IT'S A FORTUNE, MAN - IT'S A FORTUNE!!!

Hello once again, and welcome back to Martini's Musings where you'll learn more about the magnificent Palma Pascale Broadway Musical, WHAT THE HELL, NELL! Yes, I am back with a bit more information about this incredibly fun melodrama, written and performed by Palma.

We have discussed the overall story as I have posted in two different blogs the entire spoken intro from "The Nell Sampler". The great thing about "The Nell Sampler" that I have not yet described to you is the underlying musical score that is used. "The Nell Sampler 'is just that; a sample of the various songs that comprise the entire score. An Overture, if you will. I enjoy the way the story is spoken during this "Overture" of music, and then how each separate song is segued into one after another, which of course, only serves to heighten the overall story Palma is speaking about, to us.

For example, when Palm begins ~ "...The story takes place in a simpler place and time in the Pennsylvania countryside in the late 1800's..." the accompanying music is the silent-movie-sounding instrumental of a song called "The Fairest Flower" heard later in the score. This is a wonderful spoof-filled song about the characters of the play. Just as is previously told to us, the piano underscore definitely signals the arrival of good, doubt, mystery and evil, as promised. This treatment continues throughout the "Sampler" which makes listening to the story a bit more intriguing.

The second song of the score, then, is entitled "You Know How It Ends." I was a bit confused about the reason this song was actually IN the overall score, and so, I asked Palma about it. I'm told that this particular tune was written later than the rest, as an "add-on" to the original score. It seems that the producers of the show at that time did not feel that the audience would "buy" the notion of just being plunged into a melodrama - that they needed to visit a "Victorian Theatre" and be "eased-into" the period. Seeing as how Palm had some doubts about inserting this song, herself, the way she ended up writing it was at least conducive to a bit more fun....She envisioned a "swing player" (perhaps the individual who played Hawkshaw) would come out as an MC, and dressed as such. Each character or set of characters, as they are described to the audience, pose in "tableau" or silhouette, ( as was the art fashion in the day). During this song, the audience, then, is invited to participate. The invitational lyrics are sung to the audience in this fashion: "...When you see Harry you "boo"( HISS, HISS, HISS) ....when you see John, you can "cheer" (OUR HERO).....If our Nell's in danger from villain foe or stranger, "whistle" so that she can hear !(whistling)...." It's during this segment that the tableau artists (which would be the cast) actually come to "life" singing the hisses, boos, and doing the whistling. Then, they return to their freeze-frame, and the MC would finish and the song would end. It's at this time, then, the true play begins.

This song is really fun and basically does the same thing as "The NELL Sampler" does, as this one tells the story, however, with its very own melody - a ragtime ditty that is engaging and well-done. Palma wrote all of these tunes with a purposeful melodramatic flair! So, they are amusing, much of the time.....but that in no way diminishes the brilliance behind the creation of the songs - on the contrary - it takes a very determined, genius mind, if you will, to do this correctly - which is why, this writer believes, that one day, Broadway will be alive with performances of WHAT THE HELL, NELL! Each of these tunes are expertly crafted, and so well done, that one literally knows the entire story of this play, just from listening to the 23 songs Palma wrote.

Following are the copyrighted lyrics to "You Know How it Ends:"

"...Good evening ladies and gents - welcome to a good old fashioned theatre event! Did you ever wonder where the good old days went? They're never really far away.

You leave your cares at the door - Step into a world that isn't seen anymore, where honesty is everything and virtue is king, and better still, they all sing at the melodrama music hall!!!

Sit back, relax, let me introduce the story, staring a cast of some old, familiar friends. I won't reveal anything to steal their glory - How could I, now - when you know how it ends?

Follow me, folks, as I tell you bout the old man - unknown to him, there is gold up in his hills. Black as the oil is the heart of Handsome Harry - He wants the oil, doesn't matter who he kills.

Then, there is innocent Nell - daughter of the farmer and entranced by the spell - Handsome Harry's weaving, as if you couldn't tell - there's trouble for this country girl. BUT to the rescue is John, out to save the heroine from villainous harm - He may not be quick but his intentions are good - he saves her just as he should, but not before the plot gets thick as soup!!!

