вЂњAlmost-perfectвЂќ because, even though every one of the albumвЂ™s nine songs was meticulously assembled and subtly, engagingly performed, the last track, вЂњPsycho DramaвЂќ was not a song at all, but rather a ten-minute Maltese Falcon-inspired radio play, humorous and clever to be sure, but depriving the listener of two or three more samples of HolmesвЂ™ mastery of the short-story-in-pop-song form. Holmes)-both Hollywood- and American songbook-inspired, but with a strong and savvy Beatles, Nilsson, and Jeff Lynne modernist melodicism at their core-that explored with great humor and lyrical bite the tail-end of adolescent neurosis, self-doubt, and romantic fumbling in a variety of musical and dramatic settings, the clever wordplay and Broadway-bound urban sophistication of which belied their authorвЂ™s humble roots in the tiny exurban enclave of Nanuet, New York. вЂњWidescreenвЂќ was filled with stately, catchy, sweepingly cinematic and heavily orchestrated story-songs (a genre termed вЂњFilm RockвЂќ by Mr. The artist called himself Rupert Holmes (an ear-catching pseudonym), and called the record вЂњWidescreenвЂќ.

In 1974, an unknown twenty-seven year old tunesmith recorded and released the almost-perfect pop album.

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