Merrell Feuer Angstreich · Although few music venues offer the intimacy of a local coffee house, Marci Geller’s performance last night at Last Licks Cafe in Huntington made the audience feel as if they were all good friends sitting in her living room. She creates an instant rapport with concert-goers that doesn’t give the impression of “working the room,” but rather that she is invested in everyone enjoying the experience. |
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By Christine Sampson |
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By William Phoenix, LA Music Examiner Marci Geller is an interesting, significant, mysteriously lesser-known talent in the music world. Geller has performed all over the world including California. In fact, Geller hopes to once again visit Los Angeles once her next album is in the can. But just exactly who is Marci Geller? Marci (Anne) Geller is a New York-born singer-songwriter. Geller‘s music can be heard on numerous television networks including MTV, VH1, and A&E. Geller has recently taken a new direction with her music and while little is publically-shared about Geller’s past, her career can be traced back to the late 1980s. It was in 1989 that a cute, darker Debbie Gibson-esque Geller released a 12-inch record titled “Shake You Up”. This freestyle early electronic dance piece was put out by Back Door Records. It contained 5 cuts. Each was a different mix of the title track “Shake You Up” which was co-written with backing vocalist Donna Bach. Advertisement Geller explains: ‘They had positioned me to be the 'cooler, edgier Debbie Gibson.' In all honesty, I was into Peter Gabriel and Genesis at the time and got talked into doing a dance single because it was an easier path for female singer/songwriters at the time. The dance single was doing well, and I've got to admit, it was a lot more exciting than I ever envisioned." "I went with the president of Backdoor to interview with a management company MTC, which was run by Barry Taylor and Alan Wolmark," Geller adds. "I liked them both instantly and felt like they had a deeper sense of what I was going for as a musician. I'd watched my single go from being in the top of the dance charts to tanking after I was talked out of a deal with Atlantic Records.” Geller continues: “I was told if I signed with Atlantic, they would want me to pop out dance singles for the rest of my career, and I would never be taken seriously as a musician. Subsequently when I heard from Barry at MTC, my single had fallen off the charts, and it was clear the end was near. He told me they really liked me but were short-handed because their assistant had just quit.” Geller saw one door close and another one open. “I asked him if they would consider hiring me so I could learn about the industry. I would work for cheap and in exchange, they would manage me and teach me about the industry.” “We came to an agreement, and I have to say, working with them was a really intense lesson in music industry 101. I met many people at the beginning of their careers and am to this day very thankful for the wisdom and insight they shared with me and to boot, I got to work in the Brill Building" Geller concludes. The following year Geller would focus her energy on becoming co-owner of Sonic Underground. Sonic Underground is an independent music production company she founded with Gian DiMauro, John Tabacco & Paul Michael Barkan. The label itself came out of the recording studio of the same name which opened the same year. Geller would continue to perform and even work with other artists. In 1992 she would provide the Kemelions with backing vocals on the album Basement Arrangements. Other highlights of the decade would include the release of her premiere EP Must Be The Moon in 1997. It included tunes such as the title track, “Must Be The Moon” and “We Carry On” which she would perform live on the Regis and Kathie Lee show. 1999 would be highlighted by the release of her twelve-song CD Here On The Edge. The album is a collection of pleasurable pop pieces. It opens with the attention-grabbing, mood swinging track “I’m So Angry”. Critic’s Choice here is “Skin”. This is the second selection here. It’s an acoustic subtly sexed up song that one critic referred to as “a good substitute for a blow-up doll” Your randy writer, of course, would NOT know about that . . . nope. The song is effective not offensive. “World Falls Down” follows here. It is a concise composition and leads into an encore presentation of the above-noted “We Carry On”. The next number is the tuneful titular track “Here On The Edge" where she explores inner doubts. “Not That Girl Anymore” comes next. It is perhaps one of the better examples of tracks that involve a more personal perspective or female viewpoint. “Light On My Face” and “Make It Feel Better” are also fine examples of her talents in telling tales from a feminist viewpoint and/or an intimate emotional angle regardless of the specific subject. “Look What You've Done” follows. This is another revelatory cut that lends truth to the title of the CD. The song is both passionate and immediate and Geller does indeed deliver up an album of on the edge offerings here. She next sings “What's Going On Here”. Interestingly, her audience can never be sure how she