"...Charlie, one of the more recent additions to the band, had a chance to show off one of his beautiful compositions, “Sea Monster.” With a gently whistled intro and slowly building percussion, the song off 2016’s Petals is the perfect hybrid of Elephant Revival both old and new."
-C.B. Klein, liveforlivemusic.com
Bright Examples - Sarah Lee Guthrie and Johnny Irion
"…the steel guitar of Charlie Rose is perfect."
-John Heidt, VintageGuitar.com
Fossils - Aoife O'Donovan
"[Charlie Rose's] pedal steel has an almost trademark appearance throughout the album, like an anchor…"
- Alex Galacher, Folkradio.co.uk
As one door closes another always opens, and with the hiatus of Elephant Revival, Charlie Rose is opening up passageways to new prospects on the horizon. Delving deeper into writing and producing, he will be releasing a new solo album of original music in the next year as well as a posthumous collaboration adapting poetry to song with his great-grandfather, Will Ferrell, who published "Poems in oil" in 1919. Additionally, he will be writing and producing albums with other artists, and performing in an exciting new duo!
Since joining Elephant Revival in 2015, Charlie has stayed busy touring, performing, and recording with them and others while maintaining a standing membership in Boston based bluegrass/rock band, Barnstar!
Emerging as a songwriter and solo artist in 2014 with his debut album, “Stowaways,” Rose already has a long list of credits as a multi-instrumentalist and studio musician. He has worked with many well known artists, including Aoife O'Donovan, Sarah Lee Guthrie, Johnny Irion, Jonathan Edwards, Jocie Adams, Josh Ritter, and Rose Cousins.
He has played pedal steel, guitar, banjo, upright bass, horns, cello, and sung on records produced by Jeff Tweedy, Patrick Sansone, Tucker Martine, Zachariah Hickman, Bruce Kaphan, and many others...
“Stowaways” is an extraordinary first effort, a fully-realized vision by a songwriter coming into his own. Over the years, as he crisscrossed the globe with various artists in a variety of contexts, Rose amassed an impressive collection of material. Like stowaways tucked away in the belly of a vessel, the songs just needed to be coaxed out of hiding, brushed off, and shown to the world.
The title track is a yearning piano pop ballad in waltz time in which Rose sounds a bit like Rufus Wainwright, but with a banjo. On the other end of the spectrum is “Me Vs. the Minibar,” a wry, up-tempo honky-tonk number. In between, Rose stirs up memories and feelings with the skill of a seasoned troubadour, bringing intricacy and a sense of wonder to a set of deeply personal songs.