Post by YesterdayOnceMore on Aug 20, 2006 19:54:11 GMT -5
WE’VE GOT TO LOVE AGAIN – Hold on to your senses for THIS incredible work of art! This is probably my VERY favorite. (Yes, I know…how many times HAVE I said that about this CD so far…?)…..I’m all over the Latin, Samba rhythm of this number, and the absolutely unbelievable Peter Anthony Stora who provides such soaring trumpet parts AND he provides the guitar and its classy rhythm, as well. Just a tremendous contribution.
One of the fun parts for me of this tune is the vocal “doos” that Palma sings at various times – spaced throughout and full of impact. These are done in harmony – they are crisp, they are fun, they are just knock-out AND, they set the tone for the song right up front.
Another aspect of the tune I really dig is the lyrics; especially when we get to the chorus. It states: “…We’re a couple of wounded animals in flight ~ runnin’ away from any kind of fight….So afraid (again) that love won’t work out right…we won’t trust each other…”
In this writer’s opinion, a most cleverly penned lyric, indeed. Such a perfect representation of how, when cornered, we DO, indeed, act as we know animals do – scared and afraid – ready to flee in an instant, and certainly highly untrusting. I remember hearing this the first time, wondering if I’d really, REALLY heard it correctly. Well, I had heard them correctly, and I loved it. I even asked Palma about it – who GETS ideas like this? Palma explained, once again, that her process is – she sits and plays a chord on her grand piano in a specific key, and a “feel” and a “song” begins coming to her, and then she writes it down! Many times it’s the first-blush “epiphany” of the song we actually end-up hearing on the album. I think this is just an awesome thing.
So, this is another of Palma’s tunes where there truly is a lot going on in its musical composition. The outstanding Latin percussion is the “icing” on the cake” for this song. Honestly, Gloria Estefan would do well to record this powerhouse, as would many other artists that come to mind. Such quality lyrics – such an awesome beat and the musical prowess of Palma and the other players are just electrifying. Syncopation at it’s ultimate best, truly! Fred must have had a ball putting all THESE pieces together. Nothing overshadows another – everything is brilliantly crisp and clear. Just another dazzling tune that shows Palma’s creative genius at its finest!
I told Palma, the chorus of this song coupled with the incredible pulsing rhythm in my opinion would make an awesome “opening music” selection for a sitcom. Picture this sitcom: it’s about two people who have been hurt by relationships in the past, yet are together, though warily, and the premise of the show is that they understand “they’ve got to love again” and so they’re trying to do just that! I could clearly picture this in my mind the first time I heard the song. It would totally excellent. I tell you, this is one album gem that just so magnificently shines!!! Way good stuff, this.
WHAT THE OCEAN KNOWS – This song, I am told, is one of our composer’s all time favorites. The music has a definite feel of the familiar classic “Unchained Melody”, but goes beyond that one not only in its musical composition, but, as I’ve mentioned before, its lyrical composition, as well. Beautifully crafted….both.
The ocean, as we all know, is an extremely vast body of water with splashing waves and dangerous depths. There’s just a lot one can pull from when thinking/talking about the ocean, and Palma SO does. Her opening lines, accompanied by piano triplets and a very subtle low string are:
“…The horizon lines the sky, and it meets like you and I…How it knows how close to be without bleeding into the sea….” Mysterious, yes?
Man! Already the listener knows and feels the intensity of this one. There is no ambiguity in the lyric – our story is laid-out very clearly and precisely.
Instrumentation is kept to a minimum. Predominately classic grand piano sounds throughout this piece which has such dynamics associated with it. Interspersed in the fabric of the song is a languid sounding oboe, and lovely and mostly subtle strings. Interestingly, when the lyric “When it rains” is sung, the listener is treated to that soft, yet celestial crystallized sound, and it’s as if rain is coming down precisely at this point in the song.
“…wish I knew what the ocean knows…”
Verse two intensifies somewhat, driving home the lyric that much more.
“The horizon knows its place, and the sky has its own space…but my heart into yours flows ~ Wish I knew what the Ocean Knows…”
We hear a major swell in terms of orchestration during the bridge to drive the point of the lyric across to the listener. It’s a very personal read we hear by Palma ~ in her voice one can hear the depth of meaning to these lyrics. Simply a wonderfully, haunting song. I too, “wish I knew what the ocean knows.”
WHEN I SEE HIM – Another BRILLIANT tune. This, too, was actually written for a man to perform. (as WHEN I SEE HER, of COURSE!)
