Palma Pascale's In & Out of Love ~ Reviews Part I

[YesterdayOnceMore]

Hello everyone:

I had thought at one time this would my FINAL set of reviews for Palma Pascale’s amazing music, but alas, I was SO wrong. The array of music I have collected from our talented composer is quite extensive and amazing. My NEXT writings will be about the absolutely incredible musical, WHAT THE HELL, NELL! After that, I plan to write about the SECOND musical I’ve been treated to entitled BACHELOR BUTTONS . You WON’T want to miss them, I assure you.

This review of “In & Out of Love” has been a long time in the works, only to ensure the prior “credits” [that I have placed in a different thread], were correct, and because there is just SO MUCH in these songs to listen to, and to comment upon! (Oofah! Such a talented lady).

As it is, as I begin this review process, I find I am merely scratching the surface of the songs Palma has actually written! Her catalogue of songs includes, but is certainly not limited to, at least 150 pop tunes, about 50 or more show tunes, and a “stash" of (now) 10 “Sinatra-type” songs. (Palma has, only recently, written several of these Sinatra-type tunes). Then, there are songs recently written for a Senior Citizen project (which was a project involving Fred Guarino, Palma and their friend, Joe, who recently passed). Palma has also written some Spanish songs with a co-writer, and she completely arranged, played and recorded an album (that can still be purchased from the Beautiful Music Company) entitled “67 Ragtime Piano Favorites.” The list of songs she arranged for this compilation include some of this writer’s favorite old standard numbers: “It Had to be You”, [Billie Holliday’s] “Them There Eyes” and another fave “I Cried for You.” This, of course, mentions but 3 of the 67 tunes on the album.

And, before I go any further with this review, please allow me the writer’s prerogative of elaborating on the Engineer and Co-producer of In & Out of Love, Fred Guarino.

Fred is, well…..I LIKE Fred. We have been corresponding and he has been helping answer questions for me. He is thorough, he is friendly and kind, he’s been most gracious with his time, AND he is sincere. I am in hopes of getting to Long Island very soon and meeting Fred and Palma – and to get to see the studio for myself! Thank you, Fred, for your patience and your follow-up with me. Your kindness is MOST appreciated. More than I can say.



Right, then! Let me begin talking about this specific CD by telling you that this and “I’ll Leave You The Music” were, at one time, a two-album CD. Interesting tidbit, yes? Fred and Palma had discussions about this, however, and the decision was made to break it up into two separate CD’s.

So, “In & Out of Love” is a second pop CD with 12 cuts on it. Three of these songs were recorded earlier than the rest. Just a bit of back-story on those I believe would be in order, here.

The three songs are known as the “Over The Ocean” Trilogy, and include the songs “He’s There, She’s There”, “Free of You”, and “Over The Ocean”. They were actually written as separate pop songs, and then linked together for the modern Ballet. The Joffrey Ballet, in fact, first; later Palma would sing, play and dance with the Morgan/Scott Ballet for a performance of this trilogy in New York’s Bryant Park (2000).

The musicians chosen to be used for this trilogy (Jay Berliner, guitar – Ron Zito, drums and Jeff Ganz, bass) were recommended to Palma by Angelo DiPippo. (Recall that Angelo is credited with co-arrangement of this trilogy – see “credits” for Angelo’s musical contributions on this CD). As Angelo had worked a lot with these players, he recommended them to Palma for the recording of these particular songs.



A word from our composer:

“…The song “Free of You” actually came about as I, one day, attempted to write a song that had a “feel “ like the old R & B song “You Make Me Feel Brand New.”

So, “Free of You” is a result of a “thought” to do a song that had a certain “feel” to it, and this writer believes it’s quite a song, to be sure. It is an award-winning song of the American Song Festival Contest. It was one taken to Streisand; however, it is not known whether Barbra ever actually “heard” the song.

Right! So, here we go…



“HE’S THERE – SHE’S THERE” – This pop ballad is about a couple that are very much in love, yet “life has a way of coming between, and threatening the things of the heart.” No matter what, this couple can’t seem to find a way to work through their differences…this thing called ‘every day living’ just continues to get in the way. Feeling pressured by life, the couple can’t seem to find their way, truly, to each other…though they ARE, indeed, desperately in love with one another.

