Stacie Rose

With a thematic stance on all things in the state of the emotional world, Stacie Rose’s new album, Stars, Stripes And Milestones, is a real-time journey into that wondrous maze of life. Rose wraps deeply personal topics in the fine, lyrical pondering of a world we can never predict. Her musical vision extols the celebration of birth and the never-ending dance of beginning anew. As Rose herself says, “If you have a heart that beats and your soul is pure, you will be touched by life’s trials and tragedies, the same way extreme joy will pry open locked doors and let light flood in.”

I first found Rose back in 2009 with the release of Shotgun Daisy. That particular CD put her on the Shoreworld’s radar, and I’ve followed her growth ever since. Stars, Stripes And Milestones is a logical continuation of that notice and demonstrates a matured performer who has figured out the secret of placing her own unique content into the discordant world of genres.

Rose has opened up the personal floodgates with her lyrical message on Stars, Stripes And Milestones. Songs flow with an easy continuity and an intimate, storytelling feel. She tumbles and swirls from mid-tempo folk to sun-splashed pop gems that greet with the pleasantries of a breezy summer day.

Featuring strong, industry players such as Jack Petruzzelli (Rufus Wainwright) and Matt Beck, the disc also benefits immensely from the ever-capable production of Jeffrey Allen (Avril Lavigne), the tracking prowess of Rich Lamb, and the mixing magic of Robert L. Smith (David Bowie, Rickie Lee Jones).

Rose starts things off strong with her Squeeze meets Sheryl Crow delivery on “Speak Your Mind.” Rose and company flourish within the structure of this song. Smartly reserved and dynamic, the band hangs back to allow Stacie’s pristine vocals to lead the way. Melodic passages trickle down over the acoustic-strummed body of the song, spilling rhythmic backbeats and bass into the bridge before Rose builds back into the final chorus of call and response eloquence.

“Missing Peace” searches desperately for one individual that locks life into the perfect spot. Once again, simplistic and reigned in, this pop-fueled production puts Rose way out in front. One downside that I noticed was that the middle eight seems to jump in without much notification that it’s coming. It goes from one section into the other without change in tempo or compositional dynamic. However, Matt Beck’s catchy use of subtle lap steel swells and frenetically pinged harmonics pulls this tune back into focus before handing it over to Rose for the last set of catchy choruses.

“Forever On The Mend” is a dreamy stroll through Sara Bareilles meets The Sundays territory. Acoustic guitars lay sparkling groundwork as Rose shares lifelines thrown at a regularly evolving destiny and the memories of past and present promises that they create. Doug Yowell’s percussion work pushes this along in the understated style of America’s Dewey Bunnell.

One of my favorite songs on the disc is “Long Haul.” When it comes to compositional awareness, “Long Haul” is bound to take Rose far into mainstream singer-songwriter circles. In a strange and pleasant twist, the verses are actually hooks and feature a smart end tag chord that drops the character of the song into a jazzy, dissonant 1970s zone, clarifying choruses and giving them plenty of active space as they come and go.

“Lucky” is simply what it sounds like. Some of us get what we want, and others just never figure it out. Rose lets us know that maybe what you have is already enough. Material possessions pale in comparison to family, friends, lovers, pets and the power of faith. Guitars are golden and analog warm here. Rose goes from soft, opulent vocals to her “wall of sound” throughout. Percussive accoutrements shift through the sound spectrum, sprinkling rhythmic magic between clockwork steady bass and drums. “Lucky” is a fortunate song that works like a charm. This would be one of my top choices for radio airplay.

Moving around the disc, I found “Walk In The Park” to be a stately number that combines a stylish 1950s progression with an ornate and elegant vocal delivery. I could hear this song being performed in just about every popular genre out there today. New Nashville will love this, as will fans of easy listening bands such as The Eagles. Finger picked guitar and keyboard riffs roll off the visual storytelling prose of Rose, as Allen and Yowell skirt the edges, sowing smooth bass and percussion seed throughout this waltzing garden of sound.

“Adore” features a gritty, tube-fueled feel, and is definitely the radio rocker of the disc. Actually, if you like the six-string work of Keith Richards from around 1976, you’ll dig all of the guitar voodoo supplied by Petruzzelli and Beck on this specific song as well as the record. Bass and drum work of Allen and Yowell locks tight, smacking the sweet spot as Rose paints her dreamy image of unexplainable love. The song turns like a spinning wheel, building and layering the vocal prowess of Rose and backing vocalist Tabitha Fair into an arabesque, multi-layered daydream.

“Picture Perfect” reminds me of Jane Wiedlin during her post-Go-Go’s career. Airy, chimey and clean, “Picture Perfect” is a 1980s snapshot placed in our time. Echoed lap steel work flies through the stratosphere, pulling out truck stop bends and dropping them down into the bridge before receding under the choruses. Rose whispers her trademark imagery “in this place where the lost souls are found.”

“Something To Sing About” is a unique mix of folky pop and sardonic Western twang all shrouded in a dark, hallelujah confessional. Guitars shimmer and growl, pushing waves of stuttered tremolo at the listener as Rose sings from the heart, opening the chorus with her silken-toned lilt and shifting each compositional section into the next exciting phase. Stacie uses her sword skill here as she applauds the grateful and inspired merit of the one who gave her reason to rejoice. I love how Rose steers the band into a Southern church choir harmony focus in verse two. Kudos also goes out to the guitarist who handles the middle-eight break. The piece pops and sizzles with six-string tone rolling through pentatonic free-for-alls in the traditional, old school feel of Johnny Hiland. Stacie is at her all time best here and reminds me of Durham, NC singer Brittany Hölljes (Delta Rae).

“Trading Stones” is another great songwriting example. Rose knows how to engage her listeners, utilizing attention-grabbing melodies and layering them with Tabitha Fair. She also doubles her vocal, creating a lush and original trademark sound that brings you back to replay it again and again.

Stacie Rose is a transitional writer. Evolution suits her, and Stars, Stripes And Milestones is her story of triumph over tribulation. From the important star of birth, to the hard-earned stripes of turmoil and the milestones that represent what it’s taken her to get this far, Rose has demonstrated intuitive intelligence in the tough world of commercial songwriting as well as patience and evident love to endure and proceed. Everyone did a great job on this musical boutique.

