Benvenuto (Welcome) is the first single of  a new album that reflects freshness, novelty and the essentail elegance this singer has always portrayed with herself. Its purpose is to talk about the acceptance and possibilities of a change in our lives: a new chapter to begin, a new journey to accomplish. The lyics are filled with optimism and joyful statements as well as the video, which has just been released.

Compared to Invece No, which was the first single from her 2008 album Primavera in Anticipo, the new videoclip shows a completely different atmosphere throughout its lenght, similar to that of Io Canto from 2006 (in which she also uses fire). It is a great opening track for the whole promotion of the album and it also lets us know that the tour might be influenced by a hippie look.

Now, we ony have to wait for the album to be released on November 11th. As  whole, the single is a huge greeting to her old fans, and a very warm welcome to the new ones. Here’s the video and feel free to comment as always!

A te che perdi la strada di casa ma vai,
dove ti portano i piedi e lo sai,
che sei libero,
nelle tue scarpe fradice…

A chi ha parole cattive soltanto perché,
non ha saputo chiarire con sè,
a chi supplica,
e poi se ne dimentica…

A chi non ha un segreto da sussurrare,
ma una bugia da sciogliere,
a chi non chiede perdono,
ma lo avrà…

Benvenuto a un pianto che commuove,
ad un cielo che promette neve,
benvenuto a chi sorride,
a chi lancia sfide,
a chi cambia i suoi consigli coi tuoi…

Benvenuto a un treno verso il mare,
e che arriva in tempo per Natale,
benvenuto ad un artista,
alla sua passione,
benvenuto a chi non cambierà mai,
a un anno di noi…

A questa luna che i sogni li avvera o li da,
o li nasconde in opportunità,
a chi scivola,
a chi si trucca in macchina…

E benvenuto sia questo lungo inverno,
se mai ci aiuta a crescere,
a chi ha coraggio,
e a chi ancora non c’è l’ha…

Benvenuto a un pianto che commuove,
ad un cielo che promette neve,
benvenuto a chi si spoglia,
per mestiere o voglia,
e alle stelle chiede aiuto o pietà…

Benvenuto al dubbio delle spose,
a un minuto pieno di sorprese,
benvenuto a un musicista,
alla sua canzone,
e agli accordi che diventano i miei,
a un anno di noi…

Al resto che verrà,
(Stop, stop, stop…)
(Tutto il resto…)
A tutto questo que verrà…
(Stop, stop, stop…)
(Tutto questo…)
A tutto il resto poi chi sà…
(Stop, stop, stop…)
(Tutto il resto..)
E poi…

Stop…

(A un anno di noi…)
Benvenuto a un pianto che commuove,
ad un cielo che promette neve,
benvenuto a chi sorride,
a chi lancia sfide,
a chi cambia i suoi consigli coi tuoi…

Benvenuto a un treno verso il mare,
scintilla e arriva in tempo per Natale,
benvenuto ad un artista,
alla sua intuizione,
benvenuto a un nuovo anno per noi,
un anno di noi…
Un anno per noi…
Per tutto e per noi,
un anno di noi…

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.

For more on Alexz Johnson, check out:

Alexz Johnson Official Site: http://www.alexzjohnson.com

Official MySpace: http://www.myspace.com/alexzjohnson

Official Twitter Account: http://www.twitter.com/alexzjohnson

Alexz Johnson World: http://www.alexzworld.com

Alexz Johnson Island: http://www.alexz.net

Alexz Johnson France: http://www.alexz-johnson.org

Link to the Official Store in all the web pages.

Before beginning with the review, I want to state some aspects about what I am going to say on the album:

First and foremost, this is not a review based on the lyrics. In case you want to read something about the lyrics, the original sound and the style, go to the review of the original album. This review will be only based on the new versions of the songs, whether they work or not, that is completely different.

Second, if you are a hard Alexz Johnson fan like me, I strongly recommend you to do the next as an exercise for understanding this review, and for clearing up your mind as for what to think on the remixes: listen alternatively to each pair of songs (the original and the remix) in the order in which they come in the original album. They will make a lot of sense. The evolution is still there.

Of course, all the opinions I write during this review are completely subjective; if you do not agree with something I am saying and you feel like sharing your opinion, elaborate on that in the comment section of the post. I will be grateful for reading all yo have to say. So, now that I have stated te rules, let’s play the game!