In my mind, this impressive creation could be labeled a Samba (which I think technically it IS) or a Bossa. It reminds me of the rhythm of Karen and Richard Carpenter’s treatment of Leon Russell’s “This Masquerade” albeit “When I See Him” is a bit peppier in its overall nature. Nevertheless, I am reminded of Masquerade when listening to this handsome offering.
The guitar in this number is vitally important and is superbly played for us by a young man by the name of Nick Russo. Nick lays down some wicked jazz licks that are hot and that so compliment Palma’s vocals. (see credits thread for more on Nick Russo).
Percussion plays a most important role in this enjoyable composition, as well. Especially noted by the writer is the sparingly added tambourine. It is used so cleverly that one does NOT really pay much attention to it, until it catches the listener’s ear. SUDDENLY, it brings a smile just to listen to how CLEVERLY and expertly each tambourine sound is actually played/hence, heard. Artful, this. Palma adds a flowing string line coming in below and augmenting the melody line.
Exquisite vocal “aahs” are used during Nick Russo’s white hot improvised jazz guitar solo, and those vocal “aahs” are the perfect sweetener to it.
“…I’ll believe him when I see him. When will that be? Maybe, never. I’ll believe him when I see him….and then, that will be forever…”
The bridge offers echoing vocals, a marimba and lovely strings. As the final verse is heard, we hear a cool contra-melody and Palma has fun with the vocal, here. Lots of resplendent strings, the wonderful jazz guitar, various other percussion instruments and that super voice all make this one another captivating listen. BRAVO. Exceptionally written AND performed.
OH, THAT I COULD – Piano and strings lead us into this pop masterpiece, augmented by an interesting sounding voicing that I will describe as bells (think glockenspiel-type bells) coupled with digitized strings. A most interesting sound, I must say.
“Oh that I could live, with such a love as this…and go on through my life and not have it for my own…” begins this lyric sung in a rubato fashion. Punctuating this melodious verse is the sound of a harp. So “heavenly” sounding – but kept very, very understated.
This marvelous production is one continuous build in its intensity from start to finish. The instrumentation, the vocal, (to which harmonious “aahs” come into play toward the climax of the tune) everything rises to an exciting conclusion and you know the curtain has fallen when this song concludes. It’s an intense production and urgency is clearly heard as Palma asks the questions within the lyric. Simply, Marvelous.
YOU THERE – A quite interesting piece – this one has a lot of techno-drums as well as something Fred and Palma came up with for the vocal echo’s heard on phrases like “You There” and “Don’t Stare”, and some others. These are timed-echoes and the first time through, they are single-timed. On some of the subsequent go round of this technique, the echoes are, just in a place or two, double-timed. Quite a nice effect, this. I like what they came up with – it’s very cool. It begins with synth oboe, guitar and a most interesting sounding gong. I had to discuss this with Palma, only to find out I was right – it is a gong, but not a typical one. It’s a synthesized gong sound, and it’s really radical sounding.
The story of this song is a familiar one – just give a read to the first verse:
“…You there! Would you like to tell me who you are? I don’t care…let’s just dance.
Game play (hah!) but for all I know, you’re using me the same way…
Would you buy a drink and take me home? Tonight I just can’t be alone…”
A familiar story, wouldn’t you say?
It’s a fun listen because of the myriad of instruments and vocal effects going on, besides the fact that it’s another beautifully executed pop song with a kick!
We really hear the “bells” clearly as the chorus begins. What a great accentuation instrumentally to this awesome tune. Of course, dynamically the build is gradual (and every once in a while, that funky gong sound is repeated). We’ve been shown quite a build by the end of the second chorus and we’re treated to a gorgeous modulation – love how it’s sung too, and not just played. We hear more of the piano, but continue with the techno sounds, as well. Palma throws in a great punctuating string line; in fact, we have lofty strings above what is, seemingly, a synthed string/guitar voicing, and a great soprano sax is added here as well. Such a “tasty” piece, this one is. Brilliant work! truly.
Over the past five months, I have probably listened to this CD more than 50 times, and certainly NEVER tire of it. It’s such an incredibly crafted album and every single song is an A-side top 40 hit in your writer’s opinion. The songs are placed in order so effectively, and each stands alone in terms of its greatness.
Fred Guarino is an ingenious engineer and co-producer, with Palma’s best interests at heart as he makes valid suggestions and helps Palma create these shining gems. He knows Palma’s work so intimately that he can make these suggestions that both know will only enhance the wonder of the music itself. The care Fred takes in his responsibilities is truly evident.
I give this CD all the accolades I can. It is, truly, masterfully done. The songs are written about love, with love and for love. I tell you, I hear some exciting nuance each time I listen. I can’t say enough about the stunning genius that is…..Palma Pascale.
Thank you, Palma, for ALL the incredible music.