Stars, Stripes And Milestones includes the fine work of Jack Petruzzelli (guitars, banjo, and keyboards), Jeffrey Allen (bass guitar), Doug Yowell (drums and percussion), Matt Beck (guitars, lap steel and keyboards) and Tabitha Fair (backing vocals).

For more information into the ongoing journey of Stacie Rose and her new record, Stars, Stripes And Milestones, head over to stacierosemusic.com. - The Aquarian

A song like “Adore” comes along once in a great while, chock full of a variety of hooks, compelling guitar riff and uplifting chorus. One can read so many things into the lyric, which is what great pop songs are made of. It’s an extraordinary gem among nine other solid compositions on Stars, Stripes and Milestones from a seasoned professional who takes her music to another level. Stacie Rose has always delivered the goods, but this new disc shows an authority along with the progression. “Picture Perfect” could fit onto the debut of the songstress, 2002’s This Is Mine or even 2005’s Shadow & Splendor, but in this setting it works more effectively.

Evoking the stylings of Francoise Hardy (the yeh yeh girl from Paris), early Nico (on Immediate records), the London releases from Marianne Faithful – that wonderful 60s pop/rock fused with folk that emerged in the psychedelic era and beyond – all engaged and choreographed in modern fashion for this polished “fan-funded” release. “Mine” (from 2002’s This is Mine) got airtime on AMC (American Movie Classics) and “Run Out” on 2008’s Shotgun Daisy featured Shawn Mullins with Stacie Rose, gave the material a wider platform; eleven and five years (respectively) later the carefree air of “Something To Sing About” shows an artist’s pure love of creating melodies and words that have an appeal that crosses genres expanding on her earlier success in a unique and inspiring way. “Earth spins like a top” the singer opens the CD with as new revolutions happen from Egypt to the Far East, the first track, “Speak Your Mind,” exploring topics from Global Warming to everyday conversation.

The cover art to Stars, Stripes and Milestones is a bit of a jolt, not indicative of the thought-provoking ideas told in an easy-going fashion inside the package. You can’t tell a book by its cover, and in this day and age of downloads it may not be as much of a distraction as it would have been in the days of vinyl and cassette. “Missing Peace” is a great double entendre with a Nick Lowe flow to it that lends itself to airplay quite naturally. Lines like “a ghost ripped out my heart” showing up from left field is a cleverness found in (and indicative of) many of the musical essays included on the ten tracks. Rose keeps the listener aware with imagery that shifts along with the chord changes. “Lucky” is a new take on the old adage, count your blessings while “Forever on the Mend” is pensive and reflective. Stars, Stripes and Milestones is a classy combination of awareness, the imparting of knowledge and entertainment, a very pleasurable experience with Rose abandoning previous restrictions and breaking new ground. An artist at the peak of her powers creating a mix that is strikingly original. - TMRZOO

Counting her 2010 Alter Ego dual EP (one rock, one dance remix), this is New Jersey chanteuse Rose’s fifth album in 11 years. While Alter dialed up the volume more, the fan-funded Stars brings it right back down. But it’s also more organic and understated than slicker-produced LPs like 2008’s Shotgun Daisy. It features gently-strummed, resonant acoustic guitar, warm percussion flourishes, and a lustrous ambience, all complementing Rose’s dulcet, breathy coo. Perhaps her newborn son inspired the lullaby-soft, candlelit aura on “Walk in the Park” and “Trading Stones,” or the simple, oft-forgotten sentiments of “Speak Your Mind” and “Lucky,” like not taking life for granted. And on several romantic odes like the lap steel-flecked “Missing Piece” and the bouncy “Adore,” her amorous, - The Big Takeover

In depth interview in NYC with Resonate TV and Stacie Rose - Resonate TV

Rose’s vocal prowess has the ability to be equally fierce and demure

- SKOPE MAGAZINE

A young, oft-licensed songstress with a clear ear for hooks - SONICSCOOP

With a molasses-sweet voice...Rose has a knack for crafting pop tunes with instant appeal!.. - The Big Takeover

Great attitude and craft when it comes to delivering a vocal...
-Eric Holland (WFUV)- - -Eric Holland (WFUV)-

Stacie Rose caught my attention a couple of years back with her powerhouse release, Shotgun Daisy. Since then she’s been a very busy girl. The result of that work is her latest double-trouble release, Alter Ego. Stacie shows her clever way of melding her musical styles with this two-disc exploration. The discs are called Raw Sugar and Means To An End, and has Rose splitting the musical atom and giving rock and pop fans one side before turning the other cheek to the dance mix community thru a bevy of featured producers including, Thomas Hutchings, Aaron Steinberg, John “Quixotic” Gunderson and David Barret.

Concerning the Raw Sugar disc Rose says, “I began getting requests for songs from different programmers and producers looking for tracks to rework and build soundscapes for. A sexy, electronic current started running through my life, and this little project emerged. Hearing these songs all pimped out with club beats, and shiny, fly grooves were thrilling…every week I would get something new in my inbox. The songs became like little care-packages that I would anticipate. The ‘Raw Sugar’ side of the Alter-Ego EP’s was born.”

To me, Stacie Rose is a songwriter and singer first, so this makes sense for her on several levels including publishing and TV and audio media outlets. My main focus here is on the Means To An End disc, which is just bursting with great compositional talent. Produced by Jeffery Allen, Means To An End fires on all six cylinders. Rose has the great fortune of possessing an immediately likeable voice that locks in tight writing savvy that sounds as delicious as white chocolate tastes. And in a business that turns a deaf ear on any artist that doesn’t reach the industry “Like” button in fifteen seconds she’s beat them to the punch every time with this project.

Title track on disc two, “Means To An End,” kicks off with Rose’s smooth pop sensibilities and phrasing. Reminding me of some strange crossbreed of The Bangles and The Breeders, Means To An End is commercially aimed arrow of success. Wrapping great lyrics around simple and effective verses and choruses, her voice rides the instrumentation, which sits dynamically well within the song. Theres so many guests on this disc, including James Mastro (The Bongos), that I’m not sure who’s playing guitar, but it’s good, steady stuff.