What is Reloaded (The Demolition Crew “Voodoo” Remix Collection) ? It is a remix album co-created with The Demolition Crew that tries to give a more radio-friendly sound to each of the songs from the original album. It is simply the same material lyrically with new twists and turns. As a full concept, it works perfectly: it is fresh, fun to listen to, incredibly addictive, written with intelligence and remixed with originality. For many fans, it represents a conflict: which version should I like the most? Am I selling myself out if I choose to love the remixes? Am I less fan if I do so?  The answer is: No, you are not. You should love them as a whole: as two sounds for the same text, an experimentation. Besides, if you follow miss Johnson’s steps as I do, you have probably heard her talking about the reasons why she chose  to remix the entire album. That should be enough.

One of the reasons why I like a lot these remixes is that they do not try to sound as such. They are not the typical ones, in some cases they work as a completely independent song. You simply cannot stop liking both versions. Each one has its own changes, entangled in the creation of a single full album. With the remixes, some of the aims of the song change dramatically, but they still work for that to what they were changed for. Nevertheless, and as it occurs always, not all the remixes accomplish these goals. That does not mean that they get lost in translation either.  

Voodoo was the one I feared the most for it is my favourite song of the album in many senses. It unveils the whole essence of what Alexz wants to share with us. Our new version introduces us something that the previous one didn’t have: a mystical aura that enhances the enchanting atmosphere of the lyrics. Stronger drums, heavenly created vocals. It is simply another way of portraying it. I would not even call it a remix, but rather a new version, or something like it. As the original, this song is still so deep, that even the name of “single” is not good enough for it. Personal verdict: Original = Remix.

Gonna’ Get It has been given a slower beat that reminds me more of the R&B style. The dramatical change of speed might cause conflict in many of the fans of the original version (it happened in me, but I have overcome it). The new arrangements for the shouting and the verses are really well accomplished. Nevertheless, the sticky choruses of the background singers lose strength thanks to the force of the new beat. I consider this song was already sticky and danceable. Now it even has a new veil of reflection. Personal verdict: Original > Remix

Look At Those Eyes is one of the most pleasing tracks of the whole album. Its calm and melancholic Western sound still can be be found in the song, but what caught my attention was the new tools that were used to show that same melancholic feeling: the new guitar sound and rock finale enhance the pain that can be felt during the song. The piano gives it a gorgeous feature and the final spoken lines still have that “stuck by watching your sad eyes” mood. Good choice for a single. Personal verdict: Original < Remix.

On the other hand, L.A. Made Me offers us a new change in direction. I confess I was expecting a rock twist, and I was hit by a pop/dance track. This is one of the most flexible songs on the album and I think any kind of sound that had been added to it could have worked. A playable track, in other words. The remix indicates fun and an excellent future single. Rock traces can be heard sometimes, and some new choruses are added at the end (which is something I felt was missing in the first version). One for reflection, another one for dancing. Still, sometimes I feel it goes too quickly. Personal verdict: Original = Remix

The rock style that I was looking for arrives and hits surprisingly with A Little Bit. For those who still prefer to listen to the Instant Star material over the new one, this will be a delightful gift for you, for it sounds as if it had been in one of the soundtracks of the series. It is one of the best remixes (if not the best one) because of its turn and the fact that you do not even think you are listening to a remixed version. It is a completely new track (I confess I would have liked some more songs with this kind of twist). Could work as a really succesful single. Personal verdict: Original < Remix.

And what happened to Mr. Jones? Well, it receives a mixture of what we have already heard: rock, dance and background choruses. Its novelty comes in the form of the spooky sounds that already existed in the original version, but which are now enhanced to reinforce the mysterious aura that disappears by taking away the “spies theme” it had. It works really well, and my only “but” is that the chorus should no be repeated thrice in the final part of the song. Thumbs up for the background sounds after the first chorus. Reminds me of castles, vampires… a Van Helsing kind of setting. Personal verdict: Original = Remix.

Superstition. This… is going to be difficult. Most of the charm of this song relies in its R&B influenced beat. But we are shocked with another radical twist: the ballad is transformed into an electrodance tune. What a conflict, is not it? I have even heard of many fans who did not like this remix at all. But hey people, it does not have to be that bad, right? The new goal of the song is well accomplished, it really makes you want to dance. The new sighs added to the choruses are beautiful. If you think of the fact that there is a lot of reflection behind the lyrics, it becomes one of the rather few songs of this genre that compiles both things: intelligence and dance (not a common combination nowadays). This is the remix in all extension of the word: for dancing. Alexz sounds great in all genres. Personal verdict: Original > Remix.

