I would bet we've all been both In & Out of Love.... this CD speaks well to both sides of the coin!

Hello again, everyone!

I had thought at one time this would my last and final set of reviews for Palma’s amazing music, but alas, I was way wrong. The array of music I have now collected from our talented composer is quite extensive and just really wonderful. My next writings will be about the fun-filled, incredibly written musical, (yes folks, an entire musical) entitled WHAT THE HELL, NELL! After that, I plan to write about the second musical I’ve been treated to, which is 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, still, I am merely scratching the surface of the songs Palma has actually written! Her catalogue of songs includes, but is 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, again in colaboration with Fred Guarino. Palm 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 a bit more on the Engineer and Co-producer of In & Out of Love - Fred Guarino.

Fred is....let's just say.... they just don't come better than Fred. We have been corresponding for a long time, now, and he has been helping answer a multitude of questions for me. (Well....how am I gonna know...if I don't ask?) Fred is thorough, he is friendly and kind, he’s been most generous with his time, and he is sincere. I so hope to get to Long Island very soon to meet Fred and Palma – and to get to see the studio for myself! So, to you, Fred, I thank you for your patience and your follow-up with me. Your kindness is most appreciated. More than I can say.

Right, then! Allow me to begin writing about this specific CD by telling you that "In & Out of Love" and “I’ll Leave You The Music” were, at one time, a two-album CD. Interesting tidbit, yes? Fred and Palma had several 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.

Our composer adds her thoughts:
“…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, on we go, then…

“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 desperately in love with one another.

This lovely number 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 described can be heard in Palm’s vocals…such an incredible talent this is. To be able to relay what’s coming in the song just in the way she sings the song. I am reminded here a lot of Karen Carpenter. Karen could provide that same “sense” I'm trying to describe here, in her vocalizing. Wow! I really love this. The lyric continues: “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, thinks the best thing to do would be to get “out”, yet they continually ponder how they can stay together. Talk about conflicted……..

And, of course, the music is written perfectly to accentuate the vocal performance of this beautiful ballad. BRAVO!

“FREE OF YOU” – A good many things to be said here of this sparkling gem! Such a gut-wrenching lyric: “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.” This lyric is so cleverly stated, in my mind. Gives me an immediate picture.....don't you think so?

Okay, so 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 leave little, if any room for negotiation, folks!! The chromatic “climbing” of the voicings in the chords 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 Palm interjects such vitaly important elements is just mind boggling, to me. It’s done so carefully and 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 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 feeling she is very, very 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) of the vibrato in Palm's voice emphasizes the aching, sad sentiment of confusion, doubt, certainty, more doubt, and even MORE doubt. So beautifully sung….the song tells a tortured story and is true to the CD's title, In & Out of Love….all wrapped up in one song!

The gorgeous piano work, along with the soaring strings, two tags (repeats), and a ritard, drive home the reality that, 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 personal favorites from this CD. I say “one of” because my friends, there are several that I just truly love. I’m really all about 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 just take off and move! 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 simply has to hear to believe. This is actually executed using a synthesized keyboard. Oofah! 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 chock-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 of mine 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 once 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 lovely oboe line did just that – and set the melancholy mood for this one. Palm tells me she 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 enhancing 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, Palm 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 for 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 laments. The song is brilliantly written, and 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 from her. What a powerfully written song ~ both musically and lyrically. It really packs a punch in telling, unfortunately, 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 about this. Palm 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, here, to emphasize the “crack” in the mirror she sings of. Subtle at first, the string line begins the build on 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 short bit of bridge used that 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 keenly. I just love it. I've written it for you here in order to give you the full "flavor" of this super lyric: “…Baby you hate me if you want to...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. Being aware of some of its background, 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…”

As I've stated before, 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.

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 sort-of 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! It's 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 actually 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.

WE’VE GOT TO LOVE AGAIN – Hold on to your senses for this incredible work of art! This is probably my VERY favorite. (Okay...okay - I know…how many times have I said that about this CD so far…?)…..It's just that....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! Tada! Just like that! Many times it’s the first-blush “epiphany” of the song we actually end-up hearing on the album. I think this is really an awesome thing.

So, this is another of Palm's tunes where there 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. Yet another dazzling tune that shows Palma’s creative genius at its finest!

I told Palm, 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 masterfully crafted creation!!! 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.

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 This 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, hot jazz licks 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. Palm adds a flowing string line coming in below and augmenting the melody line.

Exquisite vocal “aahs” are used during Nick Russo’s sizzling, 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 sound, just in a place or two, like they become 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…”

Oh sure, you've heard this story before.....haven't you?

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 year (plus), I have probably listened to this CD more than 100 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 effectively, and each stands alone in terms of its greatness.

Once again, let me say that I'm of the opinion that Fred Guarino is a smart, quick and clever engineer and co-producer, with Palma’s best interests at heart as he makes valid suggestions and helps Palm create these musical marvels. Fred 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 of Palma Pascale.

Thank you, Palm, for ALL the incredible music.


Check back in Martini's Musings for updates, and commentaries to come on WHAT THE HELL, NELL!!! and Bachelor Buttons.

" I'll give you the gift I own, to be where I'm not....in the mind of the ear and the heart...I'll be there, although we are apart...."

Until next time, then.....
~Martini