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Eileen Rose
A Jumping Night at Toad

Brattleboro, Vt,  June 27  -  Eileen Rose can tell some classic Boston rock stories:  about winning her night at the WBCN Rock 'n' Roll Rumble at the Paradise and thinking she had it made, about getting a lewd comment from Aerosmith's Steven Tyler, and about playing The Rat in Boston's Kenmore Square.  She can critique the Toad sound system, and she has a niece at the University of Vermont who tells her she's got to play Higher Ground.  She has brothers, sisters, nephews, nieces, and cousins all over the place.  Who could be more New England than Eileen Rose?

But . . .

Highlights in Rose's career and all of its middle years, so far, happened in Europe.  There has been a literal ocean between Eileen Rose and her home audience.

"I moved to England in 1991 and stayed there for twelve years, so I missed a lot of great Boston music," she said.

When Rose returned to the Boston area, the great "Cellars by Starlight" columnist Brett Milano spoke of "culture shock" and of the need to restart her career, at somewhere in the vicinity of square one, here in her native land.

"I got ghatz in the US, to be honest. (That's Italian-speak for 'nothing.')  I've had songs in big movies and on TV, got some great reviews in some big publications (including Rolling Stone); but in order to really get a foothold here, you need radio or to cover and recover a huge territory through touring.  Both of those things take time and money.  I've never really been on a big money label.  I've been on cool, credible labels and I'm proud of that, but I've never really had the backing to take on the enormity of the US.   I hope that changes with my new releases." [Notice her use of the plural, "releases" - Ed.]

"I regret not being able to build musical relationships in Boston all those years I was away, because it's hard and a bit lonely being back now," she said.  "It feels a bit of a 'closed club' to me here.  Though I wouldn't have missed my time in Europe for anything.  Such is life."

So Eileen Rose's career is marked by odd twists and contradictions.  She has great Boston rock anecdotes, while her resume is heavy on European accomplishments.  She has played big venues abroad, while her close New England family might well outnumber a full house at Toad.  And you know what?   We love it.  You know we do.  We live for these contradictions.

Nothing is more beloved in New England's rock-era music community than the asterisk.  This is one corner of the world where an artist can build a career on exceptions, quirks, and contradictions.  The Berkshires' Arlo Guthrie wrote "Alice's Restaurant," a '60s musical antiwar comedy, and wound up with an automatic career highlight every Thanksgiving.

One of the greatest things about Bob Dylan is that, as a music listener, he has a very, very, very broad range of interests.  Eileen Rose's interview with us is highly suggestive that the same may fairly be said of her.

"I remember being knocked out by Harry Nilsson's songs and voice from a young age," said Rose.  "He fascinated me.  It's a damn shame we didn't get to [hear] him age.

"I had a massive funk phase in my teens, if you can believe it.   I loved George Clinton.  He scared me a little, but it was thrilling. (I think the funk thing might have had a lot to do with going out to dance clubs for the first time. I would like to take a moment here to thank my sister Sharon for letting me nick her ID. Thanks, Sharon.)

"I also remember discovering Kate Bush and thinking that it sounded like music from under the sea or another planet.  Her music had a kind of sex to it that shocked and captivated me.  Hounds of Love blew my mind open to new songwriting, vocal and sonic possibilities."

Rose's list of influences and revered musicians went on at some length, and other favorites popped up elsewhere in our interview.  As a popular music junkie, this woman's got it bad . . . and that's pretty good.

"When I'm writing, I try to accept what comes," she said, in a related line of thought.  "When I'm recording, I refine it, hoping to approximate the craft of my high-water mark songwriting heroes.  When I perform, I try to will and relive the moment when the song arrived."

Rose's fond use of slide guitar comes up in several spots in her publicity and press.  "I've been lucky enough to work with some incredible players over the years," she noted.  "Rock Freebase (Mark Sams in real life) from The Alabama Three is a remarkable slide player.  He really makes me feel something with his slide playing.  I often have mixed feelings about slide guitar in general because it can so easily sound like a beer commercial.  But not with Mark  -  he's just got that something special.

"I was probably hit first and hardest in the slide department by Howlin' Wolf.  He may not be referenced as a slide god quite so much as others, but it's the way he uses it with his voice that gets me.  I'm not too keen on virtuosity, really.  I'm looking more for guts and glory in a player."

Once I was singing at a hospital.  And you might think the man in the audience who was crying was reacting to my extreme incompetence as a musician.  But actually I happen to know that his mother had just died.   I was doing the Utah Phillips song, "Goin' Away."  And when I hit Utah's great refrain,

the man in the audience started crying his eyes out.  Believe me, even when it happens just once, having someone in your audience shedding a flood of tears can be a profound experience.

