Eastern​/​Central & Mountain​/​Pacific

by Mary Edwards

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1.
Time and I 04:04
TIME AND I The blue-tint beachfront windows keep the memories from fading in the sun The way the seaside wind blows the tide towards the shore that chases waves Like dreams gone by They come around again To ease your mind The bright gold-painted sunrise Holds the promise of a day that we can share When it reflects in your eyes I see tomorrow through a lens that makes the world feel alright when you raise your head toward the sky Time and I We drift, unwind Everyday, each hour and every moment Like the seasons of your mind
2.
3.
Bouleversant 02:46
BOULEVERSANT Things that seem to fall apart are meant to be the place from where you start but I’ve been haunted by the fragments Your sentiment is all that really matters ‘cause harsh words fall to the ground in shatters and I’ve been haunted by the fragments seems like there must be a reason to keep on believing but I’ve been haunted by the fragments so don’t hurt yourself on the broken pieces there must be a reason to keep on believing but I just want something to make me whole again
4.
5.
DAYDREAM WINDOW The closer that you are the more you'll know you're caught in the moment and your heart can tell how far you'll go and how much you want it and without a care something that you're not looking for is there searching on horizons that are painted in your mind what will you find? A movie that will always cast your kind Looking at the past That's how you'll know you've got to believe that it will never last like TV shows that end in a season but the story goes on even when the leading lady is gone searching on horizons that are painted in your mind what will you find? A movie that will always cast your kind You can be a star in your Daydream Window watching all the people passing by You can see the stars through your Daydream Window where the constellations always seem to align up in the sky
6.
7.
LOW SOFT SHOULDER Composed by Mary Edwards ©2011 Summerlin Music/ASCAP Rays from the sun warm the Brooklet Highway Green grass below Dreaming of the things I’ve seen from long ago A whole lot hasn’t changed here My memory is long It’s a place that seems familiar ‘cause I feel like I belong When you see the signs and they’re filled with meaning somehow you know far beyond the moss trees to the river flow I’ll keep that nice warm feeling and leave the rest behind I’ve found an open road and a new place to ease my mind When you get to the low soft shoulder on Johnny Mercer Drive make a right at the turn I told you and watch the day go by the stretch in the road in the afternoon It makes all the time fly Nothing will put you in the mood like a crimson Southern sky Thinking about all the things that matter well, they’re all clear there’s a sense of comfort in the atmosphere when there’s no anticipation for where we need to be now we’re really knowing what it feels like to be free When you get to the low soft shoulder on Johnny Mercer Drive make a right at the turn I told you and watch the day go by the stretch in the road in the afternoon it makes all the time fly nothing will put you in the mood like a Jimmy Webb lullaby
8.
9.
SOMETHING IN THE SUNSHINE Credits roll on yet another lovely day as the velvet shores of time have washed away Something in the sunshine makes it right moving in between the rays of light Hearing music from my friends who've come today and they're sounding just as sweet as yesterday Something in the sunshine takes to flight through the movement of the heady lights Coast to coast (in living color) away we go realistic stereo feel the glow Credits roll on yet another lovely day... Something in the sunshine makes the love time for us to thank our stars above

about

"Mary Edwards' new album shines with the quality and influence of a super-cool pop era: There's that cinematic touch of Francis Lai, that great Pacific Coast Highway vibe of Burt Bacharach, the poetic longing and lilt of the Carpenters and that hip urgency of a Lalo Schifrin TV theme for a Quinn Martin Production."
—Bobby Rivers

"Mary Edwards is the complete artist because she understands the value of writing vital to the "music-with-lyrics" art form. Most fans of bossa/jazz pop chord changes will be dazzled by the work on her new album, "Eastern/Central & Mountain/Pacific" as am I, but you also will find no poorly-chosen inflections or amateurish word structure should you care to investigate the wordplay mixed into the shimmery surface of glamorous key changes and Marcus Welby closing theme flashbacks. Unfairly, hardly anyone raves about a guy named Hal David (and the job he did) in proportion to his more famous work partner, but a listen to Mary Edwards will prove that she has both Burt's and Hal's respective missions taken care of in her music."
—Brent Cash, Composer and Singer/Songwriter, HOW STRANGE IT SEEMS

"The opening track, Time and I just sweeps you away to a luscious stoned soul picnic where echoes of The Fifth Dimension and Swing Out Sister drown out all the noise of the surrounding madworld and set the tone for the rest of the addictive playlist..."
—DOUGSPLOITATION

