Hello Everyone
It is with pleasure that I now post the first set of Reviews for Palma Pascale's The Broken Cup. This particular CD has been a constant source, especially of late, of wonderful inspiration and healing. I present to you the reviews of Palma Pascale'sThe Broken Cup.
Reviews: THE BROKEN CUPBy: Timothy J. San Paolo
THE GENTLE VISITOR
This is the first selection on The Broken Cup. The first six measures are the intro, and they immediately grab the attention of the listener because of the beautiful, gentle method in which the intro is played. This six-bar melody concludes with a luscious chord suspension in the final measure.
These six measures are, in and of themselves, a prayer. This intro gave me a visual of a glorious day at sunrise, and I picture the Lord clearly, standing in silhouette at the edge of a beautiful meadow and, as the sun rises, His arms become outstretched and lifted up towards that beautiful sun.
The music is so lovely that this visual was just automatic! It’s as if the song were written for the opening credits of a movie. The intro, alone, has that “chill factor” for me, and I immediately knew what a wonderful listen had to be in store.
I was NOT disappointed.
The lyrics tell such a true story and it is thoughtfully penned. Palma sings the beginning of this song softly ~ meditatively ~ as if she is quietly explaining the how and what of the story. Many times words are whispered to add exactly the correct emotion ~ to make it prayerful, and powerful.
The message itself is one we so often take for granted, and ofttimes need to be reminded of: He is THERE for us, ALWAYS ~ we only need ASK and when we do, our needs are met without question and without the need to do anything… except ask.
The orchestration chosen for this opening number is simply, outstanding. The melody is so incredibly moving, and when embellished by the graceful movement of the strings, becomes quite stirring.
I love hearing suspended chords…just moves me if they are used correctly…there is one in a particular spot within this song that just knocks me over each time I hear it. That spot is actually a replica of the intro, yet adding the lyrics…well…I find it a bit “haunting” for me because I relate to them so well. They are: “Jesus, I left you standing; I apologize to you…” The suspension and resolution occur on the word “you” where, dynamically, we hear a bit of a swell leading up to and including the word “you” ~ and as the chord resolves, so too does the swell – it’s truly breathtaking!!!
This song is relatively short in length, yet it is fraught with meaning and it sets the tone for this incredible compilation of praise!
Kudos Palma! Well done!!
HEAL ME
As you begin to listen to this wonderful, minor-keyed melody, close your eyes and picture the Tuscan countryside. The voicings of the chords and the instruments chosen, lend themselves to a style that is reminiscent of a European influenced composition. The lone oboe certainly adds to this feeling.
One reason I was immediately drawn to this lovely song is because I so instantly related to its message. I thought to myself while listening to these powerful lyrics how many times I have ended-up having not only been in the same state of mind as described (i.e., lonely, empty, etc.), but also with the same questions (can I be heard? ~ Can I be loved? ~ and most importantly, CAN I BE HEALED???). I related INSTANTLY to this message of every day struggle. YET, we also know our questions are rhetorical and we ask them only out of desperation and to find affirmation as we already know and have the answers, all. “…You are my God ~ You are my healer ~ All earthly cares do I yield…”
The smooth, emotionally-charged rubato melody line and accompanying chords leading to the phrase “all earthly cares do I yield” provide that ultra “chill factor” that simply cannot be denied. This is quite a powerful transition point in the song.
Simply put, the song is strong; it’s enormously moving…. and the chosen orchestration is rich and lush, yet not overdone whatsoever. Palma’s voice is strong, sure and true. With her voice, she is capable of conveying the emotion of the lyric so clearly and strongly that the listener finds themselves COMPLETELY immersed in her story.
This song will truly lift your heart as you experience the exceptional musical composition and the story the lyrics so gently tell. What anawesome creation, this!!!
GET UP ONE MORE TIME
“Oh God, I’ve made a mistake…” begins this 1950’s styled girl-band doo-wop influenced tune, set in what I call a 4/4 time, triplet-feel rock ballad. (For a comparison of the “feel” of the song, think “House of the Rising Sun”).