The absolute hit on the disc is “Alter Ego,” a ‘biggest bang for the buck’ pop song with huge crossover potential. I could picture this song on any of the new top country stations and could hear a number of Nashville artists covering this. The chorus is ultra strong, supported with background finesses courtesy of Tabitha Fair and New York Dolls member Steve Conte. Once again Rose uses her down home vocal charm to wrap you up in this fine, homespun gold.

Other notable songs include “Sunny,” another hooky, addictive pop gem where Rose demonstrates her master craftsman style while slaying it vocally. Her powerhouse, glissando smooth voice fuses with well thought out and simple playing and production savvy that makes this just a pleasure to listen to.

Enraptured is the darkest tune on the disc. Haunting pianos swirl endlessly into this Morcheeba meets Aerosmith vibe and breaks it down into beautiful, minor-keyed verses, dreamy thick bridges and tremolo soaked choruses all led by Rose.

“Raw Sugar” is a gritty gem with a sexy, sassy bounce that also hails crossover signals to me. As with the rest of this too-short disc, each melody that Stacie picks is a dead on winner. Her choruses make perfect sense and lift each song into a memorable position in the listening experience. Her lyrical word play is tongue in cheek clever as she sums it up with, “ Raw Sugar on my Tongue, I guess the best is yet to come.”

“Maybe Only Tonight” crosses into that rock/dance territory. It should probably have been on the Raw Sugar CD but it still holds up well. Think Shirley Manson and Garbage and you’d be close to home on this one.

All in all, I have to say, great job from Rose on both discs. It’s not easy releasing two separate sounds together and keeping a focus on who you are as an artist, but I think she’ll do well with Alter Ego as its stays definitive while speaking strongly for both of her selves. For further info go to stacierose.com
Russo Music- The New Candy Man Of Cookman Avenue

Music stores tend to fall short of most serious shoppers idea of a good experience. Ask anyone and you’ll hear the same old stories. The unabashed guitarists lining the amp isles and shredding to songs they can never get right, the drummers bashing away like the one on the back porch in the movie Slingblade and the swell sales guy swinging the acoustic guitar room key like one of the guards in The Shawshank Redemption all add up fast. For the most part whether they know it or not, they’re herding you towards the exit, leaving you clutching a pack of hastily purchased kazoo and a string winders instead of a real buy.

And this is why millions of us end up looking to Ebay or Craigslist to get what we want. Lets face it, no one wants to go to a store that leaves you looking up at all the guitars that you can’t reach or the microphones that sit in special rooms, guarded by Plexiglas and locks. It doesn’t matter if you’re just picking up an instrument for the first time or the 1000th time, no one likes that condescending treatment.

But I’ve recently found safe haven where the musician is taken very seriously. Russo Music manager Scott Engel is a guitarist and former member of Cryptkeeper 5 and he knows all about the pitfalls of the retail world. If anything, he goes out of his way to break those stereotypes and make you want to come into his place and feel like it’s okay to touch the merchandise without a stare from the staff. He also is gaining a rep for his own superb guitar repairs and has reportedly brought legendary amp builder Billy Penn on board to do all amp repairs, including vintage gear.

Engel knows that coming into town in this economy with a music store is risky in itself, let alone one that doesn’t get on board with the real population of working players.

Scott apparently approached boss Russo with a business plan that made sense and is now out to show the community that a music store visit can be something besides a nightmare. Couches and amps are scattered around the shop and axes are at arm’s length. Sales reps wave and smile as you grab stuff of the wall for a spin. The goal of Russo’s is to have musicians gather at the store and buy from people they know and trust. Scott and his staff hang out in the scene all week long and have a good feel for the wants and needs of performers. This mindset has increased business and, as Brad Pitt says in Inglorious Basterds, “business is boomin.’”

For over fifty years, Russo Music has called NJ home base (first in Trenton and now Hamilton) and they cater to that special clientage that demand more than rack merchandise. They have ruled the western area for years in their flagship location and this new development with Scott Engel is the smartest thing they could do. Okay, enough chatter, hand me that ‘57 gold top. For info on the Russo’s music or if you want better movie references than mine, head over to russomusic.com. - Shoreworld

When an insatiable appetite for songwriting collides with a quest for success, artists like Stacie Rose are the result. You could say this career-focused New Jersey native is fast-emerging, except there’s a lot to suggest she’s already arrived.

A young but oft-licensed songstress with a clear ear for hooks, her cuts have already garnered synch uses from clients including MTV’s “The Hills”, VH1's “Tough Love”, Paste Magazine’s “SONGS FOR HAITI” compilation, amc, FX, ABC, Escada fragrance campaign, American Airlines Radio, and FUSE TV. Those tracks, several off of her Shotgun Daisy! album, are about to get a run for their money from her dual ALTER EGO EP releases of Raw Sugar and Means to an End (Enchanted Records), going first to her Pledge Music supporters on July 20, and then to the big ole’ world on August 17th.

She’s no calculating bean counter, though. Rose’s approach to creativity and collaboration are what keep her energized, as she revealed in the SonicScoop interview. Listen to what she lays out here — we say this is How to Make it in Music, 2010 style.

You’re a pretty prolific writer. How does a song get started for you?

My approach to songwriting varies a little. It generally starts with a lyric, a gut feeling or story that leads to a lyric, or sometimes I just grab the guitar and start strumming, and humming, and then it’s racing around looking for a pen and something to jot ideas on, like junk mail or the back of a magazine, and then my digital recorder to sing into.

Then, it’s Demo One, followed by Demo Two, many versions, verse and chorus — sometimes days in between, then a bridge might emerge.

Maybe that’s more my process: My approach is really capturing the essence of the moment, or concept, I’m writing about. I try to bring my perspective to things, my metaphors, and create a mood, a picture, or emotional landscape. Sometimes I try to teach myself a lesson, work through a personal challenge, or celebrate an epiphany.

I used to feel very evolved, but I seem to be going through a new phase where I am suddenly tripping upon survival skills, questioning things, reacquainting myself with my inner strength and writing through it all. Sometimes I don’t try to do anything at all, no goals — and the songs/words pour out.

That lines up with the very thing that I’m trying to relearn this week – that change is GOOD. So how does that songwriting approach reflect how you see yourself as an artist?

I view myself as a unique, pop songwriter, both fiery, and feminine. I’m almost always in motion, even when I am still.

