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Music Review: Eileen Rose - At Our Tables
Written by Stuart A Hamilton
Published July 31, 2008

At Our Tables, the fourth album from Eileen Rose, was first released back in March 2008, but with a new UK and Europe tour imminent, here it comes with a 7 track "live in the studio" bonus disc, where Eileen and her band, The Holy Wreck, take a turn at seven of the tracks featured on the studio release. Which is a very long sentence, and I apologise for it.

People who know about this sort of thing like BBC Radio 2 disc jockey Bob Harris, have been championing Ms. Rose for quite some time now, and it's easy to see why. She has a fabulous voice and writes great songs. It's as simple as that. But you probably want a few more details, so here we go. It's basically a heartfelt country / folk crossover, almost as if Sheryl Crow had left her leather trousers at home one day, and decided to go properly rootsy on us.

Straight from the opening track "$20 Shoes," you're ushered into a world of catchy melodies, clever wordplay, and choruses you can sing along to. Which is pretty much all you want from a singer / songwriter album. Of course, it could all fall flat on its face, but Ms Rose has a grit to her voice and an edge to her music that lifts it far out of the world of elevator music and into the realms of timeless musical elegance.

The modern world of Americana and roots music is full of chancers who think that an acoustic guitar and a world-weary lyric is enough to make them interesting. It's not, and this is exactly the kind of album that should put them firmly in their place. Sit them down, play them songs as good as "Blue Moon Words," "The Day Before," and the bluesy "Will-O'-The-Wisp," where she rips your heart apart in a duet with Nick Lucassian from Detroit rock and soul band Shipwreck Union. That done, send them on their way to the Job Centre for a career change.

The second, live disc is where Eileen and her road band get their chance to put a fresh impression on the studio material. She says that she "had to get this band on tape, they're that good," and you're not going to get any arguments from me. She has a voice that can rough it up in a roadhouse on the aforementioned "Blue Moon Words" or salve your soul on "I'm The Only One." An outstanding album that should be feted with balloons and bunting.

Bloomberg.com
Eileen Rose, Best Songwriter You've Never Heard Of: Mark Beech
August 2008

Interview by Mark Beech

March 26 (Bloomberg) -- Eileen Rose is probably the best singer-songwriter you've never heard of. This is about to change. She's just released an excellent CD and is starting an international tour which, if there is any justice in this world, should give her the success she deserves.

You can wait to see if she at last gets a radio hit -- if so, you read it here first. Or check her out anyway: Rose's fourth album is called ``At Our Tables.''

Eileenrose Giadone was brought up in Boston, one of an Italian-Irish American family of nine, and ``a lapsed Catholic, the only sort there is,'' she says in an interview.

Rose fronted bands such as Daisy Chain and moved to the U.K. in the early 1990s. Booze, emotional bruises and failed relationships drove her outstanding debut in 2000 ``Shine Like It Does,'' which paints a perpetual ``blue moon on my birthday.'' Its understated 2002 follow-up ``Long Shot Novena'' saw Rose labeled ``the queen of melancholy'' -- unfair given the humor in her reflections on ``the highs and lows of life.''

``Come The Storm,'' released in 2005, had ``as much bite as P.J. Harvey,'' I wrote. By then Rose had returned to America. ``Everything changed for me after 9/11,'' she says. ``It put things in perspective. My parents weren't getting any younger and I wanted to spend time with them. Our family sits around the kitchen table, drinking and making fun of each other.''

This also led to the current album's title, taken from the book ``For One More Day,'' by Mitch Albom.

``It starts: `The Dead sit at our tables long after they've gone,''' says Rose. ``Even as our circle of folks is getting smaller, it feels like everyone is still there.''

Holy Wreck
The CD was cut by her band, the Holy Wreck (``That's something my mother used to say: `I've got to do that kitchen, it's a holy wreck,' meaning it's such a mess that it's biblical.'') and Detroit sidemen, who add commercial clout.

Detroit has ``a lot of poverty and ridiculously high unemployment,'' says Rose. The musicians were ``focused on their playing because they really need it. In Boston we are a little spoiled, and then you can get a little soft: Things get less poignant, less imperative. When you hit `record' these guys went for it and it was inspiring. They brought passion.''

