Customer Reviews

1972

5 star:		(26)
4 star:		(18)
3 star:		(5)
2 star:		(2)
1 star:		(4)

 

 

Josh Rouse has been, quietly and without the benefit of a huge record company's promotional machine, putting out great album after great album. And, already apparent in his prior release Under The Cold Blue Stars, he's not interested in milking anything he's already done for guaranteed kudos. 1972 is a lovely set of songs, with the kind of balance between a unity of theme and diversity of moods that confirm the power of albums, over the "immediate-gratification" glory of churning out singles. The whole thing is a gorgeous homage to the seventies without the cheap sentimentality that could result from looking back at the music of any given past decade. Among other beauties, there are gorgeous things like the eponymous 1972 or Sparrows Over Birmingham, the groove of Love Vibration, or the rising arrangement in Rise. And all of it touched by the wild honey -wild, not processed- of Josh Rouse's voice.

Let's focus on what Josh Rouse is: a brilliantly eccentric and refreshingly original songwriter, and not what he'll likely never be: a mainstream success. What Rouse has done on the excellent, but not quite a classic "1972," is make a Josh Rouse record that sounds like it was recorded the year of his birth. The album has plenty of decent tunes to recommend it, particularly the soulful title track (in which he cites Carole King in the second line), "Sunshine," "Slaveship," the ace lovesong "Under Your Charms," and the amazingly spiritual "Sparrows Over Birmingham."

Through four albums, Josh Rouse has been a uniformly excellent songwriter. Those who bemoan his lack of mainstream success are missing the point. If he ever did shoot for a larger audience, he'd lose what it is that make his music so special.

From the opening bars of "1972" we know this is going to be a special treat as Rouse opens with a homage, "She was feelin' 1972, groovin' to a Carole King tune, 'Is it too late baby?'" "Love Vibration" hosts a flower power message with Rouse's joyful chorus, "Now you people all know what I'm talking about." "Sunshine (Come On Lady)" has Marc Pisapia's bongo rhumba beat upon which Rouse builds a shimmering little ditty. "James" is a breezy melody with Jim Hoke's flute giving an airy feel about a loser who abandons his family and embraces a life of alcoholism. James Haggerty's bass sets a nice jazz groove on "Come Back (Light Therapy)" and then Josh layers in a delightfully addictive soulful melody, "I'm gonna stay on this mountain high 'til you come running back." "Flight Attendant" starts with a Latin-flavored soft rhythm and then Josh's hushed Nick Drake-school vocals whisper, "I grew up so scared, the bible belt, redneck lifestyle; one day I'll fly free in the airplane." "Sparrows Over Birmingham" starts off with a gospel flavor and then transforms into a soft shoe, "You grew up an isolated pup, you had some books, you had some love, oh god was watching over you." The CD concludes with "Rise," a stunningly original melody, "I should of caught a ride on Brooklyn train, meet on the corner & I'll entertain." "1972" is a fully realized set that satisfies completely. Bravo!

If the 21st century has brought us anything refreshing it is the slew of good, strong music that has been hitting the CD stores (unfortunately not radio, since radio continues to play drivel on adult contemporary stations )in the past two and a half years. If you know where to find it, there is a lot of good music out there (magazines such as UNCUT, PASTE and NEW MUSIC MONTHLY are great sources) and 1972 is a brilliant example.

Somehow managing to channel great musicians such as Paul Simon, Al Stewart and Jackson Browne and yet still keep his own voice, Josh Rouse delivers a pop album with smarts, sensibility and style. If you didn't know better, you'd swear this was an album straight from the good side of the 70s (and in the case of "Love Vibration" early 80s.) There is not a clunker on this album and you may be tempted to hit "repeat" on your CD player. Here are just a few of the charmers:

"1972": a tribute to Carole King and a mellow, deceptively simple song which stays in your heart for a good while...

"Love Vibration": a catchy pop tune that makes use of the wurlitzer, flute and the most basic of lyrics and yet says a lot...you cannot get this song out of your head or feet! (In a way this reminds me of the lushness of the Carpenters minus Richard Carpenter's occasional overkill production).

"Sunshine": This is NOT Brady Bunch material despite what one music reviewer wrote recently. It's a nice percussion piece with an Al Stewart edge to it.

"James": Sad lyrics and beautiful music. I haven't listened to this one enough to catch the deeper appeal but it definitely stays with you.

"Come Back" and "Under Your Charms" are both sensual, rhythmic pieces with a Doobie Brothers approach in a Paul Simon voice (though Josh Rouse's voice is more mellow and lush like Karen Carpenter's to a certain degree).

"Sparrows Over Birmingham" and "Flight Attendant" are soulful, yearning songs that evoke the 60s.

I wish I could find the words to do this album justice. The best thing I can say is : listen. This is the kind of album you put on the stereo and never want to take off.

The one thing that stands out on this album is Rouse's strong songwriting. An album that uses so many of the sounds of the early 70s could easily sound cliched - especially at a time where every new band seems to be reminiscing about the past, - but Rouse's songs are strong enough to work in any format.

Rouse's songs are powered along by groovy baselines, the odd flute or saxophone, and driving rhythmns. Yet he could probably play the entire album on an acoustic guitar and the songs would still shine.

It's an album of sunshine with the odd lines such as:
I told you a thousand times/I sold you a thousand lines/"I love you would you marry me".
to give the album needed bite.

