Music, Arts and Entertainment

The Return of Lady Gaga

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Gaga applause

After beginning 2013 underneath a dark cloud ultimately resulting in the cancellation of several tour dates followed by surgery and intensive physical therapy, Lady Gaga has finally arisen looking like she’s vowed to make up for lost time. New details are beginning to emerge on a weekly basis about her forthcoming album ARTPOP, interactive app, new single and music video.

Lady Gaga is set to release new music for the first time in over two years on August 19th. “Applause” will be Mother Monster’s first single from her highly anticipated upcoming multimedia epic, scheduled to drop in November. She recently unveiled the cover art of her soon to be released new single (above) showing the performance artist with mime-like multicolored makeup smeared across whiteface. The lead single is reportedly an upbeat track “full of happiness” and judging from the lyrics teased so far (“I stand here waiting for you to bang the gong/To crash the critic saying is it right or is it wrong/Give me that thing that I love/Put your hands up make ’em touch”), that description sounds accurate.

During a recent interview with Women’s Wear Daily, Gaga confessed “I had broken my hip. Nobody knew, but when we got all the MRIs finished before I went to surgery there were giant craters, a hole in my hip the size of a quarter, and the cartilage was just hanging out the other side. I had a tear on the inside of my joint and a huge breakage. The surgeon told me that if I had done another show I might have needed a full hip replacement. I would have been out at least a year, maybe longer.”

“Applause” will be released simultaneously with an accompanying music video (directed by Inez Van Lamsweerde and Vinoodh Matadin), followed by its debut live performance at MTV’s Video Music Awards on August 25th.

ARTPOP promises to be an immersive multimedia release, which Gaga describes as “a musical and visual engineering system that combines music, art, fashion and technology.” Co-produced by Gaga with Zedd, DJ White Shadow, Dallas Austin, RedOne, and Fernando Garibay, ARTPOP is scheduled to be released worldwide on November 11th.

Beady Eye: ‘BE’

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Beady Eye: BE

Poor Liam Gallagher. It must be hard always being compared to big brother Noel, especially with a massive ego his musical abilities commonly fail to validate. It remains puzzling why the remaining members of Oasis chose to stay in Liam’s camp while alienating themselves from Noel after years of what seemed to be a mutual admiration society. With that said, Beady Eye manages to proficiently deliver a noteworthy follow-up to its 2011 debut.

Although assuredly destined to get lost in the Noel vs. Liam rhetoric, Beady Eye’s sophomore effort, BE, is a rather impressive musical statement in its own right. Surprisingly cohesive despite its lack of obvious theme or concept, the bombastic set begins with the wrathful pulsing of the horn drenched opener “Flick of the Finger,” then unpredictably switches gears into the mid-tempo trippiness of “Soul Love.”

Co-producing with Dave Sitek (Yeah Yeah Yeahs, TV on the Radio) seemed to breathe new life and bring forth a cock-sure confidence that was sorely missing on the band’s mostly forgettable Different Gear, Still Speeding. BE at times is as melodic, if not as lyrically cerebral, as anything Oasis created during its heyday.

Although not as heady or atmospheric as Noel Gallagher’s High Flying Birds, BE greatly benefits from Dave Sitek’s production style, which suits Liam’s nasal, English yawp like a glove. But perhaps the most evident distinction between the two most recent Gallagher brothers’ releases is that BE audaciously rocks full steam ahead, whereas the former mildly meanders along like the tepid aspirations of a mellowed out, aging rock star.

At times BE can be guilty of sounding like an album of Oasis leftovers recorded by a John Lennon impersonator, but at its best (“Second Bite of the Apple,” “Iz Rite,” “Start Anew”) the album displays glimpses of unquestionable greatness. BE is not only a gigantic leap forward from Beady Eye’s first full-length release, but boldly sounds like a musical declaration of independence.

The Killers Bring Sin City to Music City

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(Photo by Eric Allen ©2013)

Music City met Sin City when Las Vegas rock band The Killers performed at the Grand Ole Opry House in Nashville Sunday night. Dressed in black and armed with lasers, a projection screen backdrop, and a keyboard bedecked with an illuminated lightning bolt, lead singer Brandon Flowers was on fire as he tirelessly ripped through the dynamic set like a man determined to leave his perpetual mark upon the world famous venue’s stage.

The band members fed off the sold out crowd’s zealous reaction as they delivered a 21-song set list culled from their four album discography, which included “Mr. Brightside,” and “Human,” stacked against newer hits “Here with Me,” and “Runaways.” During the concert’s progression, the evening was filled with sporadic surprises including the Johnny Cash classic “Ring of Fire,” a guest appearance by Brad Paisley, and a cover of “I Think We’re Alone Now,” which was preceded by Flowers’ proclamation, “Tiffany stole this song from Tommy James and the Shondells, but tonight we’re stealing it back.”

