Josh rouse nashville
Nashville is a little like swallowing honey-its good for a while but then it becomes too much of a good thing. There are some ballads that are great irregardless and this isn’t one of them.įRANKLY: Josh Rouse makes music you want to hear. Would you call it great? Depends on if you are in the mood for that ballad or not. “Carolina” and “Middle School Frown” – Rouse writes very good melodies however the tempo starts to wear on you after a while. “Streetlights” – A major downer after the huge tracks that come before it. “Sad Eyes” – This song sucks you in as it builds and builds to a lush climax. Driving down the road on a balmy afternoon doesn’t seem like the perfect setting and yet it played over a few times and felt just right. The move paid off in Nashville, Rouse met David Henry. “Winter In The Hamptons” – I have no clear idea what the song is about-and it doesn’t really matter. Selected discographySources Source for information on Rouse, Josh: Contemporary Musicians. Even if you sought folk music it’s impossible not to enjoy this song. Shortly after finishing high school, Rouse moved to Nashville, Tennessee and started playing small shows and recording music. Rouse began writing music when he was 18-years-old. This sounds more like a song you’d hear on your local country music radio station. Rouse was born in Nebraska and moved often during his childhood, living in several different states. “It’s The Nighttime” – Certainly those who are looking for one thing will get another. From the pedal steel in “It’s The Nighttime” to the haunting strings in “Streetlights” to the fragile piano intro of “Sad Eyes,” Josh has pulled out all the stops on this album.
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His special affection for that city in Tennessee is played through a more elegant palette.
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Nashville is filled with an atmosphere reminiscent of Neil Young’s Harvest Moon and Bob Dylan’s Nashville Skyline. This is his love letter to the city that made him whole and to the parts of the city that go unrecognized by the general public. The title is a slight misnomer: despite the occasional presence of pedal steel guitar, and at least one languid country boogie, it's not, as you might expect, a country album, but more an homage to the modern-day Nashville music scene - the fringe folk/rock scene that fostered such names as Lambchop and Gillian Welch, and in which Rouse learnt his craft during his 10-year residence there.CORPORATE LINE: Following up his great ode to the Seventies album 1972, Nahsville is Josh’s opus to his home for the last ten years before his recent move to Spain.
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It's not as deliberately period-specific as 1972 - how could it be, when the track "Middle School Frown" involves Rouse's reminiscence of his adolescent yen for a dangerous, dark-eyed, Eighties New Wave beauty? - but if anything, Nashville offers a more crafted approximation of the typical singer-songwriter project. His retro attitude is signalled by the album's compact, quality-not-quantity size, and its division of the 10 songs into two notional sides, as if it were an updated edition of an original period vinyl album but it's Rouse's command of the songwriterly tropes, and producer Brad Jones' masterly marshalling of the instrumental settings, that give the album its distinctive, timeless ambience, at once ancient and modern. With Nashville, Josh Rouse continues his stylistic re-imagining of the early-1970s era that he so beautifully evoked on 2003's 1972.