When I completed my first listen of the album, I quite honestly didn't know what to think. The album's lead single, "Perfect Illusion" (which had disappointed me when I first heard it), is probably the closest that Joanne gets to Mother Monster's typical electropop sound. Joanne is not an electronic dance record; instead, it features a great deal of country and folk inspired sounds reminiscent of past and present artists like Lou Reed, Bob Dylan, Lana Del Rey, and Elle King. This is a sound that grew on me with each listen. On the album cover (which is pictured above) is a pensive Gaga wearing a pink brimmed hat over long blonde hair worn down. Behind her is a simple pale blue background. The cover is probably the simplest cover (save Cheek to Cheek) of hers yet, which is indicative of the album's sound. The title track, for example, is extremely bare and minimally produced; I even read that Mark Ronson (who helped produce a good amount of the album) refused to record a second take of Gaga's vocals when the song was first recorded. The simplicity of the album makes a great deal of sense when considered in tandem with the album's title, Joanne. Lady Gaga's real name is Stefani Joanne Angelina Germanotta, and her middle name Joanne was given to her in honor of her aunt Joanne, who passed away in 1974 from lupus complications. Although she passed away twelve years before Gaga was even born, Gaga has said that Joanne's life and death have had a profound effect on her and her family, and she consequently decided to tribute this album to her. It consequently makes sense to me that the album, which focuses on themes like personal strength, death, family, religion, and love, would be, overall, rather simple and stripped back.
Joanne opens with "Diamond Heart," which is a great opening track not only because of its power but also because it effectively gives the listener an idea of what to expect from the remainder of the album. It has a southern vibe to it but also has a brief electronic breakdown, mashing together later songs such as "Sinner's Prayer" and "Dancin' in Circles" respectively. Seeing as how Gaga is a self-proclaimed admirer of the late David Bowie's work (see her amazing tribute to him here), it stands to reason that the repetitive line "Young, wild, American" is probably a nod to Bowie's song and album Young Americans. The song's lyrics are very autobiographical, referring to Gaga's days as a go-go dancer and also to her being sexually assaulted. She also refers to her father in the song and to her dream of becoming a superstar one day (which she most certainly has achieved). When Gaga and celebrity Taylor Kinney got engaged, he gave her a diamond ring in the shape of a heart, so I also believe that the song is in reference to him, as they have since called off the engagement. The opening track's most poignant lyric is the following: "I'm not flawless, but I got a diamond heart." The song is about having to overcome adversity and struggle in order to achieve your dreams but also knowing your self-worth in the process. It is, as I said, an intimately personal number on the album. The second track, however, simply titled "A-Yo," is quite possibly my least favorite song on the album. I can't really explain why, but I do know that I find it rather repetitive and, dare I say, even annoying. It features strong influences of country and funk (if that can be understood), and it really just isn't my cup of tea musically. (A snippet of the song can be heard in an Apple Music commercial currently circulating.)
The third track on Joanne is titled, well, "Joanne." This is the title track written about Gaga's aunt Joanne. The song is therefore very lyrically centered on death, such as when Gaga passionately sings, "Honestly, I know where you're goin', and baby, you're just movin' on, and I'll still love you even if I can't see you anymore. Can't wait to see you soar." The song deals with grief (from both the perspective of Gaga herself and from her family members) but in a very positive light; as just demonstrated, Gaga seems to see Joanne's passing away as something beautiful, not just as something tragic. The song is played on an acoustic guitar and is folk-oriented; as previously mentioned, it is incredibly stripped-back, which is appropriate. The fourth track, titled "John Wayne," picks the pace back up. Obviously paying tribute to the late actor of the same name, who was known especially for his roles in western films, the song is a southern-flavored dance track highlighting Gaga's love for cowboys like the men whom John Wayne played. As has always been the case with Gaga, she uses a clever double-entendre in this song when she declares that "every John is just the same." John is, of course, a very common name for a man, which is why an unidentified man might be referred to as John Doe. Gaga is therefore saying that every average man who fails to capture her interest is just the same, but a "john" is also another word for a prostitute's male client. That doesn't mean that Gaga is referring to herself as a prostitute; she is, instead, referring to men who try to take advantage of her. (Let's also not forget that, as previously mentioned, she was a go-go dancer when she was much younger.) Along with its succeeding track, "Dancin' in Circles," "John Wayne" is definitely one of my favorite tracks from Joanne. It's fun, catchy, and clever.
