Lyrical: Circle(s) (Part One)

Lady Gaga’s 2025 single “Abracadabra,” the second release from her album Mayhem, marks a dynamic return to her theatrical pop roots. Co-written with Andrew Watt, Henry Walter (Cirkut), and members of Siouxsie and the Banshees, the song incorporates elements from their track “Spellbound,” blending electropop, dance-pop, and acid house influences. Lyrically, “Abracadabra” explores themes of self-doubt and resilience,

using the titular incantation as a metaphor for transformation and empowerment. The accompanying music video, co-directed by Gaga, Parris Goebel, and Bethany Vargas, features a symbolic dance battle between light and dark personas, emphasizing internal conflict and self-acceptance.

Critically acclaimed for its production and energy, the song achieved significant commercial success, topping charts in multiple countries and peaking at number five on the Billboard Global 200. Live performances on platforms like Saturday Night Live, The Howard Stern Show, and Coachella further showcased its impact. A remix by French producer Gesaffelstein added an industrial edge, reinforcing Gaga’s commitment to artistic reinvention. “Abracadabra” exemplifies Gaga’s ability to blend pop spectacle with introspective themes, solidifying her status as a transformative figure in contemporary music.

Katy Perry’s “Circle the Drain,” co-written with Christopher “Tricky” Stewart and Monte Neuble, is a candid track from her 2010 album Teenage Dream that delves into the emotional toll of loving someone battling addiction. Released as a promotional single on August 10, 2010, the song stands out for its raw lyrics and rock-infused sound, marking a departure from Perry’s typical pop style.

The lyrics express frustration and heartbreak, with lines like “Wanna be your lover, not your f—ing mother,” highlighting the strain of a relationship overshadowed by substance abuse. Many speculate that the song was inspired by Perry’s past relationship with Travie McCoy, who struggled with addiction; McCoy responded by acknowledging the song’s substance, stating,

“I’m just stoked that she finally has a song with some substance on her record. Good job.” Critics offered mixed reviews: some appreciated the song’s depth and departure from Perry’s usual themes, while others pointed out perceived hypocrisy, noting the contrast between this track and more carefree songs on the same album. Commercially, “Circle the Drain” achieved modest success, peaking at number 30 on the Canadian Hot 100 and number 58 on the US Billboard Hot 100. Perry performed the song during her 2011 California Dreams Tour, where its live rendition received varied responses from audiences and critics alike.

“Daddy Sang Bass,” written by Carl Perkins and famously recorded by Johnny Cash, is a 1968 gospel-influenced country song celebrating family unity, spiritual resilience, and the healing power of music. Inspired by Perkins’ own childhood memories and the gospel song “Will the Circle Be Unbroken?”,

it tells of a family that finds strength through singing together despite hardships. Cash’s version features backing vocals by his wife June Carter Cash and the Statler Brothers, with uncredited vocals by Jan Howard on the high harmony (“Mama sang tenor”). Released in November 1968, the single topped the Billboard Hot Country Singles chart in early 1969 and became one of Cash’s signature hits.

It resonated strongly with audiences during the Vietnam War era, evoking nostalgia and faith. The song has been covered by artists like The Oak Ridge Boys and Marty Stuart, and it remains a staple in Cash’s catalog of spiritually themed recordings.

“Will It Go Round in Circles,” co-written by Billy Preston and Bruce Fisher, is a funk-infused soul anthem released in 1972 as a single from Preston’s album Music Is My Life. The song is driven by Preston’s signature clavinet and organ work, paired with buoyant rhythms and playful lyrics that reflect themes of uncertainty, improvisation,

and self-determination—symbolized by the refrain “I’ve got a song, I ain’t got no melody.” Its whimsical exploration of making sense of chaos resonated during the post-1960s era of cultural transformation. The song became Preston’s first No. 1 hit on the Billboard Hot 100 in June 1973,

making him one of the few Black artists at the time to achieve such a feat with a self-performed and co-written composition. It has since been covered or referenced by artists including Donny Osmond and Phish and featured in films and TV shows like Beautiful Girls and The Wonder Years.

“Circle Sky” is a psychedelic garage rock song written by Michael Nesmith and performed by The Monkees, originally appearing in their 1968 film Head and its accompanying soundtrack album. The track, driven by distorted guitar riffs and pounding rhythms, reflects Nesmith’s frustration with The Monkees’ manufactured image and questions media

manipulation, with cryptic lyrics like “It’s a very extraordinary scene to those who don’t understand.” Two versions exist: the raw, live-sounding studio version featuring Nesmith, Micky Dolenz, Peter Tork, and Davy Jones (used in the film), and a separate studio take overdubbed with session musicians (featured on the original album).

Fans and critics generally favor the live band version for its authenticity and energy. Though not a charting single, “Circle Sky” gained cult status among Monkees fans and is now recognized as a bold statement of the band’s push for artistic credibility. Nesmith revisited the song for his 1992 solo album Tropical Campfires, and it has been performed in various Monkees reunion tours.

“King of Pain” is a melancholic yet melodic song by The Police, written by lead singer Sting and featured on their 1983 album Synchronicity. Co-produced by the band and Hugh Padgham, the track was inspired by Sting’s emotional turmoil following the end of his marriage, and reflects themes of suffering, alienation, and the inescapability of personal sorrow—

symbolized by surreal imagery like “a little black spot on the sun today.” Musically, it blends reggae-influenced rhythms with pop-rock and progressive overtones, showcasing the band’s signature tight interplay. Released as a single in the U.S., “King of Pain” reached No. 3 on the Billboard Hot 100,

making it one of their biggest American hits. The song has been covered by various artists, most notably Alanis Morissette in her 1999 MTV Unplugged session. It remains a staple of The Police’s legacy, often praised for its introspective lyrics and atmospheric arrangement.