Josh Rouse

Moving to Spain has done wonders for Josh Rouse. That's not to say Subtitulo is an improvement on his prior releases; no improvement was necessary. He's one of the most consistent and accomplished singer/songwriters working today. But Spain's positive effects on Josh's psyche and disposition can be felt on the record. It's a cheerier and more romantic album than we've ever heard from him.

Where his 2005 release (Nashville) was a look back and farewell to the city and life he was leaving, 2006's Subtitulo is a looking up and looking forward album by an artist that is starting his life over. A new home, a new country, a new love and a new sound. Okay, not really a new sound. There's some bossa nova flavor on some tracks, an instrumental ("La Costa Blanca" -- which could be a hint at his next career move: film composer) and a duet ("The Man Who" -- with his Spanish girlfriend), but it's still a Josh Rouse record. It's full of well-crafted, lush, intelligent pop songs that would fit nicely on a mixtape alongside Carole King, Marvin Gaye, Jackson Browne, The Cure, The Smiths, Paul Westerberg and The Jayhawks. In other words, his songs are still that perfect patented blend of pop, soul, rock and country.

This isn't necessarily my favorite Josh Rouse record, but you could argue that he's never been better or more accessible. The opening track, "Quiet Town," is an undeniably catchy song that lets us know he is in fact happy in his new location. "Summertime" may be the most fun he's had on a song, fondly reflecting on childhood summers filled with tall tube socks, blondes and Purple Rain. And you won't find a more uplifting song about giving up the drink than, "Givin It Up." There's not a dull or weak moment in the taut 33 minute, 10-track set. There's no one better at what he does and the prolific Rouse never makes you wait long for new material. You gotta love that. - Doug Kamin

Josh Rouse's seventh album Subtitulo is a warm and relaxed affair, much more so than any of his already quite warm and relaxed previous records. Produced again by Brad Jones, Rouse and a small group (Rouse on acoustic guitar, Jones on bass and pianos, Marc Pisapia on drums and percussion, some pedal steel from Pete Finney, and occasional strings provided by Chris Carmichael) recorded these ten songs in Rouse's new home country of Spain, Puerto de Santa Maria to be exact, and the album that resulted is perfect for dreaming a siesta away. His pure and easy vocals, gently strummed chords that nuzzle up against one another like drowsy lovers, and charmingly introspective lyrics combine to produce an almost cocoon-like listening experience. Whether extolling the easy life in a small town ("Quiet Town"), remembering idyllic summers of his youth ("Summertime"), reveling in new love ("It Looks Like Love"), or in old and lovely love (the truly magnificent "Wonderful" which features strings that will set your heart adrift), Rouse sounds perfectly at ease, as if he were just playing for fun with no tapes rolling. Even the song about kicking the bottle (the disco-fied "Givin' It Up"), and the melancholy narratives about knuckleheads with messed-up lives ("Jersey Clowns"), broken-hearted losers ("The Man Who..." which has some cool, spy music guitar and sweetie-pie vocals from Paz Suay), and boredom ("El Otro Lado") are sun-kissed and mellow. In fact, this record is so laid-back and blissed-out that if he felt like it Rouse could become sort of a Jimmy Buffett for the bedroom set, an inspiration for people who would rather be contemplative than inebriated, people who would rather sit in their bedroom lazily dreaming rather than washing up in the foam at a Key West hangout. It is unlikely that Rouse would allow himself to fall into any kind of repetitive groove, as each record he cuts is pretty different from the last, but if he puts out the occasional album as lovely, quiet, and cozy as Subtitulo, there will be nothing to complain about. Better yet if he did it every six months or so. ~ Tim Sendra, Rovi