Marissa Mulder | Two Tickets Left

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Jazz: Jazz Vocals Easy Listening: Cabaret Moods: Solo Female Artist
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Two Tickets Left

by Marissa Mulder

Marissa Mulder is one of the greatest interpreters of song to come along in a very long time. She has a very unique sound and way of phrasing lyrics that is completely her own. She makes every word count.
Genre: Jazz: Jazz Vocals
Release Date: 

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  Song Share Time Download
clip
1. Chelsea Morning
3:13 album only
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2. Hand in My Pocket
3:47 album only
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3. Goodbye Yellow Brick Road
5:15 album only
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4. It's Amazing the Things That Float
4:38 album only
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5. Old Fashioned Hat (feat. Nate Buccieri)
4:23 album only
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6. Martha
5:31 album only
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7. Chasing the Sun
4:45 album only
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8. I Remember
3:44 album only
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9. Beautiful
2:30 album only
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10. End of the World
4:04 album only
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11. Take It with Me
5:04 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Marissa Mulder is a natural; a rarity among cabaret singers. You never hear her struggling to tell a story or to make a point or to show off the range and beauty of her sparkling perfectly pitched soprano. Whatever she sings just seems to spill out of her without forethought or calculation.
Her choices of songs on her exquisite album, “Two Tickets Left” are as instinctively right as her unaffected delivery, bolstered by the sensitive contributions of her musical compatriot Nate Buccieri on piano and backup vocals. Always, the emotional truth of whatever she sings is right there in front of you. Even when she’s telling someone else’s story, she makes it hers.
Her voice sparkles like a sunlit fountain in Joni Mitchell’s “Chelsea Morning,” the album’s opening cut. You can see “the sun through yellow curtains, the rainbow on the wall,” and can savor her breakfast of milk and toast and honey, and feel the warmth of the sun pouring in “like butterscotch” and “sticking” to her senses. She makes romantic happiness, when it comes, seem easy.
Her version of the Elton John-Bernie Taupin ballad, “Goodbye Yellow Brick Road” cuts through any grandiosity to reveal a free-spirited narrator determinedly rejecting show business glamor to embrace her country roots. As her voice glides with fearless ease over the song’s challenging, semi-operatic intervals she never loses the thread or the note.
The persona who inhabits many of the songs on “Two Tickets Left” shrugs off contradictions and embraces simplicity like the frisky narrator of the Alanis Morrissette hit, “Hand in My Pocket,” who declares, “I’m broke but I’m happy,” “I’m high but I’m grounded, “I’m green but I’m wise.” Or in the language of Walt Whitman, “Do I contradict myself? Very well, Then, I contradict myself. I am large. I contain multitudes.” In other words, So what? I’m just happy to be alive.
She infuses “It’s Amazing the Things That Float,” Pete Mills’s song about a flood, with a powerful sense of wonder. More than a disaster, the flood is an adventure.
So is Matt Alber’s “End of the World,” in which passionate lovers riding a rollercoaster debate whether to break up or to continue. “I don’t wanna fall, I don’t wanna fly/ I don’t wanna be dangled over the edge of a dying romance, but I don’t wanna stop.”
A deeper sense of wonder infuses “Martha” and “Take It With Me,” two great songs by Tom Waits that evoke the preciousness of memory and of ordinary things that in retrospect loom as achingly transcendent illuminations. A humble space like “Beulah’s porch” on which two lovers once fell asleep decades earlier assumes a monumental personal significance.
At the core of Mulder’s sensibility is a belief in an essential innocence. It shines out of her in every note and syllable.
- Stephen Holden

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Reviews


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Adam Selzer

Another fantastic collection
After discovering Marissa through her album of Tom Waits songs, I went to see her at a little basement Italian place in Hell's Kitchen where she was singing with Bill Zeffiro on piano. By the end of the night everyone there knew everyone else, and most people had sung a song or two - it was the sort of perfect night that really does only seem to happen in New York.

Marissa Mulder does it all, from the ridiculous to the sublime. She can do a silly novelty song in the Blossom Dearie style, then absolutely rip your guts out with the next song, as she's done on "Broken Bicycles" and "Paper Moon" in the past. But while she's a great enough entertainer that she could probably make a good show or album out of just about any twelve decent songs, one of her greatest talents is in finding material that seems perfectly suited to her style and bringing them to life. While it's great to hear her take on classics and "new standards" like "Hand in my Pocket," it's particularly wonderful to discover songs like "It's Amazing The Things That Float," "Chasing the Sun," and "Old Fashioned Hat," all of which new to me, and presented here in stunning renditions. "...Things that Float" is a particular gem; at a very casual listen while I drove through traffic it sounded like one of the novelty songs she does so well, but listening closer revealed it went a whole lot deeper than that. A great song perfectly matched to a singer.

Also included are two more Tom Waits songs, "Take It With Me" and "Martha." In general, Waits gets away with a lot more sentiment than many singers could, as his rough voice adds some grit to the sap. I always thought "Martha" was too much even for him; the speaker in the song is SUPPOSED to sound like an old man (which Tom already sounded like at 23). Marissa's contrasting take here actually works better for me.
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