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David Henry again co-produced, largely replacing the acoustic tenderness of Rouse’s debut with a less earnest but more direct electric approach. And “Directions” adds grit to harshly self-critical lyrics (“Stay out all night and get high with your friends / Wonder why you don’t get one thing done”). The jazzy rhythm guitar line of “Marvin Gaye” manages to pay tribute to the late Motown legend without resorting to blatant thievery. “Laughter” is a Smiths-influenced tale of paranoid introspection with a fine chorus punctuated by trumpet and flugelhorn blasts. Home is altogether more confident, kicking off with a trio of excellent tracks.
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While the album lacks assurance, it’s a strong debut. “Lavina,” paralyzed by grief, “sits alone in a chair / She doesn’t speak or write / Of any despair.” Elsewhere, the album nods to U2 (“Suburban Sweetheart”) and R.E.M. Sung in a plaintive voice, the lyrics tackle loss, alienation and missed opportunities. Equal parts mournful (“The White Trash Period of My Life”) and hopeful (“Dressed Up Like Nebraska”), the songs convey a strong feeling of restlessness. Co-produced by David Henry and Rouse, the sparse arrangements are supplemented by the careful use of organ, violin and cello (played by Henry). Despite his long tenure in the country music mecca, Rouse’s easy-on-the-ear style is far more informed by ’70s AM radio and ’80s UK pop than by anyone who played the Grand Ole Opry.ĭressed Up Like Nebraska paints a compelling picture of life there. Given Rouse’s upbringing, it’s not surprising that the theme of wanderlust runs through his first four solo albums. Long may that continue.As a teenager, Nebraska-born singer-songwriter-guitarist Josh Rouse led the typical displaced life of a military brat until moving to Nashville in 1996, drawn by the allure of clubs and a thriving music scene. Somehow his quiet songs about love and loss have become a huge part of my life. I’ve bought every album he’s ever done and been going to see him for 15 years. Unlike a lot of London audiences, they were really up for a good time. A terrific gig.Ī real spread of ages but many more youngsters than I expected. The encore was a wonderful Sad Eyes, which the audience sang most of, followed by a rocking Love Vibration. He even did Under Cold Blue Stars and Nebraska. JR was bouncing off the band and the audience who, trust me, sang their heads off. Winter in the Hamptons, My Love Has Gone, Love In The Modern Age, Businessman (my 2 faves from the new album), It’s The Nighttime and 1972 – what a run of brilliant songs. Four new songs, broken up by a stellar Come Back (from 2003’s 1972) and then, BOOM. So, with a new album, he’s going to do loads of it, yeah? Natch. I had a great spot behind the mixing desk (with a shelf to lean me and my beer on) and the sound and lights were immaculate. And, mate, if you’re going to play a 12 string acoustic, get a 2nd one so that we don’t have to watch you retune it after every nice song.īy the time Josh and his wonderful band came out the place was packed. I’ve loved what I’ve heard but last night they were a bit non-descrpt. The support was Field Division and I was disappointed. I’ve had the odd one or two where he seems distracted, as if he’d rather be anywhere but on the stage, but not tonight. I’ve done quite a few but I have to say this was one of the best.