This is a lovely number that begins this CD. A great electric piano and strings bring in Palma’s vocals – to keep it simple, but effective. It’s the URGENCY in Palma’s voice that really tells the whole story in this dynamic piece – every sad situation discussed can be heard in Palma’s vocals…such an incredible talent, this. To be able to relay what’s coming in the song, much as Karen Carpenter could do, by providing that “sense” in her vocalizing. Wow. I really love this. “And he cares…and she swears that somehow they’ll work it out – you know, that’s what love’s about.” As Palma sings this line to a backdrop of beautiful, full piano and strings, there is a ritard to add a bit of drama. The lyric “they haven’t lost as long as they try” really gets to the bottom-line of this story. This couple can’t figure out what in the world to do – each of them, at times, things the best thing to do would be to get “out”, yet they continually ponder how to stay together. Talk about conflicted……..

And, of course, the music is JUST RIGHT to accentuate the vocal performance of this wonderful ballad. BRAVO!



“FREE OF YOU” – Oh my…..many things to be said of this glittering gem! Such a gut-wrenching song. “Up all night and now and then – falling back to sleep again – going under, deeper than before…..Only just to wake, again – the middle of the night is when it all comes back to torture me once more.” I think this lyric is so cleverly stated.

Okay, THAT is the genesis for this heartbreakingly beautiful, yet terribly sad song. Beginning with just a bass-line intro, followed with classic grand piano and what could be interpreted as a “crying” vocal – (actually, Palma uses ooo’s, but with these minor chords going on, it sounds as though the story teller is weeping at the beginning of the song).

Suddenly, after the intro, we’re taken into a major key, yet there is precious little happiness about this lyric. The song continues as piano and bass are now joined by a punctuating string line: “It’s such an awful thing to say, but I have GOT to find a way to be free from the hold you have on me….what I wouldn’t do to finally be free of you.”

Now, this writer is of the opinion that those are very strong, in-your-face, powerful lyrics that pretty much just don’t leave much room for negotiation, folks!! The chromatic “climbing” of the voicings in the chords really add to the drama of the build of the lyric where our storyteller tells us she must find some way, ANY way to be free of this man who has a hold on her. A slight ritard lets us know that actually “saying” the words “to finally be free of you” isn’t really easy, but must be said.

That’s one thing I like so much about dissecting these songs. The subtlety with which Palma interjects such absolutely important elements is just mind boggling, to me. It’s done so cleverly.

Here’s another part of the conflict felt by the woman in the song who sings “Intent on finding a way out…NOT knowing how to go about being free…”

Towards the end of the second verse, the piano, strings and bass are joined by the chilling line of an oboe, leading into a stellar chorus:
“I can’t take what you’ve been givin’…This is NO WAY to be livin’…Oh! What happened to the beauty of
our love”?
Then comes your writer’s absolute FAVORITE lyric of this song which, to me, cuts to the chase, and truly tells the story:
“Every day I see it dyin’ and a half of me is tryin’ to save it….and half, to let it go!” (With a nice ritard towards the end of the chorus one gets the feel she is sad knowing this love must end).

Nevertheless, this isn’t the end of our story ~~ such conflict continues with “..Up and down the feelings flow ~ some say stop, some say go ~ never knowin’ how it’s gonna end.” And just when we think we have our storyteller figured out, she sings this lyric: “..Yet, if we made another start, I know deep inside my heart that I would fall in love with you, again…” Okay, now I’m REALLY CONFUSED. What’s it gonna BE, here? Will they stay together? Will she be “free” of him? And so, the song concludes: “…so, it’s a crazy thing to say, but I’m still trying to find a way to be free…”

The low register vocals and the intensity (yes, intensity) of the vibrato in the voice used emphasizes the aching, sad sentiment of confusion, doubt, certainty, more doubt, and even MORE doubt. So beautifully sung….the song tells an incredible story and is true to the CD title, In & Out of Love….all wrapped up in ONE SONG.

The beautiful piano work, along with the soaring strings, two tags (repeats), and a ritard drive home the reality that sure enough, ultimately, our songstress knows she would do anything to be “free” of the relationship she is now in. Though, will she ever really be? Well, well done. KUDOS.



OVER THE OCEAN – is one of my favorites from this CD. I say “one of” because my friends, there are several that I just truly love. I’m really into the Latin (Samba) rhythm and, Ron Zito begins this one with just a drum riff. Ron does a great job throughout this number. He punctuates the piece so well, making it a fun, Latin number that is completely energizing to the listener. Nicely done, Ron!

Once the drums have had their say at the top, Palma comes in again with the classic grand piano sound, along with Jay Berliner and his wonderfully executed rhythm guitar.

