josh rouse
mail: daniel_fjall@hotmail.com
dressed up like nebraska
home
1972
Dressed Up Like Nebraska
Released: 1998
Rating: 8/10
Track listing: 1. Suburban Sweetheart/ 2. Dressed Up As Nebraska/ 3. Invisible/ 4. Late Night Conversation/ 5. Flair/ 6. The White Trash Period of My Life/ 7. A Simple Thing/ 8. A Woman Lost In Serious Problems/ 9. Lavina/ 10. Reminiscent
Debuting on an impressive note, Josh Rouse presents himself as a singer/songwriter with a feel for arrangements. Acoustic guitars, cellos, violins and airy, clean electric guitars sets the melancholic atmosphere that surrounds Rouse’s thin, but just perfect, vocals. Somehow he puts his carefully constructed songs into a suit ranging wide from Elliot Smith to the Stone Roses, from Whiskeytown to U2, and still manages to contain and preserve the intimate singer/songwriting feeling.
Although one could relatively easily guess the various influences and the artists making up the main part of Rouse’s record collection, it is harder to claim he is imitating them, as he finds inspiration to express his own ideas and visions, creating something of his own. The pop-ish, sad “Late Night Conversation” shines as a highlight in the bitter dark, whilst “The White Trash of My Life” is the pure opposite. A desperate, affecting and humble ballad that still ranks as one of Rouse’s finest songs. There is not a weak moment in sight and Dressed Up Like Nebraska witness not only a fascination and admiration for good music, but also an impeccable understanding for it, as well as obvious talent.
Home
Released: 2000
Rating: 8/10
Track listing: 1. Laughter/ 2. Marvin Gaye/ 3. Directions/ 4. Parts And Accessories/ 5. 100m Backstroke/ 6. Hey Porcupine/ 7. In Between/ 8. And Around/ 9. Afraid To Fail/ 10. Little Know It All
Very much done in the same vein as the first album, but slightly calmer and reflective. The arrangement-influences from the huge 80’s bands are still present, even if hardly as dominating as on Dressed Up Like Nebraska. A welcomed addition is the use of horns that sometimes comes in, providing maybe not a completely new dimension, but some diversity. The best moments appears when the tempo is slowed down and Rouse aims to emotionally affect you, rather than to make you sing along. “Directions” being a major exception, with its catchy melody, nice singing and thoughtful lyrics. Just as on Dressed Up Like Nebraska it reminds of both U2 and Stone Roses.
That aside, the ballads stands out as powerful and mighty in a humble and healthy way. “Parts And Accessories” is touching and functions perfectly as a pretaste of the arguably strongest track on the album, “100m Backstroke”. Beautiful, tender and truly extraordinary. “In Between”. “And Around” and closing “Little Know It All” continues in the same style, in the same impressive and convincing style. Isn’t it strange that these songs sounds convincing, secure and very solid, even though they tells the story of someone fragile, insecure and filled with doubts? There is no contradiction in that, although it would have been even more interesting to hear these songs performed with the same hesitation as the lyrics witness of. That is what creates masterpieces, and even though Rouse isn’t quite there yet, he still manages to create some gorgeous music. When “Little Know It All”, definitely one of the strongest tracks, slowly fades out, Rouse leaves us in triumph.
1972
Released: 2003
Rating: 9/10
Track listing: 1. 1972/ 2. Love Vibration/ 3. Sunshine (Come On Lady)/ 4. James/ 5. Slaveship/ 6. Comeback (Light Therapy)/ 7. Under Your Charms/ 8. Flight Attendant/ 9. Sparrows Over Birmingham/ 10. Rise
Making a name for himself as a singer/songwriter in the vein of the modern, but yet worn-out, style as his peers (which still can be done really good), Rouse takes a new approach on 1972. Whilst still being a singer/songwriter at heart, influences of Al Green and Curtis Mayfield are revealed without any shame or attempt of hiding it and Josh Rouse’s often quiet and close up vocals also gives away a certain Paul Simon-vibe (not only because the repeated “Diamonds On The Soles of Her Shoes”-line ‘you people all know what I’m talking about’ in “Love Vibration”).