Trip Around The World, the first single from the original album, was also one of the first remixes we were allowed to hear entirely. I consider it the less worked remix, actually. The beat, as it happens with Gonna’ Get It was already there, and what really changes is the basic instruments used for the sound: this time, we hear a happy, funny and odd piano throughout the whole track. The transition to the chorus is a delicious second of music. Even though it does sound catchy, the emphasis on repeating the chorus more than the usual and without the middle pause that the original version included, may turn the track into something tiring. Personal verdict: Original > Remix.

Probably, Hurricane Girl is the song that passes rather unseen in the album, not because it is a bad song (on the contrary, it is an incredible piece of songwriting) but for its incredibly similar sound to the original version. As I said regarding Voodoo, this track should not be considered a remix, but a new international version, or enhanced rock track, you know what I mean. It is enhanced in all its aspects and the new musical arrangements work perfectly, especially the solo guitars at the beginning, the middle and the end. No new verses, no verses taken away. Just the hurricane girl. Personal verdict: Original = Remix.

Taker… Taker, Taker, Taker. Another one that becomes a conflict since the first glimpse. Its most impressive and shocking feature is the adding of a certain kind of chants in the background, that make me imagine a possible video for this song, located in Africa. Though this new element is difficult to digest, once you have done so, it becomes something trivial. The rhythm of the song is slowed down a bit but not as much as to make it sound different. New arrangements with the beat and the final drums do make it sound as beautiful as the original and it accomplishes the objective of the album: to sound more radio-friendly. Well done! Personal verdict: Original = Remix.

And finally… Boogie Love. Another track that is completely changed. I have read many comments saying: “What happened/went wrong with Boogie Love?” Well, it happens that it follows the formula of not remixing but recreating, as I previously stated. This is not a remix, is a new song built on the roots of another one. It is rather enjoyable and tries to create a 70′s aura different than the one created by the original version, which teleported you to the 50′s. The atmosphere works fantastically, and if it had conserved its original place in the tracklisting, it would have been an incredible final susprise. Personal verdict: Original < Remix.

So, that’s it. You have read my personal opinions on the tracks. I personally like them all, ones more, ones less, but they still are part of one single material: Voodoo. Twenty-two well-produced and crafted songs: intelligently written, musically… an experience.

I highly recommend to all those who do not know this singer, to take a chance on her. She will surprise you. Even though the remixes have a more friendly sound, they still do not have the typical consumist rhythm of the bunch of music we hear on the radio these days. They are clean, pure and sophistically simple but at the same time, quite complex in their creation. Whether you buy the original album, or the remixed one, you won’t regret in doing so, I am sure.

And now, as a golden closure, the title track Voodoo (The Demolition Crew Remix) for you my people. Enjoy and get voodoofied by the power of Alexz Johnson. Her time has come.

VOODOO

For more on Alexz Johnson, check out:

Alexz Johnson Official Site: http://www.alexzjohnson.com

Official MySpace: http://www.myspace.com/alexzjohnson

Official Twitter Account: http://www.twitter.com/alexzjohnson

Alexz Johnson World: http://www.alexzworld.com

Alexz Johnson Island: http://www.alexz.net

Alexz Johnson France: http://www.alexz-johnson.org

Link to the Official Store in all the web pages.

The Blog-Health-o-Meter™ reads Wow.

Crunchy Numbers

The Louvre Museum has 8.5 million visitors per year. This blog was viewed about 88,000 times in 2010. If it were an exhibit at The Louvre Museum, it would take 4 days for that many people to see it.

In 2010, there were 88 new posts, growing the total archive of this blog to 144 posts. There were 346 pictures uploaded, taking up a total of 41mb. That’s about 7 pictures per week.

The busiest day of the year was December 24th with 4,923 views. The most popular post that day was Toy Story 3 – Review.

Where Did They Come From?

The top referring sites in 2010 were en.wordpress.com, 74.125.67.100, search.aol.com, facebook.com, and liveforfilms.wordpress.com.

Some visitors came searching, mostly for merry christmas, alice in wonderland 2010, toy story 3, sun and moon, and p!nk.