Although it may initially sound odd for a Las Vegas rock band fronted by a Latter-day Saint to play a gig at the Grand Ole Opry, that’s precisely what took place on an electrically charged Sunday evening in the inimitably unequalled whangdoodle that is Nashville’s beloved music scene.

By night’s end, Flowers held the engrossed audience in the palm of his hand, as thousands stood on their feet while cheering, clapping, and singing along at the top of their lungs for the duration of the virtually two-hour performance. Despite a dubiously absent rendering of the band’s revered hit “Bones,” no one exited the show with any criticisms. While the Ryman Auditorium may exclusively own the moniker “The Mother Church of Country Music,” The Killers live at the Grand Ole Opry House was nonetheless a religious experience in its own right.

© 2013 ForASong Media, LLC

Lady Antebellum: ‘Golden’

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Golden

Lady Antebellum: Golden

After losing steam trying to create a worthy follow up to the seminal hit “Need You Now,” Nashville’s multi-Grammy-winning Lady Antebellum returns with a vengeance on the plucky threesome’s fourth release, Golden. For a brief instant, Hillary Scott, Charles Kelley, and Dave Haywood seemed destined to become victims of mega success and overexposure (particularly after the release of 2011’s uninspired Own the Night), but one listen to Golden immediately declares that Lady A has returned to form and isn’t going anywhere in the imaginable future.

Armed with the summery first hit single “Downtown” and the superb mid-tempo follow up “Goodbye Town,” Lady A sounds refocused and more determined than ever to reclaim the country spotlight. Golden plainly illustrates how each of the members has come into their own as songwriters. All but four (most notably the arresting “It Ain’t Pretty,” written by newcomer Nicolle Galyon and hit maker Eric Paslay) of the album’s 12 tracks were co-penned by the band members themselves.

The true magic of Golden lies in the album’s ability to balance the subtle sadness of “Can’t Stand the Rain” (“I don’t know where the road you’re on is gonna end up/Or what this crazy world will put you through”) with the blatant longing of opening track “Get to Me” (“Don’t hit the brakes just come and crash through my horizon/Bring back the air I need to breathe”), which includes a markedly potent vocal performance from Scott. Imparting honest lyrics with spot-on harmonies swathed in infectious melodies, Golden is ultimately a shining example of what Lady Antebellum does best. With its seamless mingling of poignant ballads and upbeat tunes, It’s a stone cold winner from country music’s top trio.

© 2013 ForASong Media, LLC

Depeche Mode: ‘Delta Machine’

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Depeche Mode: Delta Machine

Depeche Mode has progressively become more esoteric with each new release over the past decade, and Delta Machine, the pioneers of synthpop’s thirteenth effort, is no exception. The set opens with raised expectations (“Welcome to my world/Step right through the door/Leave your tranquilizers at home/You don’t need them anymore”), but Martin Gore’s lyrics (with occasional help from lead singer Dave Gahan) quickly tap his usual arsenal’s vein of longing, lust, and guilt, albeit this time with an ostensibly more reflective slant.

Production duties are again bestowed upon Ben Hillier (Blur, Doves), although this is reportedly the final installment in his Depeche Mode trilogy. While the album’s somber lead-off single “Heaven” is more of the same of what we have come to expect from DM of late, the synth-heavy moodiness of Delta Machine, more times than not, ends up sounding like the soundtrack underscoring a melancholic indie film. With only rare and occasional dashes of delight (the upbeat “Soft Touch / Raw Nerve” and “Soothe My Soul”) in an otherwise underwhelming set, we can only guess Gore and Gahan have become self-satisfied in regards to Depeche Mode’s musical mythology. Perhaps it’s time for Alan Wilder’s long awaited return to offer some much needed perspective?

Those envisioning a return to form like the band’s glory days of Black Celebration, Music for the Masses, or Violator, will ultimately be disappointed, but Depeche diehards who are willing to settle for an updated A Broken Frame or Exciter will revel in Delta Machine’s austerity. It’s hard to imagine anyone other than extreme DM reactionaries finding anything here essential besides the abovementioned tracks, the stirring “Secret To the End,” and the mid-tempo “Broken.” We can only hope this isn’t the way Depeche Mode intends to end its legacy.

© 2013 ForASong Media, LLC

Stereophonics: ‘Graffiti on the Train’

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To describe Stereophonics’ career as a musical roller coaster ride full of peaks and valleys is an unequivocal understatement. Nonetheless, it’s difficult to deny Kelly Jones’ uncanny knack for crafting weighty lyrics delivered in his signature raspy tone. It’s also a distressing injustice that the Welsh rock band is all but ignored in the United States after nearly breaking into the American stream of consciousness in 2005 with their best-known song to date, “Dakota.”

