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Lady Gaga Announces May 29 Release Date For Chromatica

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Lady Gaga Announces May 29 Release Date For Chromatica

Lady Gaga announced that her highly anticipated sixth studio album Chromatica will be released on May 29.

The album features collaborations with Ariana Grande, Elton John and Blackpink. The album is executive produced by BloodPop and Lady Gaga.

Chromatica will be available in a variety of physical formats including standard CD, vinyl in various colors, and cassettes in various colors. In addition, Lady Gaga has launched an array of new merchandise and an exclusive vinyl color at ladygaga.com.

The first single from the album, “Stupid Love,” which debuted at #1 on iTunes in 58 countries, has 300 million streams worldwide since release and marks Lady Gaga’s 16thBillboard Top 10.

The video, which was shot entirely on an iPhone 11 Pro, skyrocketed to number #1 trending on YouTube worldwide upon release and currently has more than 70 million views.

Tracklist:

  1. “Chromatica I”
  2. “Alice”
  3. Stupid Love”
  4. “Rain On Me” (with Ariana Grande)
  5. “Free Woman”
  6. “Fun Tonight”
  7. “Chromatica II”
  8. “911”
  9. “Plastic Doll”
  10. “Sour Candy” (with Blackpink)
  11. “Enigma”
  12. “Replay”
  13. “Chromatica III”
  14. “Sine From Above” (with Elton John)
  15. “1000 Doves”
  16. “Babylon”

Norah Jones “Were You Watching?” New Song Out Today

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Norah Jones “Were You Watching?” New Song Out Today

Norah Jones has released “Were You Watching?,” another striking new single from her forthcoming album Pick Me Up Off The Floor, which will be released June 12 on Blue Note Records. The track features Jones’ vocals and piano with bassist Christopher Thomas, drummer Brian Blade, and violinist Mazz Swift, who also contributes background vocals along with Ruby Amanfu and Sam Ashworth. Jones co-wrote the song’s mysterious lyrics with poet Emily Fiskio, a friend whose work (along with all the Dr. Seuss and Shel Silverstein she’s been reading to her kids) inspired Jones to write her own poetry apart from music for the first time. Several of those poems found their way back into songs on the new album, including the previous single “How I Weep.” Pick Me Up Off The Floor is available for pre-order on vinyl, CD, or download.

Jones didn’t mean to make another album. After she finished touring 2016’s Day Breaks — her beloved return to piano-based jazz — she walked away from the well-worn album cycle grind and into an unfamiliar territory without boundaries: a series of short sessions with an ever-changing array of collaborators resulting in a diverse stream of singles (with Mavis Staples, Rodrigo Amarante, Thomas Bartlett, Tarriona Tank Ball, and more). But then slowly but surely, the session songs Jones hadn’t released congealed into that very thing she’d meant to avoid — an album. But Pick Me Up Off The Floor is not some disjointed collage. It holds together beautifully, connected by the sly groove of her piano trios, lyrics that confront loss and portend hope, and a heavy mood that leans into darkness before ultimately finding the light.

“Living in this country — this world — the last few years, I think there’s an underlying sense of, ‘Lift me up. Let’s get up out of this mess and try to figure some things out,'” says Jones. “If there’s a darkness to this album, it’s not meant to be an impending sense of doom, if feels more like a human longing for connection. Some of the songs that are personal also apply to the larger issues we’re all facing. And some of the songs that are about very specific larger things also feel quite personal.”

Norah Jones first emerged on the world stage with the February 2002 release of Come Away With Me, her self-described “moody little record” that introduced a singular new voice and grew into a global phenomenon, sweeping the 2003 GRAMMY Awards. Since then, Norah has become a nine-time GRAMMY-winner and sold 50 million albums. Her songs have been streamed five billion times worldwide. She has released a series of critically acclaimed and commercially successful solo albums—Feels Like Home (2004), Not Too Late (2007), The Fall (2009), Little Broken Hearts (2012), and Day Breaks (2016)—as well as albums with her collective bands The Little Willies, El Madmo, and Puss N Boots featuring Sasha Dobson and Catherine Popper who released their second LP Sister in 2020. The 2010 compilation …Featuring Norah Jones showcased her incredible versatility by collecting her collaborations with artists as diverse as Willie Nelson, Outkast, Herbie Hancock, and Foo Fighters. Since 2018 Jones has been releasing a series of singles including collaborations with artists and friends such as Mavis Staples, Jeff Tweedy, Thomas Bartlett, Tarriona Tank Ball, Rodrigo Amarante, and Brian Blade. The 2019 singles collection Begin Again gathered seven snapshots of creativity from one of the music world’s most consistently intriguing artists.

