Cult climbs new heights – ‘Ghosts’ isn’t a fun listen

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The Cult, “Hidden City” (Cooking Vinyl)

The Cult has had its ups and downs over the more than 30 years since its debut. “Hidden City” shows the band climbing new heights.

Led by mystically inclined singer and lyricist Ian Astbury and down-to-earth, riff generating guitarist Billy Duffy, the band’s 10th album, “Hidden City,” rocks fiercely but leaves room for both a heavy heart and a light touch.

Samples of the rip-roaring drive include opening cut “Dark Energy,” “No Love Lost” and “G O A T,” drummed into submission by John Tempesta.

Bob Rock’s fifth stint as the band’s producer also gives The Cult the confidence to tone it down sometimes and wander into sounds and styles reminiscent of David Bowie, U2 and Nick Cave, while adding their own idiosyncratic imprint.

“Deeply Ordered Chaos” reflects on last year’s Charlie Hebdo attacks in Paris, with strings underscoring the drama as Astbury’s brief, repetitive phrases also draw attention to the tragedy in Syria.

Vintage

“In Blood” is a slow burn, its Astbury-as-Jim Morrison lyrics melding film-noir scenes with wolves and daggers, while the chugging, six-plus minutes of “Birds of Paradise” are vintage end-of-’80s Cult, “everything that you hold, immortalized in paradise.”

The relationship between Astbury and Duffy is famously volatile — ironically, Duffy first introduced Johnny Marr to Morrissey, the epitome of feuding band members — but they are rock steady on the splendid “Hidden City.”

Singer-songwriter Lucinda Williams digs deeper into raw, mystical electric blues on her new double album, “The Ghosts of Highway 20.” Focused on faith, death, the afterlife and rural Southern settings, “Highway 20” sounds like a William Faulkner novel put to music.

It’s not a fun listen; it’s not something you’ll sing along to; it’s not something you’ll put on at a party. But it conveys a haunting gravitas that conjures spirits and rattles bones. Those willing to lose themselves in the severe tone of the arrangements and the stark imagery of the lyrics will find “The Ghosts of Highway 20” casts a spell that will move you to contemplate the verities of existence.

Musically, the album alternates between dirges (“Death Came”) and gnarled mid-tempo tunes with guitars tangled like barbwire (“Dust”), with forays into hymns (“Doors of Heaven”), voodoo rhythms (“If My Love Could Kill”) and woozy waltzes (“If There’s a Heaven”).

Guitarist Bill Frisell, with his watery chords, spars with fellow string wizard Greg Leisz, adding to the album’s other-worldly tone. The two covers, Woody Guthrie’s “House of Earth” and Bruce Springsteen’s “Factory,” fit with the album’s obsession with survival and transcendence. “Ghosts of Highway 20” confirms that Williams belongs in the company of those masters.

On the song “Leaving Nashville,” singer Charles Kelley delves into the personal and professional struggles that a songwriter faces after tasting a modicum of success. The complex narrative establishes why this member of the country trio Lady Antebellum wanted to record a solo album: Kelley’s intimate, emotional performance would have sounded out of place with a group identified with vocal interplay and harmonies.

Kelley’s album, “The Driver,” focuses on moody, dramatic songs about love (the outstanding “The Only One Who Gets Me”) and life on the road (“The Driver”).

Working with producer Paul Worley, Kelley mostly ignores country music’s recent obsession with beat-driven tracks that incorporate hip-hop and hard rock. Instead, Kelley’s sound draws on ‘70s and ‘80s mid-tempo adult rock.

In a duet with Stevie Nicks, he nails the stubborn social commentary in Tom Petty’s “Southern Accents.” Elsewhere, he takes cues from the heartland rock of Bob Seger (“Your Love”) and the silky soul of Boz Scaggs (“Lonely Girl”).

Kelley keeps things tight — the nine songs clock in under 40 minutes — to maintain a steady mood. A theme album in an age of singles, “The Driver” is another fine example that country music is poised to shift away stifling trends and strive toward a more individually expressive era.

Elton John, “Wonderful Crazy Night” (Island)

Elton John puts some pep in his pop on “Wonderful Crazy Night,” a more upbeat, natural-sounding album than recent efforts.

Driven by distinctive piano riffs and benefiting from the energy provided by the return of longtime drummer Nigel Olsson and guitarist Davey Johnstone, the 10 tracks, including lead single, “Looking Up,” shine without gimmicks.

Lyricist Bernie Taupin and percussionist Ray Cooper — tambourine on five tracks — also lend their talents to John’s 33rd studio album, his third in a row produced by T Bone Burnett and the most streamlined of the trio.

Matched

Lyrics and melodies are well matched, and while John and Taupin have collaborated on some autobiographical albums and songs, they don’t seem to reveal much this time around.

“I’ve Got 2 Wings” tells the story of Utah Smith, a little-known Louisiana preacher whose efforts to spread the Good Word were aided by an electric guitar and a pair of colossal wings. In other tunes, Taupin’s images are more worldly but no less fervent — like the title track’s “ice cubes on the back of your neck,” or “you’re an open chord I’m gonna play all day.”

Several songs like “A Good Heart” or “Blue Wonderful” could fit on John’s albums from decades ago, boosted now by a freshness in his voice he didn’t always have back then.

The Monkees, the original reality TV stars whose band was conceived as a show, are returning with a new album and tour for their 50th anniversary.

The album announced Friday, entitled “Good Times!”, will be the first by The Monkees in 20 years and features tracks written by others for the classic band.

The songwriters include legendary singer and contemporary Neil Diamond as well as prominent alternative rockers such as Weezer’s Rivers Cuomo and Ben Gibbard, frontman of Death Cab for Cutie. (Agencies)

The album, which comes out on June 10, comes despite the death of The Monkees’ most prominent member, Davy Jones, in 2012, although the band said that his voice will still appear on one song.

Only two of the original Monkees will take part in the tour — Micky Dolenz and Peter Tork.

The third surviving member, Michael Nesmith, participated in the album but will not tour.

Nesmith has had friction with the bandmates over the years as he grew disgruntled with the band’s overwhelming commercial nature and the artistic control over the group.

Conceived as Beatlemania swept the United States, The Monkees starred in a television show from 1966 to 1968 about four men trying to make it as rockers in Los Angeles.

The Monkees released a string of hits while the show was on the air including “Last Train to Clarksville”, “Daydream Believer” and “I’m a Believer”, which was written by Diamond.

The band eventually grew out of the television show and created its own music, enjoying a revival starting in the late 1980s.

The band has periodically toured without releasing new material, even after Jones’ death.

The latest tour will open on May 18 in Fort Myers, Florida and continue with breaks throughout the United States and Canada before closing on Oct 29 at Shippensburg University of Pennsylvania.

By Pablo Gorondi

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