Take a bite of my bad girl meat…
Lady Gaga is in love with a monster. Should she run away or give in to lust? She’s in a constant tug of war between love and hate on her latest, The Fame Monster. The album is a re-release of her debut, The Fame, with ten new tracks of pop confectionary goodness. The Millennial Madonna has arrived.
Just try to get the first monster single “Bad Romance” out of your head. It’s pretty hard not to hum “Gaga ooh la la” at random moments in the day. The Latin-tinged “Alejandro” is one part Ace of Base and two parts Madonna “La Isla Bonita,” as she begs Alejandro to release her from her spell.
The Beatle-esque “Speechless” seems like a join hands and “Come Together” ballad until you catch the violent lyrics. It’s a complicated love but it seems that her lover is too enamored with Johnny Walker to even notice. Beyonce returns the favor for Gaga’s appearance on “Video Phone” with the also cellular-themed “Telephone.” The result is another radio friendly hit and a hot ringtone. Lady Gaga explores her bi-curiousity on “So Happy I Could Die,” as she lets go of the monster when a strawberry blonde catches her eye. The hypnotic melody combined with a soulful handclap is pop music at its best.
Another highlight is the soulful “Teeth.” Lady Gaga shows her vocal chops on the hauntingly sexy track that delves into the realm of Southern grassroots funk. But it’s not all demons and monsters on The Fame Monster. She has an all-out dance party on “Disco Heaven” and channels the “Vogue”-era Madge on “Retro Dance Freak.” They make a great bridge to the hits on her previous album.
On top of the gimmicks, the costumes, the glass smashing, and the occasional performances drenched in blood, Lady Gaga can actually sing. The Fame Monster is a high concept production album that’s irresistible pop music at its best.