josh rosenthal might not be quite what you expect from weworemasks. and you may or may not even know his name. but over the past few years, he’s been self releasing music and building a loyal following.

actually, if it wasn’t for josh, i don’t know that i’d be listening to the music i do today. he gave me my first mixtape of (mostly) punk rock ish back when we were like 12. we’ve played countless shows together, and i’ve gotten to see josh grow from a kid playing punk rock into the SLC-based singer/songwriter i recently had the chance to send a few questions to. the questions themselves are less in depth than a lot of our interviews, but since it’s our first post about him, i wanted to keep it general so you could get an idea of where he’s coming from. we touched on everything from the evolution of his sound, to the preparation of his 4 albums in 4 months concept. interview after the cut.

– panda

Jerome Mendoza, WWM: To start, give us a little background on your musical history and how you got to where you are today.

Josh Rosenthal: It all started when Green Day released Dookie in 1994. I bought a guitar because I looked up to my friend’s brother. He learned every song on the album on his red electric Washburn. I wanted to be just like him, so I got a guitar, learned every song on Dookie. Eventually I started writing my own lyrics to the songs until I understood how chords related to each other. At 17 years old, in the year 2000, I declared myself washed up. I couldn’t do punk rock anymore because I didn’t have the attitude to with it. Then I started listening to singer/songwriters a few years later – Paul Simon, James Taylor, Marc Cohn, John Mayer. That’s when I came out of retirement.

WWM: Here are a couple of generic questions: Since the weworemasks readership is a new audience for you, how would you describe your sound to someone who hasn’t heard of you?

JR: Short answer, folk/americana. Detailed answer; My dad’s best friend growing up, Mickey Raphael, ended up playing harmonica for Willie Nelson and is still going strong 35 years later. I loved Willie’s music and image. So you’ll find a little of that storytelling in my music. Townes Van Zandt wrote the best story song I’ve heard – “Pancho and Lefty” – eventually covered by Willie. Beyond the storytelling, I try to make music as accessible via melody and feel so anyone can find something to grab. My goal is to satisfy both the lyrics snob and the casual listener.

WWM: What are your biggest influences, both musical and non-musical?

JR: Musical; Paul Simon, John Mayer, James Taylor, Marc Cohn, Willie Nelson, Hall and Oates, Josh Wilson. Non-Musical; Seth Godin, Salt Lake City sunsets, authenticity, moments captured by sound, vintage gear, black and white photography, journals and new beer – anything I haven’t tried before and my home.

WWM: You’re releasing four albums this fall, how’d the idea come about?

JR: Honestly, it came from the need to stand out a little bit. I don’t get radio play right now so I need something to generate word of mouth. At first it was a pipe dream, but slowly it became reality as I found a way to marry it with meaning. It’s called the Villages Suite – four albums in four months. It explores relationships within community. Few songs actually address that idea directly. Most all of them deal with it in indirect ways.

WWM: Will you be experimenting with new or different instruments, ideas, etc. with the each of the new records?

JR: A little bit. My friend Justin Pruitt gave me a bunch of instruments [that were] used in the 80s. I’m going to incorporate that into album four a little bit. One of the artists I’m partnering with from album four will be playing a tongue-drum. Pretty stoked for that.

Album four is all duets with other artists. Every one of them. We’ll spend time arranging and writing together, then we’ll record all in one day. That’s different for me. Very challenging because each one is a unique combination of my style and another artists.

WWM: As far as writing process goes, are you doing anything different for the albums than past recordings?

JR: Yes. Usually I only write with Josh Wilson. I work really well with him. He’s an unbelievably talented wordsmith. But through the course of these four albums, I will have written with about six people.

WWM: As a solo musician, you have a chance to connect on a personal level with listeners. What do you hope the average listener takes away from your music?

JR: So many Americans feel isolated. I want people to leave my show feeling like they’re not alone, even in their loneliness. I want people to listen to my music and feel some sense of relief.

WWM: In a big market of singer/songwriters, how do you hope to stand out as you prepare for your upcoming releases?

JR: A fan telling their friends is my only hope right now. There’s no other way. My job is to provide songs worthy of spreading the word. If it’s good enough, they’ll naturally spread the word.

WWM: What do you have in store for the fall tour you’re currently planning?

JR: I’m making about 50 appearances this fall. I say ‘appearances’ instead of shows because I’m doing some Young Life events, church events. But I’m also doing a lot of concerts. Go check out my myspace for shows.

WWM: Cool, man. What have you been listening to lately?

JR: Mat Kearney – City of Black & White, Coldplay – X & Y and Brandon Heath – What if We.

WWM: That’s about it, any last words for the readers of weworemasks?

JR:Thanks for reading. I know I’m not your typical weworemasks.com artist, so thanks for the opportunity. Hope to see you at a show sometime.

josh rosenthal on myspace.
josh’s blog.
you can purchase the first installment of the villages suite, overture, here.

promo clip for the villages suite: