Josh Rouse - Nashville

Josh Rouse - Nashville - 2005
Жанр: Alternative, Folk-Rock, Indie
Страна-производитель диска: USA
Год издания диска: 2005
Издатель (лейбл): Rykodisc
Номер по каталогу: 10679
Страна: USA
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 39:40
: Найдено в сети(Dickthespic)
: нет
Треклист:
It's the Nighttime (Josh Rouse, Daniel Tashian)
Winter in the Hamptons (Rouse,Tashian)
Streetlights (Rouse)
Caroliña (Rouse)
Middle School Frown (Rouse)
My Love Has Gone (Rouse)
Saturday (Rouse)
Sad Eyes (Rouse, Sean Kelly)
Why Won't You Tell Me What (Rouse)
Life (Rouse, Tashian)

Лог создания рипа

Содержание индексной карты (.CUE)

Об исполнителе (группе)

Although born in Nebraska, singer/songwriter Josh Rouse moved to various cities throughout his childhood and subsequent musical career, driven at first by his father's military career and later by his desire to take inspiration from different environments. He paid tribute to his birthplace on his 1998 debut, Dressed Up Like Nebraska, and explored the influence of his adopted home state, Tennessee, with 2005's Nashville. Rouse later settled in Spain and explored the country's musical traditions, although his songwriting continued to exhibit the summery, rootsy appeal of his earlier work.
As a child, Rouse spent time in California, Utah, Wyoming, Nebraska, South Dakota, Georgia, and Arizona. Music was one of the few constants in a life filled with new towns, new schools, and new friends, and he took comfort in bands like the Smiths and the Cure. After receiving several guitar lessons from his uncle, Rouse began writing songs as an 18 year-old and molded himself into a skilled composer, eventually scoring a contract with the Rykodisc subsidiary Slow River. His debut album, Dressed Up Like Nebraska, was released in 1998 to widespread critical acclaim. He pulled up stakes shortly thereafter and resettled in Nashville, where he was befriended by Kurt Wagner, frontman of the chamber country group Lambchop. The two began writing together and issued a collaborative EP, Chester, in the fall of 1999.
Rouse's second solo record, Home, appeared the following spring and was followed by Under Cold Blue Stars in 2002. He then launched a partnership with producer Brad Jones -- known for his work with pop artists like Marshall Crenshaw, Matthew Sweet, and Jill Sobule -- and the resulting album, 1972, was both an homage to the soft rock sounds of Rouse's youth and a deepening of his sound. Before the release of his next album, however, Rouse's marriage ended and he moved from Nashville to Spain. Released in 2005, Nashville served as a farewell to both the city and his marriage; it was also his most fully realized record to date, featuring Brad Jones' lush production and Rouse's poignant, nostalgic lyrics.
Once in Spain, Rouse settled in the small seaside town of Puerto de Santa Maria and began writing songs shaped by his new surroundings. Jones eventually flew into town, and the two captured a relaxed and intimate vibe on 2006's Subtitulo. After the release of two EPs (Bedroom Classics, Vol. 2 and She's Spanish, I'm American, the latter of which was recorded with Rouse's girlfriend, artist Paz Suay), Rouse chose to handle his own production for 2007's Country Mouse City House. He also married Suay, became a father, and relocated to Valencia's Mediterranean coast.
Rouse's eighth studio album, El Turista, was released in 2010, a full five years after his relocation to Spain. Living abroad for half-a-decade had left an indelible mark on the songwriter, who sang several of the album's tracks in Spanish. Ironically, the bulk of El Turista was recorded in Nashville with Brad Jones, a move that only strengthened the globe-trotting appeal of Rouse's songwriting. For the 2011 release Josh Rouse the Long Vacations, the singer/songwriter drew from the AM radio sounds he grew up with, as well as present-day influences from his adopted home of Spain.

Об альбоме (сборнике)

Josh Rouse's album from 2003 1972 was hailed by many as a triumph. He cast aside the gloom that pervaded his early records, opened up his sound to include such disparate sources as Memphis soul, '70s soft rock, '60s baroque pop and straight-ahead danceable pop. Easily the equal of any of his contemporary's work, one had the fear that it might have represented a one-time-only peak performance. Not to worry. Nashville reunites Rouse with producer Brad Jones and the two have concocted a sound even bouncier and dreamier than the already impossibly dreamy and bouncy 1972. There are hints of all the styles Rouse references on 1972 but here they are integrated into his sound more smoothly. Jones adds all kinds of varied keyboards, strings, guitar sounds, bits of sonic trickery and atmosphere to that sound which leads to each song sounding similar but also quite different. The production and sound are half the game and Rouse doesn't let his half down, as his songs are incredibly strong on Nashville. Streetlights, the Smiths-influenced Winter in the Hamptons, Carolina, and the heart-broken piano ballad Sad Eyes; they are as hooky as anything on 1972 but have more weight and emotional power. By the time each song is through it is stamped into your memory, turning the record into an instantly familiar kind of classic. His lyrics are as sharp and surprising as ever. He is incredibly adept at dropping in lines that shock you in a very pleasant way; the very first song, the sweetly gliding It's the Nighttime, has the wonderful lines maybe later on/after the late, late show/we can go to your room/ I can try on your clothes. His storytelling skills are sharp, too, as the teen angst epic Middle School Frown amply demonstrates. Apparently his personal life has seen all kinds of upheaval in the last little while but you'd be hard pressed to hear it in the sunny melodies. You can hear hints of it in the lyrics if you listen hard especially on My Love Has Gone (unsurprisingly) and Saturday. You can also hear it in the melancholy catch in Rouse's whispery vocals. Even the jauntiest song on the album is reeled in a little. The contrast between happy melodies and sad lyrics is one of the oldest tricks in the pop book and when it is pulled off as well as Rouse does here, you have to be impressed. In fact the whole record is worthy of any and all accolades you might want to shower upon it. Somebody will really have to pull off a miracle to top Nashville as far as intelligent, honest and entertaining guitar pop goes in 2005. Or any other year.

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