Veteran rock and pop performers deliver new releases for spring

Boy George “This Is What I Do” Very Me Records

If you are hoping for the new-wave leanings of Culture Club or the danceable electronic pop of his early solo albums, you will not find that Boy George on this album . .. and that is kind of a good thing.

On his new album, Boy George forgoes the smooth pop-vocal styling of his pop heyday and gets more into a raspy low-key register that is as compelling and soulful as anything he has ever done — and has him, at times, sounding more like Oasis or latter-day George Michael than the painted glittering pop provocateur we know and love. But this more-mature, less-tumultuous and more-at-ease Boy George will grow on you.

The album’s opening track, “King of Everything,” and other tracks like “My God” are tastefully done and lushly orchestrated Beatles-esque rock tracks that set the tone for the rest of the album. There is no pop bombast here — just laidback, textured, simmering tracks that lay the foundation for George’s unhurried vocals.

Tracks like “Bigger Than War” and “It’s Easy” are pleasantly breezy and lighthearted, while selections like “Death of Samantha” and “Make You Feel My Love” are somber and folksy. Many of the remaining tracks harken back to the reggae influences that were always bubbling underneath Culture Club’s sound. But here they are stripped down and less pop-oriented, especially on “Love and Danger,” “Nice and Slow” and “Live Your Life.”

Boy George definitely makes a great case for pop artists aging gracefully and remaining compelling and interesting with his new album. But then, that is what he does.

Elton John “Goodbye Yellow Brick Road Deluxe Edition” Mercury Records

This classic-album-turning-20-30-or-40-years-old-thing is getting depressing. That just had to be said.

Anyway …

“Goodbye Yellow Brick Road” is an undisputed classic album, so with the 40th-anniversary deluxe edition, the album itself doesn’t need any debate; it’s the extras that make this collection quite interesting. Instead of padding this release with demo versions and unreleased songs from that era, Sir Elton includes a number of songs from the album covered by a wide range of contemporary artists, and then sweetens the deal with live tracks from a 1973 concert at Hammersmith Odeon.

Fallout Boy’s version of “Saturday Night’s Alright for Fighting” is just that — alright. They try a bit too hard and it’s a bit busy and over-thought. Ed Sheeran’s acoustic-folk version of “Candle in the Wind” comes across as heartfelt and solid, but still feels somewhat obvious and by-the-numbers.

Other artists surprise with their renditions. Emile Sandé does a great job on her ethereal electro-drenched version of “All the Girls Love Alice.” We might like this version better than the original. The Band Perry does a brilliant job on its rollicking country version of “Grey Seal.” Miguel, with the help of Wale, delivers a beefy modern take on “Bennie and the Jets” that beats the odds and actually does the song justice.

As for the live tracks, Elton John delivering his early hits like “Rocket Man,” “Crocodile Rock” and “Honky Cat” in full circa-early 1970s-glory is always a treat.

This is definitely a road old and new fans alike should ease on down.

KXM “KXM” Rat Pack Records

This new power-trio rock super group is comprised of respected modern and classic rock musicians: openly gay singer and bassist Doug Pinnick (King’s X), guitarist George Lynch (Dokken, Lynch Mob) and Ray Luzier (Korn, Army of Anyone, David Lee Roth). The result is an excellent blend of all the sounds their famous bands are known for.

Yes, two of the members, Pinnick and Lynch, were members of notable 1980s rock bands known for their big riffs and big hair, while Luzier got his start backing someone who pioneered that genre of music — but this group delivers a bold, eclectic and muscular rock album.

Pinnick’s soulful, bluesy voice fits very well with his pounding and fluid bass lines, Luzier’s thunderous and frenetic drumming and Lynch’s inventive hero-worthy guitar-playing. Fans of Luzier’s band Korn will dig tracks like “Burn” and “Gun Fight,” which are snarling sonic beasts that will have fists in the air rocking out. Fans of Pinnick’s band, King’s X, will dig the vocal harmonies, the deeply personal lyrics and soaring instrumentation on tracks like “Never Stop” and “Sleep.” And while Lynch’s guitar-playing shines on this album, thankfully it’s geared more toward a modern-rock sound instead of the indulgent shredding 1980s hair metal he was once famous for. But Lynch still delivers a brilliant performance, lending some eerie and ominous tones to tracks like “Human Friction” and “Stars.”

“KXM” is a brilliant debut from a group of seasoned and unique rock veterans and is definitely worth checking out.

Kylie Minogue “Kiss Me Once” Warner Bros./Parlophone

The international pop star/diva queen is back in pop mode after going orchestral with 2012’s “The Abbey Road Sessions.” She hasn’t missed a beat (no pun intended), as “Kiss Me Once” is full of the kind of supercharged infectious dance pop that she is famous for. And, much like the singer, the formula she follows doesn’t seem to get old.

The dance-pop bangers on “Kiss Me Once,” like “Million Miles” and “Les Sex,” can go toe-to-toe with the likes of anything getting cranked out by Katy Perry or Rihanna. We’d include Lady Gaga on that list but, really, who has the energy to compete with that circus spectacle? Minogue also keeps her Europop boots on and, in the process, gives the likes of Daft Punk a run for their throwback disco money on immensely fun tracks like “I Was Gonna Cancel,” “Fine” and the funky “Sexy Love.”

Minogue even veers into some more aggressive and darker sounds with grittier tracks like the grinding “Sexercise” and hauntingly dense “If Only.”

“Kiss Me Once” is more than capable of keeping Minogue’s fans happy and dancing.

Newsletter Sign-up