I’m not an anarchist, but certainly do not conform to anything or anybody. I don’t follow the pack. I do take my work/songs very seriously, but don’t take myself tooooo seriously. I have dark comedy tendencies and the deepest love of melody and words. I’ve come to accept my own dichotomies. I can rock out pretty well, but can also turn a shy side. I’m part late-night, acoustic singer-songwriter girl, who sometimes likes to mash and trash it up!

That’s multiple personalities! But at SonicScoop, it’s not a disorder. What’s been your approach or strategy for developing your musical career?

My goals are to continue to create music on my terms with people whom I respect, and enjoy sharing the process with. I always want to give myself the room to grow and experiment. It’s important for me to be true to my heart, my vision and to stay in the moment as much as possible, enjoying, or at least feeling the process even when it’s more difficult.

I really make a grand effort to help these songs out into the world, so that they can have a life, and hopefully work their way into people’s homes, hearts, heads, and iPods.

You’ve built up a great track record all ready with synch placements – MTV, VH1, FX, FUSE TV. How did you get started on this track? What role have music-to-picture placements had in your artist development?

The Orchard managed to place my song “Here’s Looking at You” in an ESCADA “Sunset Heat” Webisode. When I saw the footage, it felt really fitting. The song is up tempo and free-spirited. The episode was summery, sexy, & beachy.

I’ve actually had two songs in racy bathroom scenes, which I think is kind of funny and interesting. My good friend and filmmaker, David Kittredge, used my song “Promised Land (remix)” in his award-winning film, “Pornography: A Thriller”. The song pumps in a club as two guys size each other up in the men’s room. Another song of mine called “Back to Life” made it into an episode of the FX show, “The Riches” (with Minnie Driver and Eddie Izzard). That song played in a bathroom scene in which Minnie got groped at a neighborhood house party by her husband’s colleague. Good stuff!

Then the placements in MTV’s “The Hills” and VH1’s “Tough Love” got a lot of buzz since those hit shows are such guilty pleasures! I had a song called “Find Your Way” in an amc movie spot, and it was wonderful because it aired just before my last record Shotgun Daisy! was released.

The movies being promoted were stellar and stories within the spot really meshed well with the lyrics and melody. The characters in the movies were in fact “finding their way” A really great spot, and good match! And, amc was super cool and artist-friendly, including an artist/song/label credit, which helped with record sales. The spot is on YouTube and gets a lot of love from fans, and made new people aware of my music.

In general, the licensing is a really great way for artists to earn money and to continue creating. The consistent placements have really helped me to build buzz, gain momentum, and get people’s attention.

Licensing PROPS. So does it get hard NOT to think of synch-ability as you continue to write? Do you find yourself wondering if a song is going to work for picture as you write it?

I usually don’t think about synch when I write. I might just have a knack for finding a universal way to convey things. I like being poetic, and crafty in my writing but I also want people to get it — I believe in the power of a good pop song!

It may sound obvious, but why do you think having an understanding of synch licensing is important for emerging artists?

You want to be able to market yourself and bring your songs to the surface, reaching the masses. You’ve got to know the game if you want to play. People are watching TV, webisodes, and films. They won’t always seek you out, so you need to find ways to bring the music to them.

This is a sneaky and savvy way of getting your music to be heard and felt. It’s quick and painless. And, if they dig it, they might come back for more, seek you out, purchase your music, stalk you, blog about you, etc…

Well put. Switching gears, do you have your own studio in NYC, or do you record at other people’s facilities? Where do you like to work?

I demo all my songs at home on a digital Sony mini recorder. If I’m on the run, with no guitar on hand, I will sing into my iphone(recorder ap). If I mean business and am going for a real recording or even a pristine demo, I will work at Defy Recordings with Robert L. Smith. He gets beautiful sounds. I work on a lot of arrangements with Jeff Allen at his place in the Bronx, and often bounce around to various studios (mostly in NYC) to work on various side projects.

When someone works with a variety of producers like you do, how do you decide who to work with?

I guess I mostly work with the people I love and trust the most because it’s like home. Robert and Jeff have really been constant collaborators. Both of them have introduced me to a myriad of amazing singers, musicians, and writers.

David Patterson and Rob McKeever (both guitar players) have consistently helped me find a voice for my songs through the years, so I often turn to them as I write.

I am really loyal to those who have been on board since the get-go and, at the same time, incredibly open to meeting new artists and melding my music with others. I feel as if I’ve been collecting new friends and building momentum mostly because of the exciting energy that comes from good, soulful, collaborating. It’s the key to my success as an artist.

That’s BIG. Did that work go into your new EPs – two different projects — that are about to come out simultaneously?

Alter Ego awaits...

I’m about to release the most exciting project of my musical career thus far: The Alter-Ego EPs, officially due on on August 17th. I raised a good portion of the budget for this through PLEDGE MUSIC. I have been sharing the process, and progress through PLEDGE, Facebook, my website, Twitter, blogs etc…

This is really the first of many concept projects for me. The Alter-Ego EP: MEANS TO AN END is a bit more raw than my other records, and veers off on an edgier, live-ish path.

The sound and approach is mostly influenced by some of my classic rock heroes. Jeff Allen ( the producer of this EP) and I got our dream band together, did two long rehearsals and then went right into the studio and recorded six tracks in one long day, so that the ideas would be slightly rough around the edges and possess that raw, unaffected energy that comes with the initial creation of something.

We recorded with Oliver Straus at Mission Sound in Brooklyn. He got stellar sounds, and the day is one of my favorite memories. Since then I’ve been finishing my vocals, and we’ve been adding a few exiting overdubs –The icing! It’s being mixed right now!

The Alter-Ego EP: RAW SUGAR is pretty dancy. It’s pop at its clubbiest for me and has been really exciting to make.

Robert L. Smith has produced this EP with me. It’s been intensely collaborative, constantly evolving and there are so many exciting people involved. It’s a departure for me in a way, but feels totally natural. I’ve worked with Robert to corral and empower the various producers, mixers, programmers and singers involved, to help shape, and make these songs a sensation.

In doing so, I have felt new sides of myself emerge. I see neon, champagne, and many costume changes in my future. So, I guess I would describe the overall project as gritty and pretty, pop and pow, sugary and savory, thunder and lightning. They go together but are totally different.