would answer her own question but it is obvious that she is sharing something personal on this disc. While some critics may claim that material such as “Falling Down” and the other tracks here may alienate a portion of the male population your rockin’ reviewer simply sees this as the result of Geller wanting to write songs with real content as opposed to dippy dance ditties. “Say Goodbye” serves as the closing cut. It is an apt end to this work although her fans probably find this the saddest song as it does indeed end the album. Geller would not, however, rest on her laurels after this album. She would go on to work as the opening act and then an actual member of Ritchie Blackmore's group Blackmore's Night until 2000 where she would provide background vocals and contribute keyboards. The new millennium would also find her still writing, too. In 2004 Geller would release the EP Naked. It would feature five fine cuts and would serve as a partial preview to her next full-length recording. Included here are the opening number “Me Versus The Pill” and the noteworthy rockin’ second selection “Suicide”. She would continue to perform regularly as well. In 2007 Geller would lend her talents to John Tabacco’s Music Box Orphans with the song “Only in a Dream”. She would also work with Donna Bach-Heitner on Volume One with the tune “Snake in the Grass”. The next year (2008) she would also contribute to Paul Michael Barkan’s import No Writing On The Signs Special Edition with the track “One Free Day . . .” More importantly, however, 2008 would be the year Geller would finally gather together music she had been working on for quite some time and release it all on a CD titled Box of Truth. “Me Versus the Pill” opens the “box”. Here Geller sings about a blue pill the way George Harrison sang about a piece of candy in “Savoy Truffle”. This is a welcome encore from her earlier EP and a nice opener for the disc. The second selection is “Suicide”. This too is a welcome rockin’ repeat from the above-mentioned EP. This one is the Critic’s Choice here. It’s an almost angry, killer cut albeit one seemingly about a somewhat sad subject. Geller, however, says "'Suicide' was written about a friend who quit being a musician" and was actually more "symbolic".Regardless, it remains a great song no matter what a listener discovers in it. This is followed by “Day I Disappeared”. “Day I Disappeared” is a blend of rock and folk. The music almost hides Geller’s somewhat serious secrets as she loses herself in some traumatic experience. “Home” is the next number. Geller focuses here on those middle-of-the-night phone calls that are always forbearers of death and other bad news. “Home” sadly enough hits home to all of us. The cut “Close Your Eyes” is next. It deals with some serious relationship issues and touches upon such things as betrayal, lack of forgiveness, drinking and attempting to comfort someone dealing with all of this. “OK (The la, la song)” follows. If The Beatles can make “yeah, yeah, yeah” work in a hit song and The Police can score with "De Do Do Do, De Da Da Da" then Geller can have her almost bombastic, happy “la la” song here. “That's Good” picks it up here. Geller seems to be celebrating love with this song. It’s a nice break before she dives back into the darkness with more music lyrically-laced with intrigue and secrets. Witness tracks such as “My Last Mistake”, “Secret She Keeps” and even the closing cut “Truth About Lies” as additional examples of this. Geller confesses the songs "are all on the same topic. It's no secret, I just don't feel the need to exploit my past as some kind of medal of honor like some artists have chosen". Her material certainly makes one wonder just how dramatic or traumatic much of her life has been or perhaps remains. Still, drama is what often makes a good song so the audience needn’t be too concerned. 2008 was also the year Geller helped to start the acoustic act Lucky 13. (This tuneful trio comprising Geller, Susan DeVita and Cathy Kreger, would only release a debut disc before going on hiatus in early 2011.) Geller, a member of SESAC, contributed to the 2008 release Sonic Underground Presents: Lucky 13. Her specific contributions included the “Me Versus The Pill" "My Last Mistake", "OK (The la, la song)" and “Home”. All three artists appear on the track "Lucky 13". Geller’s other music-related accomplishments include being named one of the "Top 10 Best Singer/Songwriters" by Independent Songwriter Magazine and has had her music included in soundtracks on ABC, Discovery and FoodTV. Compared to such artists Sarah McLachlan and Laura Nyro, she has also worked with such performers as Dido drummer Alex Alexander, Vance Gilbert, James Maddock and more. Geller tours internationally and is currently “finishing the next CD” due out sometime next year and adds “on September 30th I'm opening for Nenad Bach at the Towne Crier in Pawling New York.” She also hopes to hit California again next year: “It's my goal with the next release to play L.A. in 2012 with my friend Jude Johnstone who lives in Central Coast, CA but plays in L.A. frequently.” Geller is certainly an artist with something to say and will no doubt be out there sharing her love of music for a long time to come. My name is Phoenix and . . . that’s the bottom line. William Phoenix, LA Music Examiner Examiner.com |
