![]() ![]() To this listener, the track should be blasting in the car, driving down a long stretch of open highway. With this, a bit of tension is introduced that previously hasn’t been heard on the record. The vocals are a bit higher in this track, adding in a bit of “snarl” to the quality of the melody. Photo credit: Raeanne Wright.įor the following track, “Firenze,” the longest of the collection of tunes, there’s yet again a slide utilized in the intro. There’s a certain relaxed tone to Emory’s voice – none of the melody or vocal performances reaches for highs or stretches for lows – that fits perfectly for the tone and tenor of the song. The female harmonies in this tune really add to the overall feel, as do the call-and-answer type vocals in the chorus. ![]() During the pre-chorus, what sounds like a cello enters into the mix. With “La Serenissima,” we hear a full-band intro, including more slide guitar. Emory’s affinity for slide guitar is solidified with the next two songs, “La Serenissima” and “Firenze.” To end the song, Emory uses a well-crafted arrangement tool: repeating the refrain of the chorus – “’Cause I’m on my way back to Roma” – several times before a last musical statement is performed. For example, take the slide guitar interlude after one of the choruses. Nothing is overtly difficult in the instrumentation, but it’s all very tastefully arranged and executed. There are tons of Americana vibes, indeed, but especially in the vocals Americana with just a dash of roots-rock and country. As the vocals kick in, the vibe of the tune and album is set. Starting off the record is “Roma.” A quick drum fill begins this song, followed by guitar chords and a subtly played slide guitar part. ![]()
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