The song is a gutsy-sounding ballad that, musically, has a rhythmic drive of intensity. It’s somewhat “blue-sy” and coupled with the lyrics makes for a wonderful listen. The lyrics are compelling. Again, these lyrics speak to our every day struggles – that is, it basically says “Oops, I’ve messed-up again, God – how many more times do you think it’ll take until I get it right??
Quite cleverly written by Palma, these lyrics are basically a conversational-type prayer, one that captures the listener’s attention from the very first statement. This just adds another striking dimension to the song.
The song begins with a one-note string line softly working up to a nice level volume, setting the initial mood…and then the piano comes in with a riff that is repeated until the lyrics begin. Once they do, there is still an intimacy of just the piano, vocals and skillfully exiguous drums, which are played by Palma’s best friend from college – Robert “Sticks” Levy. (Robert provides the drums throughout the entire CD). Musically, the build is brilliant. Palma goes, then, from this grouping and gradually adds first that lone string line back, then bass and a fuller “trap” sound. The vocal harmonies parallel the build in the music! Keeping it on the simple side here, allows for dynamics to be more appreciated towards the end. I really love the way Palma purposely holds back on the notes while singing this tune – it’s a technique not easily done – one must have a great feel of just how long to hold-back these notes for effect – and she does it wonderfully, of course. By the time the chorus is sung, the fuller of both instruments and vocals are evident and the listener feels satisfied that they are now fully immersed in the song. Yet, surprise! We’re treated to the sound of a Hammond B3, Leslie, which increases the intensity level by one more prudent notch. As you can hear, the song completes this course, building nicely both vocally and instrumentally until the very end. But Palma isn’t finished building this masterpiece…not quite yet.
First, we have a key change and the modulation serves to add even more intensity yet, but wait…. wait…. wait…MOVE OVER TONY PELUSO – STAND ASIDE DAVID GILMORE! Make room for Palma’sEXCEPTIONAL recording engineer and album co-producer, Fred Guarino, who takes a turn at a bit of lead guitar solo work, here. The solo actually reminds this writer in a huge way of the history-making Peluso solo in Carpenters “Goodbye To Love.” Fred’s execution of this solo is very tasteful and it’s right-on the money. The feel he gives this solo embellishes the song and is the perfect bit of “icing on the cake” so to speak. (Fred Guarino is the President and Owner of Tiki Recording Studios in Glen Cove, Long Island, New York.) This solo is awesome, Fred. Incomparably well done.
The lesson we are reminded of in this song is one of hope and courage. One wonders if the song is simply a sad ballad at the beginning, but it ends-up being a “feel-good” song all the way. I guarantee that as the listener, you will be smiling by the end of the tune and thinking to yourself “how’d she NAIL my thoughts so well?”
BRILLIANT, this!
DID YOU TALK TO HIM TODAY?
Palma uses a violin with the piano to set the tone for this song…not a sophisticated string, rather the distinct sound more of a “fiddle.” Here, the intro is simple and understated – it almost has an “anxious” feel/sound, to it.
As the lyrics begin, we hear only vocal and piano. This time this conversational piece is between vocalist and listener, yet, give it a close listen because it’s quite introspective as well – the vocalist is asking herself the very questions she poses to us.
Lyrically, this awesome tune is thought provoking, but in a very down-to-earth, most understandable language. Palma does not attempt to be “flowery” or to use big words in her songs. She writes these lyrics with her heart, and that shows, because that’s the place they touch us as one is listening to them. “…Did you talk to Him today? Did you say what’s in your heart? Did you tell Him of the things that are tearing you apart? Did you think to ask His help? Well, you know you really could…He is waiting on the way – did you talk to Him today? Well, you know…you really should…”
The rubato first verse is so lovely and thought provoking – slowing at just the perfect moment in the message as to give the listener an extra bit to consider. It’s chilling, and effective.
As Palma works her way into the bridge of the song, we hear a beautiful, though oh so slight ritard along with a wonderful crescendo of cymbals. With voice doubled here, Palma’s two-part harmony is a lovely embellishment from the verses. As the chorus progresses, we hear an even more pronounced ritard and build of the music to include not only the crescendo of cymbals, but wonderful deep, powerful tympani, bass, strings and other instruments as the chords of the song take a new direction to enhance the remainder of the section even more. It’s another chill factor spot that can bring a tear to this writer’s eyes because the music is packed with emotion and that emotion is easy to recognize and to react to! Well done! Outstanding!
