The Perfect Crime

Editorial Reviews

All Music Guide - Jonathan Widran
When the five-piece, L.A.-based ensemble emerged as a local club scene favorite, they were a cool, swinging throwback, driven by a jazz-inflected mix of lead singer Mela Lee's charming Billie Holiday-like vocals, co-founder Alexander Burke's retro keys and vibes, and Gordon Bash's grooving upright bass -- which he climbed onto during performances. Some of the early press materials associated with their self-titled, self-released debut album likened the experience of them to a being in a speakeasy at 3 a.m.. In signing with Peak/eOne for the powerful, remarkably eclectic set The Perfect Crime, the band is still driven by Lee's whimsical yet earthy sensuality, but ...
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Editorial Reviews

All Music Guide - Jonathan Widran
When the five-piece, L.A.-based ensemble emerged as a local club scene favorite, they were a cool, swinging throwback, driven by a jazz-inflected mix of lead singer Mela Lee's charming Billie Holiday-like vocals, co-founder Alexander Burke's retro keys and vibes, and Gordon Bash's grooving upright bass -- which he climbed onto during performances. Some of the early press materials associated with their self-titled, self-released debut album likened the experience of them to a being in a speakeasy at 3 a.m.. In signing with Peak/eOne for the powerful, remarkably eclectic set The Perfect Crime, the band is still driven by Lee's whimsical yet earthy sensuality, but ventures decisively and often explosively into Triple AAA pop
ock territory. In the single-track age of digital downloads, it's refreshing for any emerging band to enter the fray with a dynamic concept album -- and MM dares the listener to come along as Lee, supported by her four dynamic male cohorts, emerges from a floundering relationship, embracing the possibilities of something bigger, and, musically speaking, more edgy, funky, and rocking. She starts by asking what a "Good Girl"'s to do, showing conflict via the high range of her voice contrasted with the band's building blues-rock intensity. A bit of the band's cool jazz background adds a slyness to her desire to then commit "The Perfect Crime," in which she's fearless about breaking hearts. A single track on the album, "Broken Cup Revolution Remix" not only fits into this theme time to get some new glassware to drink love out of, but also reflects MM's deep sonic evolution. The original on the band's debut was a sly and low-key, trumpet-laced swing jazz tune, while here the few mystical jazzy touches give way to a booming rock crescendo in the chorus. This is followed by her high energy, horn-fired declaration that "I Keep Falling." Some of the tunes, like "Just Might Do" and "222," start out reflectively before giving way to emotions perfectly conveyed by Lee's soaring vocals and the band's raucous blues-rock power. Although Magnolia Memoir's songwriting is as incisive as their presentation, their single cover choice, a sizzling rock romp through the White Stripes' "My Doorbell," is perfectly placed. It's a metaphorical invitation to open up and embrace a woman unashamed of honest emotion. Once inside, the listener meets her tough but tender guy friends who are there to lend emotional support to her emergence from a "broken cup" to a fully realized person who dares to keep wishing for the best.
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Product Details

  • Release Date: 2/28/2012
  • Label: Ent. One Music
  • UPC: 099923215820
  • Catalog Number: 2158
  • Sales rank: 386,937

Tracks

Disc 1
  1. 1 Good Girl (3:26)
  2. 2 The Perfect Crime (3:57)
  3. 3 Anymore (4:30)
  4. 4 Broken Cup (3:18)
  5. 5 I Keep Falling (3:57)
  6. 6 Just Might Do (3:16)
  7. 7 222 (3:02)
  8. 8 No More Wishes (3:51)
  9. 9 My Doorbell (4:06)
  10. 10 Let It Go (3:03)
  11. 11 The Perfect Crime (4:29)
  12. 12 Where You Are (3:04)
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Album Credits

Performance Credits
Magnolia Memoir Primary Artist
Rick Rossi Baritone Saxophone, Tenor Saxophone
Jamie Hovorka Trumpet, Flugelhorn
Jordan Katz Trumpet
Matthew Santos Guitar, Vocals
Alexander Burke Piano, Keyboards, Vibes, Hammond B3
John Roberts Trombone
Matt Lucich Percussion, Drums
Aron Forbes Acoustic Guitar, Electric Guitar
Gordon Bash Piano, Electric Bass, Cello, Upright Bass
Toby Karlin Celeste, Baritone Saxophone
Mela Lee Vocals
Technical Credits
Bernie Grundman Mastering
Andi Howard Management
Charles Goodan Producer
Richard Barron Engineer
Giovanna Melchiorre Public Relations
Robin von Swank Imaging
John Anthony White Composer
Alexander Burke Composer
John Roberts Brass Arrangment
Matt Lucich Composer
Aron Forbes Composer
Gordon Bash Composer
Jeremy Eichenbaum Cover Layout
Mela Lee Composer
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