Lady GaGa took over pop music in 2008 –catapulting it into strange and uncharted territory like performance art, outlandish outfits, and actually singing. She brought back the fun of Madonna and coupled it with her own New York City Club Kid aesthetic. Since the debut of The Fame, her pop counterparts; Katy Perry, Rihanna, and Britney Spears, have all tried to get on her level. Hate or love her, GaGa hasn’t apologized for anything she has done. With the release of Born This Way, she is still as unapologetic as ever and it’s continuing to work in her favor.The album’s opener, “Marry the Night” reveals the record’s agenda: a timeline of GaGa’s life and love. It’s unassuming in its ‘80s drivetime style. It’s actually her most conservative track and to use it as an opener for an album that is supposed to be a landmark, it’s unimpressive.
The title track, “Born This Way” straddles the line between the breakthrough power anthem GaGa wants it to be and the gayest thing you’ve ever heard. I get it –be who you are, not who you’re not. Don’t change yourself to fit any else’s mold; it’s all great. But what came out of that inspiration machine quickly turned into repetitious, only-tolerated-in-the-club, four and a half minutes of over-indulgence. Maybe if she had spent more than ten minutes penning it, it would’ve been more.
“Government Hooker” opens with GaGa’s earnest attempt at something more operatic. The beginning is repetitive but the chorus hits closest to sounding like it could’ve fit on The Fame Monster. It’s the most Gothic, industrial sounding song on Born This Way, as well as the darkest lyrically. Not lacking in controversy however, GaGa speaks, “Put your hands on me/John F. Kennedy” as if it’s been her childhood fantasy. Where the track lacks in lyrical value, it also lacks in anything more interesting than the industrial sounds of “Bad Romance.”
“Judas” is one of the best tracks on the album. Ignoring the Biblical undertones, the song stands on its own as a masterpiece of metaphor. Is it annoying that she still feels the need to remind us that her name is GaGa? Yes, but when that beat drops, it’s an instant reminder of why we care that she is GaGa. The song is the most cohesive lyrically, telling a full story instead of trailing off and becoming something else entirely. Much like “Government Hooker”, “Judas” could have easily been a sibling to “Alejandro” on The Fame Monster.
“Americano” opens similar to Rosemary Clooney’s “Mambo Italiano.” Of course, GaGa puts her dance spin on the track, ushering it in with “la la la’s” and masking the flamenco guitars with a familiar dubstep beat. As flourishing violins battle with flamenco guitars who are in their own battle with a rave bass, this bilingual romp proves that while Gaga is best when she’s stylized, she has the capacity to be even better when she’s over-stylized.
“Hair” is sure to be an anthem, period. Is the first verse horrible? However, the saxophone contributions from Clarence Clemence of The E-Street Band give the song a different effect. The song definitely shows GaGa trying something new –for her aesthetic at least. Surprisingly, the inspiration factor in the chorus works in her favor unlike the chorus in some of the other tracks. The bridge however, sounds like 16 year-old GaGa sticking it to anyone who ever doubted her. If maturity was a serious factor in pop music, she would lose points with this one.
“Scheibe” has GaGa speaking German and honestly –does anyone care what she’s saying? No, because the track takes on a life of its own and is one of her best. It’s definitely a “fashion” song, deemed to be played on runways next Fashion Week. Its Euro-trash dance music at its finest –the constant shooting-siren exemplifies the dance track cliché but GaGa rocks it with her own performance art swag. It’s not a new formula, as “Dance in the Dark” followed the same recipe, but it’s GaGa and we love her for it.
“Bloody Mary” is sweeping before the beat begins. GaGa sings slowly, “I’m gonna d-d-dance with my hands above my head/ Just like Jesus said.” The violins pluck before a suppressed scream brings the song back to life. Lyrically, it is poetry. “We’re not just art for Michelangelo to sculpt” she states before continuing on her journey to get to the heart of what love, beliefs, and life is really about.
“Bad Kids” is the evil twin to “Born This Way.” It should’ve been played during the Disco Bloodbath inspired film Party Monster. It’s back to the floor with this one; a bit Donna Summer with some electric guitar. The relentless declarations, “I’m a bitch” and “I’m a punk” will probably continue to annoy those who already find the Lady annoying, but it’s hard not to adore the chorus.
“Highway Unicorn (Road to Love)” is guilty of two things; a horrible title and sounding like a b-side to the Killers’ Day & Age. With the exception of the over-produced chorus and fuzzy melody, Brandon Flowers could have easily sang this and, to the decree of his band mates, been shut down immediately. Each verse is strong but GaGa loses it at the chorus, where the image of a unicorn does come to mind. Only, instead of it being viewed as something artistic, it comes off cheesy. Lyrically, it’s similar to Bruce Springsteen’s “Born to Run” -2 lovers on some desolate road who would rather die or constantly be on the run than have some sense of security.
“Heavy Metal Lover” is the brute-force cousin of “Teeth.” It’s absolutely filthy, from the beats to the lyrics, “I want your whiskey mouth/All over my blonde south.” Where the song is sexy, with GaGa sounding like she could be Marilyn Manson’s long-lost sister, it gets to be a bit much.
The Pop Queen gets heavy on “Electric Chapel” with the opening riff sounding like any 80s metal band’s chord progression. It’s definitely a stand-out; a dark, forbidden love anthem that could pass as a Blondie jam. If GaGa ever wanted to rock, she definitely worked those demons on this track. The bridge displays her raw, guttural vocals which are a welcomed change from her polished pop persona.
The first time GaGa played “You & I” was on Good Morning, America. She sat at her piano, after rain fell in New York City, and sang just as raw as she was playing. The song allowed everyone to catch their breath after being pummeled with industrial dance beats and heavy bass. The album version however, brought GaGa’s piano soul down to zero as it’s masked with guitar distortions and soft-eighties background vocals. Her narrative about a love that just won’t die quickly turns into a 5-minute recap of her rise to stardom where “You & I” becomes more “Me, Myself, and I.”
“Fashion of His Love” is really GaGa at her most Madonna. The beat is reminiscent of Madonna’s “Open Your Heart” as well as sounding like it would be played in the mall scene in any John Hughes’ film. If it were ’86, Whitney Houston probably would have killed to call this song her own. It’s overly polished, cutesy, and too happy for a woman who notoriously speaks of her “dark period” of substance abuse, broken love, and suffering through life up until now.
“Black Jesus –Amen Fashion” isn’t about what you’d think. Much like “Born This Way” it’s a song about GaGa. It’s her life, born to be a star. Yet another song born to be played on the runway, it’s apparent that she wrote this with her dear friend, Alexander McQueen in mind. Though, 2 minutes in, it gets boring to listen to. If GaGa is fashion and fashion is GaGa, then what’s left? Oh right, Jesus is the new black, who knew?
Honestly, the best track on Born This Way is “The Edge of Glory.” It’s pure, unabashed ‘80s pop –glistening in love and life. The song features another saxophone solo by Clarence Clemence, but where his previous addition brought something new and not-so welcomed, it fits perfectly here. The song is a celebration, and leaving here there, it can be seen as the triumphant finish of a mostly good album, which is a beautiful image.
With trying to turn Jesus into some pop culture, fashion trend, it’s not a perfect pop album. While some tracks can stand on their own as “masterpieces”, GaGa can only go up from here. It’s not a substantial growth, but it’s a growth that will keep her “little Monsters” happy and may draw more people to her shows. What she continues to show is that she has the chops; she has an image, she has a gimmick, she has a presence, but most importantly –she has a voice. **8.8/10
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