However, the band’s latest release and eighth studio album, Graffiti on the Train (co-produced by Jones with Jim Lowe and released on the band’s own label), is the highly anticipated follow-up to the virtually ignored and easily forgettable 2009 release, Keep Calm and Carry On. Mere seconds into the moody opening track “We Share the Same Sun,” it becomes glaringly obvious the band has regrouped and rediscovered their passion for making records.

The pre-released singles “In a Moment” and “Indian Summer” in conjunction with their accompanying videos (conceived and directed by Jones), acknowledge Graffiti on the Train as Stereophonics’ most revealing and honest work. The affecting and tragic title track (“The train sped down the line/It was the last train he would ever ride”), and the raw emotion of the bluesy “Been Caught Cheating” (“Now I love you like the way I’m meant to do”), immediately let you know Kelly Jones has gotten his mojo back on track.

Intensified with string arrangements by Bond film composer David Arnold, Graffiti on the Trainis equally a welcome return and essential listening, proving the band is still relevant and has yet to fully reach its creative zenith. The album closes with the stripped down “No-one’s Perfect” (which could easily win the award for Jones’ best vocal performance), but Graffiti on the Train is the closest any Stereophonics album has come to perfect in nearly a decade.

© 2013 ForASong Media, LLC

Josh Groban: ‘All That Echoes’

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Josh Groban: All That Echoes

Although rock and Josh Groban have rarely, if ever, been used in a sentence together, All That Echoes is a rewarding fusion of pop, rock, and classical music theories. With the assistance of veteran producer Rob Cavallo (Green Day, My Chemical Romance) manning the board for his latest and first release since 2010, Groban delivers his biggest sounding and most significant set.

Groban’s sixth album finds the operatic pop star co-writing the lion’s share of the album’s material himself, while stepping out of his comfort zone and blurring the edges of his usual musical fare. Unlike his overly indulgent previous effort (the Rick Rubin produced Illuminations), All That Echoes is fated to make Grobanites’ eyes water and hearts palpitate with its instrumental bombast and quixotic lyrics. From the fitting relevance of lead single and opening track “Brave,” the ebullient “Below the Line,” and the flamenco flavored “Un Alma Más,” Groban clearly declares his refusal to become complacent by forging into new musical terrain.

The internationally acclaimed singer-songwriter (best known for selling over 25 million records with his distinct brand of chamber pop), has revved up his sound by marrying rock-like string arrangements with vivacious percussion, which successfully hoists Groban’s musical wheelhouse to soaring new heights. Groban also throws a handful of cover tunes into the mix for good measure, including Jimmy Webb’s “The Moon is A Harsh Mistress” and Stevie Wonder’s “I Believe (When I Fall in Love it Will Be Forever).”

Released just in time for Valentine’s Day and reinforced with A-list musicians (including drummer Matt Chamberlin and renowned trumpeter Arturo Sandoval), All That Echoes is not only Groban’s most accessible and unified work to date, but it also stands out as the seminal musical moment of his 12-year career.

© 2013 ForASong Media, LLC

The Great Affairs: ‘4’

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4

4

The first “great” new release of 2013 has arrived by Nashville indie rock band The Great Affairs. Front man Denny Smith and company kick off the new year right with this infectious, 7-track EP, that’s guaranteed to filch your soul and rankle inside your mind until it drives you bat shit crazy. Key tracks include the Tom Petty-esque “Sherrybaby,” the scorching “Fists & Guitars,” and “Gone,” which recalls 1970s era Rod Stewart. The only downside to this release is that it’s not a full album (although the special edition CD additionally includes seven demo tracks), but The Great Affairs’ 4 is a surefire cure for the winter blues and your ailing rock n’ roll heart.

Our New Year

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new year

As one year ebbs and a new one begins, it always seems apt to reflect on the bygone before hurling full speed ahead into the future…

Sadly, the music industry mourned the loss of  some legendary and iconic individuals in 2012 including: Whitney Houston, Davy Jones, Earl Scruggs, Dick Clark, Levon Helm, Donna Summer, Robin Gibb, Marvin Hamlisch, and Etta James. It’s always tragic to see such a long list in any given year. Although they are gone, their contributions will be remembered and honored posthumously.

The past year also saw some decidedly notable musical contributions from Tori Amos, Kenny Chesney, Susanna Hoffs, Matthew Perryman Jones, Madonna, Alanis Morissette, and Carrie Underwood, as well as the high octane trilogy delivered with a gutsy 1-2-3 wallop from Green Day.

Now we look ahead to 2013, which promises to deliver some highly anticipated new releases from Panic! at the Disco, David Bowie, Cher, Josh Groban, Darius Rucker, Stereophonics, Brad Paisley, Depeche Mode, Mariah Carey, Lady Antebellum, Justin Timberlake, Beady Eye, Tim McGraw, Keith Urban, and Lady Gaga.

As we bid adieu to 2012 and to those we lost along the way, at least we can look ahead to 2013 with a renewed spirit and high expectations of good things to come on the musical horizon.