Post by YesterdayOnceMore on Apr 25, 2006 21:06:25 GMT -5
GET UP ONE MORE TIME
“Oh God, I’ve made a mistake….” begins this 1950’s styled girl-band doo-wop influenced tune set in what I call a 4/4/ time, triplet-feel rock ballad. (For a comparison of the “feel” of the song, think “House of the Rising Sun.”).
The song is a gutsy-sounding ballad that, musically, has a rhythmic drive of intensity. It’s somewhat “blue-sy” and coupled with the lyrics makes for a wonderful listen. The lyrics are compelling. Again, these lyrics speak to our every day struggles – that is, it basically says “Oops, I’ve messed-up again God – how many more times do you think it’ll take until I get it right?”
Cleverly penned by Palma, these lyrics are basically a conversational-type prayer. One that captures the listener’s attention from the very first statement. This just adds another dimension to the song.
The song begins with a one note string line softly working up to a nice level volume, setting the initial mood….and then the piano comes in with a riff that is repeated until the lyrics begin. Once they do, there is still an intimacy of just the piano, vocals, and skillfully exiguous drums, which are played by Palma’s best friend from college – Robert “Sticks” Levy (Robert provides the drums throughout the entire Broken Cup CD). Musically, the build is brilliant. Palma goes then from this grouping and gradually adds first that lone string line back, then bass and a fuller “trap” sound. The vocal harmonies parallel the build in the music! Keeping it on the simple side here, allows for dynamics to be more appreciated towards the end. I really love the way Palma purposely holds back notes while singing this tune – It’s a technique not easily done – one must have a good feel of just how long to hold the note for effect – but she does it wonderfully, of course. By the time the chorus is sung, the fuller of both instruments and vocals are evident and the listener feels satisfied that they are now fully immersed in the song. Yet, surprise! We’re treated to the sound of a Hammond B3, Leslie, which increases the intensity level by one more prudent notch. As you can hear, the song completes this course, building nicely both vocally and instrumentally until the very end. But Palma isn’t finished building this masterpiece, quite yet.
First, we have a key change and the modulation serves to add more intensity yet, but wait….wait….wait…..MOVE OVER TONY PELUSO! Make room for Palma’s exceptional sound Engineer and album co-producer, Fred Guarino, who takes a turn at a bit of lead guitar solo work. The solo actually reminds this writer in a huge way of the history-making Peluso solo in “Goodbye To Love.” Fred’s execution of this solo is very tasteful and it’s right-on the money. The feel he gives this solo embellishes the song and is the perfect bit of “icing on the cake” so to speak. Fred is the owner of Tiki Recording Studios.
The lesson we are reminded of in this song is one of hope and courage. One wonders if the song is simply a sad ballad at the beginning, but it ends up being a “feel-good” song all the way. I guarantee that as the listener, you will be smiling by the end of the tune and thinking to yourself “how’d she nail my thoughts so well?”
Brilliant!
DID YOU TALK TO HIM TODAY?
Palma uses a violin with the piano to set the tone for this song….not a sophisticated string, rather the distinct sound more of a “fiddle.” Here, the intro is simple and understated – It almost has an “anxious” sound to it.
As the lyrics begin, we hear only vocal and piano. This time this conversational piece is between vocalist and listener, yet, give it a close listen because it’s quite introspective as well – the vocalist is asking herself the very questions she poses to us.
Lyrically this awesome tune is thought provoking, but in a very down-to-earth, most understandable language. Palma doesn’t attempt to be “flowery” or to use big words in her songs. She writes these lyrics with her heart, and that shows, because that’s the place they touch us as one is listening to them. “…Did you talk to Him today? Did you say what’s on your heart? Did you tell Him of the things that are tearing you apart? Did you think to ask His help? Well, you know you really could…He is waiting on the way – did you talk to Him today? Well, you know – you really should….”
The rubato first verse is so lovely and thought provoking – slowing at just the perfect moment in the message as to give the listener an extra bit to consider – it’s chilling and effective.