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By Rick Mulholland, TheWeddingRingBlog.com
Okay, let’s face it – I am a sucker for a self-penned wedding song that’s specifically written for that wedding day. A few years ago, I came across Jacqui Naylor’s “Celebrate Early and Often,” and the romantic guy inside me was deeply touched. Recently I have come across Marci Geller’s “First Dance.” A music industry veteran whose creations are featured regularly on television (and more), Marci married her best friend and co-writer Gian DiMauro. The couple will be celebrating their 16th wedding anniversary this coming Saturday, May 7th, 2011. “We co-wrote our wedding song because we met while working on a writing project together,” Marci told me. “At the time, I was working on a modern day rock musical and had decided to write each of the characters with a different person. A mutual friend suggested I work with Gian.” Marci and Gian convened at his recording studio to collaborate on a song that they never ended up quite finishing. Two weeks later Gian proposed, and after a healthy engagement period, the two married in 1995. They decided that since their intended composition was never finished, then they might as well write one for the wedding - and that’s exactly what happened! |
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Read online HERE
When I met Cathy Kreger and Marci Geller, they were playing with Diane Garisto in a group called Lucky 13, and I had no idea what their music was like. We were at the house of Tom and Robin Romeo, founders of WhereforeArts.com. Tom & Robin have a top-notch web series called “After Dinner” which features performances and interviews of awesome local artists, filmed in their north shore home. So when I met the members of Lucky 13, it was in a spare bedroom that we were using as a dressing room. There were a lot of cliche’d girly exchanges about mascara and shirt choices, although officially I don’t think any of us identify as Girly. Later, when it was time for them to play, I remember thinking, “I really hope these guys are decent, because I like them and if I don’t like their music it will just be weird and awkward.” I had nothing to worry about. I was fairly blown away by their performance, and especially by the way these very different musicians and songwriters formed into a unique, cohesive sound. Months later, I read on facebook that their time as a band was coming to an end. I was disappointed, as I think a lot of people were, but then I clicked around some more and learned that both Cathy and Marci are now more active than ever as solo artists. So let me tell you about these two awesome LI singer-songwriters I met one time. The first thing I noticed about Cathy Kreger is how she plays guitar. She is not what I would call a flashy player—more, someone who has the true musicianship to craft an arrangement that quietly enhances the song being played. Her guitar playing complements the heart of the song and lets it shine, rather than detracting from it by being either too flourishy or too run-of-the-mill. Cathy’s songwriting is reminiscent of the timeless, to-the-heart style that Mary Chapin-Carpenter is known for, and her vocals bring a soul and depth that I associate more with Bonnie Raitt. It’s music that’s great to hear over a beer with some friends on a Saturday night, but that you’ll still want to come back to Sunday morning when you’re feeling more quiet and contemplative. Marci Geller’s music has the mix of quiet strength and fire that a lot of people associate with Tori Amos. In fact, I’m pretty sure Marci is a Tori fan herself, and you can hear that a little bit in her music. But you can also hear moments of flashing intensity that are clearly pure Marci. Marci strikes me as a songwriter with something to say. Sometimes she declares it in a loud burst, and sometimes she states it with a calm certainty. In either case, there’s a sense that you’ll be kicking yourself later if you miss the message now. Cathy Kreger is making tracks all over the island with her guitar, and can next be seen at Thom Thom Restaurant in Wantagh on March 16th. Marci Geller is next performing in Stony Brook on March 20th, at an event sponsored by the label she founded herself, Sonic Underground. More information can be found at http://www.cathykreger.com/ and http://www.marcigeller.com/. Author: Rorie Kelly |
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BETWEEN THE LINES, By Winchester A friend of ours, Anthony Pomes, turned us onto a CD from one Marci Geller, called Box Of Truth. Reading the extensive (and, tiny!) liner notes, Geller reflects on the life-changing events that helped her create this marvelous CD. I won't go into details, but, after reading them, I had an increased appreciation for the music. Her magnificent voice recalled, at once, the wonderful Heart sisters; Ann and Nancy. Of the 11 tracks on the album, my favorites were "Me Versus the Pill" and "Close Your Eyes." I do happen to know a lot about this business, and I'm tempted to say, the only reason Geller doesn't have a major release is because the industry (or, what's left of the industry) has NOT heard this disc. Check out her site and get this undiscovered gem.