Coproduction was by Al Sutton, who's worked with Sheryl Crow (``He's got an aggressive mixing style and experienced in this type of pop `sell a million'-type album.''). He was balanced by Eric Hoegemeyer, ``a real street kind of guy'' who uses machines in ``an organic, creative way,'' says Rose.

It could result in her first real hit: ``$20 Shoes'' has got a good audience reaction in some U.S. warm-up shows, Rose notes. ```Doesn't Mean a Thing' seems to have really grabbed people and also `Old Time Reckoning' -- that sounds like the sort of thing that should be on the radio but there are so many things I think should be on the radio that are not.''

Criminally Ignored
``At Our Tables'' is Rose's strongest album. She is hitting her prime at 43, and candidly says she's grateful to still be working after her limited commercial success. Perhaps the big tattoo on her arm should say ``criminally ignored''; one of the problems is that her music mixes rock, pop, blues, folk, gospel, roots and country.

``They don't know where to put me!'' says Rose. HMV Magazine placed her review ``between Dolly Parton and Willie Nelson. The country fans who buy this record are going to be none too pleased: they're gonna be expecting Emmylou Harris!

``I don't have much patience for cliche. I can't get excited about music or book or a film unless I feel someone is putting something very sincere about themselves out there.''

Rose likes Tom Waits, Nick Cave, Neil Diamond, Creedence Clearwater Revival, Kate Bush and Patti Smith; she's been compared with Alanis Morrisette, Ani Difranco and Lucinda Williams.

You can imagine that when Sheryl Crow sleeps, she dreams of being as good as Rose -- who signs off the new album singing of ``the day before this other life.'' Another life, perhaps, where her own hopes of even getting radio play blossom into her becoming the bigger star.

Rose's tour starts in the U.K. today and moves on to Italy, Germany and the Netherlands. She plays London's Borderline on April 9. For information, see http://www.eileenrose.com/.

``At Our Tables'' was released on Evangeline Records on March 10. It is $19.98, currently on import into the U.S. and 7.99 pounds ($16) in the U.K. Rating: ****.

What the Stars Mean:
**** Excellent
*** Good
** Average
* Poor
(No stars) Worthless

ToxicPete.co.uk
July 22, 2008

Eileen Rose & The Holy Wreck
Double CD - At Our Tables

Wow, cop a load of this then you lot!! 'At Our Tables' is the latest album from Eileen Rose & The Holy Wreck; steamin' friggin' hot and leaving bloody great blisters on anything it touches, 'At Our Tables' is a work of modern genius, a 'soundtrack' of distinction, a piece of twenty-two carat gold modernistic nu-country/indie rock. Yep, 'At Our Tables' is rock-on, rock-solid - fanbloodytastic! But, don't just take my word for it, get yer arse out there and get yourself a copy of this remarkable work!

Rose doesn't simply blur genre, Rose bends genre, manipulates the rules, knocks down and crushes ideology, sets new standards - she just does it her own way - and, what a way it is!! Think what Stevie Nicks would sound like if the had a more robust delivery and a darker intonation to her voice. Then think what Nicks' Fleetwood Mac would've sounded like had they really taken the trouble to err on the country blues side of light rock. Now think twenty-first century blues-tinged nu-country and you'll be getting somewhere close to Eileen Rose's blissfully beautiful musical world.

Rose delivers her songs powerfully but manages to maintain just the right degree of emotion and believability. This is one hell of a 'singist'!! Rose has a distinctive voice and delivers her songs with true female balls something along the lines of an impassioned P J Harvey. This lady knows how to emote, this lady understands emotional vocal dynamics, this lady is pretty much as good as it gets!! And, don't think that Eileen Rose is only a pretty face and a great vocalist. Oh no, this lady is a songwriter of the highest calibre and she quite obviously knows her way around a guitar and a piano. Eileen Rose is the complete package. And, to give herself the kind of support she deserves she's pulled together a whole shed-load of stunning musicians to assist here - the result is a very special album of breathtaking nu-country songs, performed with total commitment and true professionalism. A wondrous piece of work that you'd find it difficult to criticise or find fault with.

'At Our Tables' by Eileen Rose & The Holy Wreck comprises ten stunningly delivered studio tracks and a second disc re-visiting seven of those tracks in the live 'theatre'. And, disc two, the live one, really gives you the feel of what this fantastic artist can do and you'll be amazed just how good she is 'in the flesh'! The whole thing's beautifully assembled and impressively packaged - what crackin' value and what a stonkin' album - one that would grace any collection anywhere! 'At Our Tables' by Eileen Rose & The Holy Wreck is a superb album, surely a 'must have' work for anyone who appreciates 'proper' modern music. Absolutely bloody brilliant!!!