“OH! You give me pleasure, you give me freedom, you give me motion…” begins the lyrics to this fun, rhythmic number that makes you, the listener, just want to MOVE – the music is so great. There are a variety of Latin instruments included in this cool tune.

The chorus sounds like it double-times as the strings enter and the lyrics seem to “fly.” In fact, the bass becomes more pronounced here and there is a definite pulsating beat one can easily feel.

Besides the fact that this tune is well-written and expertly executed by Palma, there is a synthesized Piccolo played by Angelo DiPippo. Man, he adds touches here and there, and then he executes this flying solo on the second half of the instrumental that one has to hear to believe. This is actually executed using a synthesized keyboard. His fingers travel immensely fast across it, and I cannot even imagine how he did it. It’s KILLER! Great job, Angelo.

The song is just full of fun sounds, beats, solos, and melodies. It’s a pretty intense tune, to say the least. WOW! This one is absolutely sizzling with excitement.!!! Very, very cool!



EVERYTHING TO ME – is another favorite from this compilation. It is an engagingly beautiful, though sad love song about a wonderful relationship that has, unfortunately, gone south. The trust is gone and there is no more of what one was the most complete and beautiful love affair between this couple.

The story is so beautifully and vividly portrayed by Palma as she sings “…Someone I could trust, oh, what became of us? He let go and love slipped through my hands.”

A lone, haunting sounding oboe and piano lead us into this tune. I have always felt the oboe to be a powerful instrument to use as a “descriptor” to the mood of a song. It’s my opinion that this wonderful oboe line did just that – and set the melancholy mood for this one. Honestly, Palma really had Karen Carpenter in mind as she wrote this number – thinking how absolutely perfect is would have been for Karen to have sung. The listener, were they any sort of Carpenters aficionados would tell you that YES, ABSOLUTELY, it sounds like something, definitely, Carpenters would have clamored to record. Unfortunately the song was too late for Karen to sing.

Though we begin with only a classic sounding piano and an oboe, lovely strings soon begin enhancement of the verse and Palma embellishes the classic keyboard sound with an electric piano – a very bright-sounding electric. The strings gradually increase in intensity as this lovely melody progresses. Suddenly, we’re treated to a driving fuzz-guitar solo by John (“The Cat”) Gatto. Such a tastefully executed bit of guitar work, this. Nice job, John. Towards the end of John’s beautiful solo, Palma interjects familiar backing “aahs” to lead back into a final rousing chorus full of strings, guitar, piano and backing vocals. This leads into a chilling modulation of one final spine-tingling chorus….chill factor, for certain. A deliberate, meaningful ritard, repeating the title of this luscious creation – “…He was everything to me…” is how we’re gently reminded what the story was all about – as the lone oboe once again sounds, much like the wonderful song of the Phoenix, rising. Brilliant and so indescribably lovely!!



THE MIRROR CRACKED – was actually written, lyrically, for a man to sing. Nevertheless, Palma pulls-it-off in the grand fashion we are now accustomed to. What a powerfully written song ~ both musically AND lyrically. It really packs a punch in telling, really, an all-too-familiar story.

The song opens with a predominant, quite fascinating accordion intro. This sound immediately transports me to Tuscany – but there is a certain “edge”, if you will, to Angelo DiPippo’s accordion throughout this song ~ somewhat different, as he works his way through this minor-keyed saga.

Palma sings this one and punctuates the fury of the lyrics. “…Baby, stay angry if you want to ~ I never hurt you this bad before ~ Only a weak man makes excuses – there’s NO excuse for what you saw.”

Curious? Yes, as you should be… There is power in the lyrics of this song. As I have said to Palma on many occasions, her songs are NOT easy to replicate, especially vocally. She agrees with me. She sings here with abandon, and she sings low, yet quite high as well. Of course, the melody is in perfect “harmony” with the lyrics and it goes up to this high, calculated note to make the emphasis that is necessary! Simply Brilliant songwriting, this. It’s just phenomenal!

The chorus jumps from a 4/4 time signature to a 2/4 time signature, and back (and forth) again. Palma has sprinkled just the right bit of texture, again, to emphasize the “crack” in the mirror she sings of. Subtle at first, the string line begins the build of the second verse. The strings become more obvious as the verse continues, along with Angelo’s accordion to rev-up the listener for another go at the multi-layered chorus. Tony Tedesco plays an awesome trap set here, again, adding just the perfect accentuation to the music and lyrics.