INDUSTRY PROFILE: Marci Geller— By Bob Grosssweiner and Jane Cohen Marci Geller is a singer/songwriter who 13 years ago was so frustrated in getting a fulfilled record contract that she started her own record label, Sonic Underground, with her business partner Gian DiMauro. Sonic Underground just released a label compendium album appropriately entitled "Lucky 13." The album features Cathy Kreger, Susan DeVita and Marci. After the release of the CD, the three formed a group named Lucky 13. With a list of credits that would stand taller than the petite singer, Marci boasts a lofty resume. She was chosen out of thousands of applicants to perform her original song, "We Carry On" on "Live! With Regis," has toured internationally as an opening act and back-up vocalist for guitarist Ritchie Blackmore. She has numerous compositions placed in soundtracks on VH1, MTV, A&E, Discovery, FoodTV and ABC. She scored the soundtrack to the Barracuda Yoga video (featuring the cast from WE Network’s "Single in the City") with co-producer/composer Gian DiMauro and was voted one of the "Top 10 Best Singer/Songwriters" by Independent Songwriter magazine in 2000. "Ritchie’s manager Carole Stevens discovered me through a bizarre series of events that are too long to go into," she reminisces about her opening for Blackmore's Night in 2000. "Basically, she kept taking him to my shows. He knew that I was so focused on my own music, why would I want to be in his band? On his own volition, he came back to me with an offer to be the opening act and sing backup for his band. It was a dream come true. That big gig in Italy was while I was the opener for Blackmore’s Night. Lets backtrack a bit to her days of trying to secure a record contract. "I'd signed a 12" deal with Backdoor Records at the beginning of my career," she recalls. "They had positioned me to be the 'cooler, edgier Debbie Gibson.' In all honesty, I was into Peter Gabriel and Genesis at the time and got talked into doing a dance single because it was an easier path for female singer/songwriters at the time. The dance single was doing well, and I've got to admit, it was a lot more exciting than I ever envisioned." "I went with the president of Backdoor to interview with a management company MTC, which was run by Barry Taylor and Alan Wolmark," she continues. "I liked them both instantly and felt like they had a deeper sense of what I was going for as a musician. I'd watched my single go from being in the top of the dance charts to tanking after I was talked out of a deal with Atlantic Records. I was told if I signed with Atlantic , they would want me to pop out dance singles for the rest of my career, and I would never be taken seriously as a musician. Subsequently when I heard from Barry at MTC, my single had fallen off the charts, and it was clear the end was near. He told me they really liked me but were short-handed because their assistant had just quit. I asked him if they would consider hiring me so I could learn about the industry. I would work for cheap and in exchange, they would manage me and teach me about the industry. We came to an agreement, and I have to say, working with them was a really intense lesson in music industry 101. I met many people at the beginning of their careers and am to this day very thankful for the wisdom and insight they shared with me and to boot, I got to work in the Brill Building." "Lucky 13" is a celebration of tenacity, independence, lots of love and music. Thirteen years ago in 1995, Marci and DiMauro came back from their honeymoon. They took the leftover $748 from their wedding money and decided to officially register Sonic Underground as a music production company/record label. Although it had existed as a recording studio for several years prior, this validation and legalization marked a commitment to make as much music as possible and make it available to anyone who wanted to listen. The original roster included songwriter Judith Zweiman, whose songs have been covered by Shawn Colvin and Lucy Kaplansky; smooth jazz vocalist Deborah Jones; the in-your-face rock/jazz/ska band Gear Head Freaks; finger style guitarist Bob Westcott; thematic guitarist Jim Dexter; and Marci and others. Throughout the 13 years, Sonic Underground and its roster has had a wealth of releases, raised