Verse three provides an arpeggio-type piano rhythm that is beautiful and gives the listener the “release”, if you will, needed from such a dynamic experience while listening to the bridge. Palma gets to a “whisper” stage on some of the words in this verse and the result is pure magic…. genius!
It sounds to this writer that a soft oboe is used to add to the drama of the closing few bars which turn out quite nicely. A fantastic song from start to finish!
THE BROKEN CUP
A delightful complete change of pace here as we listen to an oboe along with a classical, unplugged guitar providing the intro and setting the mood to this, the title song. The delicate strumming of the classical guitar as performed by Mark Newman, provides a perfect backdrop for Palma’s voice on this song, either by itself, or with the addition of the oboe and strings, as each are introduced in turn to continue the build of the song. Though the melody is light and flowing, don’t be fooled and take this to mean the song is “fluff” or “filler.” Its message is very profound, and that cannot be denied.
Mark’s guitar, to me, gives the song the slightest flavor of a Spanish-styled number, though that mostly rings true during the solo part rather than throughout the entire piece. A very nice, way different feel, overall, with this beautiful ballad. Haunting melody and lyrics, each. KUDOS! Exceptional.
THE LOVE LETTER
Palma duets here with good friend and world class bel canto tenor, Gary Jerome. This piece at first makes me think of a children’s story – a bible story, perhaps. If you will, both music and lyrics have a sweetness to them – a lightness to them. Palma opens with “…Long time ago on the ocean sand, a letter was found by a lonely man…” We then hear a beautiful flute that makes one think of birds flying over the water – yes, this scene is definitely set for those of us listening – set by the music, itself. As Gary begins to sing along with Palma, he comes in as the “voice of God”. What a perfect match for what I have imagined God would sound like when singing – Gary’s marvelous voice is, of course, very polished – very trained, very studied, quite beautiful and very, very strong.
The feeling changes as the duet begins and the song’s dynamics change, as well. Suddenly, in my mind’s eye, the “lights have gone down and the curtain of the play is opened” and this beautiful song sounding as though from a Broadway production, is being sung. I picture the roles played out in full costume to the story being told. Very dramatic, indeed.
Verse two reverts back to our children’s story sound – Palma’s use of instruments lends to this feeling – this portion is, simply, a more intimate reading…UNTIL the bridge where we are again transported musically and lyrically to the drama of the play. Orchestrally, the verse plays again, but the music does not revert back to the “simpler” sound – rather, the intensity continues to grow throughout this instrumental break and by the time the vocalists resume their singing, it has build dynamically to more of a fever-pitch! First, we have a ritard to build the fervor, then we hear Palma continue to sing the melody, while Gary has begun to do what sounds like an “improvisational” harmony, if you will – it sounds as though he is so wrapped-up in the intensity, ministry and emotion of the song that he has become inspired to sing a contra-melody that beautifully enhances the melody line Palma is singing. It’s quite intense. The song’s story has such a glorious point, too – no matter if there had been only one soul – just ONE, God would still have sent His only son to live and die for him/her. Chilling, don’t you agree? BRAVO!
THE GOD WHO LOVES ME
Ever heard Shania Twain’s CD “Come On Over”? The way in which Palma sings this marvelous upbeat rock/gospel song made me think immediately of Shania and her song interpretation of that lead track,Come On Over.
This song is killer…it rocks in glory to the Lord. The words say it all – “I’m always amazed You’re the God who loves me – loves me like no other.”
Palma belts this one out for us, folks – her voice is so strong and clear and the pitch is, well…..perfect! We have more great guitar on this number, too. Guitarist Mark Newman displays a great deal of taste as he accompanies Palma’s vocals. In fact, it’s Mark’s guitar we hear in the intro – just outstanding, Mark. Completely tasteful and soulful. Thank you for your contribution here.
I have attempted to sing this one, myself. NOT an easy task, trust me when I say tell you that! Palma, however, delivers it beautifully and seemingly, effortlessly.
