Four years after the release of her most recent full album of original songs, it is a very warm welcome back to Eileen Rose and her brand of gutsy impassioned Americana music. As a prelude to BE MANY GONE, Eileen put out a limited taster of some of the new songs in the aptly named stripped back album BONES but now the time has come to unleash the multi instrumental versions to her target audience in the US and Europe.
Not that Eileen has been idle in the intervening years since LUNA TURISTA was released as her Silver Threads honky tonk project has kept things ticking over in Nashville allowing her to indulge in her passion for traditional country music with a live residency and a couple of releases. However the new album with the Legendary Rich Gilbert co-steering it through to release sees Eileen put the country and indie rock past on one side as she embarks on an explorative journey through an eclectic range of experimental sounds. While the sampling of Latino, rock n’ roll and jazz/blues makes BE MANY GONE multifarious in parts, ultimately Eileen has settled for a laid back lounge sound which suits to a tee her rounded, versatile and slightly sultry vocal style.
At a shade just short under forty minutes, the album apologetically doesn’t out stay its welcome which is not needed as at the end of the nine tracks you just start to get settled with a temptation to put your feet up, pour another and relax. This is due to the tempo being lowered in the final three songs where a backdrop of dainty pedal steel and fiddle guide through ‘Wake Up Silly Girl’, ‘Comfort Me’ and ‘There Will Be Many Gone’.
The more upbeat songs on the album include the opening ‘Queen of the Fake Smile’ and the rock n’ roll retro feel to ‘Just Ain’t So’ where Rich grasps the opportunity to showcase his blistering electric guitar acumen, reminiscent to what those lucky enough to catch him at the Maverick Festival saw. The driving double bass from Joe Fick keeps this track ticking over and an example of the diversity of instruments that are sprinkled throughout the album.
The final four songs were all previewed in demo format on BONES and each has its own distinct appeal to solidify the album into a release of merit. The only track that Eileen didn’t solo write was ‘Prove Me Wrong’,a joint effort with UK singer songwriter Boo Hewerdine where letting Rich’s pedal steel wash over you enhances this well written tune. ‘Space You Needed’ is another memorable song which oozes with sophistication while ‘She’s Yours’ will transport you to a late night jazz blues bar where a little trumpet joins the strings and percussion to ensure the evening prolongs way past the midnight hour.
The albums finest track sits right at its epicentre and sees Eileen experiment in a Latino inspired sound to record a duet with fellow Bostonian Frank Black. ‘Each Passing Hour’,with the accordion and castanets providing the south of the border feel, is an excellent piece of work, along the same lines as the wonderful cover of ‘Luckenbach Texas’ which Eileen recorded with Jim Lauderdale on an earlier album.
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