From The Desk Of Josh Rouse: João Gilberto

Josh Rouse is trying to convince himself that his 2006 relocation to Spain didn’t completely alienate his American fan base. It hasn’t, really. But he can’t deny that life overseas has done a number on him. A failed first marriage prompted Rouse’s move from Nashville to Spain, where a relationship with artist Paz Suay has led to a blissful family life in the country’s third largest city. Rouse returned to the U.S. briefly, living in Brooklyn with his wife and embarking an admittedly underwhelming tour behind 2007’s Country Mouse City House. Then Suay became pregnant with their first child, and access to the in-laws and the prospect of a more stable life lured them back to Spain. Rouse is now the father of two young boys, and his frequent This Is 40-style befuddlement laid the thematic groundwork for The Happiness Waltz (Yep Roc). His ninth proper solo album is an overdue return to the tastefully swinging and sophisticated folk/pop that elevated 1972 and Nashville, both recorded not long before his Spanish immersion. Rouse will be guest editing all week. Read our brand new feature on him.


Rouse: João Gilberto is one of my favorite guitar players and singers of all time. So subtle and beautiful. A titan in Brazilian and bossa nova. His best album is difficult to find, and it’s called João Gilberto. Recorded in 1973 in Mexico City, I believe, with just a percussionist (the subtle Sonny Carr). It’s often referred to as his White Album, in reference to the Beatles’ White Album. A classic.