The Ryder’s Attractions In 2010

These are the posts and pages that got the most views in 2010.

Toy Story 3 – Review June 2010
4 comments

Percy Jackson’s New Photos! January 2010
13 comments

Back In Wonderland March 2010
3 comments

Welcome To Pandora (Avatar – Review) December 2009
8 comments

Crazy March March 2010
3 comments

Thanks for visiting The Ryder throughout all this year!

Before the lists begin, I’ll explain moreless how they work. I tried to name five options for each category and the winner is coloured with cyan. I based myself for this on different things, including my iPod, some reviews, and the opinions of different people and sites. I also want to emphasize that many artists are mentioned, no matter if they released an album during this year or not. Some of the categories do obey an specific year, such as the first ones. As it has happened always, you are welcomed to drop a line or two according to what you think of the post. Now that I made myself clear… let’s begin!

Song of the Year 2010:

1.- A Sud Di N.Y. – Luca Napolitano & Federica Camba

2.- Halway Gone – Lifehouse

3.- Imprevedibile – Paolo Meneguzzi

4.- Stutter – Maroon 5

5.- Voodoo – Alexz Johnson

Album of the Year 2010:

1.- Above The Noise – McFly

2.- Miami – Paolo Meneguzzi

3.- Smoke & Mirrors – Lifehouse

4.- Voodoo – Alexz Johnson

5.- We’ve All Been There – Alex Band

Most Played Song in 2010 (In Order):

1.- Voodoo – Alexz Johnson

2.- A Sud Di N.Y. – Luca Napolitano & Federica Camba

3.- All That I’m Asking For - Lifehouse 

4.- Les Chansons Ne Servent À Rien – Natasha St-Pier

5.- Imprevedibile – Paolo Meneguzzi

6.- The Great Escape – Boys Like Girls

7.- Will Not Break Down – Alex Band

8.- Shine A Light – McFly

9.- Non C’è Più – Valerio Scanu

10.- Mas Na’ Contigo – Alex, Jorge Y Lena

Ballad of 2010:

1.- All That I’m Asking For – Lifehouse

2.- Need You Now – Lady Antebellum

3.- Non C’è Più – Valerio Scanu

4.- Superstition – Alexz Johnson

5.- Will Not Back Down – Alex Band

Best Lyrics of 2010:

1.- E Da Qui – Nek

2.- Fuckin’ Perfect – Pink

3.- I’ll Be Your Man – McFly

4.- Trip Around The World – Alexz Johnson

5.- Don’t Wake Me When It’s Over – Lifehouse

Best Duet of 2010: A Sud Di N.Y. – Luca Napolitano & Federica Camba

Best Old Track of the year:

1.- Neverending Love – Roxette

2.- Let’s Make A Night To Remember – Bryan Adams

3.- Dear Mr. President – Pink

4.- Ho In Testa Te – Nek

5.- The Great Escape – Boys Like Girls

Best Film of 2010: Inception

The lyrics are quite obvious, almost childish… but have an essence that makes me feel quite blessed while listening to it (don’t ask me why!) Anyway, I decided to post the odd music videoand of course, the lyrics… enjoy them and have a nice weekend people!

STARS

Oh, yeah…

You keep on walkin’ on the other side,
other side, other side,
you keep on walkin’ on the other side,
other side, other side…

Wherever you go, I’m going with you,
shouldn’t you know I’m bound to follow,
whatever you say, whatever you do,
I give you a clue, I’m gonna’ follow…

And the stars will show,
where the waters flow,
where the gardens grow,
that’s where I’ll meet you…

Why don’t you let me, let me come along?
Na na na, na na na,
why don’t you open, make me come along?
Na na na, na na na…

Wherever you go, I’m going for you,
oh, I was truly born to follow,
like fire and wood and paper and glue,
only a few were born to follow… oh…

And the stars will show,
where the waters flow,
where the gardens grow,
that’s where I’ll meet you…

And the sun will glow,
melting all the snow,
knowing all I know,
that’s where I’ll meet you…

Stars will show,
where the waters flow,
where the gardens grow,
that’s where I’ll meet you…

And the sun will glow,
melting all the snow,
knowing all I know,
that’s where I’ll meet you…

And the stars will show,
every breeze will blow,
knowing all I know,
that’s where I’ll meet you,
that’s where I’ll meet you…

My tears before thy face, whilst I stay here,

For thy face coins them, and thy stamp they bear,

And by this mintage they are something worth,

For thus they be

Pregnant of thee;

Fruits of much grief they are, emblems of more,

When a tear falls, that thou falls which it bore,

So thou and I are nothing then, when on a diverse shore.

