As you should expect, this newest album has a lot of the unexpected. Musically, this contains both some of the hardest rocking Al’s done in years- and also some of the most exquisitely-arranged pieces too. Amongst those adding to the whirlwind of creativity from The Transcendos are singer Sue Demel (Sons Of The Never Wrong), violinist Zach Brock (who also wrote the string arrangements), cellist Nicholas Photinos (eighth blackbird), and trombonist Jeb Bishop (Vandermark Five).

Monkey Holding Peach Records (2012)

Continuing in the left-of-Americana vein of his previous disc but with the inventiveness of the arrangements more subtle almost in counterpoint to the more severe satirical edge of some of the lyrics. His continued collaboration with Grammy-winning co-producer Blaise Barton is aided by Rose’s own band and a diverse group of music contributors,The musical daring is matched specifically to the message of each song.

Monkey Holding Peach Records (2008)

The still-living and ever-clever Chicago songsmith Al Rose delivers his fifth disc, My First Posthumous Release, his most consistent and satisfying album ever. From the heartfelt to the humorous, he tells his tales against a deep sonic Americana backdrop that’s full of musical invention and lyrical wonderment.

The recording was made with his band The Transcendos (guitarist Steve Doyle, bassist Steve Hashimoto, drummer Sarah Allen, harmony vocalist Laura Blye, pianist and organist Carter Luke, and guitarist Maury Smith ) along with a number of friends helping out. Contributing their genius were violinist Steve Gibons, cellist Alison Chesley (from Verbow, Jason & Alison, and Helen Money), mandoliist Don Stiernberg, pedal steel player Brian Wilke, drummer Heath Chappell, trombonist Jeb Bishop, vibist and former Coctail Mark Greenberg, tuba player Rob Pleshar, percussionist Carlos Cornier, tap dancer Mark Yonally, and on the saw, Sarah Holtschlag.

Monkey Holding Peach Records (2003)

Al Rose is a striking songwriter and musician with a unique and powerful vision that continues to jell and focus on his 4th and latest release, “Gravity Of Crow.” His previous albums have received extensive airplay on AAA and Americana stations throughout the US along with a bevy of critical praise.

He is a mesmerizing transformer when performing live as a solo or with any number of his band, The Transcendos, in any configuration. This drives the songs each night, but the songs have always been what drives the musicians in what The Chicago Tribune has called “one audaciously entertaining ride.”

Waterdog Music 9906 (1999)

On his third release, Pigeon’s Throat, Al Rose was again working with his band, The Transcendos, who provided the fascinating sound that won critical raves on his second album, Naked In A Trailer. These eleven songs range from the re-written history of “Lincoln,” the breezy feel of “Lighter Than A Feather,” the rollicking “Ripe Unacceptable Now,” the sound-noir of “Polish My Car” and an emotional ballad that sounds timeless upon the first listen, “Patience.”

The Transcendos included drummer Heath Chappell, bassist Steve Hashimoto, guitarists Victor Sanders and Maury Smith, and vocalist Laura Blye. Al is the center of the ensemble on acoustic and electric guitars with solo turns on harmonica and flute. Additional musicians were organist Carter Luke (now a Transcendo fixture), mandolinist Stuart Rosenberg, violinist Steve Gibons and cellist Diana Parmeter.

Whitehouse Records No. 9 (1996)

Rose captured his spellbinding musical magicianship on his second album with his band, The Transcendos. The songs are as fascinating as those on Information Overload but the warmth, the interplay, the simpatico of the musicians, glows on every track. The dynamic & stylistic spectrum ranges from his dada-gospel “Wander Blind,” to the full force of “Mister Bigger” to the quiet simmer of “21st Of June.” These are lyrics meant to envelop you. The Transcendos contributions color the compositions under Al’s masterful direction. The band included Steve Hashimoto (bass), Laura Blye (vox), Heath Chappell (drums), Carter Luke (keyboards), Maury Smith (guitar and mandolin), and Mike Smith (guitar). He also displayed his artistry as a watercolorist with the cover painting for Naked In A Trailer.

Whitehouse Records No. 2 (1994)

Al Rose made his long-awaited debut with Information Overload. He had been writing songs and performing solo, acoustic, and was best-known in the Midwest for leading his large band, The Transcendos. His fascinating lyrics are brought to life by his distinctive voice and quirky musical style. Al played acoustic and electric guitar, flute, harmonica and alto sax on this recording.

The Transcendos were Steve Hashimoto (bass), Laura Blye(vox), Mike Smith (guitar), Maury Smith (guitar and mandolin), Heath Chappell (drums), and Melinda Banks (vox). The thirteen originals are complemented by a version of Stephen Stills’ “For What It’s Worth” (the 1967 Buffalo Springfield hit) and the country standard “Long Black Veil” (a 1959 charter for Lefty Frizzell).