TheIrishWorld.com
July 8, 2008

Tales On A Knife Edge

Eileen Rose releases darkly beautiful new album. - Shelley Marsden


Like an explosive science experiment that crosses Chrissie Hind and Polly J Harvey, alt country singer Eileen Rose’s fourth album, At Our Tables, sees the remarkable vocalist take her sound to Detroit. The result is a moving record, and its tremulous, breathy celebration of life, love and human nature might just be her best yet.

Each track is haunted with a wealth of experience – you can even hear the influences of the city where it was recorded. Rose is far from her Boston roots here, and deliberately surrounding herself in the in-your-face, rock and roll industrial vibe of the metropolis.

The Holy Wreck is the singer’s band, which now encompasses demi-god Rich Gibert on guitar – one-time collaborator of Frank Black & The Catholics. He may have been adored for his punk rock influences, but by the 90s, Gilbert was moving towards a passion for country. As Rose says; “The Holy Wreck were the core players in the studio. It’s one of the things that make this album the most well-realised of all my records”.

The title for the album happened in Michigan, when Rose picked up a book at a house she was staying in. Entitled “For One More Day” (by Detroit author Mitch Albom), its opening quote read: “The Dead sit at our tables long after they have gone.”

Coming from a tight family, this immediately struck a chord. “Our circle of folks sitting around the kitchen table… is getting smaller. But still, it feels like everyone is still there. In many ways for better or for worse. These songs are full of

conversations, pleas, compliments, explanations, rebukes, white flags, inside jokes, thank-you’s, last words, and apologies to both the living and the dead.”

So the album is about people; people Rose knows, has known, will never know. It’s both sad and celebratory, pissed off and grateful, soft and gritty. It’s an album that deserves to make this rhinestone cowgirl a huge star.

DailyMusicGuide.com
July 11, 2008

Eileen Rose - Doesn't Mean A Thing (Evangeline Records)

Championed by Bob Harris on Radio 2, Eileen Rose is emerging as one of the US's top female artists at the moment. 'Doesn't Mean A Thing' is taken from her fourth album At Our Table, marking her breakthrough into the mainstream.

With a voice that sounds like a creamy cup of hot chocolate, mixed with a sprinkle of acoustic and electric guitar that resonates through the soul like that first throat-burning sip, Eileen serves up a song of lost love, full of swagger, resilience, and brilliance.

Beginning with a beautifully slow intro, it blossoms into the epic chorus before gracefully mellowing out. Her voice is full of grit and power, which compliments the electric guitars perfectly, taking influences from the likes of Pat Benatar and Stevie Nicks.

Whilst it may not appeal directly to the commercial music industry, (let's face it, songs that are as mature and alternative as this never make it to the top of the UK Top 40), for those who love and respect the independent scene, full of rich material such as this, it's an essential addition to any music lover's catalogue, and a good solid taster of her album.

Smooth as cream, yet warm as a cup of coffee, 'Doesn't Mean A Thing' is a very tasty little number.

Rating: 5/5

Get Ready To Rock Magazine
HotDigits.co.uk
July 21, 2008

EILEEN ROSE ‘At Our Tables’ Evangeline (2008) www.evangeline.co.uk

Fourth album by Eileen Rose whose earlier releases have been mainly in the alt.country field. This new album does have some moments of alt.country but musically it is much wider in scope. Songs like ‘Bird Of Youth’ are in the folk genre and Eileen Rose sounds like the late, great Kirsty MacColl on this one. ‘$20 Shoes’ and ‘Doesn’t Mean A Thing’ plough a more up tempo rock route and it is to Rose’ credit that she can change her vocals to suit the music. ‘I Am The Only One’ will delight lovers of well crafted female singer songwriters and unlike some female singers who go to wispy on the vocals Eileen Rose keeps her voice nice and strong throughout even the quietest moments. This album also includes a live disc and she sounds as good live as she does in the studio. The set list covers this new album plus a few older songs.

There are a lot of female singers out there in the alt.country and singer/songwriter fields but Eileen Rose is worthy of your attention as she has the songs and most importantly the voice, to make you sit up and listen.