On a round ball

A workman that hath copies by, can lay

An Europe, Afric, and an Asia,

And quickly make that, which was nothing, all;

So doth each tear

Which thee doth wear,

A globe, yea world, by that impression grow,

Till thy tears mix’d with mine do overflow

This world; by waters sent from thee, my heaven dissolved so.

O more than moon,

Draw not up seas to drown me in thy sphere,

Weep me not dead, in thine arms, but forbear

To teach the sea what it may do too soon;

Let not the wind

Example find,

To do me more harm than it purposeth;

Since thou and I sigh one another’s breath,

Whoe’er sighs most is cruellest, and hastes the other’s death.

Author: John Donne

Beautiful poem written by Mr. John Donne, during the seventeenth century in England. For thoe of you who cannot understand it, it depicts how a man asks his love not to cry while he leaves, because her crying will kill him. Hope you enjoy it people! And have a nice Sunday!

This, of course, led to a personal reflection: why do I have started to like the 80′s music o much? (Even the 90′s) Thankfully, an answer struck me immeaditely and I think it is quality and humbleness. Many, many bands from these years looked for fame. They wanted to be remembered by their music; they wanted to become a kind of hymne for their fans, in order to wander in the streets, listen to them and say: “Oh, it’s _______ (Band of your choice)!” Nowadays, it is not like this anymore.

Today, many artists are more interested in money and attention and desperately look for any means to get them. They even release three albums in one single year! (¬¬ JB, for example) This is not only laughable, but also disappointing and frustrating for many listeners who are used to here music with a certain amount of quality, not matter which genre they prefer.

Of course, we all listen to music creatd by the consumerism and the big labels, but we have to be careful when they try to surround us with these kinds of confusions. Queen, Kiss, Roxette, Fletwood Mac., The Doors, The Beatles, Toto, The Rolling Stones… or even newer bands like Green Day, Metallica, Oasis… they don’t really care about the amount of albums they sell. And if you do notice, many of them are still remembered and played by millions of people. Now, music is all the same: same sound, same beats, even similar lyrics… one even confuses singers and songs! I’m not saying either that we all should hear the bands I mentioned before. But we should try to avoid becoming one more victim of consumerism, supporting people because of their talent and not because of their looks. But enough of this… let’s get to the band that owns the post.

Roxette reached international fame in 1989 with their second album, Look Sharp! which spanned the hit singles: The Look, Dangerous, Dressed For Success and Listen To Your Heart. More studio albums came most of them with the same kind of success until 2001, when they decided to put themselves on hiatus because of Marie Fredriksson‘s disease. Per Gessle went on different projects and they finally reunited in 2006 for their 20 year compilation. They have stated to be currently working with new material, which will be probably released in 2011. They are known as the second most commercially successful band from Sweden, after ABBA.

Roxette Discography

1.- Pearls Of Passion (1986)

2.- Dance Passion (1987) – Remix Album

3.- Look Sharp! (1988)

4.- Joyride (1991)

5.- Tourism: Songs from Studios, Stages, Hotelrooms & Other Strange Places (1992) – A mix of studio and live recordings from the Join The Joyride tour.

6.- Crash! Boom! Bang! (1994)

7.- Rarities (1995) – Compilaton of b-sides, demos and odd songs.

8.- Don’t Bore Us, Get To The Chorus! (1995) – Compilation of hits.

9.- Baladas En Español (1996) – A Spanish version of some hits.

10.- Have A Nice Day (1999)

11.- Room Service (2001)

12. The Ballad Hits (2002) – Compilation with their best ballads.

13.- The Pop Hits (2003) – Compilatio with their best pop hits.

14.- A Collection Of Roxette Hits: Their 20 Greatest Songs! (2006)

So, I’ll leave you here two of their biggest singles and best songs people. The first one, their mst recognised ballad: Listen To Your Heart; the second one, the rock/pop sounded Dangerous.