"Mary Edwards takes you on a coast-to-coast ride on the most soulful and lush musical vehicle. Disarmingly beautiful, unpretentious, and bearing all the hallmarks of a true classic in Jazz, and beyond."
—Julio Razquin, WOOL.FM, LOST MARBLES



Composer and singer/songwriter Mary Edwards, if not geographically, is bicoastal of the heart and mind. The native New Yorker recalls her many visits to the coast of California, where each trip was like revisiting a Ray Conniff album cover, where panoramic locations of film sets for Steve McQueen's high-speed chases gave way to high-profile romantic screen kisses, where a tuxedoed Herb Alpert dashed across Malibu Beach, horn in hand, towards the soundstage to ultimately lay down that taste of honeyed brass in a session at the legendary A&M Studios on LaBrea. In contrast, her own city of multi-sensory chasms would embrace any Angeleno or San Franciscan who willingly swapped their white henley for a Dior trenchcoat and endless Summer sunshine for perpetual neon lights as they made their way towards The Brill Building.

The east-and west coasts are symbiotic, and like a Bachelardesque observation where one can feel simultaneously big and small in the grand or intimate scheme of things, there is a vastness in both the concrete canyons of NYC and the Paramount Pictures-invoking mountain views on Route 101. And they co-exist in a daydream.

Mary Edwards grew up on Staten Island, a pastoral borough of New York City, and vividly remembers, as a child, Sunday driving expeditions with her parents and siblings, down the boulevard and through the hills, where the car radio played as varied a selection to the moving images through the car window. Transfixed by the melodies and lulled by the dreamy synchronization of nature with musical landscape of the Pop Contempo Sound—compliments of Bacharach & David, The Fifth Dimension, the Carpenters, Jimmy Webb and Paul Williams—she discovered how they touched upon every emotion with just the right combination of playfulness and drama. Mary captured stills in her mind, recreating moods of the ever-changing terrain on the family's Hammond organ later in the day. Playing familiar songs from memory juxtaposed her own pieces that strode the boundaries of harmony and dissonance. Television, too, was a portal to her senses. The living color aspect extended to the way she heard incidental arrangements, opening up the possibility that a well-crafted tune could become a soundtrack to one's imagination. If you are of a certain age, or a television (history) afficianado, you will know or remember the famous spoken epilogue that crowned some of the dramatic jewels of '60s/'70s programming like The Streets of San Francisco and Barnaby Jones: "...This has been a Quinn Martin Production..." Mary admits she was too young to embrace the intricacies of the series' plot, "Although," she expresses, "I noticed the music bed which accompanied the title sequences brought with it a fantastical panorama of colors, sounds and scenarios of near-epic proportions. Sometimes they were tamed by muted tones and meditative desires for a warm simplicity sought in quiet corners...and they enveloped me like the very blanket I was swaddled beneath, cozily ensconced in the living room while watching these shows with my sister and brothers."

Eastern/Central & Mountain/Pacific not only takes the listener coast-to-coast, from eastern shores, to the 49- Mile Drive of S.F., down through The Sandpiper territory of Big Sur and toward Malibu via Laurel Canyon, but also into the 1960s- and '70s TV and movie theme world, albeit with an introspective subtlety. It evokes Ennio Morricone conducting the wordless vocals of Edda Dell'Orso for an Italian sleeper. It rouses the spirit of West Coast Jazz as interpreted by Michel Legrand. It brings to mind lost adverts of The Ron Hicklin Singers and the gentle, miniature symphonies of Joe Raposo. "My music is mostly about longing for something that is no longer there and only exists in memory." Mary continues, "It is also about contemplating that exquisite state of 'in- between' before breaking boldly into the present tense. Much like the romantic protagonist of a movie, it's engaging in a radical act of letting go of the past while simultaneously exploring along the way. The question of what is missing from an idealized past gradually fades to the conclusion of basking in the light of the moment."

Feel the glow...

credits

released August 30, 2012

Composed, arranged, performed and produced by Mary Edwards.

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Mary Edwards New York, New York

Mary Edwards is a composer, songwriter and sound artist whose projects range from recordings and performances "evocative of epic cinematic soundtracks combined with lyrical intimacy..." (Time Out NY), to immersive environmental and architectural sound installations. Themes of temporality, impermanence, nostalgia, longing, childhood and the natural world are interspersed throughout her work. ... more

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