There are times I hear a country inflection within the song, yet it’s definitely a rock-influenced gem. I love the way
Palma plays 8th note chords on the piano for emphasis and to change things up on the bridge, and then reverts back to that laid-back rock feel, once again.
I enjoy the harmony voicings Palma uses in this song. They’re not three-part chords, rather just intervals that work perfectly – that make a real impact. She told me before, “simpler is more.” I suppose she proves that quite well with this tune.
Let’s not lose sight of the message, here. Though the music and this arrangement is unmistakably outstanding and will bring the listener back time and again just in order to experience the great feelings one gets while listening – the MESSAGE is so important!!! In a nutshell, it is this; “Lord, You have given me so much – everything I have comes from YOU – and I stand amazed that You’re the God who loves ME!” WONDERFUL song, indeed.
LET ME INTRODUCE YOU
This gentle, melodic, rubato composition captures the listener from the get-go. We find ourselves once again the audience of a story being told about the “man” that Jesus was while on earth. The feeling, the emotion that Palma sings with is so “raw” here – it’s incredibly melodic and beautifully orchestrated. She sings softly, almost in a whisper in places, yet in others, an incredible yearning is evident. It is apparent the vocalist longs to “share” with her audience not only what this “man” has done, but what He continues to do for all of mankind. And in particular, for HER, our composer. It seemingly becomes quite a personal message and it is most touching and moving – on many different levels.
So far, this song is completely different in style and arrangement than any of the others have been. In fact, each song to this point has a totally different sound and feel (via the instrumentation chosen and the way the vocals have been sung, both the melody and the harmonies). All of the music is composed, arranged and played by Palma, herself – with the exception of the guitar that Mark Newman contributes, and the drums, played by Robert Levy. Otherwise, Palma uses various computer generated sound samples, played via keyboard. Fred Guarino, as her engineer, provides the various voicings for Palma to choose from (“Fred Tools”, as Palma affectionately refers to them) – Palma tells me she does not actually write out her vocal harmony parts but rather does what comes naturally to her and she “hears” them, then creates the vocal harmonies “as she goes.” What an INCREDIBLE talent this takes, ladies and gentlemen…what a creative, energetic, FOCUSED mind this takes to be able to record in this fashion. BRILLIANT – simply, Brilliant!!!
STANDING ON THE SHOULDERS
What a wonderful tune this is! This one is very different than any of the others on The Broken Cup.
We are first introduced to a wondrous pan flute type of voicing, described by Fred as a “World Ethnic Low Whistle. It’s very sort-of tribal sounding. And then the percussion is introduced – this was a pre-fab drum sample Fred and Palma found in the “deep-dark recesses.” Palma’s voice is doubled as she sings the opening chorus:
“We are standing on the shoulders of the ones who came before us~
True believers in His glory – righteous armies, noble chorus.”
Mostly set in a minor key, as the first verse is introduced, we are treated to lovely strings, piano and mysterious sounding drums – not as heavy as on the chorus, but with various accents added in for a wonderfully surprising effect. And suddenly, a crescendo, like a blossoming flower into a beautiful major chord, accented with harmony as Palma sings the words “round the throne of Jesus Christ.” (Glorious, this). Here, that all-too-familiar “chill factor” comes into play. What a truly lovely change-up, here.
On the second chorus, Palm is joined in singing by a small group of Franciscan Brothers who, coincidentally, happened to already be in the studio on the evening that Palma recorded this song. Taught their parts there on-the-spot, Brother Paulus M.T. Antz, Brother Augustine M. Conner and Rocco Musmeci sang as though they had been singing this song all of their lives – with beauty and with grace. I’m reminded here of monks singing at a “Vespers” service – all together, and of one voice. Palma, meanwhile, adds a touch of harmony here and there, vocally, and the chorus makes quite an impact.
As the song progresses, there are various added touches with strings, piano, and Fred Guarino adds a wonderful bit of guitar to this number, rounding it out nicely, along with drum rhythms which are layered to enhance this beautiful number. It sums with the wonderful addition of occasional “chimes” throughout the last chorus as well as the most regal sounding, ultra-crisp strings.
