Post by YesterdayOnceMore on Jun 9, 2006 13:29:11 GMT -5
Palma Pascale’s “I’ll Leave You The Music”
Reviews by: Timothy J. San Paolo ~ (part one) ~
NO ONE WILL EVER LOVE YOU MORE THAN I DO – “Look for yourself if you don’t believe the words I’m saying to you.” This lovely lyric begins Palma Pascale’s opening ballad on her CD entitled “I’ll Leave You The Music.” I would not call this simply a “pop” CD – as it is infused with not only pop, but also rock, rich Latin, country and more.
This compilation is every bit as amazing as “The Broken Cup” only this one comes at the listener from a much different writer/composer’s perspective. This CD is about relationships – all the good, the bad, the beautiful and the ugly! The whole ball of wax is represented with this collection – and extraordinarily, at that.
No One Will Ever Love You is a melodic, flowing pop power-ballad about a woman who knows she is the one best suited for the man she is having this discussion with. Though he does not seem as certain about it, she is, and, without a doubt! ~~I can think of several artists who would have done well to have recorded this selection – including Karen Carpenter~~. It’s quite a strong lyric and melody.
The story unfolds as this bewitching song spills its secrets for the listener. Electric-piano, grand piano, soaring strings, all played by Palma, herself – and the impressive lead guitar work of John “The Cat” Gatto, with the artistry of Peter Anthony Stora (rhythm guitar) as well as the capable drumming of talented Tony Tedesco create the backdrop for Palma’s enduring, strong vocals. The use of a combination of “time” along with “rubato” sections enhances the strength of the composition, allowing the “build” in the dynamics to occur. This build is very important to the song both from a musical standpoint, as well as a lyrical one. (Think of using all caps or italics/sizing/bolding when typing something to give it that necessary “punch” in certain places – that “emphasis”) ~ this is the effect the rubato sections and the ritards that lead to those sections, have. It makes for an “importance” statement in the song, itself. The tympani build at the end gives me that big “chill” effect.
Palma is so gifted when it comes to this sort of composing/arranging technique. I mean, if I were not purposely listening to actually determine the “how’s and whys” of the songs composition ~ I might not immediately recognize just “WHY” the song was so dynamic here and there, and “grabbed” me like it does in those places. That subtlety is ingeniously used because that’s EXACTLY what one wants!!! The song swells, slows, and speeds; it makes a statement! And….it’s all seamlessly done and quite splendid! A winning opener, indeed.
LOVE ME FOR WHAT I AM – Palma and I have discussed this version of Love Me on various occasions. Seems Fred Guarino, ( album co-producer, founder and owner of Tiki Recording Studio, Glen Cove, Long Island, New York), came up with a version of this song that would be so “contra distinct” from the version as it was written, originally ~ a power pop ballad ~ and as it was recorded by Karen and Richard Carpenter on their 1975 hit album, Horizon. So, the idea of the “programmed drums” and the snappy, jazz-influenced shuffle beat was created, and like a Phoenix rising out of the ashes, a new song was born ~ at least, a new version of this incredibly sensational number became reality.
Why the change? Palma sounds so much like Karen Carpenter (in a key a 3rd or so higher than Karen’s normal key) when singing a ballad ~ and I can only imagine how close she sounded to Karen when singing this song as a slow, power-ballad (as I have not yet heard Palma’s version in ballad form). So, thinking outside the box, Fred came up with this version ~ nevertheless, Palma still sounds eerily like Karen, in places.
As I mentioned in my post on the forum that I did when I first heard this recording, this is a busy little number! There is a great deal going on – yet it’s not too busy or fussy. Everything that one hears here creates a backdrop of sheer brilliance. The captivating sax work of ARKADY (Kofman) is so fun and he blows his axe (his instrument) with ease and confidence.
