Weight Review — The Ryder
This is another review from Charles Ryder, who has reviewed some of Alexz’s other albums. This is his review of Weight.
Weight – Review
As it is widely known, there usually is a great atmosphere of expectation whenever an album is supposed to be released. The fans gather for chatting and talking about what they expect to hear, and the artist (or band) prepares surprises and packages as well as releases of different kinds of extra material. This is what what was supposed to happen in 2009, when Canadian singer/songwriter and actress Alexz Johnson announced she had already finished recording her début album Weight. Nevertheless, she was dropped by Epic Records on August 2009, before the release of the album, and as a consequence, the ten songs (along with some other tracks that had not made it into the final cut) were shelved, never to be released until the contract between Johnson and Epic expired.
Now, as it happens with every kept song, the demo versions of the tracks that had not reached the fans’ ears began to leak and wander round the net and YouTube. It was just a question of time until the mastered versions appeared, and finally, on July 20th 2011, the last tracks were released by Greg Wells, who had been one of the album’s producer. Weight is finally complete, and, as I’m sure it did, it blew the fans away thanks to its richness and complexity. Let’s begin!
The album opens with Running with the Devil, one of the first tracks that fans were allowed to listen to at Alexz’s MySpace profile, back in 2009. The verses are a beautiful mixture of spoken words pacing along the soft beat of the beginning. Its powerful force grows with every second, creating a climatic moment during the last choruses. It is also the song that sets the pattern for one of the album’s characteristics: the repetition of lines or words throughout the whole track. It may sound unconvincing, but in a work like Johnson’s it is perfectly achieved. Running with the devil, running with the devil, running with the devil instead…
Swallowed, the second track that was available for listening since 2009, is also the second track of the whole material. Influenced by world beats and a powerful percussion, its most attractive feature is Johnson’s own vocals, which are peculiarly sung as if she was singing with a magical, foreign language. It is not only catchy but rather energetic, and at the same time, relaxing. Once again, the repetition of lines draws our attention, because it is handled with mastery and creativity. Tell me my baby now, am I being swallowed?
Energy and catchiness are enhanced with Mail Man, which develops into one of the album’s jewels as it grows from a soft beat into a full mixture of background vocals that is sure to get stuck in your head for hours. Johnson’s vocal ability is beautifully used in different high and low tones, and the complex simplicity of the lyrics accomplish its melodic purpose as well. Mr. Mail Man, not a fan, Mr. Mail Man, just give me something I can stand, Mr. Mailman… certainly, one of the best tracks of the whole material.
Chicago, the next track, is an up-beat song that will remind the listener of something near the Caribbean beats. It is the first easy-to-decode song of the album and its lyrics are full of optimism and adventure that transform it into an anthem for all those people who want to start a new chapter in their life. On a plane I’m leaving for Chicago, any place I go, you can’t run. Not only does it work as a proof of Johnson’s musical flexibility, but also as the longest track of the album and as the prelude for the following one, a ballad.
The only real, soft ballad of the album, Golden is (as its title suggest) a song filled with pure gold in every note, every vocal and every second. Mainly driven by a piano, it introduces the melancholic aura to the album, accompanied with elegance and beauty. You’re golden… you’re gold, aren’t you? Repetition of verses acquires a new attribute of solitude and longing, which enhances the powerful emotive connection that can be felt throughout the whole song. As golden as it says.
Suddenly, and after the piano pause, Lost and Found arrives, bringing with it an extraneous mixture of fancy violins and elegant catchiness. The lyrics are uncommon, odd, rhytmic and extremely enjoyable. It also includes a certain aura of optimism around it. The vocals are another big plus during the song, because Johnson’s reaches new heights by the end of the song. Who is gonna’ say that you can’t be walking on water when you’re walking on land?
Track number seven leads us to the “clappy song” (as Alexz herself has described it) which is Saving the Train: a masterful combination of strong percussion with rocky edges. It is a song full of energy and rhythm, with sing-along choruses and a mysterious message. As it happens with most of the songs in the album, repetition plays a vital role in this song, for it is extremely connected to the beat of the whole track. Highly enjoyable and a must-repeat song on the music player. Keep up, I’m going now, pulling all my sleeves up, and I’m gonna’ follow through…
Weight. A real masterpiece. The title track deserves the main spotlight even though the whole album is packed with enormous musical jewels. It takes you beyond the music: it wraps you and introduces you into the spiritual side of the whole album. The lyrics have an angelic aura which is impossible to describe as well as the combined beat of drums with clear African-influence. The strings towards the end of the song transform this track into a hollow piece of music. A torrent of emotions will embrace you every time you listen to this gorgeous song. It is the very core of the album. Oh Lordy, is this meant to be? My heart’s beating faster than me… I’m watching him hold up the skies… why can’t I?
And then it comes Easy. Probably one of the most rhythmic tracks thanks to its blues/jazz influence, which really demonstrates that Alexz Johnson is capable of singing any genre. With its particular beat, it throws you back to the old times: soft lights, drinks, fun… something truly incredible for a song these days. Lyrics are simple and cheery and the music is so sticky it might not leave your head alone for weeks. Great track for a meal with family and friends! Oh, up in the moon, Saturday afternoon, the farther from home, the slower I move…
Listen baby to what I say, you only want what you’ve trown away, broken tables… you’re unstable. This is how the last track of the album begins. Shout can be described as something completely different from all the previous tracks. It has some unique characteristics such as almost no repetition in lyrics and a lot of background choruses. Besides, it combines many of the elements used in other tracks as well: the strings, the piano, the percussion… and it does so in a particular, odd way. As a closing track it works perfectly and once again the lyrics are subtle and complex with hidden meaning and ideas. Oh, and did I mention that it really wants to make you shout?
It may seem sad but even though fans can obtain the whole album on the Internet, Weight is an album that deserved a proper and true release, not only for the music it contains, but also for the great effort it took to be created and conceived. These emotions are immediately perceived in every song, creating a connection with the listener that gives you hope and peace. I highly recommend and invite you all to take a chance on each track. Your ears will be surprised.
-*-
Special thanks:
1.- To all the sites mentioned below for the pictures and the wonderful job you do everytime you update something new on Alexz.
2.- To Greg Wells for having released the final missing masters. All the fans are enternally grateful.
3.- To Brendan Johnson, for he is part of what Alexz creates and without him, half of this album would be incomplete.
3.- And the most important one, to Alexz Johnson herself: for her courage, strength, and effort mantain these wonderful songs alive even though it was difficult and painful to let them go. Thank you for the music.
