Singer/songwriter Josh Rouse had a groovy idea as he approached his thirtieth birthday. Why not make a record, named and styled after the year in which he was born. And so gave birth to 1972, a mustard yellow covered album that is the singer-songwriters contribution to danceable lyrical music and a token for those of us, who have an-inkling for those AM Gold and Time Life collections. Well, if that comparison scared you away, don’t worry, as there is no America or Three Dog Night in this ten-song collection. In the vain of what Badly Drawn Boy recently accomplished with his throwback "Have You Fed The Fish?" which incorporated snippets of 70’s orchestrated groove to highly emotional lyrics, Rouse might just be onto something, with his similar brand of folky soul.
Beginning the album with a track called "1972," Rouse gives a heads up to Carole King, as the tune rummages through some of the very same chords from "It’s Too Late," off King’s ‘72 nugget
Tapestry. Even taking the dare and wallowing in those same rain soaked piano and vibraphone effects is ballsy, but it provides a foreboding intro to the paisley party of "Love Vibration," an oh-so catchy wink to The Ojay’s "Love Train." While Rouse’s scratchy voice provides itself as a good-natured companion, the happy go lucky flutes, mirthful background vocals, and steady beat, provide all the necessary ingredients to prove that the vibe Rouse is going for works.
Although a literate, a majority of Rouse’s 1972 lyrics are simple, providing a welcome mat for the band to shine and the beat to prevail. Afrobeats drumbeats enamor "James," a cool tune that sounds like a Blaxploitation show theme. The strongest tune "Come Back (Light Therapy)" couldn’t be a more legit spin backwards in time, with it’s wurlitzer, strings and horns, is righteous disco/soul rejuvenation.
If only the whole album treaded in these retro-hip waters, and stuck forth as a pure concept. With only ten songs, Rouse could have pulled off more in this range, but instead the last few numbers drip in somber reflection, proving the Rouse is not all about the groove. Instead of playing from the coffee-house towards the finale, he should have kept his sneakers on the dance floor. Great tunes they all are, but they might better be reserved for Rouse’s next release - an album aptly named
2004.