thousands of dollars for several charities, including Aid for AIDS, Save-a-pet, American Lung Association N-S, from the sale of "Snappy Holidays," an all-original holiday CD, worked with famous and infamous musicians ( Ritchie Blackmore, Kameleons (BMG), Jeff Johnson (Jeff Jay), Teddy Kumpel, Drew Zing, Ed Palermo, Candy Zappa, Alex Alexander (Dido drummer) embarked on a roller coaster of adventures and shed lots of tears. Why did you start Sonic Underground? Because neither of us, my business partner Gian DiMauro and I, felt we would ever fit neatly into the major label model. I like a diverse style of music and felt restricted when labels expected me to fit into a little genre box. Having our own label gives us the freedom to be both musically creative and adventurous. What kind of artists do you want to sign? At the moment we’re happy with our roster and have no plans of expanding in the near future. It would be fiscally and musically irresponsible to the artists we’re currently working because we prefer a very hands on approach. How does MySpace and YouTube help your artists? Fostering a sense of community and lots of great exposure. Our new endeavor is Facebook, and we’re really enjoying that as well. What kind of tour support do you offer your artists? At present, we front the bill for travel expenses as well as the marketing and promotion expenses for shows, radio interviews and promotional appearances. How do you feel about free downloads off the Internet? For promotional purposes it’s useful to offer a single here and there to generate a buzz. In all honesty, our target demographic is more apt to buy a physical CD so we will offer free downloads as an incentive, but in general, you should be paid for your work especially when you’re the little guy. First concert attended Yes, in the round, at Nassau Coliseum in 1980. It changed my life. Being at a concert of that size and magnitude for the first time was like an out of body experience. I felt like I was lifted out of myself and became part of the music and vibrations. It confirmed for me at that moment that I always wanted to be part of something creative and made me aspire to someday be on a stage and make someone in my audience feel as connected as I did that night. First concert worked The first big ticket concert I ever did was in Bulgaria when I was on tour with Blackmore’s Night in 2000. We played a coliseum that had over 10,000 people attend. After the show, someone broke into our dressing room and stole my favorite camisole and some underwear. I was flattered in a weird disturbed kind of way. First industry job I wound up being an office manager for MTC Management in the Brill building. They had originally been interviewed to manage me, but the indie label I was signed to at the time, Backdoor Records, convinced me not to take the deal with Atlantic unless I wanted to do track dates in Miami when I was 50, so I turned down the deal, the record slipped off the charts, and when Barry Taylor from MTC called me, I told him I wanted to learn about the industry so would he hire me, I’d work for cheap and in exchange they would manage me. Career highlights Performed on "Live! With Regis," "CNN Worldbeat," "Good Day NY"-- It was a piece on the artist Erte: I sang at his last public birthday bash many years ago and Good Day put me in the segment -- and touring with Ritchie Blackmore as his opening act and getting to sing backup vocals in his band -- -he's brilliant, and it was a great honor. The soundtrack placements always seem to come at the right time,like when a big oil bill comes and I've no idea how it will get paid. The soundtracks are Into the Blue--MTV; Hogan Knows Best--MTC; Celebrity Rehab and Celebrity Fit Club--VH-1; Club 2: Q&A--VH1; Made-MTV; The Critical Hour--Discovery Health Channel; Driven: Mary-Kate &Ashley Olsen and the Jessica Simpson episodes--VH1. The "Lucky 13" project, which has morphed into a group, is my current highlight. Working with Cathy Kreger & Susan DeVita gets me out of bed in the morning with a smile on my face. Career disappointments I’d need a novel for that one, but most recently, I was offered a deal on Koch International, and we were planning the promotional tour, talking about having me open for Carole King. I thought, "wow, it’s actually