On another musical side of you — you introduced me to a really interesting project involving the Beatles and some ukuleles…

Well I’m sort of late to the party, but happy to have been invited nonetheless. This whole thing happened pretty organically. I had the good fortune to have been introduced to the amazing singer-songwriter/vocal producer Mike Harvey. My friend/producer/collaborator Robert L. Smith hooked us up for the ALTER-EP project I am currently working on.

Mike’s soulful voice has become a key ingredient in the dance/pop songs. He introduced me to David Barratt who founded the high-concept art project THE BEATLES COMPLETE ON UKULELE with Roger Greenawalt. It’s like “Where’s Waldo?”, but with ukulele. You’ve got these amazing, intricate, arrangements, and exciting incarnations of beloved Beatles songs, and somewhere within each track there is a UKULELE! How fun is that?!!!

Sometimes the instrument plays a large roll, sometimes it’s a bit more discreet, but it’s the common thread that binds this project together. I loved having the opportunity to pick the song I wanted to approach in my own way. When I got the list of available songs, my eyes raced down the page, searching for I ME MINE (written by George Harrison)… it was free! It was MINE! once I declared it so, David built the most gorgeous, hypnotic track for me to sing to and the rest is history. The track should make its way into the world this summer! It’s quite a unique and exiting project, with so many amazing artists lending their voices.

The track we heard was indeed awesome — although the latest post (July 2) on the blog makes note of “irreconcilable differences” between Roger and Dave. Intrigue! Anyway, so you’re off to a good start: What advice do you have for songwriters/artists who are just getting started now? And in that vein, what do you know now that you wished you had known a few years ago as you were getting started?

WOW — I wish I had known so many things when I got started and I really knew nothing. It was a blessing in many ways because it taught me to be resourceful, organized and creative.

I made countless mistakes, and made astonishing waves by being fearless, and stepping up to things. I always acted like I had it going on, and this confidence seemed to draw others into my orbit. Sometimes I wish I possessed the same brand of moxie now. Ignorance is bliss, to a point. Knowledge is power, always–and some place in between that–if you can remain open, stay focused. learn from mistakes, trials and errors, and hold onto that raw, gutsy, mojo… that’s magic!

I would also tell a newbie, to do things on your own terms. There’s no fast track, no tricks, and no finite way to make or promote music today. Find what works for you. Define your own sense of success. It’s ok if you don’t have all the answers, but you have to be willing to learn, ask, and try.

You don’t know? Draw from your heroes and influences but always try to be unique, authentic and GOOD! Persistence often pays off. Put good energy out into the world, treat others as you wish to be treated, seriously, and don’t do it if you don’t love it and burn for it.

Thanks for some inspirational insights. Lastly, why do this in NYC and not LA, Nashville or Nairobi?

Because NYC is still the best place in the world, with the best pulse, the hottest vibe, and an intangible energy force-field! There will always be a certain artistic history, and edge about NYC that reminds you that you’re alive and that anything is possible. There’s both a toughness and friendliness about it. There’s an infinite amount of inspiration, beauty and grit, swirling about to draw from!

It might be the BIG apple, but when you’ve done the circuit for a bit and start to see how small certain circles really are, it’s quite a cozy, comfy place to be writing, recording and performing music. And that street cred thing about making it in NYC is still something to shoot for.

– David Weiss - SonicScoop

Following the critical acclaim of 2008’s Shotgun Daisy, Jersey songbird Stacie Rose has released a bang-for-your-buck double record under the guise, The Alter-Ego EPs. The blanket title of the album is fitting in that Rose offers up two very different approaches to song making. Means To An End is a throwback homage to her 80s rock influences, while Raw Sugar is comprised of clubby electronica with appropriate beats and synth instrumentation. And while the two albums couldn’t be more diametrically opposed, they find commonality through Rose’s vocal prowess which has the ability to be equally fierce and demure.
Means To An End opens with its rock-laden title track. Replete with backing rock instrumentation, the track is three minutes of vocally charged verses of vivid lyrical imagery. The track is foreshadowing for the rest of the album in that while the musicality is present, it is Rose’s vocal delivery that will stand at the forefront of the tracks. “Alter-Ego” features demure vocals reminiscent of Natalie Imbruglia and is representative of the softer side of the album. The pop rock nuances of the song make for an approachable track bound for radio spins. “Maybe Only Tonight” is an agro-paced rawk tune splashed with New Wave era synth. If the title track is reminiscent of a rock-laced Bonnie Raitt tune, then this is a vampier version of a Lita Ford.
Conversely, Raw Sugar is a dance record through and through. The electronica instrumentation and beats are present on all tracks but it makes for a more diverse album. Since several producers left a fingerprint on Raw the track differentiation is crystal clear. The title track opens with a lounge-y feel and immediately it struck me that the song seems better suited to a dance ethos as opposed to one of rock. Borrowing a page from T-Pain, the lyrical delivery is heavily effects-laden, though Rose’s vocals are still the prominent facet. Adding to the aforementioned diversity is “Supernatural Wonder” with its soul-ish backing vocals a la Earth, Wind and Fire and reggae vocal fills. Rose’s voice meshes well with the backing instrumentation and the guest appearance of Garrison Hawk adds a welcome dub dancehall lyrical facet. Rounding out Raw is the uber-catchy “Here In The Now.” While the twang guitar opener is misleading, (sounds like a country tune) it does fade nicely into the background and adds an interesting foundation to the track. The overall sound is pure dance and is arguably the most club bound track on the record.
The Alter-Ego EPs is a demarcation point where ambition melded with opportunity and produced a respectable outcome. Approaching two vastly different genres isn’t a typical endeavor and it can’t be easy to do both justice, but Rose has pulled this off in a manner that doesn’t sound contrived or reaching. Enjoy the two albums for what they are and revel in the fact that you get two discs for the price of one.
by Chris West - Skope Magazine

After listening to SHOTGUN DAISY, the question has to be; why would New Jersey singer songwriter Stacie Rose want to be compared to anyone, even such luminaries as Stevie Nicks, Sheryl Crow and Bonnie Raitt? Her biography cites all three but the inescapable conclusion is that she is a truly unique talent.