I really enjoy the treatment of this song. I had been curious to hear this “upbeat” version of Love Me For What I am – I wasn’t sure but that it might sound a bit cheesy – or silly. (Come on……. I was, as you all are, after all, used to hearing this lovely song as a power ballad sung by one of the best singers of her time, Karen Carpenter – who sounded achingly beautiful on it in it’s ballad form. In the version recorded by Karen and Richard, we hear Karen have to tell the man she loves something very difficult ~ “If what you want isn’t natural for me, I won’t pretend to keep you, what I am I have to be. The picture of perfection is only in your mind – for all YOUR expectations, love can never be designed.”) This lyric is sad and the woman singing the song seems overwhelmed with bittersweet emotion. So…..I’m thinking “……how can Palma ever pull this off and make it “ring true” in a convincing manner as a “pop” tune”?
Ladies and Gentlemen, she does it exceptionally well, of course! Palma makes this sound sort of “sarcastic” and very sassy! It’s such a fun listen. And….all those parts!!!!!! All of the back-up parts add to the drama and overall tone necessary for this tune to really seem complete. It comes across as a jazzy, sophisticatedly styled up-tempo pop number with a punch! I really love the tight vocals and the chord structure used for them – the overall feel of the song is wonderful. Bravo to saxist ARKADY (Kofman) for his hot sax work. Kudos to Fred for his innovative idea; it works, Fred – it works well - and Palma – you pulled it off brilliantly!
FLY - Initially we hear the sound of a large jet plane taking off, panning from left to right that then segues into strings and electric piano – then Palma’s rather ethereal sounding voice singing to a rubato intro which, again, gives the listener an idea of the “feel” of the overall creation to come – setting the stage for the mysterious sounding composition that is entitled ~ “Fly.” The listener has an immediate sense of “floating” – being buoyed by both the music and the intentional mystical sound of Palma’s lovely voice as she sings these lyrics. (You’ll just have to get the CD to listen to these lyrics – they are sensational). A slight ritard, then suddenly a lovely musical build and we’re in “time” with the beautiful instrumentation now flowing smoothly. Palma vocally jumps a full octave in this haunting melody, giving it such a “wow” factor. Jumping an entire octave is not an easy vocal trick by any stretch, yet Palma does it completely effortlessly sounding.
As I listen to Palma’s compositions, I find such incredible variation, yet, there is a familiarity within each song. The way the lyrics tell such an intricately woven story, and the music!!!! Perhaps it’s a particular chord formation – perhaps just a brief reference to another Pascale melody – I haven’t put my finger on it exactly… yet. And that, my friends, is certainly one of the more creative things about Palma – her ability to write with this familiarity, yet with complete freshness, all at the same time. What an incredible talent, this.
Fly includes beautiful backing vocals and a trance producing “flute” that I find just captivating. It’s a most pleasing listen…..guaranteed!
HOW ARE YOU DOING WITHOUT ME? - This country-influenced ditty is a beauty! The country feel fits the lyric so clearly: “Decided to leave in the mornin’ – I’m goin’ back home on the train – I must confess, wasn’t doin’ my best when you saw me….” Palma sings these lines to a superbly timed, country crafted melody line.
She chose a rich electric piano as her main keyboard instrument, coupled with an enjoyable rhythm guitar, efforts of Palma, herself. The arrangement soon swells with a solid string line and that tasteful percussion that is Tony Tedesco. Soon, the “other” voice of Palma is heard (remember, less is MORE) and her beautiful harmonies warm the chorus as she bodes the question: “How are you doin’ without me? How are you getting’ along? Thought you’d need me….I guess I figured it wrong…”
I always enjoy how these melodies and lyrics are so perfectly executed within the style of the song. In this case, country inspired, so there’s the more traditional chord voicings – a lighter harmony background, and simple, yet highly effective use of all the other instruments. It all works so well!!! The story itself is effective and the song is a gem among many. Simply Marvelous!
SO MUCH IN LOVE - Automatically I get the idea for a music video at the gorgeous, gutsy saxophone intro of Don McCabe that begins this captivating, seemingly 1940’s inspired ballad.