LISTEN TO YOUR HEART

DANGEROUS

Uh, just a little bit dangerous…

You pack your bag,
you take control,
you’re moving into my heart,
and into my soul…
Get out of my way,
get out of my sight,
I won’t be walking on thin ice,
to get through the night…

Hey, where’s your work,
what’s your game?
I know your business,
but I don’t know your name…

Hold on tight,
you know she’s a little bit dangerous,
she’s got what it takes to make ends meet,
the eyes of a lover that hit like heat,
you know she’s a little bit dangerous…

You turn around,
so hot and dry,
you’re hiding under a halo,
your mouth is alive…
Get out of my way,
get out of my sight,
I’m not attracted to go-go,
deeper tonight…

Hey, where’s your work,
what’s your game?
I know your business,
but I don’t know your name…

Hold on tight,
you know she’s a little bit dangerous,
she’s got what it takes to make ends meet,
the eyes of a lover that hit like heat,
you know she’s a little bit dangerous…

Uh… just a little bit dangerous…
A little bit dangerous…

Hey, hey, hey, what’s your word?
What’s your game?
I know your business
but I don’t know your name…

Hold on tight,
you know she’s a little bit dangerous,
she’s got what it takes to make ends meet,
the eyes of a lover that hit like heat,
you know she’s a little bit dangerous…

She’s armed and she’s extremely dangerous,
she’s got what it takes to make ends meet,
the eyes of a lover that hit like heat,
you know she’s a little bit dangerous…

Uh… just a little bit dangerous…
A little bit dangerous…

Hey… what’s your work…
Hey, what’s your name…?
Just a little bit dangerous…
Don’t know your name…

His music is not only enjoyable but also quite refreshing. His last album, Corro Via (Run Away) is mostly a rock/pop album composed by ballads full of sorrow and a few strong songs with intesne lyrics. Now, after two years, Paolo introduces us to another genre: Electropop. Personally, I’m not really a fan of this style of music and I don’t support Lady Gaga, Justin Bieber or anyone who has begun to do music with this genre. But I can orgive Paolo not because I like his music but because of the way it is composed. Listening to Miami, his new album, has led me to have a new experience with this music genre. All the songs are beautifully written and the sounds that are used fit incredibly in each part of them. Of course, he has not changed his romantic side either and the album still has gorgeous ballads full of high notes and rock/pop features. Meneguzzi had previously experimented with dance/pop songs like Vero, Falso (True, False) from his 2003 album Lei È (She Is) but the songs found in Miami have a futuristic beat that the previous song do not have.

The first track rom the album is Mi Ami (You Love Me)  which at the same time is a reference to the title of the album. It has all the essence found in Meneguzzi’s previous album. It is a rock/pop song accompanied by terrific piano beat. It also shows a new topic in Paolo’s songwriting: a woman has left him for another woman. Second track is the song chosen as the first single of the album: Imprevedibile (Unpredictable) which definitely represents a huge change in Paolo’s music. It is a song that talks about sex and seems to be the second part of the first track. Meneguzzi develops his soft voice into a sophistically danceable plead. The next song, Noi (Us) is a surpirse for those who got accustomed to the electropop sound. It is a soft track that talks abou past memories and the good times of the 70′s. It begins a with an acoustic rhythm. The Jackson 5 are mentioned and it turns Meneguzzi backto his previous album again although there is an electronic sound in the background of the song. Nevertheless, the real surprise of the album comes with tack number four: Federica (Federica). This song represents an excellent mixture of the dance/pop beat and musically, it becomes one of the best songs in the album. It is fresh, funny and danceable. The song talks about a promiscuous woman who seems to see life as a game, just as the song seems to be.

Il Tuo Addio (Your Goodbye) is the fifth track of the album and the first serious ballad to which we are introduced. It is a song in which the singer tels his lover that she will regret the day she said goodbye to him. It begins with a tender piano note, which develops into a R&B kind of beat in some parts of the songs. The lyrics are the real impressive thing in this song. The next song, Arlecchino (Harlequin) is one of the less impressive songs in the album and its beat seems to be a bit lifeless. It talks about how people have to show a happy smile to others when they are actually sad. The same happens with track number seven, La Voglia (The Desire) which is a beautifully written piano ballad that talks about making love. Somehow, the way the song is sung becomes a flaw in the performance while the lyrics are lovely. It is also a song that was mistakenly placed, because it should not be between two electropop songs. Track number seven throws us back into the sound previously introduced. Dolce Amor (Sweet Love) shares some beats and sounds used in track number six but uses them in a better, friendly way. The song talks about thinking of the one you love when having a bad day. It also has some references to death.