Behind the scenes a detective known as Hawkshaw follows the bad guy around the shady bends......Guess who he is - have to watch him very closely - see if you can, since you know how it ends.

So, when you see Harry, you "boo" (HISS, HISS, HISS) - /when you see John, you can cheer! (OUR HERO)...If our Nell's in danger from villain, foe or stranger, whistle so that she can hear (whistle/whistle).

Now, if you will, I must step into my costume - playing my part as we all must do my friends. Life is a mystery, no one knows the answers, except tonight folks - it turns out right, folks - turn up the light folks, cause you know how it ends!..."

Layered within this honky-tonk ragtime delight, just like the finest chocolate torte, are various additional instruments and though they are heard only now and again, their presence spices-up this tune. From what these ears can hear, we have a tuba, a snare drum, a piccolo, a plucked harp, a honky tonk piano and a harpsichord, tympani and trumpets. PLUS, Palma uses her own voice as a back up vocal instrument, adding two, sometimes four vocal backing parts; lots of ooo's, and aaaaahhh's and in one spot within this number, where she sings "our hero", she does so just as an entire cast would, with all the harmony parts provided for us. How fantastic this is. This composition just wouldn't be the same without the little "one note here" or "one phrase there" instruments used.

One thing that I find so special about these creations is the thought that went into the instrumentation, and Palma's continued notion that "less is more" - a lesson well-learned from her when arranging my own stuff. She's so right - just to find the sweet spot that needs to be gently filled, and then filling it with the proper instrument. These songs, as I mentioned, are great fun - and many of them are intricate....though when first listening to them, one doesn't necessarily hear all of the intricacies.....which, in my humble estimation, is one reason they are so brilliant! The little technicalities are done without being obvious...a talent in and of itself.

Following "You know How it Ends" then, is a cleverly crafted hymn entitled "The Righteous Road." I fell in love with this little beauty on my first hear. Recall that we are told "...It was at a time in America when there were strong family values, a strict moral code and an adherence to tradition. A line of demarcation was firmly drawn..."

"The Righteous Road" sets the tone for the aforementioned strong family values and strict moral code. It begins acapella, with instruments added at the start of verse two. By the important but fun lyric, one immediately gets the impression that the folk in this little town feel pretty proud of themselves for being on the "good side" of living, and that they feel others should, perhaps, follow their "good" example. Lyrics such as "...In our small community - we all walk as family - what a happy world t'would be - if everyone would do as WE!..." Ha!

The chorus of this one is beautifully sung in four lovely parts, with both dynamics and more fun highlights by the chosen instruments.....at first, only the sound of an organ is heard. It sometimes sounds like a Pipe Organ, while at other times it sounds like a Hammond organ. Palma effectively uses Vox voices to enhance the choral arrangement, and muted trumpets are eventually added as well. The following instruments are added: Orchestra Chimes, and a bass of some sort. Then there is the addition of an instruments that sounds as though it's been "struck", much like a cowbell might be, only the instrument is quite muted to give it a slight "thud" sound rather than a resonating sound of any kind. This is played only a couple of times, max - but it's neat. This organ is used minimally as the vocalists are the real instruments in this harmonic treasure. Drums are used, again quite sparingly but with great result, as well as chimes played in all the right places for maximum effect. Interspersed at varying points within the song are spoken parts, complete with sound effects. First, we hear a "hammering fist" on the door and a shout from Handsome Harry Howard of "...Let me in you old miser..." to which farmer Stanley replies "...Away from the door you thief!..." (such fun!) From here, the melody repeats a verse and a couple of choruses which build musically and lyrically, as well. Here is where we hear a drum roll, taking us into the last chorus with a bit more dynamics. The orchestra chimes are used here, too. The last note of this lovely prayerful sounding (but humorous in its lyrics) hymn ends with THE most dissonant organ trill, and the dastardly words of Handsome Harry Howard: ".....die your miserable wretch..." followed by evil-sounding laughter - (and another cast member then interjects - "The plot THICKENS...") Whew! ...... Oofah!.......Great Fun!!!