As Palma works her way into the bridge (chorus) of the song, we hear a beautiful, though oh so slight retard (slowing) along with a wonderful crescendo of cymbals. With voice doubled here, Palma’s two- part harmony is a lovely embellishment from the verses. As the chorus progresses, we hear an even more pronounced retard and build of the music to include not only the crescendo of cymbals, but wonderful deep, powerful tympani, bass, strings and other instruments as the chords of the song take a new direction to enhance the remainder of the section even more. It’s another chill factor spot that can bring a tear to this writer’s eyes because the music is packed with emotion and that emotion is easy to recognize and to react to! Well done! Outstanding!
Verse 3 provides an arpeggio-type piano rhythm that is beautiful and provides the listener the “release” if you will, needed from such a dynamic experience while listening to the bridge. Palma gets to a “whisper” stage on some words in this verse and the result is pure genius!
It sounds to this writer that a soft oboe is used to add to the drama of the closing few bars, which turn out quite nicely. A fantastic song from start to finish.
THE BROKEN CUP
A delightful complete change of pace here as we listen to an oboe along with a classical, unplugged guitar providing the intro and setting the mood to this, the title song. The delicate strumming of the classical guitar provides a perfect backdrop for Palma’s voice on this song, either by itself, or with the addition of the oboe and strings, as each are introduced in turn to continue the “build” of the song. Though the melody is light and flowing, don’t be fooled and take this to mean the song is “fluff” or “filler.” Its message is very powerful, and cannot be denied.
Mark’s guitar, to me, gives the song the slightest flavor of a Spanish-styled number, though that mostly rings true during the solo part rather than throughout the entire piece. A very nice, way different feel overall with this beautiful ballad. Haunting melody and lyrics, each. Kudos on this one!
THE LOVE LETTER
Palma duets here with good friend and world class bel canto tenor, Gary Jerome. This piece at first makes me think of a children’s story – a bible story, perhaps. If you will, both music and lyrics have a sweetness to them – a lightness to them. Palma opens with “….Long time ago on the ocean sand a letter was found by a lonely man…” We then hear a beautiful flute that makes one think of birds flying over the water – yes, this scene is definitely set for those of us listening - set by the music, itself. As Gary begins to sing along with Palma, he comes in as the “voice of God”. What a perfect match for what I have imagined God would sound like when singing – Gary’s marvelous voice is, of course, very polished – very trained, very studied, quite beautiful and very strong.
The feeling changes as the duet begins and the song’s dynamics change, as well. Suddenly, in my mind’s eye, the “lights have come on and the curtain of the play is opened” and this beautiful song sounding as though from a Broadway production, is being sung. I picture the roles played out in full costume to the story being told. Very dramatic, indeed.
Verse two reverts back to our children’s story sound – Palma’s use of instruments lends to this feeling – this portion is, simply, a more intimate reading….UNTIL the bridge where we are again transported musically and lyrically to the drama of the play. Orchestrally, the verse plays again, but the music does not revert back to the “simple” sound – rather, the intensity continues to grow throughout this instrumental break and by the time the vocalists resume their singing, it has built dynamically to more of a fever-pitch! First, we have a retard to build the fervor, then we hear Palma continue to sing the melody, while Gary has begun to do an “improv” harmony, if you will – it sounds as though he is so wrapped-up in the intensity, ministry and emotion of the song that he has become inspired to sing a contra-melody that beautifully enhances the melody line Palma is singing. It’s quite intense. The song’s story has such a glorious point, too – no matter if there had been only one soul – just ONE, God would still have sent His only son to live and die for him/her. Chilling, don’t you agree? BRAVO!!!
THE GOD WHO LOVES ME
Ever heard Shania Twain’s CD “Come On Over”? The way in which Palma sings this marvelous upbeat rock/gospel song made me think immediately of Shania and her song interpretation of that lead track, Come On Over. I think Palma even SOUNDS like Shania on this song, and that’s a big compliment, coming from me.
