risk-taker and her gambles pay off with a fascinating
collection... One of the year's best.

Provincetown Banner

Jerusha blossoms as recording artist's not a cd that screams "here's the single," it's
quieter than that, but after a few plays beings to wind
into your consciousness like a vine growing around a tree...
it's Marianne Faithful/Astrid Gilberto sound crossed with
a lullaby. . .carries a big message.
The CD kicks off with Little Guru a homage with an infectious
melody that plays tribute to Little Lulu, the spunky comic
strip heroine who refused to accept that being a girl kept
her from doing whatever she wanted.
In "Where is America?" Jerusha piles up place names with
emotional pull, places like Love Canal, Valdez, Bhopal and
Wounded Knee and puts them next to everyday places like Soutoh
Bend or San Diego to tie together distant events and the
American responsibility that underlies them. It's one of the
CD's strongest cuts.... It quicky becomes clear that the issue
of boundaries runs like a strong cord through her thoughts
and her music. . .


gina torosian

cool and mellow!
MUSES is cool and mellow enough to go with whatever you're doing. It is so listenable, but with enough musical surprises and strong lyrics to make it worth REALLY listening too. Two thumbs up!

Elena Mortara

excerpt from american studies notes, university of rome
cd...che gia nel gioco del titolo introduce l'attenzione ad una identita colletiva, us, che e anche US, identita nazionale.
Si parte da un riferimento alle muse, all'ispirazione per il canto, cui allude anche una breve nota iintroduttiva ....e poi ci si sofferma progressivamente sempre pie sul noi del cucleo, plurale e americano, di questa ispirazione. Come nel Whitman della prima "Inscription" a Leaves of Grass "One's self...yet. Democratic...En-masse."...questo il primo nucleo degli us, che poi si allarga a roccontare tutta ll'america, soprattutto nella canzone n. 5
"where is america" Esempio di come la presenza di Whitman si manifesta nella canzone contemporanea (per il tramite anche di Bob Dylan). Caricandosi degli umori del nostro tempo, e trasformandosi in lamento: where is america?