This composition is unique in its structure, here. It stands alone in its reverent beauty. What an astonishing talent our composer has been gifted with….and she uses the gift, so well.
DON’T BE AFRAID
Ah….one of my very favorites. Simplicity at its finest – rich with texture. Palma makes this song sound simple, though it’s far from that…however, that IS the idea – she even takes the vibrato out of her voice to keep it pure and simple…the pattern of chord changes are so incredibly gorgeous. I’m not sure how, exactly, to describe it – but Palma takes us from this very soft, pure beginning and as she goes through the verse, the non-traditional chord progressions makes one breathe a bit faster – listen a little more closely – smile a little bigger. Then, it repeats….same thing over again – piano, voice and strings – it is to moving that the listener finds themselves wanting to know just what’s coming next…..to me it’s like watching an intense, colorful sunrise – rising – rising – until finally that sun (“son”) finds the perfect spot in the morning sky…and it’s glorious! Majestic! Palma includes “chimes” as we reach the pinnacle of the song, which just adds so much to that “moment.” Incredible.
Suddenly, as the ritard begins – the dynamics begin to soften, and one hears the words “you will not fall” and then we’re back to the simple, pure portion of the song, as it was in the beginning. Palma reduces the vocals to a mere whisper, to give the listener a true feeling of “sweetness”. Of course, the verse builds dynamically and there comes an even grander point in this verse – Palma sings it so clear and strong – the message is so vital…..and suddenly, yet again, we’re back to that stillness……that simplicity…….that pureness of a soft, lovely voice who so awesomely states the main theme of the song….”Don’t Be Afraid.”
Chilling. Awesome. Inspiring. Poignant!!!
THE SEA OF FORGETFULNESS
“All your sins are in the sea of Forgetfulness, where He washes them clean….All your sins are in the sea of Forgiveness, as if they never have been…” What a lovely sentiment, yes? This is a flowing song in 3 / 4 time. Palma has chosen an electric keyboard for this number, written in a minor key. Embellished initially by a soaring flute, strings and drums, the message comes across softly, sweetly, yet powerfully. Palma has a way of doing that in her songs. I’m especially partial to this song as she introduces an accordion sound – which to me gives it that European feel…as if one were sitting at an outside table on a Piazza in Florence, listening to the song being performed. What a “wow” lyric this beauty contains towards the end in referencing forgiveness. Palma gives this lyric that neat little spin – you know the one – it makes the listener “think” a bit as she sings – “…it’s there for the asking – and that’s all He asks of you….come to Him…” All I can say after listening to this one is “WOW.”’
GOD’S HANDS
This is the first composition from the Broken Cup that I chose to record. It just happened to be the first one that really just knocked-me-out when I heard it for the first time. I knew immediately that I wanted to do it at the church where I play, as I loved the bouncy style in which it is done.
This song to me says “old time gospel.” It has a country flare – beginning with the steel guitar sound in the intro, but a rock sound, as well!! Definitely a “gospel” feel to the piano work. Mark Newman’s awesome guitar, rather than emphasizing beats one and three, emphasize beats two and four – pure fun! Then, in the bridge, the bass line starts “walking” and the tune really swings. This walking bass gives this section a definite jazz feel, and that makes a HUGE difference in the overall composition. It’s so tastefully done – such a fun song!
Personally, I’m one who very much enjoys hearing suspended chords, when used correctly, and I’m a big fan of the major 7th chord, as well. Palma likes using the effective suspended chord and the major 7th in her arrangements. The suspensions definitely appear in this song – and they are placed so strategically, and they sound so COOL. I just love listening to this great composition.
Palma builds her verses vocally by adding first one, then two additional harmony parts. Remember, “simpler is better.” She uses this to her best advantage in this song. I love the backing vocals overlapping the main vocals on the phrase “God’s Hands will never let you fall.” Very, very cool!!!
The bridge is excellent …It’s just a couple of lines – but it gives the song perspective. It gives the entire tune a bit of pizzazz, so the song doesn’t just repeat and repeat. It has this wonderful “extra” in it. Plus this helps to build the song, because in the last verse, we have more – more instruments – more voices – more fun.