Bringing audience members to tears is a key part of Eileen Rose lore.  "Oh man, I'm going to sound pretentious here," she said.  "Forgive me, I can't help it.   I do occasionally make people in the audience cry.   I can't and don't plan it, it just happens sometimes.  But mostly, they're crying because I am, or close to it.

"I have a few songs that are about people I love who are now dead  -  one of them, murdered  -  so that really brings up a lot of complicated intensity for me.   I don't always play them, because they're heavy and it's not always the right time or place.  But when I do, sometimes its hurting me and I can only assume that other people have the same hurts and I'm tapping into them in that moment.  So no, I'm not distracted, I've got my own problems going on at the moment and I'm not aware of anyone else.  Ain't I just a barrel full of monkeys?"

Asked about knockout recent listening experiences, Rose recalled, "There's a band called Anna Kashfi out of Manchester who I love.  We played a show together and became friends.  The gal, Sian, has got a voice that makes you feel like you're collapsing inside.  And James Youngjohns (helluva name, huh?) plays viola like his heart's breaking.  Beautiful.  And they're kind people.

"I loved the Jenny Lewis record (Rabbit Fur Coat).  I'm also digging the Feist record.  I've been very much in a Guided by Voices mood lately, so I've been listening to them a lot.  There is a band that my new Detroit pals have turned me on to called Blanche.  They're spooky.  Love their videos."

If there could be an ideal double bill including Eileen Rose, who would the other act be?

"Tom Waits."

Why?

"Duh."

Uh,  of course.

A question  -  looking for some experience that came completely out of the blue and took her totally by surprise  -  brought this tale to Rose's mind.   "I was touring with Ryan Adams during his Heartbreaker album.  It was just him and myself solo, acoustic, so we were traveling together, hanging out a lot, etc.   I was in my dressing room one night, writing a song and he flopped down on the couch beside me and said, 'those are great chords, Rose.' (He's a last-name-calling kind of guy.)   I said thanks, played my set, then sat down with several glasses of wine to watch Ryan (who was amazing every night, I don't care what anyone says).

"He plays half of his set, then announces that he's going to play a new song that he's just written with Eileen Rose.  And he does  -  my chords, his words.  It was strange, flattering, and a bit presumptuous.  Then he plays the song again in the encore and asks me to come up and sing it with him.

"I have a pretty good memory for songs the first time I hear them, but I'd also had about 150 glasses of chardonnay.  The place was sold out, so I was shaking like a leaf.  I'd thought, while I was up there, that it was terrible.  But my sound guy was actually recording onto my mini-disc.  I've since listened back and it's not bad.  I'm sure there is a copy of it floating around out there somewhere.  Maybe I'll let folks hear it some day.   I was really impressed with how brave and spontaneous he can be in front of an audience.  That taught me something."

So why is it that when I speak of Rose's new album, Come the Storm, in the singular, she comes back talking about her new releases, in the plural?

"Well, I'm bouncing off the walls with excitement about my last month's experience in Detroit," she explained.  "In typical non sequitur ER style, I've been recording my next record  -  even though my last one is coming out in a few weeks.

"I've been working at a studio in Detroit called RustBelt with producers Al Sutton and Eric Hoegemeyer.  Al's done the Detroit Cobra records, some Sheryl Crow records, and has just finished the new Kid Rock record."

Detroit has long been a hotspot for Boston rockers.  Barry and the Remains triumphed there, when opening shows on what turned out to be the final Beatles tour.  And Detroit was a hotbed of early support for Aerosmith and especially the J. Geils Band.

"I have absolutely hit something new with this album: both vocally and in my songwriting," she exclaimed.  "But more than that, not only did Seth, Nick, and Davey Bull put in remarkable performances on the album, Eric and Al brought in a whole host of incredible, additional players:  slide, Rhodes, Hammond, fiddle, mando . . .

"We had Vinnie Dombowski from Sponge (and Crud) playing drums  -  unbelievable, natural, easy player.  We also had folks from The Detroit Cobras play  -  really wonderful performers and great folks to hang with.  Davey was the guitarist in Fledgling [Rose's well-known UK group].   He lives in England, he's British, but he still finds me wherever I am in the world and plays in my band.

"I was absolutely knocked out by the players there.  We've got a great talent pool in Boston, but there is something in the way these guys from Detroit play . . .   They talk about the 'Detroit pocket'  -  a way of not just playing behind the downbeat, but kicking it in the ass.  It's kind of a depressed town so they need their music.  They play with all heart and yet they're highly skilled:  a rare combination.  It just killed me and improved my songs to no end.

"Eric Hoegemeyer is on his way to becoming a very successful producer.   I was able to work with him, trust him with the songs, in a way I [haven't had] with anyone else before.   I gave him the reins  -  unheard of for me.   He just got what I meant and brought it out better than I could have.