No...I won't leave you hanging here - let's discuss at least ONE more in this blog. The next song in the score, which I just enjoy every single listen, is called "The Fortune Song." I mentioned in an earlier blog that Palma sometimes took just one word or phrase, and out of it came a song. It boggles me how one knows where the most effective place for a song would be, but somehow, she knows! And, it's brilliant! As I recently read the play, I found only one place where Harry actually verbalizes "It's a fortune." Hence, Palma picked up on this declaration, and out of it came this song.

"....Pssssst.....(what?)......ssssssshhhhhhh!!!" - are the lyrics that begin this cleverly penned song - the dialogue is between Harry Howard and his sidekick, Slade. The song tells the story of Harry's knowledge of the oil on Farmer Stanley's property, and his intentions to steal it from him - no matter what it takes. It's quite obvious that Harry wants help from, and to involve Slade in his dishonesty - as he feels Slade has just the right amount of "rotten" in him. Harry decides to trust Slade with his intentions and he wants Slade to help him carry-out his scheme. "...Keep the secret, Slade - and you will be well paid...."

The instruments used in this song as far as I can discern from listening are: an accordion, strings, a Harpsichord, and a Flute (that does dynamic trills to heighten the story being told) along with clapping hands and snapping fingers.

A little subtly done thing I wanted to just mention is but one way Palm uses the instruments she chooses - and how she lays-out their parts so as to constantly keep it interesting: A simple thing like playing an interval of a fifth from the high note to the low note in one phrase, while after the very next phrase, that same fifth interval gets played low note to high note. Less careful composers might not think this simple thing would make a difference, but I can tell you, it certainly does. I just love to find these little wonders within the music, to share with you.

Continuing on, do you recall Snidley Whiplash from the cartoons who always tried to tie the maiden to the train tracks only to be thwarted by the good guy Mountie Dudly Do-Right? Well, this music immediately brings to mind good old Snidley and his handle-bar moustache. The music captures the very essence of our villain, Handsome Harry Howard - not only in the melody itself (which is just so amazing), but in the actual TIMING of the notes, used. That is - one could use these same notes, but without the correct villain-like timing to the notes in the melody, it could sound like any old song written in a minor key.

But, this one is clearly all about the villain and it is obvious again, not only lyrically, but musically. WELL DONE PALMA!! Such a fun listen. Ms. Pascale is quite an actress, herself, as well as the ultimate songstress - her ability to act (just by using her voice) while making this CD is one of the keys to making it so superior to the works of others.

Of course, choice of key, be it major or minor (minor in this case) and choice of instrumentation are both vital in making the song authentic sounding - chosen to be predominent in "The Fortune Song" - a marimba along with the piano. It's quite effectual for playing those trills, or rolling octaves as one would expect to hear in a song about a villain.

Toward the end of the song, as Harry recalls "...When I was young and wild, I sired a female child..." who he shared with poor late sister Isabel Stanley, Palma adds the Pennywhistle, or some form of a fluteaphone sounding instrument. As is typical of her writing, the whistle or flute is subtle, and again, unless you are listening specifically for the instrumentation, you might miss hearing it; it is there, nevertheless, and most effecatious, as it was meant to be.

As the song progresses toward its end, the instruments are raised a well-founded notch, bit by bit, helping keep things interesting and fun.

The wind-up start of the last chorus, taking the listener from a quite slow start to an ever faster tempo, along with a prudent modulation here, gives this song that extra bit of pinache! As it literally races towards the last note, it has you, the listener, with mind racing, too - wondering just what happens next! Palma adds some strings within this whirling last chorus and the glissando at the very end provides the perfect finish! I find myself smiling broadly, and sometimes laughing out loud after each listen. It's as if you can "see" the characters playing their roles, as the music and lyrics are that masterfully done. BRAVO!

Next blog, we'll discuss who brought "Shame to the Name" ... of Stanley.

Until then, I remain musically yours,

~Martini