The reason I gravitated to this song first, however, was NOT because of the music, at least….not entirely. It was the MESSAGE. Such a positive, upbeat message. I just love it…it’s so cleverly penned, and it’s so absolutely true – passages like “How do we fit??…Can’t imagine……….How does He do it??..I can’t fathom….I suppose that He must have the greatest hands of all – God’s Hands will never let you fall…”
Isn’t that a neat way to write that sentiment?
BRAVO, BRAVO, BRAVO. This one is a kick, and I love it. BRILLIANT, this.
ENOUGH GRACE FOR TODAY
Another in 3 /4 time; and simply a wonderful song. I’ve sung this one as well, and will record it, soon. The message is so strong – and when I sang it, I got comments like “Hey Tim, if I were to call you during the week, would you sing me that song….as a reminder?” and “Thank you for singing that song, because I needed to hear that message today.”
So you can see that lyrically, it’s powerful. Very powerful. The message is one of those that I feel Palma is best at describing. She tells it like it is in most understandable terms – (paraphrased) “Lord, I’m looking ahead and I’m scared to death – I just don’t think I can do it – I look behind at where I’ve been and I regret so much….but then You so gently remind me I am Your child…therefore, please help me to remember I need just Enough Grace For today…”. Indeed.
Musically, the song is another wonderful piece. It has a beautiful melody line, and before you know it, you find yourself singing along… The “hook” is memorable, just as it should be. The harmony parts are so nice – not overdone whatsoever, but just that simple, lovely flow. The music is the same way – the instrumentation is gorgeous – and the modulation at the end really adds a great deal to the overall composition. I like this song very much, as I’m quite partial to the message, and need to remind myself not to ask for a lifetime of grace – as all I really need is “just Enough Grace for Today.”…Thank you to our composer extraordinaire for this wonderful song.
MAKER OF ALL THINGS
Well folks, here is another “girl band” rock song, though I’d call this one straight pop/rock rather than doo-wop. This one is so great. If I had to liken the “sound” of the song, I’d choose a 50’s song called “It’s My Party” by Leslie Gore. Leslie was a great singer, and I’m reminded of both her style, and the type of music she sang with this number.
It’s a classic pop/rock song that gives the listener a lot of bang for the buck, so to speak. Again in this song, Palma gives us a fine vocal that is so strong and clear and just wonderful. Fred Guarino plays guitar, as doesMark Newman, on this one. Lots more questions that Palma is seeking answers to in this song. I love the line “…I heard there was some good news ~ I could sure use some ~ Lately, everything’s bad news ~ think the end’s about to come….”
Now, isn’t that the truth these days? Just turn on any newscast – you’d think it was Armageddon!!! The war in Iraq – the pending war in Iran – the current battle in the Middle East – rapes – murders – missing children, suicide bombers. You name it; it’s happening – daily. It just never ends.
This song is sung with a confidence that takes the listener to a safer place – knowing everything is going to be okay because of the love of God.
Palma uses that 8th note piano riff again in the bridge of this tune – emphasizing what she’s singing – it underscores very important vocals, here…and the point is well made. Then, as the bridge ends, we hear a wonderful “echoing” of vocals.
There is just a bit of overlap in the same words, repeated, and it’s just such an energized, fun listen. I think this song is perfect as the final song of the CD. It’s upbeat – it’s kicking, and it rocks! To me, this one sums up all the parts and makes them whole. BRAVO! KUDOS! BRILLIANT! OUTSTANDING…..all !!!
Writers Notes: I am of the opinion that Fred Guarino is very, very talented, not only as a guitarist, but for the unbelievably great job he’s done as the engineer and co-producer of The Broken Cup. Fred is responsible for recording and putting together all of the pieces Palma composes, sings, plays, etc. I give Palma, the Producer, and Fred, the Co-Producer HIGH PRAISES for the result of this amazing compilation. Add the wonderful drums of Robert “Sticks” Levy, the overwhelmingly beautiful tenor ofGary Jerome and the exciting talent of guitarist Mark Newman, and wow – you’ve got quite a wonderful set of musicians on one CD.