This song is killer – it rocks in glory to the Lord. The words say it all – “I’m always amazed You’re the God who loves me – loves me like no other.”
Palma belts this one, folks – her voice is just so strong and clear – we have more great guitar on this number, too. Guitarist Mark Newman displays a great deal of taste as he accompanies Palma’s vocals. In fact, it’s Mark’s guitar we hear in the intro – just outstanding, Mark. Completely tasteful and soulful.
There are times I hear a country inflection within the song, yet it’s definitely a rock-influenced gem. I love the way Palma plays 8th note chords on the piano for emphasis and to change things up on the bridge, and then reverts back to that laid-back rock feel once again.
I enjoy the harmony voicings Palma uses in this song. They’re not 3 part chords, rather just intervals that work perfectly – that make a real impact. She told me once “simpler is more.” I suppose she proves that quite well with this tune.
Let’s not lose sight of the message here. Though the music and this arrangement is just outstanding and will bring the listener back time and again just in order to experience the great feelings one gets while listening – the MESSAGE is so important!!! In a nutshell, it is this;” Lord, You have given me so much – everything I have comes from YOU – and I stand amazed that You’re the God who loves ME!”
Boy, Howdy!!!
LET ME INTRODUCE YOU
This gentle, melodic, rubato composition captures the listener from the get-go. We find ourselves once again the audience of a story being told about the “man” that Jesus was while on earth. The feeling Palma sings with is so “raw” here – it’s incredibly melodic and beautifully orchestrated. She sings softly, almost in a whisper in places, yet in others, an incredible yearning is evident. It is apparent the vocalist longs to ‘share” with her audience not only what this “man” has done, but what He continues to do for all of mankind. And in particular, for HER, our composer. It seemingly becomes quite a personal message and it is most touching and moving - on many different levels.
So far, this song is completely different in style and arrangement than any of the others have been. In fact, each song to this point has a totally different sound and feel (via the instrumentation chosen and the way the vocals have been sung, both the melody and the harmonies – all of the music is composed, arranged and played by Palma, herself – with the exception of the guitar that Mark Newman contributes, and the drums, played by Robert “Sticks” Levy. Otherwise, Palma uses various sounds from computer chips – and plays these via the keyboard. Fred, as her engineer, provides the various voicings for Palma to choose from (Fred Tools, as P refers to them) - Palma tells me she does not actually write out her vocal harmony parts but rather does what comes naturally to her and she “hears” them, then creates the vocal harmonies “as she goes.” What an incredible talent this takes, ladies and gentlemen…….what a creative, energetic, focused mind this takes to be able to record in this way. BRILLIANT – simply Brilliant!!!!
DON’T BE AFRAID
Ah…..one of my very favorites. Simplicity at its finest. Palma makes this song sound simple, though it’s far from that…however, that IS the idea – she even takes the vibrato out of her voice to keep it pure and simple….the pattern of chord changes are so incredibly gorgeous. I’m not sure how, exactly, to describe it – but Palma takes us from this very soft, pure beginning and as she goes through the verse, the non-traditional chord progressions makes one breathe a bit faster – listen a little more closely – smile a little bigger. Then, it repeats….same thing over again, piano, voice and strings – it is so moving that the listener finds themselves wanting to know just what’s coming next…..to me it’s (again) like watching an intense colorful sunrise – rising – rising – until finally that sun (“son”) finds the perfect spot in the morning sky….and it’s glorious! Majestic! Palma includes “chimes” as we reach the pinnacle of the song, which just adds so much to that “moment”. Incredible.
Suddenly, as the retard begins – the dynamics begin to soften, and one hears the words “you will not fall” we’re back at the simple, pure portion of the song, as it was in the beginning. Palma reduces the vocals to a mere whisper, to give the listener a true feeling of sweetness. Of course, the verse builds dynamically and there comes an even grander point in this verse – Palma sings it so incredibly clear and strong – the message is so vital…and suddenly, again, we’re back to that stillness, that simplicity, that pureness of a soft, lovely voice who so awesomely states the main theme of the song….”Don’t Be Afraid.” Chilling. Awesome. Inspiring…poignant.