going to happen this time," and then the head of A&R got canned and my deal sat in limbo for months until we finally asked to walk. I was in a funk for over a month and didn't think I'd the heart to put myself out there again, but obviously I got over it. Greatest challenge Balancing real life with my music career. I've a husband who's my best friend, and when things get hectic, we can discuss the realities of the situation. Money is always a challenge, but somehow bills always get paid, and we just keep on moving forward. There's a tremendous amount of stigma that female musicians have to deal with that men don't have to. It’s totally acceptable to be a balding, chubby guy and still be valid, but if you're a woman over 30 and you don’t live at the botox farm and have a trainer working you four hours a day, well you can’t possibly be valid. Thankfully, as an indie-label we get to circumvent those expectations and focus on putting out great music and finding our audience who love us as we are. Best business decision Partnering with my husband, Gian DiMauro, working with Cathy Kreger and Susan DeVita, and launching "Lucky 13." Best advice you received Don’t help someone more than they're willing to help themselves. That one rings strongly because I’ve had this habit of killing myself trying to motivate people around me, and when I look back on all the energy spent, it was kind of dumb because they obviously didn't really want it for themselves. Also be to be true to yourself and your vision. It took a long time for me to really find my voice and not be frightened by what I discovered about myself. Sometimes it’s messy, and sometimes it’s painful, but I always, always try to be honest. Any mistakes that you have learned from The biggest mistake I keep making over and over again and keep swearing is the last time is not listening to my instincts. They literally scream "don't do that" and because of friendship or guilt or charm or whatever, I watch myself almost as if having an out of body experience walk right into it. Kind of the theme for my song, "My Last Mistake." Most memorable industry experience Performing solo in Italy when I was the opening act for Blackmore’s Night in front of 10,000 people, who were so attentive you could hear a pin drop, that was powerful and inspiring. Touring in general always makes me very happy. I feel like a little kid with keys to the candy store. What friends would be surprised to learn about you My friends pretty much know me. When people meet me after a show, they tend to be surprised at how upbeat I am. I've had a pretty tragic life in some respects with lots of dark journeys, and I use my music to exorcise those demons. That way, I can free myself to some degree and be who I think I am at the core: an optimist and a happy person. Industry pet peeve Ageism, sexism and artists who find it necessary to exploit themselves to be heard. If I wasn't doing this, I would be... ...an astronaut. I'm a Star Trek geek and proud of it. Industry mentors Tom Pomposello; Barry Fisch when he was at PolyGram; Barry Taylor and Alan Wolmark from the MTC days; Rick Bleiweiss, BMG; Carole Stevens, Blackmore’s Night Management; Marla Swartz, former booking agent; and Norm Prusslin, former station manager at WUSB, 90.1 FM, Stony Brook, NY. “ Here On the Edge “ - Reviewed by Annie Lin Here On the Edge is as achingly close as Marci Geller gets to leaving her diary open on the living room table. Introspective rather than confessional, this New York pop-folk artist doesn’t pretend to be your best friend: her lyrics might make you squirm, but she doesn’t give a damn whether you share her pain. You’re the insider, and she’s “that weird girl” who lost her innocence and “screamed into a bag” in album’s searing first track “I’m So Angry.” Geller’s debut album approaches conflicting themes of intimacy, alienation and survival with wintry piano solos and emotionally deft guitar. Laced with accordion and piano, the album’s title-track, Here on the Edge, brings to mind early Counting Crows, circa “Recovering the Satellites.” It’s the song you want to hear if you’re the last one left at the bar. Tori Amos is clearly an musical influence for Gellar who, like many other female piano-based pop artists, imitates the Amos’s melodic dexterity. Geller