Hollywood Piano is a disco album for the modern era. This debut record by Piper Durabo (performing as Maraschino) has divine synths that have the sensuality of disco and the freshness of modern-day synth pop. The music here is pure perfection. Some might say it’s the magic of the genius indie artist/producer Jorge Elbrecht who has the mixing credits on this album; and why not? Musically, Hollywood Piano has the same wonderfulness of Elbrecht’s own work.

However, the same cannot be said of Durabo’s singing. Her vocals are silky and sultry, and have a certain throwback appeal, with hints of Debbie Harry and early Madonna. Alas, unlike these icons, Durabo’s vocals don’t have the sparkle to woo the listener. Right from the start, it is apparent that Hollywood Piano’s strength is not its vocals, but its music. Nevertheless, for her part, Durabo does enough to conjure the seamy retro spirit of this record, which fits in neatly with its overall aesthetics…and that’s good enough.

Also adding to the late seventies /early eighties charm are the kitschy lyrics, which are plentiful on the album, like: “Daddy’s angel, daddy’s money… don’t you feel so beautiful” (“Chelsea Smile”); “I am in love with your sweet perfume, and you just can’t take it away” (“Pink Perfume”); and “love me in an elevator, love me in the car...love me like you’ve never been in love before” (“High Desire”).

And there’s more trashiness upping the kitsch factor in the form of the gossipy whispering vocals on “Venus’s Kiss” and the words “erase you” spoken with vengeful schadenfreude every time the chorus for “Eraser” is sung.

But the album’s fully synth-based music is ultra-sophisticated and makes its kitsch look refined. There is meticulousness in the musical composition, down to the soft pulsing bass notes playing in the background which is the heart of what makes the album “disco.” This is the charm of Hollywood Piano: it represents the cheesiness of disco with absolute class… what a beautiful interpretation of this great genre!

Rating: B+

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