You could dance to it, sing to it, or cheer yourself up on a rainy day.

After twenty listens, and this record deserves them and much more, "1972" reveals a masterpiece. Who could expect that with a concept about a musical period that could have become nothing but kitsch? It's definitely not. This is just Mister Josh Rouse paying a subtle, nice tribute to the year of his birth and a musical period he always especially liked as a fan of music as you and me. And this doesn't keep him from offering a perfect collection of songs - all of them being excellent. First, Brad Jones' arrangements are superb, not to speak of Josh's personal delivery, that never was better (hear how he leads the vocals on "Come Back" to the end!). Secondly, it's his most immediately pleasant and enjoyable record by a mile. The three previous ones were more moody. This one is mostly upbeat and sunny. And the few melancholic tunes are too beautiful to be skipped: "Flight Attendant" (a jewel) and "Sparrows Over Birmingham" - intimate vocals at which Josh excells, ballads that remind of Wilco (Rouse and Tweedy are close in style). I bet this record will be Josh Rouse's best-seller, and may even be a best seller in the years to come. Yes, a breakthrough, as we say.
On this edition, a DVD that lasts near 30 minutes, plus the "Love Vibration" video. While you're at it, you should purchase the single as well, as it has two great B-sides not included on the album ("Princess On The Porch" and "Knights Of Loneliness"). Caps off.

Josh Rouse really beefed up his resume with this album. His previous recordings were mostly folksy pop with a southern feel, and each album took small steps forward from its predecessor. By the time "Under Cold Blue Stars" came out, he had seemingly perfected his craft, and built on it with strings and horns and so on. Though "1972" is not better than "...Stars," it is so radically different. Josh's 70's sensibility was not overtly present in his previous recordings, and while he doesn't completely grab the 70's sonically, he seems to have captured the spirit, and that makes for a fun listen. His unusual, yet captivating, storytelling makes the mellow groove of the title track sound even better. "Love Vibration" is a bouncy delight and as close to the 70's as he comes on this record, complete with a great sax solo. "Sunshine" is a sweet love song full of California influence. A few songs are just average in the middle of the disc, though "Come Back" picks up the slack with its almost-disco romp, complete with prominent strings and even a jazz flute. "Under Your Charms" is an atmospheric and gorgeously orchestrated piece, fit for a movie soundtrack. The album's finale ("Rise") is perhaps the best song on the album. It contains a line that befits Rouse's music: "It's an honest thing, and honest things, they last."

On the aptly named 1972, Josh Rouse creates an interesting tapestry of songs and sounds that set him apart from many of the singer-songwriters working today. As indicated by the album's title, 1972 in many places sounds like it could actually have been recorded thirty years ago. "Love Vibration", which would not have been out of place in the heyday of AM radio, bobs like a lost Brady Bunch hit. "Comeback (Light Therapy)" features a throbbing bass line straight out of countless disco records. "James" features some killer jazz flute.

Rouse and producer Brad Jones do well production-wise with the seventies sound, as all the songs have distinct and different textures that suit Rouse's subdued, hushed vocals. Rouse also does well by not relying on the seventies motif as a gimmick; the songs here are strong, and would have been solid even if they had not had flutes, vibraphones, or other trappings of the era. The only real misstep is the overly silly "Slaveship", which feels a little raw in the midst of the other, more well-produced songs.

1972 is an album that recalls another era without being ironic or kitschy. Josh Rouse's songwriting and the strong production values combine to make something which sounds unique, creative, and memorable.

This album is by far one of 2003's best. Don Mcleese [see above Amazon editorial review] either did not listen to the album or is too busy jamming to Clay Aiken to understand fresh talent when he hears it. Unlike Amazon, Rolling Stone and the Onion are heralding Rouse as one of the best "up and coming" talents. The lyrics on the album are profound. The tone is subtly intense. The sound mixes great acoustic guitar with cool effects--e.g., flute, vibes, hammond b3--to give a "retro" feel that still sounds cool "3 decades later." Now, logoff Amazon.com and go buy the album from a local independent business person in your community so that we can put the likes of uninformed, out-of-touch big business music editors back out on the street and into small music scenes where real music is made.

Call it 3.5 stars.
Don't be misled, this album borrows more from the Jackson Browne school of music more so than any soul, funk, or rock (that I love) - this is purely pop music.
But the thing is, I hate Jackson Browne. Why do I like this?
Maybe it's the irresistable catchiness of some of the songs - "Slaveship" is stupid and inane, but I really enjoy it. Maybe it's the startling breadth of the sonic collage that Rouse puts together - "Comeback (Light Therapy)" contains virtually every instrument under the sun and jumbles it into an irresistably funky foot stomping tune. Maybe it's his smoky, coffee-house voice - it's the only thing that stops "Under Your Charms" from being the ham-handed stupid song it actually is.
You'll notice that I've referred to two of my three favorite songs on the album as "stupid". That's the thing - none of these songs, when held up to the light, should actually work, but Rouse finds something, anything, redeeming in these tunes and (for the most part) delivers them from the scrap-heap (where many would wind up in the hands of a less-devoted artist).
As previously criticized, the lyrics here are ridiculous (but come off it - what were you expecting? I knew just by looking at the cover that I wasn't buying Bob Dylan). Rouse's music and delivery, however, is committed and excellent.
Is this review just one giant back-handed compliment? You bet. I'd love to see what someone with this much talent could do with better material.