Angelo’s solo is so haunting. Why an accordion? Because it adds to the overall “texture” of the song. Not a typical instrument to use for a pop song by any stretch of the imagination, yet so perfectly suited for THIS masterpiece as it is the spice necessary for the full flavor of the song to come through.

There is a haunting little bridge used which is short, but adds one additional touch of drama to the story. It reads “…Bring back yesterdays – I would change my ways…” Of course, when one listens to the entire composition, and knows what this man has done and why (which is clearly spelled-out, but I can’t spill ALL now, can I ?), then this line becomes more than poignant!

During the last chorus, which is repeated for maximum effect, there is a very high, single piccolo heard, which creates such an edge to this last bit of the tale being told. Such a marvelous arrangement of these instruments, keeping in mind Palma’s own words about “less is more.” That is certainly true, here.

There is one, special overtly clever lyric line I wanted to bring to your attention – woven within the tapestry of the tune so cleverly. I just love it. It is: “…This time, it’s one too many lies…..I saw it comin’ but it’s funny that in the end, it’s a surprise…” I ask you, are those cleverly penned lines, or WHAT? Our storyteller sees the inevitable coming – knows what will happen, and yet, in the end, it’s a total surprise (that it actually DID happen). I truly enjoy the fact that Palma doesn’t use every day verbiage to get her point across, in some cases. It comes off so much more effectively when she “spins” the lyrics in this manner.

This is truly outstanding recording by all involved. The story is another powerful one. I find it uncanny that this story could be so completely told in a 3:23 minute song-but I must say – it’s all there. A true masterpiece in every wonderful way.



A WOMAN NEEDS A MAN – Celestial sounding chords begin this interesting duet between Palma and Kevin Keys. It begins: “…Oh! The world is changing – people need to find the warmth they miss….Find it in a love song – find it in a memory…of a night, of a touch, of a kiss…”

Kevin Keys sounds very much like one of the Neville brothers to me. He has a pleasing, wide-vibrato-ed voice that compliments Palma’s quite nicely during this love song.

Lush strings, an occasional oboe touch, and wonderful rhythm guitar, played by dual talent, Fred Guarino, along with a classic piano and those celestial, crystal sounding chords (a phaser used to create this sound) round out the instrumentation, along with the drums (traps) of the talented Tony Tedesco.

I so enjoy Palma’s arrangements because never does one instrument compete with another. There’s always the appropriate “sweet spot” for the instrument to land and have its own say in the song. Such good taste in these arrangements – every single one of them.

Remember the duet between Aaron Neville and Linda Ronstadt some years ago? This song has a similar flavor to it – I’m definitely reminded of that duet. The orchestration is lush, the melody and the story is beautiful and the pairing of voices is excellent. Palma treats us to a bit of a very lovely, almost operatic sounding “descant” as the last chorus is being repeated, creating a wonderful crescendo to the song and a grand resolution to it.

KUDOS on this wonderful love song.



LOVE DOESN’T COUNT ANYMORE – A lovely oboe melody and classic grand piano accompaniment begins this minored-keyed marvel. It’s a sad song, with a sad sound to it, musically. Using the minor chords so effectively as only Palma can, she instantly sets the mood for the piece with these two mournful sounding instruments. The song is set in ¾ time. It opens with these ominous lyrics: “…They gave me the papers today…I’m glad that part’s out of the way. NOW, comes the hard part…living alone here…knowing my love couldn’t save us, but NOT knowing why…”

Don’t you feel your heartstrings being tugged with an opening lyric like THAT? Mama Mia! What a tragic event we have going on, here.

An effective ping-pong of minor to major chords helps so to tell the message of the lyrics. A beautiful soaring string line also helps to round out the instrumentation and creates a “soaring” effect. A beautifully strummed rhythm guitar punctuates the beats 2 and 3, creating a lovely, understated syncopation. Palma’s vocal harmonies are so nice – simple, yet elegant in every way.

Our lone Oboe wails a mournful melody as an instrumental treat. And next, an awesome modulation, with those lush vocal harmonies reintroduced. A nice ritard at the end captures the final, fateful lyric: “…There’s nothing to do when he’s let go of you….and love doesn’t count, anymore…”

The song concludes with the oboe melody and the piano accompaniment, embellished by lovely wonderful full strings. Chilling, this! Outstanding.






CONTINUED IN Palma Pascale's In & Out of Love, Part II