LILY & MARIA

An album (or artistic duo) that I'd never heard of before seeing it recommended on ProgArchives by our own wise and eclectic cheerleaders of the obscure and cabaret, Jean and Friede. Though I first listened to Lily & Marie over a year ago, it took me a while to acquire it and, now, post its review. Though an obvious folk-rooted collection of songs, the elaborately textured and changing and shifting song crafting is highly creative, innovative, and definitely "progressive."

- Ismenê-Jasmine : 1. "Subway Thoughts" (1:39) solo notes from a guitar's bass strings precedes a gap before the airy voice of one of the duo enters, practically a cappella, before spaciously picked acoustic guitar joins in as sole accompanist. (4.425/5)

2. "Everybody Knows" (4:35) beautiful dual vocals throughout. Lily and Marie are so perfectly attuned to one another that their timing is impeccable. The shifts and turns within the course of this four-and-a-half minute song are amazing, wonderful, and totally unexpected/unpredictable. (9.333/10)

3. "I Was" (4:01) incredibly intimate vocal with acoustic guitar and intermittent influxes of clarinet and strings. Amazing! (10/10)

4. "Ismene - Jasmine" (1:46) chamber strings instrumental supporting picked acoustic guitar before everybody backs off for Mellotron-sounding organ to solo. Guitar and others rejoin. (4.5/5)

5. "There'll Be No Clowns Tonight" (6:43) (8.75/10)

- Scatterings : 6. "Aftermath" (3:21) sounds like a standard 1960s folk duet over acoustic guitar. The vocal complexity skyrockets with the more upbeat chorus--amazing harmonizing. Things smooth out again for the second verse and then ramp up again for the next chorus. (8.875/10)

7. "Morning Glory Morning" (3:15) another gentle masterpiece similar to "I Was". Guitar chord progression is familiar but the lilting flute play in the background is so sumptuous. (9.75/10)

8. "Melt Me" (5:27) opens so gently but then bursts forth with such power and emotion! Similar to some Jefferson Airplane & Grace Slick but really something unique--the likes I haven't experienced since Edith Piaf, Marianne Faithfull, or Anne Pigalle. And such an unusual and interesting yet-subtly-sophisticated song construction/arrangement. (10/10)

9. "Fourteen After One" (3:22) classical organ opens as bass and gently picked acoustic guitars join in before one of the vocalists begins singing. The second vocalist enters later singing as if her own song (in a style imitative of one that Simon & Garfunkle occasioned). Beautifully rendered if not quite my cup of tea (too dependent on the lyrics/words). (8.75/10)

Total time 34:09

A/five stars; a masterpiece of early rock-influenced Prog Folk music and definitely an essential addition to any Prog lover's music collection--especially if one is interested in the history and significant developments within the folk side of progressive rock music movement. Simply put: this is an album that one must hear--as well as one that continues to reveal more and more surprises and delights with repeated listens.