The music often has a nice groove and a feel-good atmosphere to it, even if the lyrics often deals with darker subjects. The title-track is a good example of this, as the music and Rouse’s voice is incredibly soothing and relaxing, but a quick lyrical reflection puts the song in a completely different light. However, “Love Vibration” and “Sunshine” are so joyous that you could care less about the lyrical content and just move along with the steady soul rhythms, “Come Back” has some great singing and the soul-influences mentioned earlier are extremely present, in fact so soul-ish I had to look at the songwriter credits to make sure it wasn’t a Marvin Gaye-cover or something. It was a Rouse original, as all the other songs on the album. The album isn’t only sunny grooves, though. The slightly more traditional singer/songwriter ballads are beautiful. Especially “Under Your Charms” (with nice harmony vocals), the gospel-ish “Sparrows Over Birmingham” and the closing “Rise”.
1972 certainly makes Josh Rouse different from other singer/songwriters, and in a good way too. It makes him less predictable than the contemporary artists and by that also less generic, bland and pale. An interesting move and certainly worth an ovation.
reader comments:
guy peters
Worth an ovation? DAMN RIGHT! Just when i thought nothing good could come anymore from accessible, mainstream pop, Rouse, a songwriter who formerly resided in a much gloomier sort of alt country-universe, comes up with the unashamed slick pop of "1972". Influences range from smooth 70's soul, Westcoast songer-songwriters (James "Harmless" Taylor, etc) and - surprisingly - gospel ("Sparrows"). The result is an impressively infectious trip through Rouseland, a nice addition to the string of classics released in 1972. "Love Vibration" is , like you suggest, the light-weight single no one dared to think off (but it works), the falsetto in "James" reminds of Mayfield, while "Come Back" is probably my favorite song of 2003: a lovely song about love and longing, with a gorgeous melody and an original angle (a depressed person waiting for the sun to return). Other favorites of mine are "Flight Attendant" (I just love that explosion of sound towards the end - it gets me every time), and the album closer, which sounds closest to Rouse's former stuff.
Anyway, i'm glad you like the artist and the album. Like my girlfriend uses to say: "Josh is DA MAN"!
home
1972
Dressed Up Like Nebraska
Released: 1998
Rating: 8/10
Track listing: 1. Suburban Sweetheart/ 2. Dressed Up As Nebraska/ 3. Invisible/ 4. Late Night Conversation/ 5. Flair/ 6. The White Trash Period of My Life/ 7. A Simple Thing/ 8. A Woman Lost In Serious Problems/ 9. Lavina/ 10. Reminiscent
Debuting on an impressive note, Josh Rouse presents himself as a singer/songwriter with a feel for arrangements. Acoustic guitars, cellos, violins and airy, clean electric guitars sets the melancholic atmosphere that surrounds Rouse’s thin, but just perfect, vocals. Somehow he puts his carefully constructed songs into a suit ranging wide from Elliot Smith to the Stone Roses, from Whiskeytown to U2, and still manages to contain and preserve the intimate singer/songwriting feeling.
Although one could relatively easily guess the various influences and the artists making up the main part of Rouse’s record collection, it is harder to claim he is imitating them, as he finds inspiration to express his own ideas and visions, creating something of his own. The pop-ish, sad “Late Night Conversation” shines as a highlight in the bitter dark, whilst “The White Trash of My Life” is the pure opposite. A desperate, affecting and humble ballad that still ranks as one of Rouse’s finest songs. There is not a weak moment in sight and Dressed Up Like Nebraska witness not only a fascination and admiration for good music, but also an impeccable understanding for it, as well as obvious talent.
Home
Released: 2000
Rating: 8/10
Track listing: 1. Laughter/ 2. Marvin Gaye/ 3. Directions/ 4. Parts And Accessories/ 5. 100m Backstroke/ 6. Hey Porcupine/ 7. In Between/ 8. And Around/ 9. Afraid To Fail/ 10. Little Know It All
Very much done in the same vein as the first album, but slightly calmer and reflective. The arrangement-influences from the huge 80’s bands are still present, even if hardly as dominating as on Dressed Up Like Nebraska. A welcomed addition is the use of horns that sometimes comes in, providing maybe not a completely new dimension, but some diversity. The best moments appears when the tempo is slowed down and Rouse aims to emotionally affect you, rather than to make you sing along. “Directions” being a major exception, with its catchy melody, nice singing and thoughtful lyrics. Just as on Dressed Up Like Nebraska it reminds of both U2 and Stone Roses.
