"....There can't be one without a two....there isn't me without my you....Just ask anyone, they'll tell you we had it all! We were the lucky ones....BEFORE THE FALL..."

Hi everyone - Martini, here - I'm taking poetic license to again interrupt the story of Nell Stanley to discuss the Palma Pascale/Lou Coppola sensation, BEFORE THE FALL. (pictured: Palma Pascale)

Whew! What a great song this is. It's a sad story. It's a potential HIT single for the right person. It's AWESOME. It's a power ballad of the finest caliber.

It's the kind of song we would have heard Karen Carpenter, in her "basement" voice, pull off well , singing it with that dark, chocolate-smooth, rich gorgeous voice she had. It's the sort of power ballad Celine Dion would belt out in concert, or Josh Groban might tackle; it's a perfect vehicle for Martin Nievera, the Concert King of the Philippines to sing. It's just a beautiful, powerful song that tells such a familiar story.

BEFORE THE FALL comes in at 4:36. The song, sung from the vantage point of a lover who has just realized there has been a "FALL-out." Out of love, that is. The storyteller didn't realize her relationship was no longer the strong, carefree love it once was, that is....BEFORE THE FALL.

And so, Palma convincingly and cleverly composes a love-gone-wrong ballad that is heart wrenching, and the story is well-told.

Did you catch my opening lyric? "There can't be one, without a two.....There isn't me without my you..." ??? I love these. This is typical of a Pascale composition - these cleverly worded lyrics - the writer certainly has command of the English language, and she shows us this, consistently. It's these parts to the puzzle that are always my favorite - the lyric that is NOT ordinary, but unique, and the perfect ingredient to round-out an already "tasty" recipe of unrequited love.

"...Weren't we forever and a day? It should have always stayed that way...."

The sound of a single octave note E on the grand piano gets us into the rubato intro, where the initial question is asked by the soloist:

"...Why don't you tell me, what have I done? Where is the feelin' we used to be one...?"

The fact that the flavor of the tune begins rubato immediately sets-up an intensity level for what is to come in this song. Beginning the lyric with a question like "what have I done?" hooks the listener at once.

(hmmmm....wonder what DID she do?) We get to use our imaginations in this one - but it sounds like whatever happened, it was serious, and painful.

Lovely strings ease in to the mix after the first few measures, adding such a fullness to the piece, and just as we go into time, we're treated to the brilliant addition of a guitar, playing sparingly, crisply, and only on beats 2 and 4.

There is a chorus that is a knock-your-socks-off mix of piano, percussion, strings, and a pizzicato string line is introduced to put the punctuation into the music, that is heard in the lyric. The emphasis shifts from beats 2 and 4, to every beat, now, and the dramatic level is increasing as Palma sings:

"...What do I do, what do I say?.....How could you be slippin' away from me? Could it be?.... I can't imagine me alone...you're my life, and you're my only home...."

Musically, the chorus has built to a dynamic peak, and a string glissando brings us back to a final verse that ends with the repeated line, to include a tag:

"....We were the lucky ones as I recall.......Weren't we the lucky ones?.....BEFORE THE FALL...?

Obviously, ladies and gentlemen, WE are the lucky ones.....lucky enough to get to hear the awesome Palma Pascale/Lou Coppola power ballad, BEFORE THE FALL. It's a wonderful composition - its one that makes you think, and it makes you smile....and it makes you wonder. I love those kind, don't you?

Stop by again soon, for more great discussion about WHAT THE HELL, NELL! Until then,
I remain yours, musically,
Martini~

Photograph of Palma Pascale, courtesy of Frank Rendo

"...She brought shame to the name of Stanley - She brought grief to your father and me! I remember the night that your sister took flight with a scoundrel that we'd never seen..."

Hi everyone - Martini here. Back to reviewing the amazing Palma Pascale Broadway Musical, WHAT THE HELL, NELL!

The lyrics above come from the song "Shame To The Name" and it's sung "in character." This particular song comes from the "judgemental housekeeper" Lizzie, and is directed to Abigail, Nell's "devastated younger sister." Herein is another slice of the story of Nell Stanley and what has happened to her along the way.

"...There's a stain on the name of Stanley that your sister, God help her, should heed.....she will wind up in HELL (audible gasp from Abigail "Oh! Poor Isabel")...poor Isabel, indeed!..."

It's not a very long song - just 1:33. BUT, it's an important piece of this puzzle. It's a rubato tune, which is fraught, musically, with descriptive overtones - for example, it starts with only the first measure of melody played on what would have been the parlor organ (pump organ with pipe organ leanings, in terms of the sound).

As the chords are played on this organ, and the vocal line begins, Palma "rolls" the chords on the piano so as to have the "villainous" sound. Included are voices also "oooo-ing" harmoniously to the chords being played. We also hear a harpsichord being played, giving us a great change-up.

The song is in 3/4 time and is set in a minor key to the advantage of those of us listening, because we know, immediately, the song isn't just a happy little ditty.....the minor key alerts us from the git-go that we're dealing with something a bit more dramatic, and undoubtedly a bit "dark" in complexion.

Acting the part with her descriptive voice, Palma gives us the overall feeling that Lizzie is "Preaching to" Abigail, not just telling her a story. She is letting her know that her sisters have acted in a most despicable manner and that she (Lizzie) is far above either of them in terms of her "decency" and goodness! She goes on to tell Abigail:

"....Decent girls should have no pity......she was a victim of LUST! She was swallowed by the wicked city.....well, ashes to ashes and dust to dust...."

Oh yeah, she lays it on pretty thick for poor Abigail. Meanwhile, musically the story is being carried-out and continued by the instruments of the organ, harpsichord, and the "wind" playing behind the melody - voices in chords of "ooooo's" and the fun begins again when Lizzie sings (or rather, wails...at least at first:)

"...Oh the shame to the name of Stanley....Let her sin be a lesson to you. If the devil should knock (and of course, we HEAR repeated, frantic-like knocking on the door)....close the door (SLAM!)....bolt the lock (sound of the lock sliding into placed here).....Show them the Stanley's are tough! ISN'T ONE SISTER ENOUGH???? ..." I would just guess that Palm and Fred had some fun finding these little "noises" to add to the song. And just wait - it gets more fun as we progress through each tune. Coming up next is a piece I mentioned earlier, "The Fairest Flower". Wonder what that's all about, eh? Stay tuned.....

Enough said, yes? Well, for this time. I had hoped to write about the next few pieces, but they are intricate, and they have so much meaning to them, I want them to be savored, like a good wine! So, come back and enjoy more of the story of Nell Stanley, and of the power of the music made for the story. It's intriguing, don't you think?

Until next time, I remain musically yours,

Martini~