She is neither complete folkie nor rock chick, in truth she walks the line between both with the dexterity of a tightrope walker, neither camp could find anything on SHOTGUN DAISY to justify the cry 'sell out'.

Thankfully, she is also a million miles away from the corporate blandness of radio friendly rock, SHOTGUN DAISY is a look at the world through Stacie Rose's eyes and, believe me, she has a completely different way of looking at things. And it's for that reason that you'll either instantly fall under Stacie Rose's spell or she'll leave you cold and unmoved. SOMEHOW SHOTGUN DAISY doesn't come over as the kind of album you'll grow to love.

But there is an undeniably quirky freshness about the music and not just the prosaically titled Mrs Happy Ever After & Me. A more cynical artist would have added all sorts of black arts to commercialise the hook-laden SHOTGUN DAISY but throughout it retains its innocence.

While Stacie Rose neatly dodges genre definition, SHOTGUN DAISY is not a difficult listen, Find Your Way is delicately tinged with rock while Run Out is the kind of song that could restore your faith in the charts were it to be released as a single. It is very easy indeed to take SHOTGUN DAISY to your heart.

Stacie Rose is one of those artists that don't really have to try too hard to stand out. She is a warm and sympathetic singer but she is also blessed with the imagination to make the most of her gifts. That allows her to take Not Listening and make it completely different from its album mates.

If you're looking for suitable comparisons, then the equally individual Bjork and Tori Amos come to mind but in the end it's best to enjoy Stacie Rose on her terms.

MM - Maverick Magazine (UK)

The Big Takeover, Issue 63

It’s not hard to see why this talented New Jersey songstress’s music has appeared on TV shows on AMC, FX, and MTV (like The Hills). Her third album (following 2003’s This is Mine and 2005’s Shadow & Splendor)is filled with slickly-produced, lighthearted, and mainstream-ready poptunes, each one featuring her sweet, playful coo, which alternatelyresembles Sheryl Crow, Juliana Hatfield, and Lisa Loeb. Perhaps Rosecould take more chances with the song arrangements, most of which arefairly conventional and too overly polished – to wit, even The New York Dolls’ Steve Conte’sguitar-playing on four tracks is barely noticeable! Still, Rose’scharming voice and strong lyrics, especially on vibrant, airy songslike “Hope” and “Wreck at Best,” keep the album consistently listenable and gratifying. - The Big Takeover

http://194.78.207.186/BB/admin/CDdetail.asp?ID=7418
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Once in a while I stumble upon a record that has nothing to do with Roots music but that is simply a good singer Songwriter album with a handful of great tunes on it. Shotgun Daisy by Stacie Rose is one of those albums I simply can't ignore! The music is even a little pop driven and reminiscent to Sheryl Crow and other assorted artists

Opener "Find your way" shows immediately to us that Stacie has a lot to offer! A catchy tune full of hooks, with a gentle voice but full of guts! That is without doubt the best way to describe this and many of her songs. "Hope" and "Love Ways" keep on rolling in the same direction and give you good pop-rock tunes that are pleasantly to hear. On "Wreck at Best" we meet a very fragile Stacie that quickly bursts out in an explosive chorus only to return to her fragile state for the next verse! Another tune that sparked my interest was "Hit me in the Head". Her sultry voice above a jazzy, almost hip hop track is quite impressive and is without doubt one of the better tracks on this album. Followed by "Ever Again"a tune that goes even deeper into new music territory and closing with "Worry Free" Shotgun Daisy is a great but underestimated album.

The album is quite impressive even if it is not one of my favourite genres! But looking at the personnel that helped out Mrs Rose things become quite clear! Including people like Gerry Leonard (David Bowie's Music Director & Guitar player), David Patterson (Shawn Mullins and Indigo Girls), Jeff Allen (Avril Lavigne) and many others can only result in a great album but take noe that despite all the big names all songs are written by Stacie Rose herself and that is without doubt the biggest force behind this album.

Mr Blue Boogie - BILLYBOP (Belgium)

Stacie Rose might want to give her supporters a nickname. While storm chasers are generally viewed as reckless daredevils who pursue danger, the moniker also fits the fan base that chases its favorite singer-songwriter around the country.

Rose's fans are all too familiar with the elements, but they won't miss a single gig by their revered singer-songwriter - despite what Mother Nature throws their way.

"It's the biggest joke wherever and whenever I play," says the Rutherford resident. "I play in Los Angeles and there's mudslides; so much rain it was biblical. I play in New York and there's 12 inches of snow. But you know what? The places are packed."

Which will compel Rose to look back and laugh someday - after she takes the nation by storm.

With the release of her new 14-track CD, "Shadow & Splendor," Rose says the yearlong effort put into her second record can't go unnoticed. Although ego and arrogance are nowhere evident with this confident artist, the realization of a job well done is obvious.

"When someone tells me they listen to the whole record without fast-forwarding, and it's a long one, that's a sign of success," says Rose, who performs Thursday at Tribeca Rock Club in Manhattan. "That's what I do with a record I love. I beat it to death."

At times, Rose and her guitar-playing husband and band mate, Rob McKeever, felt as if they were beating their marriage to death. As the album progressed, Rose was lyrically grappling with being holed up in a studio for 12 months while putting aside domesticity. But they have emerged a model couple of musicianship: Rose the gifted wordsmith, McKeever the magic melody maker.

"Shadow & Splendor" is a combination of ambition, soul-searching, crooned vocals and endearing melody. Emotions soar, likely peaking in the track "Disaster," where Rose laments: "Sorry about the dishes in the sink/The check I bounced, I never think/The consequences, they just sneak on me/Sorry that I'm not the perfect specimen of a woman.Ÿ... "

Rose's vocal palette transcends genres, sounding comfortably at home during a front-porch sing-along or among the singer-songwriter populace of Nashville. She is Vanessa Carlton with a heavy sigh, a triumph of the low-key and poignant.

"Writing this record was like going outside with a butterfly net ... catch it, catch it, catch it," Rose says. "I was hiding out for a year, but I was reaching for something better."

She proves equally adept at rocking ("Sad but Blue") and feel-good rhythms ("Okay") and can burn bridges with sardonic flair ("Consider Me [Gone]"). And when her band performs live and Rose straps on her own guitar, the songs explore new frontiers.