Picture this video opening with Palma sitting alone at a quiet table for 2 at “Daniel” ~ a truly fine French dining establishment at 60 E. 65th Street between Park and Madison Avenues – smack in the heart of the Upper East Side of Manhattan in New York City. The year? 1940.
Cut to a jazz trio, (piano, bass, drums), beginning to play as Palma sings “So much in love with you ~ I’m still in need of your touch. Though you don’t care for me, I find that I still want you very much.” Ooohhh, that “chill” factor as the sound of this “tight” trio is now embellished by the light touches of a flute and soft, romantic strings. On occasion, we hear vibes, too.
(Think Sammy Fain’s “I Can Dream, Can’t I?” and you have the tempo for this incredible 40’s inspired ballad).
As verse 2 begins, I picture Ms. Pascale aimlessly wandering throughout this smoky, cabaret-styled restaurant, decked-out in the highest fashion of the day, and basically singing to no one – yet, to everyone. It’s a personal reflection she’s having; yet everyone around her is enthralled at the story she is telling. “…When people say I’m wrong – the most that I can say is that I tried…”
Cut to close-up as Palma looks longingly at a long-stemmed red rose bud [actually, more like looking through it as her mind is a million miles away], fingering the petals as she sings this writer’s favorite lyric of the song: “…I tried to find me some happiness without you – looked everywhere with the paper smile I wore.” (The saxophone riffs and fills by Don McCabe, along with the melody of this song make me think of something Al Jereau might sing). Don’t you love the symbolism of the “paper smile?” Just think that’s awesome.
Cut to close-up on Don McCabe, playing a melodic, soul-wrenching sax solo complimenting a chorus of Palma’s lovely voice(s) singing exquisitely together the harmonic “aah’s” in the background. The tension is building as the intensity of the song increases with stronger strings, beautiful, soul-filled sax, and more….
As the solo winds-down, camera cuts to Palma, dressed in a floor-length gown full of the glitz and glam of the era, behind a square, radio-styled microphone on a lone mic-stand, as she is fronting a small jazz ensemble. She “wows” her crowd at Daniel with “…I tried to live and to love again without you…and sleep at night when you weren’t in my dreams…” The ensemble has swelled to a fever pitch as Palma belts out this alluring torch song, giving the vocal everything she’s got as she concludes “…But everywhere are the memories you gave me…I’d live a lie ~ but the truth of it means I’m still in Love…” I love that lyric, too.
Ah yes, so MUCH in love! As Don McCabe takes the song “out” with his romantic sounding sax work, we see Palma once again sitting, dressed as before, alone at the table for 2, at “Daniel”. Fade to black…
This is a splendid work and every bit on the same level as Sammy Fain’s famed “I Can Dream, Can’t I?” Ms. Pascale – what a scrumptious morsel you’ve fed us with this one! Bravo!
NOWHERE TO GO - INTRO = PERCUSSION!!!! Think Gloria Estefan! Think Ricky Martin!
Think…
~~~SAMBA~~~
As Tony Tedesco, Palma, et all build this exciting percussion intro, enter the blazing trumpet work (and rhythm guitar work too) of Palma’s “great friend and super musician”, Peter Anthony Stora. Wow – what an astounding job he does on this one. This, in fact, quickly became one of this writer’s very favorite listens. Such a captivating rhythm and the lyrics are just as punctuating. Palm has a way of creating such a cool visual with the stories she weaves with her lyric writing. I love the kind of clever lines such as “If I say yes, I hear you say no, which, then, leaves us nowhere to go.” OR “I get high and then you get low, which, then, leaves us Nowhere to Go!” And then there are the wonderful lyrics that capture the entire story “We’ve been up and down the block of misery I can’t remember a brighter day, still…. I know there was a time you loved me…. lately though, it seems so far away!”
Palma has the ability that many artists do NOT, when recording her vocals. Typically without a doubt, she articulates! I can understand all the lines ~ truly an important feature when trying to determine the “plot” of the story.