Frank Zappa’s 1970 Mothers Lineup Commemorated With The Mothers 1970: A 70-song Collection Of Studio And Live Recordings For 50th Anniversary

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Frank Zappa’s 1970 Mothers Lineup Commemorated With The Mothers 1970: A 70-song Collection Of Studio And Live Recordings For 50th Anniversary

To commemorate the 50th anniversary of Frank Zappa’s celebrated but short-lived 1970 Mothers of Invention lineup, “Portuguese Fenders,” the first track to be released from the new collection, The Mothers 1970 is available to stream today. The newly-discovered gem is one of 70 unreleased live and studio recordings featured on The Mothers 1970, available digitally and as a 4-CD box set June 26 via Zappa Records. Recorded live by Zappa on his own tape recorder on tour in 1970, “Portuguese Fenders” is a rollicking live recording featuring an exhilarating guitar solo by the iconoclastic composer and virtuosic guitarist backed by the revered ensemble.

Overseen by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister, Joe Travers, The Mothers 1970 collects together more than four hours of previously unreleased performances by the heralded lineup which lasted roughly seven months: Aynsley Dunbar (drums), George Duke (piano/keys/trombone), Ian Underwood (organ/keys/guitar), Jeff Simmons (bass/vocals) and Flo & Eddie aka Howard Kaylan (vocals) and Mark Volman (vocals/percussion) of The Turtles who performed under the aliases to skirt contractual limitations of performing under their own names. This iteration of The Mothers, which likely began rehearsals 50 years ago this month, came to an end in January of 1971 when Simmons quit the band during the making of the 200 Motels movie.

The Mothers 1970 encapsulates the band’s brief but productive span, which included two visits to the studio – resulting in the fantastic 1970 album, Chunga’s Revenge – and tours across the U.S., Canada and Europe. Divided into four parts, the collection is anchored by top-notch studio recordings recorded at the famed London-based Trident Studios on June 21-22 with a then-young, unknown producer in the engineer chair by the name of Roy Thomas Baker, several years before he’d go on to have massive success working with Queen, The Cars and Alice Cooper to name a few. An unreleased early mix by Baker of the Chunga’s Revenge track, “Sharleena,” is just one of the many highlights of the studio recordings that also boasts several unearthed rough mixes of the Zappa/Simmons co-write, “Wonderful Wino,” including a rare version that showcases vocals and an alternate guitar solo by Zappa that has been lost to the ages as the original multi-track stems were recorded over. Of the material recorded during this two-day span, “Sharleena” was the only song ever officially released – so tracks like “Red Tubular Lighter,” “Giraffe” and an unheard version of “Envelopes” are completely brand new to fans half a century later.

The band’s live prowess is represented with a slew of concert recordings, including the first official release of the oft bootlegged “Piknik” performance originally broadcast on Dutch radio station VRPO, and live performances from concerts in Santa Monica, Calif. and Spokane, Wash. which have been edited together and presented as a hybrid concert since both shows were not fully captured. The release is rounded out with a selection of live highlights recorded around the U.S., interspersed with candid moments recorded in dressing rooms, motel lobbies and the stage by Zappa who took his personal UHER recorder everywhere. All recordings comprising The Mothers 1970 were sourced from their original tapes discovered in The Vault and digitally transferred and compiled by Travers in 2020. Some tracks were mixed by longtime Zappa Trust associate Craig Parker Adams and the collection was mastered by John Polito at Audio Mechanics.

It wasn’t until 1971 when Zappa would start documenting his gigs with a ½” 4-track recorder so the 1970 tours were not captured in typical fashion. Instead Zappa recorded as much as he could using his personal UHER recorder and it is these recordings that make up the second half of The Mothers 1970. Because of the nature of the recordings it was almost virtually impossible for Zappa to record full shows due to the limitations of the tape recorder and the fact he would often times personally spool tape on the machine on stage while playing. Occasionally Zappa would have the soundman set up the recorder in the venue to tape the concert.  This resulted in ambient recordings which was the case for the Santa Monica and Spokane recordings as well as the live performances that make up the final disc. Similar to the Gail Zappa-created “Road Tapes” live series, these recordings contain audience noise allowing listeners to experience what it was like to be there. The set lists focus heavily on songs from the albums Freak Out!, Absolutely Free, We’re Only In It For The Money, Uncle Meat, the then-recently released Burnt Weeny Sandwich, and early workings of songs that would eventually be released months later on Chunga’s Revenge. Some of the many highlights include the extended guitar workouts, the first version of “Easy Meat” and rare live performances of “Would You Go All The Way?” and “Road Ladies.”

