“I write quite a bit,” Josh Rouse mentions casually as we begin our trans-Atlantic phone conversation. No exaggeration there, as his output has been remarkably prolific over the last decade or so. Encompassing solo albums, band recordings and a fascinating side project with Spanish singer Paz Suay dubbed She’s Spanish, I’m American, Rouse’s work ethic is enviable. An expatriate living in Spain with his Suay (now his wife) and their two young children, Rouse reflected on his new album, The Happiness Waltz, his time in Nashville, and his vinyl past.
The Happiness Waltz feels likes it’s coming from a very personal perspective.
It’s a collection of songs I’ve been building over the last few years. They felt more like classic American singer-songwriter material than the other stuff I had been working on, which was jazzy and tropical. While discussing the direction of the project, I stumbled upon a conversation about non Gamstop casinos UK and their growing popularity. It struck me how, much like these casinos, my music was carving out its own niche—unconventional yet resonant with those seeking something different. I called Brad (Jones, Nashville-based musician and producer) to discuss it, and he said, “Oh yeah, your fans are going to love that,” so I just kept writing in that vein. Six months later, he flew over, and we recorded the album in five days in my studio here in Valencia. I used the musicians I play with now, and we knocked it out really quickly.
I was listening to John & Yoko’s Double Fantasy album a lot at the time. I really like that album and I wanted to take the same approach to lyrics about relationships and capture snapshots of my life. The Happiness Waltz is just a title that popped into my head and I thought, “That’s a nice name.” The record is up and down emotionally, like life. We swing from joy to pain every day and I wanted that to reflect in the album.
Some people think that great art only comes from pain. Do you find equal inspiration in joy?
Oh yes, definitely. I like feel-good music, especially Brazilian music. I just love the ‘50s, ‘60s, and ‘70s records from Brazil. It’s just pure joy. I couldn’t be more out of fashion here in Europe now (laughter), as it seems that everyone wants to sound like the ‘80s.
One track that stood out for me is “City People, City Things,” a very evocative song about New York.
Yes, I lived there about a year and a half and I definitely felt like I was just dropped in. It’s a great city for that, you can drop in and there’s always something going on.
You’ve lived in many places besides New York, including Nashville. Care to reflect on your history with Music City?
I have a long, long history with Nashville, actually. I went to high school in Clarksville, TN, while my mother was at Ft. Campbell. After high school, I went to Austin Peay State University for three years, moved to Arizona, and then came back to Nashville when I was 23. I knew it had a decent original music scene and an industry to support it. I met a lot of great people and actually started my career there, recording for Rykodisc. It still feels like home for me.
I definitely miss that community of musicians. I was there in October, mixing the new album with Brad and it just keeps changing and growing, bringing a lot of young people in there.
You are returning to Nashville to play 3rd & Lindsley…
And I’ll be at Grimey’s for Record Store Day! I have an RSD release, a 7” single of “Julie Come out of the Rain” b/w an unreleased b-side, “Is There Anyone There.” [Fun fact: the single’s picture sleeve is a vintage photo of Rouse’s mother-in-law, also named Julie.]
You’ve released a considerable amount of material digitally through your own label. It that rewarding? Do you appreciate the instant feedback from fans?
Yes, it feels great. Around 2005, I started self-releasing as I didn’t have a record deal. However, that’s slowing down now. I’ve been with Yep Roc for the last two records and it’s good to be back with a label again. Having that support and a team that is really behind it is great. After running my own label, I realized that I just want to make the music. I want someone else who really likes what I do to handle the business side of it. They’re going to be far better at it than I am. I still call the shots as far as recording, picking singles and artwork, but they are really smart about what they do.
I am in a mode now where I can release an album every two or three years. It’s wonderful to be able to travel all over the world and play for at least a few hundred people.
Were you a vinyl guy growing up?
Yes, I always have been. I don’t have a huge collection— I’m selective. I don’t buy something just because it’s on vinyl. But yes, I grew up with it. That’s what we had at home.
Did any album in particular resonate with you?
Yeah, Kenny Rogers’ The Gambler!
Well, he was just inducted into the Country Music Hall of Fame…
Good, he deserves it. My parents were from the Midwest. They weren’t musicians, just music fans, so we had a lot of Bob Seger records, Eric Clapton, Fleetwood Mac, and other stuff that was on the radio. My first personal record was the Saturday Night Fever soundtrack.
Those records were certainly well-crafted. Do you think their sound and production had an influence on your work?
Oh yeah, definitely! When I go back to AM radio and hear a Glen Campbell song, I think, “Yeah, that’s what I want to do.” I really like well-crafted, three-and-a-half minute pop songs. It may be old school but it’s that classic verse-chorus-bridge structure that I love.