La Mia Missione (La Mia Missione) is another ballad, clearly stronger than the previous ones showed. From the moment you begin to listen to it, you realize it will be a track full of sorrow. Meneguzzi’s voice turns into a plead full of forgiveness, help and madness. It has some great moments, but somehow the chorus does not share the magic of the whole song. It seems to talk about someone who has become crazy but still remember the woman he loved once. Se Per Te (If To You) is probably the track that approaches the most to the dance/trance genre. It is the most danceable song in the album but lyrically, it is one of the weakest. Track number eleven, E Ancora, Ancora Tu (And Yet You Still) is one of the weirdest songs of the whole material. It seems to be a ballad but nearly the end, it turns into a rock/pop track full of guitars and strong lyrs. The chorus is extremely simple, but that can be forgiven because of the song’s finale.

Vieni Con Me (Come With Me) is the last rock/pop track of the album and it even has an Arabian sound that reminds of Harem, the 2003 hit single by Sarah Brigthman. Lyrically, it is a song full of complex stanzas nd simple choruses. It works really well, but because of its place in the album it might not be noticed. L’ombrello Rosso A Pois (The Umbrella With Red Spots) is probaly the happiest song in the album. It tells the story of how a couple meets one day and how they talk to each other. It has a fresh beat that reminds us of Paolo’s 2003 album. Finally, Vincerò (I Will Win) is a song that talks about victory and strong-willing people. It advices to never give up and fight against every obstacle in your path no matter what.

 Paolo Meneguzzi demonstrates with this new album that he is able of mixing many genres and makes them part of him and his music. Just as many Italian albums, Miami is an album that should not be unoticed because it offers many things that commercial albums do not offer anymore. It introduces us to a style that has already been used, but added with fresh lyrics and beat which make it quite enjoyable (as I had expected). I strongly recommend you to check out many songs of the album, and of course, here you have the first single along with its lyrics. Feel free to comment as always!

IMPREVEDIBILE

Imprevedibile,
di giorno sembri la persona più affidabile,
ma nella notte se il nemico più temibile,
ingestibile, quando c’è la luna piena arrivi tu…

Imprevedibile,
strisciando arrivi nel momento più impensabile,
mordi e colpisci tutti i punti deboli, i più fragili,
la mia torre cade mentre arrivi tu…

Io non so che cos’è,
che mi prende di te,
ma è la voglia che ho,
di stare solo con te,
con un po’ di follia,
esco dalla realtà,
che non è più armonia,
ma solo dolce fobia…

Mi travolgi nel corpo e nell’anima,
tu vieni verso di me,
tu come un’alta marea,
come il sole più caldo dell’Africa,
dammi le mani, prendi le mani,
non le lasciare mai… mai…

Imprevedibile,
dietro quegli occhi dolci tu nascondi un rettile,
arrivi al bar e fissi la tua preda immobile,
irresistibile, il mio mondo crolla quando arrivi tu…

Imprevedibile,
attacchi e uccidi col veleno più piacevole,
il sesso, senza lasciare tracce torni a casa tua
tu sei l’amore, fammi stare male, sì…

Io non so che cos’è,
che mi prende di te,
ma è la voglia che ho,
di stare solo con te,
con un po’ di follia,
esco dalla realtà,
che non è più agonia,
ma solo dolce fobia…

Mi travolgi nel corpo e nell’anima,
tu vieni verso di me,
tu come un’alta marea,
come il sole più caldo dell’Africa,
dammi le mani, prendi le mani,
non le lasciare mai… più…

Imprevedibile…
Imprevedibile…
Tu sei… l’amore… fammi stare male, sì…

Io non so che cos’è,
che mi prende di te,
ma è la voglia che ho,
di stare solo con te,
con un po’ di follia,
esco dalla realtà,
che non è più agonia,
ma solo dolce fobia…

Mi travolgi nel corpo e nell’anima,
tu vieni verso di me,
tu come un’alta marea,
come il sole più caldo dell’Africa,
dammi le mani, prendi le mani,
non le lasciare mai… più…

Imprevedibile…
Imprevedibile…

Dammi le mani, prendi le mani,
non le lasciare, non le lasciare,
non le lasciare, non le lasciare mai…