Following Zappa’s especially productive year of 1969, which saw him record and release several albums, including Uncle Meat and Hot Rats, produce Captain Beefheart’s outsider classic, Trout Mask Replica, as well as the one and only album for The GTO’s, the musician disbanded the original Mothers Of Invention and started experimenting with smaller lineups. Through a variety of circumstances and several chance encounters, Zappa began to assemble his new group of collaborators, with the only original Mother being Ian Underwood. As Travers writes in the enlightening liner notes, which also include a wealth of live and behind-the-scenes photos from this era: “It’s no secret that Frank was excited about this group. The cast of characters and their personalities, musically and personally, made for a very eventful and humorous chapter in Zappa’s career. Frank had a blast with these guys. Their sound was unique, their humor was like no other and yet their time was ultimately short lived.”

Fleeting as it may have been, this camaraderie is on full display and will now live on forever as the exciting new collection, The Mothers 1970.

THE MOTHERS 1970: 50th ANNIVERSARY COLLECTION – TRACKLISTING

4-CD FORMAT
Trident Studios, London, England June 21-22, 1970
Disc 1

  1. Red Tubular Lighter
  2. Lola Steponsky
  3. Trident Chatter
  4. Sharleena (Roy Thomas Baker Mix)
  5. Item 1
  6. Wonderful Wino (FZ Vocal)
  7. “Enormous Cadenza”
  8. Envelopes
  9. Red Tubular Lighter (Unedited Master)
  10. Wonderful Wino (Basic Tracks, Alt. Take)
  11. Giraffe – Take 4
  12. Wonderful Wino (FZ Vocal, Alt. Solo)

 

Live Highlights Part 1 – “Piknik” VPRO June 18, 1970 / Pepperland September 26, 1970
Disc 2

  1. Introducing…The Mothers (Live on “Piknik” June 18, 1970)
  2. Wonderful Wino (Live on “Piknik” June 18, 1970)
  3. Concentration Moon (Live on “Piknik” June 18, 1970)
  4. Mom & Dad (Live on “Piknik” June 18, 1970)
  5. The Air (Live on “Piknik” June 18, 1970)
  6. Dog Breath (Live on “Piknik” June 18, 1970)
  7. Mother People (Live on “Piknik” June 18, 1970)
  8. You Didn’t Try To Call Me (Live on “Piknik” June 18, 1970)
  9. Agon (Live on “Piknik” June 18, 1970)
  10. Call Any Vegetable (Live on “Piknik” June 18, 1970)
  11. King Kong Pt. I (Live on “Piknik” June 18, 1970)
  12. Igor’s Boogie (Live on “Piknik” June 18, 1970)
  13. King Kong Pt. II (Live on “Piknik” June 18, 1970)
  14. What Kind Of Girl Do You Think We Are? (Live at Pepperland September 26, 1970)
  15. Bwana Dik (Live at Pepperland September 26, 1970)
  16. Daddy, Daddy, Daddy (Live at Pepperland September 26, 1970)
  17. Do You Like My New Car? (Live at Pepperland September 26, 1970)
  18. Happy Together (Live at Pepperland September 26, 1970)

 

Live Highlights Part 2 – Hybrid Concert: Santa Monica August 21, 1970 / Spokane September 17, 1970
Disc 3

  1. “Welcome To El Monte Legion Stadium!” (Live)
  2. Agon (Live)
  3. Call Any Vegetable (Live)
  4. Pound For A Brown (Live)
  5. Sleeping In A Jar (Live)
  6. Sharleena (Live)
  7. The Air (Live)
  8. Dog Breath (Live)
  9. Mother People (Live)
  10. You Didn’t Try To Call Me (Live)
  11. King Kong Pt. I (Live)
  12. Igor’s Boogie (Live)
  13. King Kong Pt. II (Live)
  14. “Eat It Yourself…” (Live)
  15. Trouble Every Day (Live)
  16. “A Series Of Musical Episodes” (Live)
  17. Road Ladies (Live)
  18. “The Holiday Inn Motel Chain” (Live)
  19. What Will This Morning Bring Me This Evening? (Live)
  20. What Kind Of Girl Do You Think We Are? (Live)

 

Live Highlights Part 3 – FZ Tour Tape Recordings
Disc 4

  1. “What’s The Deal, Dick?”
  2. Another M.O.I. Anti-Smut Loyalty Oath (Live)
  3. Paladin Routine #1 (Live)
  4. Portuguese Fenders (Live)
  5. The Sanzini Brothers (Live)
  6. Guitar Build ’70 (Live)
  7. Would You Go All The Way? (Live)
  8. Easy Meat (Live)
  9. “Who Did It?”
  10. Turn It Down! (Live)
  11. A Chance Encounter In Cincinnati
  12. Pound For A Brown (Live)
  13. Sleeping In A Jar (Live)
  14. Beloit Sword Trick (Live)
  15. Kong Solos Pt. I (Live)
  16. Igor’s Boogie (Live)
  17. Kong Solos Pt. II (Live)
  18. Gris Gris (Live)
  19. Paladin Routine #2 (Live)
  20. King Kong – Outro (Live)

*Previously unreleased

The Artwork Of A 17-Year-Old Kanye West

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The Artwork Of A 17-Year-Old Kanye West

Check out an early portfolio of work by multi-hyphenate artist then-17-year-old Kanye West with Laura Woolley’s appraisal at Desert Botanical Garden in Phoenix, AZ.

