Josh Rouse
Nashville
»
Josh Rouse
Nashville
Rykodisc, 2005
RiYL: Wilco, Ian Hunter, Brian Wilson |
That album, Josh Rouse’s Under Cold Blue Stars, was the first important record from the Midwestern by way of Nashville songster. A concept album that traced the lives of an older couple, Under Cold Blue Stars had it all -- pop masterpieces (“Miracle”), white-boy soul (“Under The Cold Blue Stars”), and an anthem (“Women And Men”).
All the pieces seemed to fall into place for Rouse on that album, as he clearly jumped leaps and bounds ahead of his earlier releases. Dressed Up Like Nebraska and Home, for whatever reason, lumped Rouse into the all-too-confining alt.country label. Even Stars somehow furthered that stereotype.
But it is clearly a label that does not fit, as Rouse’s tunes, even in his early albums, seemed far too intelligent than the line-‘em-up-and-knock-‘em-down drinking songs that characterize much of what has become collectively known as alt.country. Rouse has always had a touch of soul in him that separated him from the Ryan Adams and Old 97s of the world.
And that soul was certainly evident on his last proper album, 2003’s 1972. Here Rouse completely chucked whatever alt.country residue he had left and put forth a fun, groovy album based loosely on the music of the early ‘70s. While it was not a complete success -- some songs get quite repetitive -- 1972 was unlike any other album released that year. It was fun, different and, really, an album for all occasions.
After two years of touring to support 1972, as well as some personal upheaval, Rouse is back with Nashville, perhaps the most Rouse-ian of all his records. While the soul from the ‘70s still permeates throughout, Nashville is the most honest and complete album of Rouse’s short and stellar career.
If Nashville sounds like a farewell letter, that’s probably because it is. After a divorce, Rouse left his adopted Tennessee hometown, packed his bags and moved to Spain. Oddly, though, the album in many ways is a return to his roots; the bouncy opener “It’s The Nighttime” contains some of the pedal steel guitar that marked many of his earlier offerings.
But aside from the title and subtle steel guitar, there is no Music Row in Nashville. The album quickly picks up with the Morrissey-esque Euro-stomp of “Winter In The Hamptons,” a tune containing the arching guitar licks and not-quite-droning verses that marked so many Smiths songs.
And while the music is definitely strong, Rouse’s non-linear and fairly unusual lyrical style is also in fine form. The aforementioned “Hamptons” is a sharp take on the upper class, while “Streetlights” takes on a relationship that is in need of simple conversation.
“Carolina” is another inspired tune, and probably the catchiest on the album. With a nod to Brian Wilson’s “Caroline, No,” “Carolina” illustrates a young woman desperately trying to ditch Nashville and move to California. “In the Nashville sky / shines a diamond bright / Carolina settles for the boys out ‘til midnight,” Rouse sings. In the Wilson-esque chorus, Rouse sings, “Carolina’s so / happy on the outside / she keeps frowning inside.”
But the best song on the album is “Sad Eyes,” a piano-drenched ballad that would make even Ryan Adams quiver in his boots. The opening of the tune sounds straight out the Ian Hunter songbook, a simple piano riff accompanied by Rouse’s shimmering soprano. “Sad eyes / You are the only one / Whose blue skies are gray / Don’t cry / You’ll be the only one / to make them go away,” Rouse soothes.
Once you get comfortable, though, the almost effortlessly song picks up and becomes a Leon Russell, arena-style stomper. Strings also intercede as the tone changes: “Things are gonna / Go your way / Yeah they’re gonna / Go your way / Oh they’re bound to / Go your way.”
Don’t get me wrong, not everything on Nashville is a success -- “Why Won’t You Tell Me What” is a bit of a plodder, especially after “Sad Eyes” hits its crescendo. “Saturday” is a slow mover too and seems would fit perfectly on Wilco’s Summerteeth, no doubt the band’s creative low-point.
But overall, Nashville is outstanding. Perhaps a tad short, Nashville is only the latest in what has been a string of terrific recordings from Rouse. And the album achieves what so few do -- it leaves you wanting more.
RODEO ROB | An expert on all things "alt," Rob spends his days covering the energy industry and his nights covering the DC-area bars. Raise yer glass especially high to this man, for he has contributed to this site constantly since its creation four years ago.