Described as "the Andrews Sisters on acid," Anglo-Italian vocal trio the Puppini Sisters' sound and style are so steeped in the golden era of the silver screen that it's surprising it's taken this long for the concept of their fourth album, Hollywood, to materialize. An affectionate homage to the glamorous film stars of the '40s and '50s, its selection of show-stopping numbers from various classic musicals may be fairly predictable, but luckily, their new arrangements allow the retro-burlesque revivalists to make their own mark on the proceedings. Judy Garland's signature number, "Get Happy," is transformed into a toe-tapping folksy hoedown, with its plucked banjo riffs, jaunty violins, and lolloping percussion; West Side Story's "I Feel Pretty" is turned into a charming Gallic waltz; while Breakfast at Tiffany's "Moon River" is given an inventively haunting makeover, with an eerie theremin accompanying its sweeping strings and hushed ghostly harmonies. Elsewhere, the group members showcase their bilingual skills on Brigitte Bardot's playful tongue-twister "Moi Je Joue" and the French version of The Godfather's "Speak Softly Love" ("Parle Plus Bas"), channel the spirit of Marilyn Monroe on a stylish rendition of Gentlemen Prefer Blondes' "Diamonds Are a Girl's Best Friend," and provide just the right amount of sassiness for the infectious swing of Girl Crazy's "I Got Rhythm." There are a few curve balls, such as the title track (the album's sole original composition), which could easily be mistaken for an old-fashioned jazz-hands number with its triumphant brass section and rumbling double bass, while Mika's "Grace Kelly" -- neatly fitting in with the cinematic theme -- is a clever more contemporary addition that best showcases their three-part doo wop harmonies. The problems with such obvious pastiches is that it's sometimes hard to see why fans of these vintage show tunes wouldn't just seek out the originals instead. But by giving them a subtle twist, the Puppini Sisters have created an intriguing and inventive tribute that stands on its own merit. by Jon O'Brien