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Product Description
Amazon.co.uk Review
In this song cycle inspired by the year he was born (1972), the wispy-voiced Rouse conjures (or imagines) the era's essential groovy vibe, from the title track's homage to Carole King's "It's Too Late" to the Brady Bunch bounce of "Love Vibration" to the flutes, falsetto and jazzy guitar licks of so many of the retro arrangements. Yet Rouse's spin on the era transcends simple nostalgia; the lyrics aren't always as buoyant as the sunny musical interplay, and "1972", the psychedelic soul of "James" and the piano-driven "Slaveship" all suggest a darker tinge within this world of lollipops and rainbows. The bass pulse of "Comeback (Light Therapy)" has a hypnotic effect beyond the time warp, although a come-on line such as "it's the end of the night and I'm feelin' sexual" (from "Under Your Charms") would have sounded as lame in 1972 as it does three decades later. Apparently, those barely old enough to remember the 1970s are doomed to repeat them. --Don McLeese
CD Description
From the period-specific cover design to the mellow grooveswithin, Josh Rouse's 2003 release 1972 is something of a time machine. With its feel-good vibes, earthy structures, andgorgeously crisp, expansive production (courtesy of Brad Jones), the album effortlessly transports us to the year in question. Moreover, it's clear that Rouse has been doing his homework--his excellent batch of songs bears the influence of'70 songwriters like Carole King, Marvin Gaye, and James Taylor, and groups like America and Fleetwood Mac. But Rouse is no mere mimic; he blends his inspirations with flair. His stylistic melange contains clear reference points, yet stands in its own bell-bottomed jeans.
When the intimate, singer/songwriter feel of the title track gives way to a steady,organ-driven groove on "Love Vibration" (which also features Wurlitzer, flutes, saxophones, and call-and-response back-up vocals), the die of 1972 is cast. Rouse has a way with irresistible hooks, too, and "James", with its soft funk and falsetto chorus, and "Comeback (Light Therapy)", with its smooth, catchy refrains, feel like old friends one hasn't seen in years. Appropriate for living-room lounging or road tripson a sunny summer's day, 1972 conjures a warm, charming nostalgia, even for listeners too young to remember the era.
When the intimate, singer/songwriter feel of the title track gives way to a steady,organ-driven groove on "Love Vibration" (which also features Wurlitzer, flutes, saxophones, and call-and-response back-up vocals), the die of 1972 is cast. Rouse has a way with irresistible hooks, too, and "James", with its soft funk and falsetto chorus, and "Comeback (Light Therapy)", with its smooth, catchy refrains, feel like old friends one hasn't seen in years. Appropriate for living-room lounging or road tripson a sunny summer's day, 1972 conjures a warm, charming nostalgia, even for listeners too young to remember the era.
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