Chapter 2: The Voice - Johnson, Syleena (Cassette 2002)

As most any straight thinking person will tell you, if any product/brand is not selling up to expectations after a series of promo, the product is normally either retooled and sent out into the market for further tests to see if it's still wanted or it discontinued entirely, due to disparaging thoughts and the feeling of hopelessness from the promoter. Normally you don't see one that isn't retooled make it out to the public; those are reserved for the CDs that get shelved and whatnot. At least not for very long, that is.

Well, Syleena Johnson tested that theory. Coming off the release of her grassroots hit debut record, Johnson was well known in the soul circles and throughout her home of Chicago yet unheard of anywhere mainstream, despite the fact that VH1 got some plays out of material from her first record. Late 2002 brought her second record, which didn't exactly light up the charts. After conquering body image problems, pessimism about her direction and fighting to get the right to sing what she wanted, it must have been a troubled time for the thick daughter of gospel legend Syl Johnson, since we've not heard her since. So much for me not being right every ti--...oh, sorry, was I thinking out loud again?

Tracklisting:
Intro
Faithful to You (**** 1/2)
Now That I Got You (****)
Dear You (****)
Guess What (*****)
I'm Gon' Cry (**** 1/2)
Is That You (*** 1/2)
Tonight I'm Gonna Let Go (****)
If You Play Your Cards Right (*** 1/2)
No Words (**** 1/2)
So Willingly (****)
Guitars of the Heart (**** 1/2)
I Believe In Love (**** 1/2)
Outro
Tonight I'm Gonna Let Go Remix featuring Busta Rhymes, Spliff Starr, Rampage and Sham (**)
Ooh Boy- Hidden Track (****)

Faithful To You is a Faith Evans-esque midtempo track with steady bassline, gorgeously weaved acoustic guitar and old school production that already sets the record's mood as optimistic and upbeat. It's a respectable track until Johnson lays her vocals down; even doing a song dedicated to a loved one, she pours it on with raw energy, lush vibrato and full range. Her optimism spreads immediately and makes you become even more enthralled in this winner. Now That I Got You is a similar track to the previous except this has more of a claptrack leniency and has no discernable guitar present. Its got more pace to it that makes it have a stronger energy about it. While Johnson's relaxed "I love you, boo"vocals glide easily over the simplistic bassline and unique back-up for those who don't learn the words easily, it loses a lot of the feeling of the first one; it doesn't hit you nearly hard enough and ends up being just...there.

Dear You has an interesting sound to it; packed with a quiet storm ready bass, flirty keyboards and settled production job, its more of a "neo soul" type track. The thing is, while the music is reserved and atmospheric, Johnson steps her vocal game up to take advantage of the situation. On this almost syrupy-written step-ready track, she doesn't overkill on the riffs and such, just enough to make you think that she's got a nice voice to her. One of the two singles (that I know of), the RKelly manned Guess What rises above the typical triflin' man lyrics to become the best song on the entire record. In the same vein as her awesome debut, this empowered two-years-too-late track has paranoid back-up, sassy finger snaps, church-ready keyboarding and a feeling of a newfound power that exudes from her not-as-churchgirl surprisingly calm vocals. The production is pretty good, as it strings together all the elements of the song into one effective track.

I'm Gon' Cry keeps the trend of good songs going; this fiery-by-comparison lightly latin influenced uber emotional upbeat reminds you of a cross between an old school jazz track and a misty tropical burner. Johnson controls the song per usual; she pushes out the rasp that inhabits her music while the phrasing and her ad libs are easily the most captivating things about the song. Its brooding energy is reminiscent of the first record while the wistful piano, irregular bassline and well done sample all make this very enjoyable.

Is That You is the first track I was really iffy about. Its not that horrid of a track, per se. The repetitive choppy bass riff is deliciously retro, the wild xylophone adds a lot of complexity and the head nodding bassline is intoxicating, to say the least. Johnson's performance is pretty respectable, using her normal register and not straining quite as much as you're used to hearing from her. The thing is, it doesn't gel. Lyrically, it's disappointing but it doesn't feel like its all going in the same direction, like everything's not quite synchronized. Tonight I'm Gonna Let Go, another single, is very hot in its original form. Despite the fact that it sounds like readymade urban radio fodder, the stuttery bassline is like a more comforting muted Put Your Hands Where My Eyes Can See; the song basically rips that entire beat but only has the song the Busta track sampled in its liner notes. The remix, with Busta, Rampage, Sham and Spliff Starr, is a complete disappointment. The only difference is that the guys put their vocals on the original and the bridge is slightly tweaked. Johnson's vocals are still sexy and enticing, the piano's still a nice contrast to the snarling bassline and the hook is still catchy as ever. The guests basicaslly all suck (you'd think that Busta would be used to the beat and would do well, but that's not the case) and don't add much to the song except limp lyrics, irritating ad libs and unwanted distraction.

If You Play Your Cards Right is a very lyrically limited song, as there are only a handful of lines that aren't hook. If you discount that fact, this sly smartly produced softly crescendoing midtempo with a killer acoustic solo has a lot more to it than you notice after the first couple of listens. The back-up is serene and comforting while the subdued nature of the track itself (even the ad libs) is very good in my book. No Words has a very creative concept that I've honestly never heard before- at most, she finishes a line or two before delving into the word of unintelligble erotic moaning that was caused by how good her man is. Not in that way; at least I don't think that's what she's singing about. Its quite the interesting listen, especially with the swaying synths, airy strings and electric guitar. Its classy overtones save it and even propel it to near highlight status. She sounds completely carefree, a tempting captivating seductress of soul.

So Willingly just screams old school, even more blatantly than Johnson's entire catalogue does. Her innocent yet heart-wrenching vocals are definitely the highlight of the song, as everything is built around them and she doesn't just sing over a track. The subtle percussion is oh-so-elegant, the acoustics ooze a lovestruck happiness and the production makes its presence known without going overboard. It's sweltering vibe is mixed with the longing back-up to give you a song that's as dreamy and passionate as it is intense.

Guitars of the Heart, I Believe In Love and Ooh Boy close out this oft-ignored sophomore set well. The first, obviously a guitar-heavy song, is a heated more slowed down Officially Missing You- this gorgeous flow of bare acoustics, fluttery bass riff and catchy fingersnaps really hits you with its haunting emotion and encompassing vocals. Johnson basically rips the song up- you have to hear it to fully understand the magnitude in which she lets loose. The middle, a more traditional piano ballad, is just as enjoyable due to the relatable lyricism, powerful gospel-tinged climax and amazingly layered vocals. It may sound sad at times but you can tell her optimism wins her inner battle. The last, a hidden track not found in either the liner notes or outer cover, is a strong song with rippling percussion, backed down electric riff and steady bassline. Its sadder-than-it-sounds hookline is worthy of a listen or two while the normal tone of the lyricism reminds me of her lastr ecord and the musical break is stunning.

I must admit, I didn't care for this record for a long, long time after I bought it. This is definitely not a one-listen-and-love record, by any stretch. If you really sit down to compare the two records, you definitely should note her emotional growth, acceptance of herself and overall diversity that indicates a more balanced personal life for herself. If you're interested in the record and have some time on your hands, feel free to cop this.

Pay Attention To: Guess What, Guitars of the Heart, I'm Gon' Cry

Don't Pay Attention To: Tonight I'm Gonna Let Go- Remix

Last Three Reviews:
Rascal Flatts- Melt
Chely Wright- Never Love You Enough
Jamie O'Neal- Shiver