Quandomly cantankerous critics, commentative quorums and contemplative connoisseurs of culture are candidly calling “Visions of Coady” a cacophonous compendium of Keatsian cadences, Calliope-like cantos, Confucian-calibered quips, Kiplingesque conundrums, Camusian caveats, Kierkegaardian contradictions, Cartesian contradistinctions and Kantian cogitations. Characteristically, Commander Coady’s casually clever quatrains and conspicuously catchy choruses camouflage a quantitative and qualitative cornucopia of commendably constructed and captivatingly complex compositions.

Considering the copious concurring condign cognomens conferred on Coady in his concomitantly chronicled but covert quasi-career: the Quietly Cocksure Crooner, the Capricious Catch-as-Catch-Can Kibitzer, the Conscientiously Concupiscent Candaulist, the Congenitally Convivial Contrarian, etc., this conceptualized cap-a-pie colossus of caparisoned creativity came quite curiously and counterintuitively carefree. “Visions of Coady” is the cream