"Dancin' in Circles" is influenced by reggae and funk and can be compared with No Doubt and Gwen Stefani. Much like many of the songs from The Fame (such as "Paparazzi," "Paper Gangsta," and "Summerboy"), Gaga's vocals on the chorus are somewhat similar to those of Stefani. When my boyfriend first heard the song, he even asked me if Gwen Stefani was a featured vocalist on the song (which she is not). As previously mentioned, Gaga is possibly the Queen of Innuendo, and there is plenty of it in this song, such as in the lyrics, "Up all night tryin' to rub the pain out" and "I lay around, touch myself to pass the time." I am reminded of Gaga's 2009 song "So Happy I Could Die," in which she sings, "I touch myself; can't get enough." The song is clearly about finding strength in solitude and in getting yourself off sexually rather than having a partner do it for you. "Dancin' in circles, feels good to be lonely," she sings in the chorus. I just love the rhythm of the song; not only am I reminded of Gwen Stefani, I am also reminded of Ace of Base's songs such as "All That She Wants." The sixth track from Joanne is the lead single, "Perfect Illusion." As I said, I didn't much care for the song when I first heard it, but it did grow on me, and I appreciate it a lot more now. Shortly after the song was first released, Gaga said that it did not represent the overall sound of the album, and I wholeheartedly agree; it, in fact, kind of stands out on the album like a sore thumb. The song reminds me a lot of ARTPOP's lead single, "Applause," and is the closest that Joanne gets to Gaga's usual electropop style. The song features influences of disco and 90s pop music, and although when taken at face value, the lyrics seem to tell the story of a failed relationship, Gaga has said that it is not about Taylor Kinney and is actually a commentary on the illusionary curtain that is social media.
The seventh track on the album is "Million Reasons" and has been confirmed as the album's second single. The song, backed by piano and guitar, is a slow ballad co-written with Mark Ronson and Hillary Lindsey. Lindsey is a songwriter who often co-writers with country artists such as Carrie Underwood and Lady Antebellum, and the country influence can be heard on this song. It's hardly one of my favorite tracks from the album, and I wouldn't have chosen it as a single, but it holds its own competence on the album. When Gaga and Taylor Kinney called off their engagement, this is the announcement that she made to fans regarding the decision: "Taylor and I always believed we are soulmates. Just like all couples we have ups and downs, and we have been taking a break. We are both... hoping to work through long-distance and complicated schedules to continue the simple love we have always shared. Please root us on. We're just like everybody else and we really love each other." In "Million Reasons," Gaga sings, "I've got a hundred million reasons to walk away, but baby, I just need one good one to stay." It is my belief that Gaga may have written the song about Taylor, as the message of the song seems to fit what she said about the split. The song demonstrates the feeling that a relationship is on its way to possible destruction but having hope that it won't, that it can still be salvaged. Joanne's eighth track is the western song "Sinner's Prayer." The song thematically reminds me of "Bad Romance," as it speaks to wanting to be accepted and loved for who you are, despite your "sins" or your flaws. "I am what I am," she declares in the song. I really love the rhythm of "Sinner's Prayer," but it is probably the most country-esque song on the album, getting especially "twangy" near the end.
