Graffiti Love Song
Heather McLeod with Head in the Clouds plus Picante
BellaMuse Productions Inc.
1999
14 tracks
If I have a problem at all with Graffiti Love Song, it has not so much to do with the music or the quality of the recording as with the assigning of credits. For me, lyrics have always been at least as important as the musical composition of the song. I was disappointed to find this release has no accompanying printed lyrics. Worse, I was surprised, one might even say shocked, to find no credit was given the lyricist for even one song.
I enjoy being able to read a lyric and not have to figure it out from the recording but, given the amount of space available on today's packaging, I can understand leaving out the printed words.
Failing to credit the lyricist is, however, unforgivable. Even if the words are from traditional sources or have fallen into the public domain, they should be credited as such. At least one of these songs appears to owe at least something to Elizabeth Barrett Browning, yet she is not mentioned. It may even be that Heather McLeod wrote some or all of the lyrics for these songs. Even then, I would like to have seen them credited to her.
I note that the composer, and sometimes arranger, of every single song is credited for his or her part in creating music for the song. Surely the lyricist who created the words deserves the same courtesy.
That said, this release is an interesting mix of latin influenced and traditional folk music. A circle is set up by a brief prelude pointing to the final song. In between, the music is consistent and, when in latin mode, made for dancing.
Of the latin songs, which range between a sort of generic form, something approaching bossanova, and a more pop rock style, I prefer the latter. Songs like "If" and "Living Without a Mind," while they show strong Santana influences, are the stronger, more original sounding pieces. Other songs, while lively, danceable, and easy on the ear, have a cookie cutter sound about them, as though drawn from some stock latin repertoire.
Listening to the more traditional folk songs, I wonder if this may be the most productive area for McLeod to invest her future efforts. She has a sweet, pleasing voice when she sings to tell a story and doesn't try (as in some of the latin songs) to overreach her vocal range.
"Lullaby" is just such a well written and sung song, with very traditional lyrics laid over an equally traditional sounding melody (although credited as composed and arranged by McLeod). Given its traditional nature, I found the droning accordion and later intrusive hand-drums distracting at best. This song would probably work better with a more (pardon the use of the word again) traditional, perhaps Appalachian, instrumentation.
"As Land Holds Water" is a lovely song sung sweetly by Mcleod. It's an excellent treatment of themes (and some exact words) first expressed by Elizabeth Barrett Browning a century and a half ago. The musical treatment places it among the traditional English folk songs we all enjoy so much.
"Raven" also bears mention. In words and in melody, this song could easily pass for a traditional English or pre-revolutionary American song. It's a gentle, yet powerful song with an eerie edge to it. Once again, though, the accordion seems out of place in this song. The horns, on the other hand, while not strictly folk instrumentation, enhance the distant, mystical effect of the music.
"Raven" and "As Land Holds Water" are by far the best songs on this release. These two songs make it worth buying. Think of the rest of the songs, all of which are at least competent, as a bonus.
If you're interested in learning more about Heather Mcleod and her very eclectic music, go to "the online source for everything heather."
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Review Written: March 3, 2000
Page Last modified:February 14, 2004
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