distinguishes herself from legions of Tori-wannabes by avoiding the pop singer’s quirky vocal inflections. Geller’s singing is not spectacular, but it is smooth and smart enough to carry off subtler tracks like the soothing “Skin.” Seldom does production so seamlessly showcase pop-folk. Masterful rhythm tracks accentuate the tone of the piano and make each song modern and, well, undoubtably listenable. Hit Picks: “I Got Angry” and “Skin” Ear Candy- MikeSOS Ear Candy Magazine Marci Geller- Here On The Edge (Sonic Underground Productions) Marci Geller is a Renaissance woman if there ever was one. This talented singer-songwriter isn’t your typical angry female on a mission or another flower power reject with an acoustic guitar. Geller is powerful and abrasive (“I’m So Angry”, “World Falls Down”) in a Tori Amos/Alanis Morrisette way, yet she retains a tenderness (“Falling Down”) that allows her to truly tell an enchanting story through song. 12 enchanting stories, to be exact, as Here On The Edge contains well-crafted songs and top-notch production, not to mention the ultra powerful and emotional voice of Geller. If you’re looking for a millennium version of Carole King and her masterpiece Tapestries, look no further. Marci Geller is an intense performer whose beautifully poignant music will sweep you away to a land beyond the edge. UNITED GLOBAL ARTISTS, Leigh Silberg-Marci Geller is an enigmatic artist that is highly creative & original in both lyrical content & vision. Her prolific work is at once both sublime & perplexing in motive & content. Musically crafty , Marci's work reaches out to both AAA individuality & AC charm in an appealing & alluring stylism. The EP "Naked" is a work of eclectic & cerebral content , coupled with an uncanny melodic ability to strike the mainstream without compromising artistic integrity "Me Versus The Pill" & "Suicide" are great examples of a musical artist who simultaneously exudes a media friendliness that sparkles with production smarts , whilst tackling complex emotional & social issues without becoming overtly loquacious 'Home" is an introspective tale that speaks of alienation , loneliness & longing within the world of the human heart ; Whereas the song "The Day I Disappeared" & "OK" reach out with resolve , in the confounding quagmire of love , desire & relationships In the "Here On The Edge" project , the music is a radiating work of picturesque & adroit songwriting skill & Vocal nuance. One cannot avoid the comparison to Tori Amos in Marci Geller's music , but the former is more oblique & obtuse whilst the latter is a profound & joyous celebration of the soul , with bite...mind you "I'm So Angry" is a fine tune with a mood that traverses from wistful to vengeful ; Segue to "Here On The Edge" & one witnesses a diverse tangent of sensitive & effulgent composition in the shadow of Carol King Marci Geller has an uncommon knack of straddling both the mainstream media & artistic side of musical composition & performance. She is adept to the point of bewilderment ; Yet willingly open & vulnerable enough to empathically share her inner journey with us "We Carry On" is an Acoustic Piano & Vox piece complimented with a counterpoint Viola motif. A showcase of songwriting prowess ; Whereas "Not That Girl Anymore" again is in a design that highlights the song & structure of a tunesmith "Light On My Face" along with "Make It Feel Better" are songs that project a complex emotional vista that explore the directions of the heart. The latter cut replete with stand up acoustic Bass , is a classic work of atmospheric character "Look What You've Done" is a beatific gem. A Celine Dion or Barbara Strisand would compliment a song such as this "Falling Down" like "Say Goodbye" , is a wondrous tune that would make Burt Bacharach wink. Essentially , one is led to the conclusion that Marci Geller , is a stellar songwriter. Kate Bush take note One could easily imagine a number of "high profile" singers utilizing the dynamics of Marci Geller's music ; Yet that being said , Marci's Vocal shadings are superb & admirable within themselves. An all-embracing superlative quality permeates Marci Geller's music. A brooding & eloquent enigma. Phenomenal in scope & compositional insight |
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