Nowhere to Go is just awesome and I can listen to it repeatedly, always hearing one more thing I haven’t heard before. Palma’s piano glissandos really add to the overall strong feel of the song….and yes, what a great job Stora does on the trumpet solo – all of these players have such a grounded “feel” for what they do – and Peter blows his axe with such taste and style. Sometimes it can happen that the players want to just “show-off” their abilities and that means they end-up overdoing their solos. Not the case with any of the musicians on either pop album. They just play with a natural ability that really adds “guts” to the overall composition.
Nowhere to Go is prodigious. Palma’s arranging abilities are quite sensational. Her vocal harmonies are so right-on and just enough. They don’t get “fussy” they just fill-in nicely and accentuate the lead vocal line in all the right places. Palma described arranging to me like this: “…try not to crowd the vocal line with extraneous stuff – even if you think it’s a brilliant “line.” Let it find an empty corner…try to build a little each pass, so that it unfolds, like a flower…” GREAT advise from one who does it so, so well. Thanks for this!!! Nowhere to Go is a real masterpiece, in my opinion. Impressive, indeed.
I WANT TO STAY – “He didn’t talk, he didn’t tell me anything – he disappeared just as he came.” Beautiful start to a story, isn’t it? Sort of reaches in and rearranges your insides immediately, doesn’t it? Makes you want to know what THIS story is all about, eh? It sure did me.
The story is expertly unveiled bit by bit and a rather sad story it is, too. The rubato timing lends to the telling of the story as it provides accentuation and effectiveness while flowing and slowing in tempo.
Again, we realize a clever display of lyrics used in telling the story here ~ lines like “…My heart is broken…even though I know the ending of the play, I want to stay.” When Palma reaches for that low note that just isn’t there (and it’s done on purpose), there’s no denying the “chill factor”. The storyline unveils itself from here and is punctuated so advantageously with the ritards, and other embellishments.
I’m reminded a bit here again of a Broadway musical. I think an entire production could be conceived from this work ~ a back-story created, and perhaps by the end, due to the persistence of our composer, girl actually “gets” boy and love conquers all??? But, NOT in this song! Our heroine remains alone and we wonder if she will EVER “love again.” She is truly devastated! Just check out the line “…the floating, mesmerizing ray of sunlight – too quick to catch, and no one does…” It’s used to describe the man in the song. The metaphoric lyric is just another tremendous highlight of this lovely anthem.
The layers of orchestration chosen for this selection are rich and luscious and leads the listener to a better overall understanding of the song, itself. That’s a subtle thing that one might not just immediately recognize yet, it’s MEGA IMPORTANT and this subtlety is NOT EASILY DONE. So again, approbation here, Palma! Expertly done ~ and with such style and taste!
YOUR LOVE IS LIKE A WAVE – Palma duets with Kevin Keys for this fun song. It opens as we hear the ocean rush to shore ~ then Palma’s vocals begin. The writer has a favorite line, that is cleverly woven into this tapestry – it says “…I am like a giant rock, rising from the sea ~ water wears down even mighty stone, eventually ~ your love is like a wave breaking over me…”
Kevin Keys reminds me of one of the Neville brothers. In fact, I’m reminded of the Aaron Neville/Linda Ronstadt duet they did together a few years back, when I hear this tune. Palma and Kevin sound really great together ~ just another creative aspect being displayed. Sometimes doing a vocal duet can have its challenges, but if there were any here, one couldn’t tell it by listening to this final outcome. Palma and Kevin compliment one another quite well.
The instrumental break features another creative and fabulous sax solo by Don McCabe. His style just perfectly suits a song like this, which could have and should have been recorded by any number of artists of the day ~ (This one also reminds me of Karen’s duet with Peter Cetera on her solo CD). A nice parallel, these. This one could have hit NUMBER ONE with all its pulchritude!