That aside, the ballads stands out as powerful and mighty in a humble and healthy way. “Parts And Accessories” is touching and functions perfectly as a pretaste of the arguably strongest track on the album, “100m Backstroke”. Beautiful, tender and truly extraordinary. “In Between”. “And Around” and closing “Little Know It All” continues in the same style, in the same impressive and convincing style. Isn’t it strange that these songs sounds convincing, secure and very solid, even though they tells the story of someone fragile, insecure and filled with doubts? There is no contradiction in that, although it would have been even more interesting to hear these songs performed with the same hesitation as the lyrics witness of. That is what creates masterpieces, and even though Rouse isn’t quite there yet, he still manages to create some gorgeous music. When “Little Know It All”, definitely one of the strongest tracks, slowly fades out, Rouse leaves us in triumph.
1972
Released: 2003
Rating: 9/10
Track listing: 1. 1972/ 2. Love Vibration/ 3. Sunshine (Come On Lady)/ 4. James/ 5. Slaveship/ 6. Comeback (Light Therapy)/ 7. Under Your Charms/ 8. Flight Attendant/ 9. Sparrows Over Birmingham/ 10. Rise
Making a name for himself as a singer/songwriter in the vein of the modern, but yet worn-out, style as his peers (which still can be done really good), Rouse takes a new approach on 1972. Whilst still being a singer/songwriter at heart, influences of Al Green and Curtis Mayfield are revealed without any shame or attempt of hiding it and Josh Rouse’s often quiet and close up vocals also gives away a certain Paul Simon-vibe (not only because the repeated “Diamonds On The Soles of Her Shoes”-line ‘you people all know what I’m talking about’ in “Love Vibration”).
The music often has a nice groove and a feel-good atmosphere to it, even if the lyrics often deals with darker subjects. The title-track is a good example of this, as the music and Rouse’s voice is incredibly soothing and relaxing, but a quick lyrical reflection puts the song in a completely different light. However, “Love Vibration” and “Sunshine” are so joyous that you could care less about the lyrical content and just move along with the steady soul rhythms, “Come Back” has some great singing and the soul-influences mentioned earlier are extremely present, in fact so soul-ish I had to look at the songwriter credits to make sure it wasn’t a Marvin Gaye-cover or something. It was a Rouse original, as all the other songs on the album. The album isn’t only sunny grooves, though. The slightly more traditional singer/songwriter ballads are beautiful. Especially “Under Your Charms” (with nice harmony vocals), the gospel-ish “Sparrows Over Birmingham” and the closing “Rise”.
1972 certainly makes Josh Rouse different from other singer/songwriters, and in a good way too. It makes him less predictable than the contemporary artists and by that also less generic, bland and pale. An interesting move and certainly worth an ovation.
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reader comments: guy peters Worth an ovation? DAMN RIGHT! Just when i thought nothing good could come anymore from accessible, mainstream pop, Rouse, a songwriter who formerly resided in a much gloomier sort of alt country-universe, comes up with the unashamed slick pop of "1972". Influences range from smooth 70's soul, Westcoast songer-songwriters (James "Harmless" Taylor, etc) and - surprisingly - gospel ("Sparrows"). The result is an impressively infectious trip through Rouseland, a nice addition to the string of classics released in 1972. "Love Vibration" is , like you suggest, the light-weight single no one dared to think off (but it works), the falsetto in "James" reminds of Mayfield, while "Come Back" is probably my favorite song of 2003: a lovely song about love and longing, with a gorgeous melody and an original angle (a depressed person waiting for the sun to return). Other favorites of mine are "Flight Attendant" (I just love that explosion of sound towards the end - it gets me every time), and the album closer, which sounds closest to Rouse's former stuff. Anyway, i'm glad you like the artist and the album. Like my girlfriend uses to say: "Josh is DA MAN"!
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