THE SEA OF FORGETFULNESS
This is a flowing song in ¾ time. Palma has chosen an electric keyboard for this number written in a minor key. Embellished initially by a lovely flute, strings, and drums, the message comes across softly, sweetly, yet powerfully. Palma has a way of doing that in her songs. I’m especially partial to this song as she introduces an accordion sound – which to me gives it that European feel…as if one were sitting at an outside table on a Piazza in Florence listening to the song being performed. What a “wow” lyric this beauty contains towards the end in referencing forgiveness – “…. it’s there for the asking – and that’s all He asks of you…come to Him…” All I can say after listening to this one is “WOW”
GOD’S HANDS
I don’t know that I’ve reviewed this one before, but I’ve recorded it already. This song was the first one that really just knocked-me-out when I heard it for the first time. I knew I wanted to do it at the church where I played, and I loved the bouncy style in which it is done.
This song to me says “old time gospel.” It has a country flare – beginning with the steel guitar sound in the intro, but a rock sound, as well!!! Definitely a “gospel” feel to the piano work. Mark Newman’s awesome guitar, rather than emphasizing beats one and three, emphasizes two and four – pure fun. Then, in the bridge, the bass line starts “walking” and the tune swings. I didn’t capture this in my recording having done it in such a hurry – but this walking bass, as we call it in the business, gives this section a definite jazz feel, and that makes a HUGE difference in the overall composition. It’s so tasteful.
I’ve told you before in my posts how I love suspended chords (the Carpenters used a LOT of suspensions in their work), and I love major 7th chords – (Richard is VERY fond of the major 7th and used it any time he could in Carpenter recordings). Palma likes these two things too, and the suspensions appear in this song – just makes me want to ‘shout’ they are placed so strategically, and they sound so COOL. I just love them when used correctly, and this lady knows how to use ‘em, believe me!
Palma builds her verses vocally by adding first one, then two additional harmony parts. Remember, “simpler is better.” She uses this to her best advantage in this song. I love the backing vocals overlapping the main vocals on “God’s Hands will never let you fall…” Very cool.
The bridge is excellent….It’s just a couple of lines – but it gives the song perspective. It gives the entire tune a bit of pizzazz, so the song doesn’t just repeat and repeat. It has this wonderful “extra” in it. Plus, this helps to build the song, because in the last verse, we have more – more instruments – more voices – more fun.
The reason I gravitated to this song first, however, was NOT because of the music, at least entirely. It was the MESSAGE. Such a positive, upbeat message. I just love it….it’s so cleverly penned, and it’s so absolutely true – passages like “How do we fit?…..can’t imagine……How does He do it?…..I can’t fathom…..I suppose that He must have the greatest hands of all – God’s Hands will never let you fall.”
Isn’t that a neat way to write that sentiment?
BRAVO, BRAVO, BRAVO. This one is a kick, and I love it. (Think of the Song For You Album with all of the beautiful dark ballads it contains, and interjected in with these is Top Of The World). This is The Broken Cup’s “Top of the World” cut…truly BRILLIANT!!!
ENOUGH GRACE FOR TODAY
Another in ¾ time; an incredible song. I’ve attempted this one, too. The message is so strong – and when I sang it, I got comments like “If I were to call you during the week, would you sing me that song….as a reminder?” and “Thank you for singing that song, because I needed to hear that message today.”
So you can see that lyrically, it’s powerful. Very powerful. The message is one of those that I feel Palma is best at – she tells it like it is in very understandable terms – (paraphrased) “Lord, I’m looking ahead and I’m scared to death – I just don’t think I can do it – I look behind at where I’ve been, and I regret so much….but then You so gently remind me I am your child….therefore, please help me to remember I need just Enough Grace For Today…” Indeed.