****
Jason Ritchie

Like Lucinda Williams but with softer edges, Rose fuses country, honky-tonk and smoldering pop into something all her own. She has one of those rough, been-through-a-lot kind of voices, but she's careful not to overplay it. On Wheels Going By, an ode to summer driving and radio listening, and the jokey lover's plea See How I Need You, she positively purrs. When the brooding comes on Good Man, Rose nails it, singing something close to the perfect song as she asks her lover to "jump that hedgerow/I'll jump this bedroom window/Together we'll go and just ride, ride, ride." Only a fool wouldn't take her up on the offer.

At her best, Eileen Rose shows the single-minded spirit and intensity of Ani DiFranco, full of attitude and gritty, evocative portrayals of life on an emotional knife-edge. But she's still finding her feet; between several genuinely spine-tingling moments ("Walk The Jetty" is deeply affecting) there are some worrying Alanisisms, and a softer edge occasionally creeps in to suggest that this might be a bid for the Natalie Imbruglia middle pop market. Yet Rose is a strong, natural singer with a striking country-blues tinge to her voice that helps to colour her random vignettes of street scenes and human tangles. These, you gradually realise, combine to form a soul-baring autobiographical tale that's full of telling observation and is happily devoid of self-pity. The arrival of a forceful new talent whose day will surely come."

SHE KEEPS you guessing, this Eileen. One moment she could be Chrissie Hynde staring you out in black leather, but elsewhere, amid the downhome rockabilly of Wheels Going By, Snake and Big Dog, you're more inclined to peg her into the Gillian Welch school of roots revival. Shine Like It Does was a promising album, but this is a whole lot more formidable. Rose's singing seems to have acquired a whole new range of colours (her bluesy, Dylanesque take on Two in One is exceptional), while her songs offer extra depths of emotion and mystery, perfectly illustrated by the slightly unnerving spiritual exploration of the title track. For Marlene tells the true story of a murdered friend and the agony endured by her mother with almost tangible pain; yet she has you smiling broadly at her worshipping eulogy to one of her all-time heroes on Tom Waits Crooning. And its lifted almost imperceptibly by the studio approach. Subtle but lethal electric guitars slicing through the sound, offbeat arrangements keeping you alert and a production of such telling sparseness it could be Daniel Lanois tinkering with Emmylou's Wrecking Ball. This one won't lie down in a hurry.

Eileen Rose talks to Colin Irwin.
Is the album as personal as Shine Like It Does?
"The songs aren't as directly autobiographical. That's because I'm not feeling so sorry for myself as I did on the last one. That was about me and my feelings, but this is a little less egocentric."
The title song looks at spirituality.
"Yes. I was brought up a Catholic and it gets in your bones. I feel guilty about sex. Catholics aren't meant to enjoy it, even though we're the best at it. What will my mother think? See, I'm still worried about what my mother thinks – Catholic guilt for you. My family think God will find me in His own good time, but I just tell them music is my god."
Who is For Marlene about?
"My friend and I grew up together and she was murdered. It was so shocking. They haven't found who did it or why; the song is about her mother dealing with it. She's angry and wants justice. It was five years ago and people still won't talk."
Is it a problem that you don't fit any standard musical style?
"Not for me. I don't want to be put in a box. I think people who like Tom Waits or Nick Cave records may like mine. My favourite artists all do exactly what they want to do. The music industry is so soulless now. Would Dylan break through if he started up today? Would Janis Joplin get a record deal looking the way she did? It seems you have to die to get a Number 1 these days."

The first four songs on Eileen Rose Giadone's American debut are pleasant enough, edgy pop songs enhanced by a crack band. But Lincoln Park, the fifth number, lifts everything into another sphere. This is a melodic made-for-the-car driving tune with allusions to Neil Diamond that makes you want to roar down the highway with the windows open and a finger on the repeat button.

Singer-songwriter Eileen Rose's debut, "Shine Like It Does," is often inspired by the kind of guitar-driven country rock that brings to mind Neil Young and Crazy Horse. A notable exception is the rockabilly rant "Booze Talkin' (I Ain't Listenin')," which finds Rose wailing over a chugging guitar riff borrowed from Elvis Presley's version of "Mystery Train." Turns out, though, that Rose can write as well as rock, a talent that's evident throughout this passionate, poignant and somewhat auto-biographical song cycle.