And of course no song remains the same throughout, so we soon wander in a different direction, but all the time remaining focussed and vital. I can’t say whether they are genuinely an influence or if this is simply coincidence given the sort of territory which inspires Rosalie, but either way it is a very welcome comparison as far as I’m concerned. Scared of the Dark is one of the songs which reminds me of early Spirit. Another epic piece follows, the Indian flavoured Tristitia Amnesia which enters with George Harrison sounding guitars and a mantra opening section before morphing into a rock groove with some strange hallucinogenic lyrics, then developing into a Doorsy improvisation before grinding to an abrupt halt. Mick Ronson would have been pretty happy on this song. The song develops into a psychedelic blow out, with some wonderfully woozy wah-wah soloing. Both musically and lyrically this piece is simply sublime, and continues the album’s duality theme cleverly. Rosco proves he too can sing on the truly great Duet, which is just that, driven by thumping piano as the story unfolds of a couple being pulled apart by ambition. Donny Part Two continues the story and Irish folky flavour in jaunty style. The first vocal song follows, Donovan Ellington, a folky story song with Byrds-like jangly guitar, Ric’s wonderfully vibrant fiddle, and a sort of Eastern feel. It’s a powerful and assertive introduction which drifts in on shimmering guitars, then marches on triumphantly, interrupted now and again with a bubbly distorted melody. So where do we start? Well we Start With the Corners apparently, and so begins a thrilling ride with a sort of short overture, or more accurately, strut. To take these flavours and create a new and exciting recipe of her own is a tribute to her undoubted talent, and she is fast developing a very distinctive sound. There’s a nod to Bowie in some of the quirky arrangements, a tip of the hat to Kate Bush, and moments which really remind me of the late great Randy California. The obvious point of reference is The Beatles, and their influence abounds, and many other influences pop up along the way. So Two Piece Puzzle is definitely a step forward from the debut, and is easily her best work to date, and given the quality of previous songs, that is saying something. She has an ear for detail, and was probably tempted to keep layering as ideas arose, but to her credit, she has allowed the music room to breathe, despite some complex arrangements. The psychedelic leanings of the debut are continued and extended here, and as usual, Rosalie’s compositions twist and turn in unexpected directions several times in each song. The only other contributor is the excellent Ric Sanders, fiddle player for Fairport Convention who appears at regular intervals, adding jaunty colour and depth. Denied access to her band members during lockdown, this amazing follow-up to 2019’s debut solo effort has been lovingly crafted by Rosalie together with her partner Rosco Wilson, and the creative juices have most certainly been flowing.
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