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Keith Urban Explores Rhythmic Roots on Diverse New Record

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Keith Urban Explores Rhythmic Roots on Diverse New Record SATURDAY, MAY 7, 2016 Red Hot Chili Peppers ready with first album in five years Keith Urban poses in Nashville, Tenn, to promote his latest album, ‘Ripcord.’ —AP Keith Urban explores rhythmic roots on diverse new record This file photo shows the Red Hot Chili Peppers performing during Super Bowl 48 at eith Urban was on a cross-country flight melody to lyric to instrumentation to produc- MetLife stadium in East Rutherford, New Jersey. — AFP last year trying to finish a new song about tion to arrangement to the mix, every single Kliving in the moment and not holding aspect felt like I was planting a new flag for me. ed Hot Chili Peppers on Thursday with veteran producer Rick Rubin, who has onto regrets. But he was also thinking about It was such that any song could go after it.” For announced their first album in five guided each of the band’s albums since two men close to him that had recently passed over 15 years, Urban, 48, has been a broad musi- Ryears, with the rockers switching pro- 1991’s mainstream breakthrough “Blood away. “I was thinking about my dad who had cal thinker, but he balanced that with his song- ducers but keeping their signature funky Sugar Sex Magik.” passed away the month before and Nic’s dad writing. “For me, the songs you can take the touches. The Los Angeles band, among lead- Instead of Rubin, a prolific producer of rock had died 12 months before,” Urban said, refer- most liberty on with production are the ones ing figures in the alternative rock boom of the and rap known for his hard-edged sound, Red ring to his wife, actress Nicole Kidman. “All these with pretty centric lyrics,” he said. “Not too 1990s, said that its 11th studio album, “The Hot Chili Peppers tapped Danger Mouse, people, where do they go? Forgetting all those obtuse, not too abstract. If the lyric is earthly in Getaway,” would come out on June 17. The another diverse producer whose background spiritual beliefs, they were here and then they its imagery, rural, you can even take more sonic Chili Peppers immediately put out a single lies in hip-hop but notably worked on Adele’s are gone.” That song, “Gone Tomorrow (Here liberties with it.” The album’s 13 songs are only a from the album, “Dark Necessities,” which blockbuster latest album “25.” The Chili Today),” sets the stage for Urban’s eighth studio part of what Urban created in an 18-month time opens with a solo by bassist Flea before build- Peppers plan to promote “The Getaway” with album, “RIPCORD.” period. He recorded several more songs and ing over five minutes. a string of appearances at major festivals spent a week working with producer Rick Rubin In classic Chili Pepper style, the rock style is including Japan’s Fuji Rock, Roskilde in Dreams and light on music that ultimately didn’t make the fin- infused with a subtle funky beat and the lyrics Denmark, Reading and Leeds in England and The platinum-selling country singer explored ished record. take a dark turn, with frontman Anthony the 25th anniversary of Lollapalooza, which his rhythmic roots while blending genre with a Kiedis singing from the perspective of an started as an alternative rock extravaganza diverse musical cast including Carrie Commercially viable addict needing a fix. The album is the first by that traveled the United States and now is Underwood, rapper Pitbull, guitarist and pro- It was Urban’s idea to team up with Rodgers, the Chili Peppers since 2011’s “I’m With You,” held every summer in Chicago. The Chili ducer Nile Rodgers, hip-hop and pop producer the legendary Chic guitarist who has worked which brought in guitarist Josh Klinghoffer, Peppers on Thursday announced additional Jeff Bhasker and Urban’s longtime Nashville pro- with Daft Punk, Pharrell Williams, Madonna and who is a generation younger than his band- dates, with the tour now scheduled to end ducer Dan Huff. David Bowie. Urban thought Rodgers’ rhythm mates. In a departure, the band did not work October 16 at the Bercy arena in Paris. — AP Each time Urban previewed “Gone guitar playing was a natural fit for his style of Tomorrow” to family or friends, each listener banjo playing, but Urban said he had to prove it seemed to hear a different sound in the synthe- to Rodgers. “He had that expression like I knew Mary Chapin Carpenter sizer-heavy track that features a six-string banjo, he would when I walked into the studio with a thumping drums and mystical EDM lyrics about six-string banjo, like, ‘Are you kidding? What did dreams and light. One person thought it was you bring that thing for?’” Urban said. Urban shines on wistful new set bluegrass, another heard Middle Eastern influ- and Rodgers spent hours putting together riffs ences, he said. “I wouldn’t know how to describe and chords for the funky, groovy dance song stylistically what the song is because it encom- “Sun Don’t Let Me Down,” but Urban felt it was ary Chapin Carpenter at her best passes so many things,” Urban said. still missing something. He asked Pitbull to write doesn’t really do mainstream country. “The fusion of all the various things, from a rap verse for the song. — AP MShe’s tried here and there, as with the too-catchy but Grammy-winning “Shut Up and Kiss Me,” but she’s always been better when she wasn’t straining for a hit. On her latest release, Cyndi Lauper takes the “The Things That We Are Made Of,” the five-time Grammy winner is back in her comfort zone with an evocative collection of songs backed by a country roads on ‘Detour’ soothing guitar-piano ensemble with occasional violin touches - and, yes, on this record, it’s more yndi Lauper’s “Detour,” a trip into country territory after violin than fiddle. Carpenter’s finest work could earlier forays into blues and pop standards, is all over best be described as ache-country, or maybe Cthe map, held together by her true north of a voice. Sunday-morning back porch music. It’s polite Lauper brings out her trademark hiccups on the opener, rock- and unobtrusive, but still capable of drawing lis- Mary Chapin Carpenter abilly queen Wanda Jackson’s wild and wacky “Funnel of teners in with an unexpectedly poignant turn of ers has brought some dignity back to the air- Love,” which would have been a great fit on “She’s So phrase. She’s at a different place in her life now waves in recent years. He’s a good match for Unusual,” her 1984 smash solo debut. She tackles several but still looking for emotional connections - Carpenter’s warm, conversational voice, and the country evergreens on her own, including a pair of Patsy Cline whether walking through New York pondering elegant production lends gravity to her perspec- hits - “I Fall to Pieces” and “Walking After Midnight” - but the underappreciated gospel legend Sister tive as an artist further along in her career. sounds most at ease singing duets with giants of the genre, Rosetta Tharpe or driving down a lonely road. Carpenter’s album fits neatly into NPR Music’s including the witty title track with Emmylou Harris. “I’m staring down the great big lonesome,” First Listen series, where it’s streaming exclusive- Lauper refuses to take out the curlers but frees up her nat- she sings wistfully on “Something Tamed ly. It’s easy to picture these sweetly gentle songs Cyndi Lauper poses in ural Noo Yakw accent with Vince Gill on “You’re the Reason Something Wild.” “As I’m listening for the dwin- being met with approving murmurs by an NPR- Nashville, Tenn, to pro- Our Kids Are Ugly,” which is sure to draw a smile. Jewel’s dling of time.” The album is put together with influenced crowd at Nashville’s Bluebird Cafe or mote her new country yodeling on “I Want to Be a Cowboy’s Sweetheart” is also a flair by red-hot producer Dave Cobb, whose some other quiet venue. Or even on the back hoot. If the album’s artistic compass seems unsteady, Lauper’s album, “Detour,” releasing work with Jason Isbell, Chris Stapleton and oth- porch on a quiet Sunday morning. — AP splendid abilities as an interpreter are indisputable. — AP yesterday. — AP .
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