JERUSALEM SLIM is above all the story of a confrontation between Steve Stevens and Michael Wagener (the German producer of the project) on one side, and Michael Monroe and Sami Yaffa on the other. In the end, it all comes down to style, appreciation, and even good taste when it comes to music. Michael Monroe’s truth lies in a form of intransigence toward the principles established by Hanoi Rocks in 1980, namely the resurgence of the glorious Glam period tinged with Punk and Roll (from 1969 to 85). It is also a fierce determination to defend tooth and nail the path they began 12 years earlier in the streets of Stockholm. For now, the option chosen by Steve Stevens is to project a vision of modernist Glam Metal, an undertaking largely encouraged by the record label through Wagener. But from a strictly technical and musical point of view, JERUSALEM SLIM is an undeniable success. The quality of the songwriting is evident. As is Monroe’s multi-instrumentalist touch (harmonica, saxophone, vocals). The songs are full of silky arrangements, perfect for anyone who is not completely allergic to the clinical sound of the MTV years.