"My older brother, who isn't the healthiest guy, also flew out to Detroit to play mandolin on a few songs.  Really brave thing for him to do.  It was one of his life's goals to play on a 'real record,' so it was a powerful thing having him there.  He played absolutely beautifully, too.  Very moving.  Incredible experience.  Something special happened and I can't wait for people to hear it."

This is an exceptionally unusual line of talk when one considers that not one word of it has a thing to do with the record Eileen Rose is working right now.

"I'm also excited about Come the Storm," allowed Rose.  "It's been a long time coming, this US release thing  -  it's been delayed many times.  It's a dark album and honestly, I'm not mentally 'there' anymore, but I'm still proud of it.  I'm curious to see what Americans will think of it."

With the coming release of Come the Storm, Rose creates for herself a thing that is characteristically American:  an opportunity.   Come the Storm is easily among the best albums sent here in recent months.  Recent years, for that matter.  It features excellent variety while hanging together in the tradition of classics such as the US version of The Beatles' Rubber Soul.  The melodies attract like a magnet, and the varying textures keep it intriguing.   A Rolling Stones piano line flashes here, while some Beatles White Album acoustic guitar-picking sneaks in there.  Rose's voice occasionally adds to notes a catchy little burr.  This is really great stuff, and one thing Come the Storm ought to do is sell.

"I know it's not an easy record," admitted Rose, "but I'm hoping that a few folks will take the time to really listen. . . . "   I'm thinking a lot of folks will.

Rose says she has not played a great deal in the Northeast outside of New York and Boston.  Asked where she might like to perform, she said, "Hey, my niece goes to the University of Vermont, and she's been pushing me to play Higher Ground.  Guess that's the place."  Listen to your niece would be this Vermonter's advice.

"I'm off to Europe again in late October, but I hope to get into some of the rooms around here too, if they'll have me.   I really do prefer gigs outside of the major cities, both here and in Europe.  They're usually more fun, relaxed.

"I've played Toad a few times.   I really like it.  It's a bit tough to hear my vocals  -  guess I'm a bit spoiled with PA's at this point  -  but I love the feel of the place.   I think it's great that it has such a walk-in crowd.  It gives you the chance to capture someone new, completely at random.

"I haven't played in Boston for nearly a year now, I think.  But my family (I have eight brothers and sisters and many nieces and nephews) usually show up in some shape or form.  So it's always part gig, part family get together.  What's better than that?

"Seth Goodman, guitar player (also my fella) and Nicky Ward, bass player (also my nephew) will be propping me up for the night.   Also  -  and this does make the night extra special  -  on drums will be my good pal, Wes Narron. (He also plays in Noble Rot.)  Wes and I played together for years in my very first band (which would eventually morph into Fledgling).  The last time he and I were on stage together was at the Marquis Club in London about fifteen years ago, so this will be a thing of joy for me.   I love it when life comes round in a circle.  It's grounding."

Snag a box of tissues (to be safe), grab your best gal or guy, and hop on over to Toad.

• Who:   Eileen Rose; Plus, The Holy Wreck With Greg Klyma
• Where:   Toad, 1912 Massachusetts Avenue, Cambridge, Massachusetts
• When:   Thursday, June 28
• For more information:   www.toadcambridge.com, www.eileenrose.com

Eileen Rose

Brattleboro, Vt,  June 30  -  Was I ever surprised to start the week with a completed  Eileen Rose   interview.   I had been certain we had missed out on her as a current newsletter topic.

Two things come to mind worth adding to the article I sent on Wednesday.  First and most importantly, let's get straight to the trivia.  Do you recall the name of the 1990s Eileen Rose band that competed in the WBCN Rock 'n' Roll Rumble?

I had actually forgotten, 'til she reminded me, that Rose was even in the Rumble.  So of course I did not recall the name of her band.   I then searched the Web on this question and found her group listed, of all places, in a back issue of this very newsletter.  It seems that Eileen Rose was a first-round Rumble winner with her 1990s Boston band  Daisy Chain.   Going entirely on memory, I would never have gotten it.

The second thing is a prediction.   I don't claim to know much about the future, and normally I avoid any forecasting.   I will say what could happen or what ought to happen, but generally I steer clear of saying what I think will happen.  But I do predict that once her latest album is out  -  it is titled Come the Storm  -  many Eileen Rose fans will be obsessing over it.  It is that kind of recording.   A lot of fans will find that Come the Storm speaks individually to their own lives, and they are going to take the record totally personally.  It will be a mass culture phenomenon only in the sense of being a shared experience.  Otherwise, this will be a one-on-one connection between the artist and the individual listener.

Eileen Rose has done her job, pulling together a great album.  Come the Storm is very likely to make my 2007 Top 10.  Now what she needs are the two things everyone else needs:  promotion and distribution.  If she gets those, she is likely to do very well, indeed, with Come the Storm.