KENTUCKY ~ This country inspired melody is akin to the Carpenter’s wonderful composition, “Top of the World” and it’s a nice fit within this particular collection. It has that toe-tapping rhythm that fills the listener from the first note played…and it simply won’t let go!!
The story is one of what must have been a beautiful relationship that happened in the great state of “…Kentucky….memories ago ~ windin’ white fences and cattle in the snow…Kentucky~ too many miles came between the bluegrass and the memory of your smiles…” Long distance relationships can be MOST difficult to manage, as we know, and for this couple, the distance was simply too great. The music is awesome, here.
It sounds to me as though a soprano saxophone takes charge of the melody right up-front. How Palma decides what “voicings” (instruments) to use when creating the songs is an art in and of itself. These songs vary so in their creativity, yet there is that familiarity about them as well. That is, this writer can “hear” the creative cognition of Palma’s pen ~ both musically, and lyrically. Felicitations!!! Nice job.
Palma’s use of modulation at the end of this song seems like the perfect wrap-up for this lovely number. As we near the end of the song, I am reminded of a wonderful song I heard many years ago for the first time at Disneyland, in Anaheim, California. The song is the anthem for the Main Street Electrical Parade, and is a fascinating synthesized number entitled Baroque Hoedown. The main “structure” of the composition reminds me of the rhythm and chord technique used in this song. Kentucky is a sweet story, and musically, it’s a fun, fun listen. Palma’s vocal backing “echos” are a nice change from other selections that do not feature this. Accolades for this shining gem!
I DON’T KNOW WHAT I’D DO ~ The song begins ever so gently with electric piano and flute, taking care of the intro. Then, we hear the addition of melodic, wistful strings as they come in to fill-out the mix. Very pretty, indeed.
Karen Carpenter, I hear you on this one! Yes, it’s a love song, but one with a very HAPPY feel to it. It’s one that definitely would have added to the Carpenter’s catalogue and Palma sounds very much like Karen as she sings this song about a woman who, before now, had never known “true love.” Oh sure, there had been infatuations, but nothing more. The woman questions whether or not this “problem” is hers, or was it just that she hadn’t met “Mr. Right.”
As the story progresses, it becomes clear to the listener once she states “…I finally got the answers when we met…. now, I don’t know what I’d do without you…don’t know where I’d be today – for the first time love is right – turned on every light – I don’t know what I’d do without you…”
The song is done in a seemingly lower key than Palma normally writes/sings, which only adds to the “Carpenteresque-ness” of it, overall. It’s a power-ballad that just melts the listener with its beauty. This modulation kicks the song up a notch and Palma delivers in every way. Just an awesome listen. Exceptional work!
TOO LITTLE TO LIVE ON – Just by listening to the way the piano begins this song in it’s minor key and the clever way the chords are voiced, and played, it makes one imagine some “trouble” is, perhaps, eminent. The riff is played once, then it’s played again in double-time (twice as fast) then that’s repeated. It’s most effective. Truly. It just screams of discord. Not only does the riff repeat, but it’s been intentionally, tonally “skewed” to sound even more dissonant. Awesome stuff.
From this point, the music becomes a bit more “melodic.” Though still in that minor, somber feeling key. An effective use of chords coupled with story sets-up the chorus to end in a “major” key signature. A nice resolve, musically, yet nothing resolves lyrically. Far from that.
This is the story of two people who are, simply put, living their lives. Period! It’s such a “typical” scenario for our world as it is, today. This couple has been together for a while, yet, they are blind to each other – they’re too busy living their individual lives. She wants out and is attempting to tell him, but is it too late to take the steps necessary? They’ve been together for so long; in fact, ~ “…Too long to break it up, but too empty to go on…. There’s much too little love to live on. Too long to break it up, but what we HAD is gone…. and there’s too little love to live on…”
The story is an all-too-familiar one, yet I haven’t ever heard it told so eloquently as it is in this dramatic reading. Excellent job! Just superb!
(continued, next thread)
Wonderful review Tim!..I surely would love to hear it. And reading
Balloons 
