Listening to Todd McNeal’s debut album, All My Good Intentions, you wouldn’t know that he was a classically composer who wrote operas. The album is very definitely mainstream with pop and jazz influences and is radio-friendly. Sometimes moody, sometimes upbeat, the CD is uncannily beautiful.

Todd McNeal, a British national who trained at the University of York and the Royal Northern College of Music, earned the respect of his classical peers with his early work. His “Inspector Otto and the Long-Haired Bicycle Maniac” (1992) won the English National Opera competition New Visions New Voices, following his opera smash “Virtual Reality,” written for the National Youth Music Theatre and performed at the London International Opera Festival two years before. From his intriguing titles, non-opera buff as well as opera fans can see that McNeal has been re-visioning opera for the twenty-first century.

As McNeal broadened his musical awareness, he began to write for musical theater, score film soundtracks, and write stand-alone tunes for a wider audience. He collaborated with British writer and actor Jane Scott on the musical, Grace and Favour, a dark, but witty, contemporary fairytale that was produced for the stage last year. His instrumental work has been heard in a number of British and Australian independent films. But it is his pop tunes that may bring him not only more recognition but a longer shelf life for his work.

Pulling together ten songs (plus a bonus track) into All My Good Intentions, McNeal has dipped his toe into music industry waters and may be poised to become an Aussie Billy Joel. Unlike Joel, however, McNeal doesn’t sing. He wisely chose British singer Emma Lewendon to be the voice of his lyrics. On the album, she does the lead vocals as well as the backing ones. Lewendon breathes life into these lyrics, adding heart and spirit. Another singer or type of singer would certainly produce different effects, ones perhaps McNeal didn’t intend. But his choice here is spot-on.

This album is a carefully produced package that highlights Lewendon’s sultry vocals and McNeal’s thoughtful piano and keyboard work. McNeal’s choices are minimalist, sparingly using Australian jazz talent Lawrie Thompson on drums and David Ellis on acoustic and electric bass. Two guest musicians also appear, again for their singular touches. Graham Jess’ flute on “Black Dog” adds mood to the piece.  He returns on “Star” and joins Peter Kartu on trumpet. These touches make the album sparkle. 

All songs on the album are written by Todd McNeal, except for two collaborations. Tom Green provided the lyrics on “Twice Its Weight in Gold” and Aidan Matthews does the honors on “Star.”

Though each and every track is pure magic, I was very impressed with three cuts. “Ride the Waves” has a Dave Brubeck and Astrid Giberto quality but with McNeal’s definite hand, and “Bird with the Burning Wings” offers jazz-laced bass and drum/cymbal additions to the ever-present piano, creating a piece that richly conjures myth, symbol, and a prophetic sense. The last track, before the bonus reprise of “All My Good Intentions,” is McNeal’s  “Let It Go, Brother.” Almost a hymn or a pivotal song from a drama, it stands as a prod to shake off our pessimism and anger. Very nice.

All My Good Intentions is a well-crafted debut album from a songwriter that the musical world will soon be raving about as long as Todd McNeal keeps writing and producing work of this caliber.

Reviewed By Janie Frantz

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