Terra Rosa is Jace Everett’s most ambitious album to date, a raucous, revelatory song cycle exploring tales and themes from the Old and New Testaments. “The truth is, all of these songs are about me,” he says, “trying to figure out what I believe and don’t believe. It’s me going back to my closet and pulling all the skeletons out, looking at the bones and seeing what’s there.” The Nashville-based singer/songwriter’s deconstructs and re-imagines the Book through his own unique perspective, examining matters of love, death, faith, and contemporary America via these most primal of metaphors. Everett’s musical approach is as daring and wide-ranging as his subject demands, a hallucinatory hybrid of blues, country, boogie, gospel, and rock – in short, the span and spectrum of American music in all its glory. Yet despite its epic scope, Terra Rosa is at heart an intensely intimate album, its invention and irreverence all reflecting Everett’s own struggles with sin and spirit.
Everett scored his first #1 co-writing Josh Turner’s RIAA platinum certified 2006 country smash, “Your Man.” He officially became an overnight sensation two years later when “Bad Things” – the spooky, sultry highlight of his self-titled 2006 debut album – was featured as theme song to HBO’s blockbuster series, True Blood. “Bad Things” proved a worldwide hit single, and helped propel the show to its extraordinary long-running success. A series of albums followed, each more adventurous and acclaimed than its predeccessor, including 2010’s Red Revelations and 2011’s Mr. Good Times. Everett further tightened his gritty, groovy sound with frequent international tours, raising up a fervent fan following at every turn.
Everett recorded the new songs at his own home studio before joining up with longtime producer Brad Jones (Josh Rouse, Hayes Carll, Chuck Prophet) at Nashville’s Alex the Great Recording in June 2012. Everett led his crack band – multi-instrumentalists Dan Cohen and Chris Raspante, bassist James Cook, and drummer Derek Mixon – through a 7-day session in which they tackled and traversed a span of sonic stylings, from Appalachian folk (“Pennsylvania”) to Zappa-esque psychedelia (“Lloyd’s Summer Vacation”