Although it is personally not mine, I have seen several fans (referred to as "monsters") say that the ninth track, "Come to Mama," is their favorite Joanne song. It is thematically very similar to many songs on Born This Way such as the title track and "Bad Kids," speaking out against bullying others because of their differences. "Come to Mama" preaches acceptance of others despite their differences from us. "Come to mama. Tell me who hurt ya," Gaga sings in the chorus. Gaga is often referred to as "Mother Monster" by fans, which is probably coming into play in this song. Gaga's vocals are a bit echoey on the track, as if she performed the song on a mic in a large room. As previously stated, Gaga's most recent album release prior to Joanne was Cheek to Cheek, an album featuring jazz standards, most of which were sung with Tony Bennett. Gaga, around the time that Cheek to Cheek was released (after extensive delays, mind you), said that she loves jazz music, and I think that that has always been evident in songs like the unreleased "Blueberry Kisses" and Born This Way's "The Edge of Glory." I think that it can be heard again here on "Come to Mama," which sounds like a jazzy rock tune much like Darlene Love's "All Alone on Christmas." Heavily prominent, for example, is the saxophone, which can also be heard on Born This Way tracks "Hair" and "The Edge of Glory." The tenth track on Joanne is the highly anticipated collaboration with Florence Welch of Florence + the Machine. Titled "Hey Girl," the song is a mid-tempo funky track that preaches girl power through solidity. "Hey, girl, we can make it easy if we lift each other... hey, girl, we don't need to keep on one-in up another," the two of them sing, sharing the song's chorus. This song would be even more meaningful and powerful if it were shared between Gaga and Madonna, but alas, it was not to be. A collaboration between Gaga and Florence is still a great thing to have, even though this song is quite honestly another low point on the album for me.
The standard edition of Joanne ends with "Angel Down," an absolutely beautiful and lulling song written in honor of Trayvon Martin, a young man senselessly shot and killed in 2012. What makes the case so prominent is that Martin's shooter, George Zimmerman, got off Scot-free. Like she does on the album's title track, Gaga does something on this record that she hasn't done much in the past ("The Edge of Glory" is a rare example); she contemplates death. "Shots were fired on the street by the church where we used to meet," she states twice during the song. Similar to "Come to Mama," the song also speaks to the importance of equality and accepting people for who they are. (Much speculation has been offered regarding the idea that Martin's murder was a hate crime perpetrated by Zimmerman's racism.) "Doesn't everyone belong in the arms of the sacred?" Gaga laments. The song is definitely a tearjerker and an absolutely beautiful one at that. Although the deluxe version of the album goes on for a few more tracks, "Angel Down" works as a perfectly pensive closing, and it is definitely one of my favorite numbers from Joanne. The deluxe version of Joanne picks back up with "Grigio Girls," referencing Pinot Grigio, a type of white wine. Research regarding the song reveals that the song was written as a tribute to Sonja Dunham, director of the Haus of Gaga and a close friend of Gaga's, who is currently battling cancer. (Sonja is even directly mentioned in the song, as is Joanne.) The song is a soft rock song driven by guitar, and the song ends with a small chorus of girls singing along to the chorus and then laughing, which reminds me very much of John Lennon's "Happy Xmas (War Is Over)." The song is beautiful and charming and is very much about celebrating life when threatened by death.
"Just Another Day" reminds me so much of The Beatles. I am also very much reminded of unreleased pre The Fame material of Gaga's such as "Blueberry Kisses," "Wonderful," and "Oh Well." Gaga has revealed that her fame has caused her a great deal of anxiety, and this song is very much from the perspective of an anxious person: "We both know I could learn a thing or two about relaxing..." The song speaks of an attempt to try to calm anxious nerves by taking life one day at a time. It's such a fun song, and like "Grigio Girls," it's one of the best tracks on the album. (It's definitely worth spending the few extra dollars on the deluxe version of the album.) The deluxe version then ends with a "work tape" version of "Angel Down," which is a stripped and acoustic performance of the song. The Japanese edition of the album contains one additional track, a "work tape" version of "Million Reasons." Although it has a few low points, Joanne is, overall, a fantastic album. I can't get over the confessional nature of "Diamond Heart" or the sheer lamenting beauty of "Angel Down." Gaga is not technically new to experimenting with folk and country sounds. Born This Way's "Yoü and I," for example, has a distinct country-esque sound, and the single-only release "Stuck on Fuckin' You" has a very distinct guitar-driven southern sound. Never before has Mother Monster devoted the majority of an album to such a sound, though; it's ambitious and daring, and as is usually the case, Gaga pulls it off. Joanne is a beautiful, moving, and deeply personal album; it might even be her most personal album to date. My only real complaint (besides the very few songs that I don't care a whole lot for) is that Gaga teased that her role on American Horror Story: Hotel was influencing the album's writing process. I consequently hoped for more dark tracks like "Dance in the Dark," "Bloody Mary," "Heavy Metal Lover," and "Electric Chapel," but nothing on Joanne is even remotely reminiscent of American Horror Story.