American Movie Classics continues to use Rose's music for its 8 p.m. Hollywood spots.

"You know what I want [industry] people to say?" Rose says. "I want them to say, 'Why haven't we heard of her yet?' Then everything will fall into place."

Weather, or not.

E-mail: gramlich@northjersey.com
- The Forcast Is Terrific for Stacie Rose

HIGHLIGHTS
• Latest STACIE ROSE record SHOTGUN DAISY released June 2008
Featuring Grammy nominated artist, Shawn Mullins (Vanguard Records).

• Rose made it to the final round of FUSE TV’s Make a Star “Best Original Music Video Competition” 2009

• Stacie Rose song “Run Out” was selected for the PASTE BEAT radio Station on American
Airlines in November 2008

• WVIA Homegrown Music’s MP3 of the week “SUNNY”

• AMC which airs in 84 million homes has licensed the following songs of Stacie’s:
- “This is Mine” for the on air promotional campaign of the Primetime Movie spot for March 2003
- “Okay” to promote their Primetime Movie spot for November 2004
- “Promised Land” (remix) for on air/web campaign promoting Women in Hollywood broadcast 2005
- pre-released “Find Your Way” for Primetime Movie spot “Every Night at 8” for March 2008

• Stacie Rose song “Consider Me” was recently featured on MTV’s THE HILLS.

• Stacie Rose song “Hope” is the new title track for STOMP OUT CANCER campaign- July 2008

• Stacie Rose on the cover and featured in South Bergenite - MAY 2009

• Stacie Rose is the INDIE911 featured HOOOKA ARTIST OF THE DAY- MAY 13 2008

• ESCADA licensed the Stacie Rose song, “Here’s Looking at You” to launch their hot new fragrance
Sunset Heat.

• The FX show THE RICHES starring Minnie Driver and Eddie Izzard licensed the Stacie Rose track
“Back to Life” From Shadow & Splendor in the 3rd episode.

• “Promised Land Remix” was featured in the 2009 feature film Pornography, directed by David Kittredge

• Rose songs Black & Blue and Run Out were featured in 2009 independent film Dead End Falls

• Rose co-wrote the track “LOVE THAT I FEELING” to be released soon on the highly anticipated
record by GARRISON HAWK.

• RHAPSODY compares Stacie Rose to the likes of: Heart, Joni Mitchell, CSNY & Bob Dylan.

• Rose has had airplay on radio stations all over the U.S. including XM Satellite Radio,
Internet radio (Live365.com, indie 911.com, Harrisradio.com) and internationally in Germany, UK,
Denmark, Australia and Sweden, as well as being a podcast favorite.

• 4 Stacie Rose songs were featured on the hit MTV shows Sorority Life and Fraternity Life.

• Rose song “Okay” featured in SHAPE MAGAZINE’s Playlist of the Month (2008)

• Rose sang and appeared in a number of TV spots that were part of a national promotional campaign for
ABC network promoting IN SEARCH OF AMERICA, a 6 part series hosted by Peter Jennings.
What the critics have said about Stacie Rose:
Great voice and she knows how to use it with vibrato and dynamics. She’s not showy, so she sounds honest…a great new talent to keep an eye on!
Eric Holland, WFUV/1938 Music

A warm and sympathetic singer, blessed with the imagination to make the most of her gifts...it is very easy indeed to take SHOTGUN DAISY to your heart.
MAVERICK MAGAZINE, UK

"...with hints of soul-pop and a sprinkling of ethereal production touches. Her facility with overlapping vocal lines and a mildly jazzy edge to some of her phrasing might bring to mind echoes of Suzanne Vega and Joni Mitchell."-ALL MUSIC GUIDE

Stacie Rose's music has an earthy feel, and makes for easy listening… Comparisons to Aimee Mann, and her explorative vocal style would make sense…She transcends the traditional singer/songwriter formula, fleshing out an original, fresh style.
JERSEY BEAT

I found Shotgun Daisy to be RIVETING!
Evan Ginzburg, Legends Radio/Associate Producer of “The Wrestler”

Influenced by Fleetwood Mac, the New Jersey-based Rose balances the individual spirit of Stevie Nicks with the polished excellence of Christine McVie.The opening “Find Your Way” is irresistible mid-tempo pop that would have fit any of Mac’s chart-topping discs.
TMRZOO

Her honest sounding heartfelt lyrics are powerful and make you feel her tangled emotions in a way other musicians can't whilst still sounding sexy, fun and hip.
GIRL.COM.AU, AUSTRALIA

Shotgun Daisy is packed full of relentlessly catchy hooks and effortless pop rock tunes.
Rose’s carved out a sound all her own by combining tender, passionate vocals with that great pop sound and polished production work - aided on this record by some of the industry’s more respected names.
REBEL SPIRIT MUSIC

Filled with expert hooks and memorable melodies, Rose’s heartfelt lyrics will strike a chord with many listeners.
CURVE MAGAZINE

Rose's charming voice and strong lyrics keep the album(Shotgun Daisy) consistently listenable and gratifying.
THE BIG TAKEOVER

…Tough as nails lyrics...no-nonsense delivery
PERFORMING SONGWRITER

… Feminine gentility with gutsy honesty…sweet hooks and soulful voice … the real deal.
SENTIMENTALIST MAGAZINE

her songs have depth and seem to come from her soul. Add in the fact that this young lady has an absolutely killer voice...and you have a cool, uplifting album that will surely stand the test of time.
LMNOP/babysue MAGAZINE

Rose’s confessional storytelling style shares an affinity with fellow Jersey native Bruce Springsteen in his earlier years.
ICE MAGAZINE

Stacie’s voice soars best here with spatial superiority, class and smooth urgency
THE AQUARIAN

…a hooky affair…offset by sharp lyrics
NASHVILLE SCENE

Her vision is unerring: musically the album goes everywhere Stacie Rose wants it to, and nowhere she doesn't...the sole cover (a reinvention of U2's "New Year's Day") can make one forget the original for a moment
SKOPE MAGAZINE

Leaning toward the Suzanne Vega folkie side of Roseanne Cash country or vice versa, featuring heartfelt observations about hallucinogenic poetry and purple mountains…
VILLAGE VOICE