Zambia’s 70s Psych Rock Scene Produced The Catchiest Rock Anthems

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Zambia’s 70s Psych Rock Scene Produced The Catchiest Rock Anthems

Zamrock thrived for only a few years in the mid-70s, but it’s bands produced some incredibly catchy rock anthems. Taking influence from a diverse range of sounds like Jimi Hendrix, The Velvet Underground, afrobeat and Zambian folk, Zamrock is an incredibly rich and fun genre to sink your teeth into.

1-minute tip for artists: Your favorite food dish, restaurant or recipe.

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1-minute tip for artists: Your favorite food dish, restaurant or recipe.

If music be the food of love, play on.

Ani DiFranco Announces Righteous Babe Radio

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Ani DiFranco Announces Righteous Babe Radio
Singer/songwriter/feminist/activist author Ani DiFranco announces her newest venture, Righteous Babe Radio. RBR Radio will emphasize live music, bootlegs, book excerpts, talks, interviews and other spoken word projects from DiFranco, Righteous Babe artists and many more. The online station officially launches on April 15th with a broadcast of Ani’s show in Atlanta from the Variety Playhouse in 2013 at 9pm CT. Check out Righteous Babe Radio at www.righteousbaberadio.com.

As always with Righteous Babe, the spirit of fierce independence continues with Righteous Babe Radio. Although she had originally been approached years before to host her own radio show, DiFranco passed with her firm belief of self-sufficiency intact. Now, with folks socially distanced and isolated, it seems like the best time for DiFranco to impart her dream of community via the internet airways.  About the RBR Radio debut, DiFranco visualizes, “Sharing the music of my brilliant friends and collaborators… nerding out on revered influences… amplifying the sounds and words of my political and cultural inspirations. (In my fantasy, this is all magically at my fingertips!) I love national public radio, I love community radio, I love college radio. When I’ve lived in different cities, at different times in my life, I’ve kept company with different stations and those stations have felt like integral parts of my experience of each city. Living [not super commercial] radio has been a companion to me my whole life. I shudder to think where our “informed electorate” would be without NPR. I’ve never been lonely in New Orleans thanks to OZ. In the aftermath of Katrina, even local talk radio became an essential community bulletin and information lifeline.”

A 24-hour station, Righteous Babe Radio will feature previously unreleased live Ani shows from the archives that will air Wednesday, Friday and Saturday nights at 9pm CT and a new show will be added every week. Before these live shows, at 8pm CT, RBR Radio will feature an hour of music from the many artists whom Ani has shared the stage with, including Anais Mitchell, Pieta Brown, Peter Mulvey and more. Also, RBR Radio offers an interview series airing Mondays, Wednesdays, and Fridays at Noon CT and again at 5pm CT. You may hear something from Ani’s book tour or some more recent conversations where Ani interviews other artists regarding life in this Covid-19 world. Podcasts echoing Righteous Babe’s independent vision will be aggregated there as well. Content will continue to be added, Ani says, as “we move forward together to make this station as righteous and informative as it can be.”

DiFranco released NO WALLS AND THE RECURRING DREAM last year to great acclaim. In the memoir, DiFranco recounts her early life from a place of hard-won wisdom, combining personal expression, the power of music, feminism, political activism, storytelling, philanthropy, entrepreneurship, and much more into an inspiring whole. In these frank, honest, passionate, and often funny pages is the tale of one woman’s eventful and radical journey to the age of thirty. Ani’s coming of age story is defined by her ethos of fierce independence–from being an emancipated minor sleeping in a Buffalo bus station, to unwaveringly building a career through appearances at small clubs and festivals, to releasing her first album at the age of 18, to consciously rejecting the mainstream recording industry and creating her own label, Righteous Babe Records. In these pages, as in life, she never hesitates to challenge established rules and expectations, maintaining a level of artistic integrity that has impressed many and antagonized more than a few. Ani continues to be a major touring and recording artist as well as a celebrated activist and feminist, standing as living proof that you can overcome all personal and societal obstacles to be who you are and to follow your dreams.

Singing Rick Astley’s “Never Gonna Give You Up” 20 Different Ways

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Singing Rick Astley’s “Never Gonna Give You Up” 20 Different Ways

Anthony Vincent performs Rick Astley’s track Never Gonna Give You Up in the styles of 20 different bands, which is a perfect way to fool your friends 20 different times a day.

Elvis Costello on John Prine

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1-minute tip for artists: Tattoos.

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1-minute tip for artists: Tattoos.

Is there anything that goes better together more than peanut butter and jelly than rock and roll and tattoos?

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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