Musically the song is another wonderful piece. It has a wonderful melody line, and is easy to sing along with – the “hook” is memorable, just as it should be. The harmony parts are so nice – not overdone whatsoever, but just that simple, lovely flow. The music is the same way – the instrumentation is gorgeous – and the modulation at the end really adds a great deal to the overall composition. I like this song very much, as I’m quite partial to the message, and need to remind myself not to ask for a lifetime of grace – as all I really need is “just enough grace for today.” Thank you to our composer extraordinaire for this wonderful song.
MAKER OF ALL THINGS
Well folks, here is another “girl band” rock song, though I’d call this one straight pop/rock rather than doo-wop. This one is so great. If I had to liken the “sound” of the song, I’d choose a 50’s song called “It’s My Party” by Leslie Gore. Leslie Gore was a great singer, and I’m reminded of both her style, and the type of music she sang with this number.
It’s a classic pop/rock song that gives the listener a lot of bang for the buck, so to speak. Again in this song, Palma gives us a fine vocal that is so strong and clear and just wonderful. Fred Guarino plays guitar as does Mark Newman, on this one. Lots more questions that Palma is seeking answers to in this song. I love the line “I heard there was some good news…I could sure use some – lately, everything’s bad news – think the end’s about to come…”
Now, isn’t that the truth these days? Just turn on any newscast – you’d think it was Armageddon!!! The war in Iraq – a pending war in Iran – rapes – murders – missing children – you name it – it’s happening. Daily – it just never ends.
This song is sung with a confidence that takes the listener to a safe place – knowing everything is going to be okay because of the love of God.
Palma uses that 8th note piano riff again in the bridge of this tune – emphasizing what she’s singing – it underscores very important vocals here, and the point is well made. Then, as the bridge ends, we hear a wonderful “echoing” of vocals. There is just a bit of overlap in the same words repeated, and it’s just such an energized, fun listen. I think this song is perfect as the final song of the CD. It’s upbeat – it’s kicking, and it rocks! To me, this one sums up all the parts and makes them whole. BRAVO! KUDOS! EXCELLENT! BRILLIANT! OUTSTANDING, each.
Remember that this is just this writer’s opinion. I am anxious to know from those of you who have also heard selections from The Broken Cup what you have to think. I think Fred Guarino is very, very talented, not only as a guitar player, but for the unbelievably great job he’s done as the engineer and co-producer of this recording. As Fred and Palma know, and I will share with you, my son is also an engineer – he does some of the same things as Fred does. It’s not an easy job – he records and puts together all of the pieces Palma composes, sings, plays, etc. I give Palma the producer, and Fred the co-producer high praises for the result of this amazing compilation. Add the wonderful drums of Robert Levy, the absolutely overwhelmingly beautiful tenor of Gary Jerome, and the exciting talent of guitarist Mark Newman, and wow – you’ve got quite a wonderful set of musicians on one CD.
Palma, I sit here writing simply awed at the incredible talent you possess. Your varying singing styles are so cool (I’m running out of adjectives) – your orchestrations and instrumentations are super – your vocals are killer – just flawless and so emotionally charged. Simply put, it’s beautiful.
My next post will be the reviews of one of Palma’s pop CD’s entitled “I’ll Leave You The Music.” As Palma knows, I just absolutely (literally) melted as I listened to the title track for the first time. And, I just can’t get enough of this one. But all of that fun is for another time.
Please drop me a line and let me know your thoughts – if you’ve heard selections, please let me know if you agree, disagree, and add all you want. If you haven’t heard any of these, but find yourself with questions or whatever, either leave your questions for me, or for Palma, as we’ll both be happy to answer them. I have truly enjoyed the time spent to write these reviews, as the music and those who made it were definitely worth the effort. There may be items I am not aware of and will need to call on Palma’s expertise – or Fred’s knowledge of engineering, etc. Also, please be sure and see Rick’s post on how to order all three of Palma’s incredible music CD’s.
Next time, we’ll discuss I’ll Leave You the Music…but for this moment, just remember these beautiful words: “He’ll carry you – He’ll see you through – with just enough grace for today.”
Ciao!
Tim