Published on Aug 11, 1998
One of the most important things in blues, R & B and soul is
to never forget your roots. While it is always important to move
ahead with the music, you should always maintain a solid knowledge
of (if not a foot planted in) where you came from.
Take Syl Johnson. A veteran of the R & B scene, Johnson has
tasted success before in his career, and has, for the most part,
enjoyed a fruitful career in the music industry. When he returned
to music in 1993, it was on his terms. His second release since his
comeback,
Bridge To A Legacy, showcases some powerful modern rhythm
and blues, as well as the pitfalls that can occur when merging old
and new schools of thought.
Johnson (the brother of bluesman Jimmy Johnson, who we just
reviewed a few days ago) is a powerful guitarist and a decent
vocalist, though I honestly can’t hear any traces of harmonica on
this album (unless I’m listening to this disc way past my bedtime,
a possibility I’m willing to admit to). Songs like “Who’s Still In
Love” (complete with a sudden, surprise ending) and “Unconditional
Love” demonstrate the power that Johnson has over his self-penned
material. (All but one of the songs on
Bridge To A Legacy were co-written by Johnson.)
Johnson tips his hat to the younger generation on this album on
his duet with young bluesman Jonny Lang. The track “I Been Missin’
U”, the album’s first single, is a strong performance from both old
and new, with each performer helping to accent the other’s
contributions. Likewise, Johnson’s daughter Syleena gets a turn in
the spotlight on “Half A Love,” though one has to wonder if it
would have been a stronger song had she been the only featured
vocalist on the track. (Something just didn’t seem right when
Johnson came in with his vocal halfway through the song.)
Johnson’s roots in the history of R&B shine forth on tracks
like “Midnight Woman,” and songs like this make you wonder why he
didn’t become as popular of an entertainer as someone like Marvin
Gaye. It almost seems like Johnson pays tribute to the 1983-era
Gaye on songs like “Let’s Get It On Again” and “Sexy Wayz,” the
latter reminding me of some of Gaye’s more suggestive material.
Sadly, this particular track serves only to break the mood of the
rest of the album, and feels quite out of place. (The drums on this
track also sound sampled, something I can’t verify on my
pre-release copy of the disc. If they are indeed sampled, it’s a
waste; drums were meant to be live and crisp.) But for each weaker
performance like “Sezy Wayz,” there are tracks like “They Can’t See
Your Good Side” which bring out the best in
Bridge To A Legacy.
The biggest drawback to the album is that it does take some time
to get used to Johnson’s style of R&B and his delivery. Once
you do (and it takes about two listens to truly appreciate it – at
that point, you hear the similarities between the brothers), it
makes the time spent a worthwhile investment.
Bridge To A Legacy is not always the easiest disc in teh
genre to get through, but it does showcase an artist who now might
be on the brink of earning the fame he should have had long
ago.