Girly music doesn't often attract me. I much prefer music with either some grit or some quirk. In either case, I'm usually drawn to male voices. One woman who I actually like is Nina Gordon. The former front woman of Veruca Salt (along with Louise Post) went solo a few years ago and in 2000 released her debut Tonight and the Rest of My Life. The gorgeous, emotional CD really touched me and I wanted more.
Unfortunately I had to wait another six years before Gordon returned with her eagerly awaited sophomore CD Bleeding Heart Graffiti. Gordon has now been making music for about fifteen years and her maturity has reached an all-time level of annoyance. In a way, I enjoy what she has done with Bleeding Heart Graffiti but mostly I'm just unamused. She has grown very little creatively. Listening to this group of fourteen bland and predictable offerings makes me yearn for the crystalline beauty of her debut. This isn't to say that every single moment is horrific, but the material is so plain and generic it could have come from any one of numerous female singer-songwriters. Gordon's talent is definitely wasted.
As I mentioned, Gordon used to be part of Veruca Salt. She was the sweet to Post's sour. Her voice is light and delicate which works well in both the rock and roll setting of her former band and in these more delicate, acoustic arrangements. She tones down even the wildest songs with her cathartic style. There is no question that Gordon is vastly more talented than these dour textbook songs. So much of it feels like filler which is particularly surprising considering the same producer (Bob Rock) was on board for both solo efforts. Bleeding Heart Graffiti easily could have been four songs shorter (even considering the three that are only thirty or so seconds). All of these things aside, Gordon's talent is deserving of some attention. Her songs are deserving of individual critique. I wanted to love it, but I'm left high and dry but relieved I didn't pay full price.
Christmas Lights is the first real song. It is a light, piano-driven ballad. Gordon's voice is typically pleasant. Unfortunately the song is clearly tailor-made for adult contemporary stations. I have nothing against an artist trying new things, but in this case the artist is barely treading water in a genre that is flooded by people who may or may not be more interesting.
Kiss Me 'Til It Bleeds is slightly more amusing. I appreciate the use of acoustic guitars and xylophone. Gordon once again sounds very, very calm and collected--almost too mature for her own good. The reason this particular selection stands out is that it is more varied than the others. It bounces between mid-tempo ballad and mid-tempo "rocker." Bleeding Heart Graffiti really doesn't get much (if any) better.
Continuing on, we get
Suffragette which sees Gordon trying to thread together some of the energy of her previous work with the faux, over-produced feel of the material on this disc. It works reasonably well. The piano is definitely entertaining and her voice is good. Once again there is just something missing. The spark seems to be buried beneath layers of detachment. Once again exploiting the acoustic elements and Bob Rock's heavy production,
Don't Let Me Down does nothing for me. You'll never hear me say that Gordon doesn't sound pretty. She has such a light, childlike, crystalline voice that there is no better word to describe her style. Unfortunately there is no pop or musical value to this bland track. It's another dull mid-tempo girly song.
As much as I hoped this album would pick up as it went on, I am not rewarded with anything positive.
Pure is almost a carbon copy of
Don't Le Me Down. Boring, bland, simple, and completely devoid of emotional energy.
Watercolors is only a little better. Gordon does a little more with her voice. The song itself is still pretty awful--so very typical of wannabe female singer-songwriters. Kind of like Jewel-meets-Liz Phair gone terribly bad.
Superstar is definitely one of the better offerings. I hesitate to say "best" because the overall quality is so lacking. The simplicity of Gordon's voice paired with a piano makes it seem more honest. The melody is definitely appealing, the slight country tinge works, and there is a level of honesty. The same can't be said for the flat, emotion-less, creativity barren
Turn On Your Radio.
Still I hoped for something more--anything more--from Nina Gordon. She continues to disappoint with
When You Don't Want Me Anymore. I am completely unmoved by her continued use of heavily produced acoustic instruments and carefully arranged ballads. I can totally imagine a dentist's office popping Bleeding Heart Graffiti into their stereo. Nobody would be offended but nobody would fall in love with the artist either.
Bones and a Name returns to the vocals and acoustic guitar pairing that worked well on at least one or two other songs. It is so sticky sweet I fear I will have to make a trip to that aforementioned dentist for some serious root canal work. Heck, the pain involved in a root canal isn't any worse than this monstrously disappointing album.
The Time Comes is the last full length song and wraps things up well especially in comparison to what it follows. Gordon is particularly calm and soft. There's nothing really that different here, but I like the melody better than most of the other songs. It's by no means a reason to buy Bleeding Heart Graffiti but it also doesn't cause involuntary vomiting.
I really, really wanted to love this CD. I've always maintained that Nina Gordon is the reason why Veruca Salt was successful. Her voice was the heart and soul of the band and that is why it is so sad that she can't connect with the audience on the same level with her second solo release. Bleeding Heart Graffiti isn't even a must-buy for fans. I wish she could have spread her wings a little further as an artist rather than folding them into a cocoon.
Rating: 2/5 stars
Track Listing:
01. Bleeding Heart Graffiti
02. Christmas Lights
03. Kiss Me 'Til it Bleeds
04. Suffragette
05. This Was the Year
06. Don't Let Me Down
07. Pure
08. watercolors
09. Superstar
10. Turn On Your Radio
11. When You Don't Want Me Anymore
12. Bones and a Name
13. The Time Comes
14. The Crickets Sound Like Sleigh Bells
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Related Reviews:
Veruca Salt - American Thighs (1994)
http://www.epinions.com/content_32368266884
Veruca Salt - Eight Arms to Hold You (1997)
http://www.epinions.com/content_56048455300
Veruca Salt - Resolver (2000), sans Nina Gordon
http://www.epinions.com/content_89613176452
Nina Gordon - Tonight and the Rest of My Life (2000)
http://www.epinions.com/content_47843741316 
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