ROSALIE CUNNINGHAM

Facing the music of the multi-instrumentalist Rosalie Cunningham implies - if what you are looking for is simply to enjoy music - adopting a position away from that small tendency of some people to reject any type of proposal that does not 'innovate' or that does not have some surprise factor that can differentiate it from ordinary music. Mainly because Rosalie Cunningham accumulates a lot of influences that mostly come from the 60's and 70's of which I would like to highlight the following: acid guitars that seem to be a combination of the hardest moments of Jethro Tull's Benefit with the first Black Sabbath albums; the Psychedelia of groups like The Beatles or Cream; and small flirtations with the forms of classic Prog, all wrapped in a gothic aura and cabaret music. Adding to all this the fact that the songs are usually quite accessible and without any pretentiousness.

I can only recommend listening to this knowing that, like other nostalgic for bygone times - like Mikael Åkerfeldt - who seem to enjoy making the music they always wanted to hear, we can only judge music by its quality and ability to move us, although its sound seems very familiar to us and we have heard it a lot of times and through more well-known or iconic bands.

Theatrical Prog Cabaret of the bluesy-sultry raven form.

1. "Start with the Corners" (2:45) (8.25/10) 2. "Donovan Ellington" (5:39) sunny, silly story. (8.5/10) 3. "Donny, Pt. Two" (3:39) (8.5/10) 4. "The War" (0:54) I gotta admit, she's entertaining! (4.5/5) 5. "Duet" (7:25) Rosalie's vamp version of "Monkberry Delight"? Definintely some "look at me" story-telling. (13.25/15) 6. "Tristitia Amnesia" (7:08) very unusual theatric song. (12/15) 7. "Scared of the Dark" (3:35) Rosalie's QUEEN "Killer Queen" tribute (8/10) 8. "God Is a Verb" (1:34) the music is just a vehicle for Rosalie's clever lyrics. (4.25/5) 9. "Suck Push Bang Blow" (5:09) This is the Rosalie I remember: raunchie blues-rock á la Alannah Miles "Black Velvet." (8/10) 10. "The Liner Notes" (6:34) Rosalie's rip off of VAN MORRISON's "Moondance." (/10) 11. Number 149 (4:09) * 12. Fossil Song (4:43) *

Total Time 53:14

* bonus tracks (not on LP)

I admit that the songs are cleverly constructed, the theatric vocal performances riveting and cleverly written, I just don't like blues-rock! And I don't like such blatant rip offs of other people's hits.

B-/3.5 stars; rated down for not really feeling like prog and too much "borrowing".

Rosalie is back!

Her first solo album was excellent, but here on her second, I feel she has outdone her previous masterpiece, [b]Purson[/b] [i]Desire's Magic Theatre[/i]. While her self-titled solo debut is beautiful and superbly crafted, on this one she has re-energized her progressive leanings with a vengeance.

Her wit and whimsy are still on full display here, and I would say even more so than on DMT. I am tempted to mention my favorites from her lyrics, but I think each listener should experience the joy of hearing her words by listening to the album themselves.

Every track is exquisite prog, and Rosalie manages to create perfection in every style she weaves into her compositions, be it symphonic, jazz, honky-tonk, and even a Beatles-like raga. Speaking of which, [i]Tristitia Amnesia[/i] absolutely blows me away, starting with the above-mentioned raga, and seamlessly escalating into an amazing psychedelic rock finale.

I've mentioned this about her previous albums, but I find that Rosalie is one of the few artists whose albums consistently make me feel like I did a half century ago, when I would come home with a pile of records and find some that would send my mind soaring to new places. In simple terms, her music makes me feel young again.

Since hearing "Desire's Magic Theatre" back in 2016, I have been infatuated with Rosalie Cunningham. Her music consistently speaks to me in a way that few others rarely come close to. Her lyrics are deep, complex, witty, and touching. Her compositions, which frequently look back to the early years of the blossoming progressive rock movement, are mesmerizing. Her performances are sublime. And her studio production wizardry is reminiscent of George Martin.

On this, her first solo album, the songs are more personal, but every bit as tantalizing as those on DMT.

"Ride On My Bike" is an invitation to the listener to join Rosalie in her world of psychedelia, represented here by her bike. The song is a melding of hard rock and honky-tonk, with a Brian May-like guitar break. Listen to this with headphones to get the full effect of her layered, soaring vocals.

"F*ck Love" uses tempo shifts to build up tension for a tale of a family cursed to relive amorous misfortunes from generation to generation. Poor Rosalie gets caught between the desire and the reality of loving relationships.

"House Of The Glass Red" is one of the songs where Rosalie's Beatles influences come to the forefront, with shimmering guitars and vocals, and throwback keyboard tones. This track could fit right in on "Magical Mystery Tour"

"Dethroning Of The Party Queen" has our hero now playing the title role, and the roll this takes on her body and soul. It's another honky-tonk styled song, with some fine tack-piano playing and an excellent hook.

"Under A Mistletoe Wreath" is a poignant picture of a man deeply stricken by his mother's death, to the point of madness. It's another song where Rosalie's production lists the song even higher than her beautiful lyrics.

"Riddles And Games" is a forceful acid rock song, where Rosalie tries to get into the mind of her lover, and finds that she may not ever understand his/her way of thinking, but deciding to accept the differences. Nice lyrics, but even better guitar licks in the choruses.

"Butterflies" is a Beatlesque folky song (with some Moody Blues-ish backing tracks) that has Rosalie wondering why she loves her man. F*ck love, indeed.

The finest track is the closer "A Yarn From The Wheel", a multi-part suite that is the most recognizably prog piece on this album. It's the tale of the fall of a rock star. I wonder if any of this comes from the demise of Purson. Either way, this romp through various is a tour-deforce even greater that "The Bitter Suite", the amazing tune that closed DMT.

In my opinion, Rosalie is one of the greatest songwriters, producers, and performers of this era, and her music must not be overlooked.