Stacie Rose is an impressive singer/songwriter ...has an engaging timbre to her voice…her lyrics are literate and she has a keen sense of melody and drama
RELIX MAGAZINE

For more Info please contact: Ashley Martorana 201-842-8555 info@enc
- Stacie Rose ONE-SHEET October 2009

Shoreworld: Stacie Rose and Case Of The Mondays

—by John Pfeiffer, June 9, 2009

Stacie RoseStacie Rose—Shotgun Daisy—Enchanted Records
Despite the economic downslide it’s been a busy entertainment year here at the Shoreworld so far and its tough to keep up with the talent that seems to be never-ending in New Jersey. This week’s musical highlight comes in the form of one Stacie Rose; a New Jersey performer out in support of her latest disc, Shotgun Daisy, and it’s a disc that leaves a good impression. We met at the Cape May Singer Songwriter festival and she immediately struck me as different from the usual pack of singer/songwriter zombies that are in abundance on the scene today. Her confident style is a smooth and easy blend of influences including Skye Edwards (Morcheeba) Shawn Colvin and Christine McVie rolled into 12 solid tunes on her latest effort.

I also noticed some of the players on this disc that are quietly listed, but have made huge musical contributions worldwide as well as adding here to the signature Stacie Rose sound—guys like Gerry Leonard, David Bowie’s music director (currently touring with Rufus Wainwright); Jack Petruzelli, also on tour with Wainwright, (guitars/keyboards); Shawn Pelton handles drums on two songs; Steve Conte of the New York Dolls graces four tracks; Warner Brothers UK artist, Hawk is on one song; Knox Chandler does some guitar work and James Maestro lends his strings to three songs (currently touring with Ian Hunter). David Patterson plays on the whole record. He has previously toured with Shawn Mullins and the Indigo Girls.

The disc itself is extremely produced by Jeff Allen (Duncan Sheik, Avril Lavigne) and Robert Smith (David Bowie, Rickie Lee Jones), but still shows several standout tracks like disc opener “Find Your Way,” a mid-tempo rocker that kicks in with infectious backbeats and gritty Les Pauls courtesy of Jersey’s own Steve Conti and drums by Joe Bonadio, giving it a solid groove while Rose keeps it fresh from start to finish gelling well with backing singer Lucy Woodward (Atlantic Records) and making it sound as if the pair has been singing together for years.

“Hope” is radio gold, wasting no time spinning up into the main chorus with the assist of Woodward, creating a crossover delicatessen of appetizing sounds ranging from country to pop and contemporary alternative. “Love Saves” shows the streak of Sheryl Crow influence and “Mr. And Mrs. Happily Ever After” is custom made for the next prime time TV sitcom.

The interesting “Wreck At Best” shows a darker and eclectic rocker sound from the band jumping from laid back four-four groove to double time staccato hits. It has a “Sundays” vibe and it’s good stuff. “Worry Free” is Kate Bush-vibed brilliance.

“December” is my favorite cut, ethereal and dark, Stacie’s voice soars best here with spatial superiority, class and smooth urgency as she pushes the trumpet of Scott Wendholt into the atmospheric swirls of Leonard’s ambient guitar work.

Shotgun Daisy is a head-turning effort that will have you hearing much more about Rose and her Enchanted recording future. Catch her at the upcoming Wave Gathering Festival in June and get her CD over at stacierose.com.

Case Of The Mondays-LIVE! Aztec Lounge—Seaside Heights, May14

If these guys had handed me their CD before I saw them live I might not have gave it much attention. I mean the band name is cutesy and their CD was titled, Look How Awesome We Are, something I already hear from bands on a weekly basis, but these Mt. Holly, New Jersians actually have the last preconceived laugh as they kicked my ass with their top-notch blend of ska, punk and rock arrangements. Utilizing a three-piece horn section, Case Of The Mondays blew through a dozen or more tunes on this rainy Thursday, giving me the idea that if Seaside Heights keeps opening their minds to music of this magnitude, their goddamned parking tickets might not be the sole highlight of the summer.

Case Of The Mondays played as part of The Seaside Music Festival, out back of the Aztec to an appreciative crowd of faithful fans and festival-goers. It was a treat to watch a band really dig in and love what they do live, and not take itself too seriously as they performed all 10 cuts from their latest disc, Look At How Awesome We Are, with said self-titled cut dropping humorous verses like, “You’ve never seen anything like this before, fire and flame seep up through the floor. We bring the metal through the mantle crust and core all for a meager $5 at the door.” Yep, humble and wise, Case Of The Mondays has spent their last several years constructively opening for many national acts including legendary ska band The Toasters, Streetlight Manifesto, Mustard Plug, and Gym Class Heroes. They have performed at renowned Philadelphia venues such as the Trocadero, Grape Street Philadelphia, and the Theater of Living Arts.

Their show reeked of college frat humor and slapstick bravado mixed with outrageous pro showmanship as all seven members raced up to their mics at key points, jumping in the air with trombones, twirling trumpets and sax, spinning like veritable whirling dervishes and criss-crossing each other in a choreographed chaos of non-stop ska punk action.

Case Of The Mondays gives you tons of talent and overdriven fun any day of the week. Check out their latest disc because these guys are indeed awesome. myspace.com/caseofthemondays.

Remember, you can also check us out online over at theaquarian.com for the best music news in New Jersey, New York, and the world beyond. Comments are always encouraged here at the Shoreworld as well as throughout each issue. - Shoreworld

"Sincerity's so overrated" sings Stacie Rose on "Not Listening," one of the tracks on her CD Shotgun Daisy. That may be, but nevertheless in many respects Rose is very much in the mold of the sincere rock singer/songwriter, at least in her vocal delivery if not always her sentiments. You couldn't call her an especially sentimental composer, yet her songs for the most part deal in the confusions of that most sentimental of emotions, romantic love. Her slightly girlish, vulnerable vocals pace pretty unremarkably mainstream rock tunes expressing the doubts and uncertain sensations sparked by relationships, with hints of soul-pop and a sprinkling of ethereal production touches. Her facility with overlapping vocal lines and a mildly jazzy edge to some of her phrasing might bring to mind echoes of Suzanne Vega and Joni Mitchell, with Shawn Mullins sharing the singing duties on "Run Out." - by Richie Unterberger