DiscoHeaven23 35,007 Posted October 20, 2016 Share Posted October 20, 2016 Gimme that 80 that i love Link to post Share on other sites More sharing options...
melodichard 3,769 Posted October 20, 2016 Share Posted October 20, 2016 Gaga every time she sees the word ARTPOP in Joanne reviews Link to post Share on other sites More sharing options...
Sorcerer 12,507 Posted October 20, 2016 Share Posted October 20, 2016 I'm happy for this. It is now on the field of generally favorable reviews on metacritic. Link to post Share on other sites More sharing options...
Miracle 14,068 Posted October 20, 2016 Share Posted October 20, 2016 Billboard and NME are giving her 7-8. MMW Link to post Share on other sites More sharing options...
Hades 27,980 Posted October 20, 2016 Share Posted October 20, 2016 70 is not accurate but i'll take it instead of 40/50 at least. Link to post Share on other sites More sharing options...
Bloody 64,631 Posted October 20, 2016 Share Posted October 20, 2016 so it will go up to 62 Link to post Share on other sites More sharing options...
Naufri 7,424 Posted October 20, 2016 Author Share Posted October 20, 2016 1 minute ago, Bloody said: so it will go up to 62 More Likely 63 Link to post Share on other sites More sharing options...
Dutch 91,381 Posted October 20, 2016 Share Posted October 20, 2016 Link to post Share on other sites More sharing options...
The Surrealist 27,470 Posted October 20, 2016 Share Posted October 20, 2016 Let me highlight everything which hasn't anything to do with the album: It's difficult not to view Joanne through the prism of ARTPOP, the 2013 album where Lady Gaga's expanding fame balloon finally popped. Ambitious but muddled, ARTPOP debuted high but came crashing down to the ground, stalling out after the second single, the R. Kelly duet "Do What U Want." Gaga quickly retreated to the confines of cabaret, cutting a nicely accomplished standards album with Tony Bennett, a move that not only gave her the opportunity to work with a legend, but signaled that she considered ARTPOP a step too far: The camp ofCheek to Cheek was elegant, not garish, an acknowledgment that she was once again back in control of her joke. It set the stage for Joanne, a clever streamlining of the Lady Gagapersona that functions as the opposite of ARTPOP. All the excesses are excised while the eccentricities are used as accents on songs that are usually well-rendered pop. A few numbers take a passing glance at country music -- the title "Joanne" winks at Dolly Parton's "Jolene"; in a different arrangement, the ballad "Million Reasons" could be an adult contemporary crossover from Faith Hill or Shania Twain -- butGaga's feet remain firmly planted in dance-pop even when she brings in Father John Misty, Beck, Florence Welch, and Josh Homme of Queens of the Stone Age for collaborations. Hommeco-wrote "Diamond Heart" and "John Wayne," two of the harder disco songs here, while Misty assists on the steady rolling "Sinner's Prayer" -- perhaps the best fusion of country and pop here -- and "Come to Mama," a buoyant throwback to Motown that finds a companion on the Welch duet "Hey Girl," an analog slow jam that floats in the shimmer light. These, plus the riotous "A-Yo" and the masturbation ode "Dancin' in Circles," don't necessarily find comfortable companions in the ballads peppered throughout the album, but executive producer Mark Ronson helps polish Joanne so it flows easily, which is its appeal but also its Achilles Heel. Where previous Gaga albums were high-wire acts, Joanne is decidedly earth-bound, a record made by an artist determined to execute only the stunts she knows how to pull off. Link to post Share on other sites More sharing options...
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