Dallas Voice (Dallas, Tex.), Vol. 28, No. 2, Ed. 1 Friday, May 27, 2011 Page: 49 of 72
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L S music
Lady Gaga dabbles
with new sounds on the
album 'Born This Way'
RICH LOPEZ I Staff Writer
lopez@dallasvoice.com
Lady Gaga's Born This Way can be looked at in
two different ways: Either as a second chapter,
or as a third. Where Tim Fame Monster was an-
nounced as a companion piece to her debut, The
Fame, I saw it as a stand-alone album, with enough
strength on its own not to rely on a predecessor. Now
with her third full-length CD (yeah, third) we see the
music phenomenon dabbling with her formula ...
but not without encountering a few bumps.
As Gaga has blitzed herself into the stratosphere of
stardom, she's finding her role as a
self-help guru for the disenfranchised
— "the freaks," as she's called herself
and her "little monster" fans. The
plan has worked. And while her first
releases were abstract perspectives on
celebrity, love and partying, here she's
direct in her message not only to her
fans, but to the world. She's on a mis-
sion to change prejudices and dis-
crimination and she'll do it one media
onslaught at a time.
Where here sound has been
straightforward dance music, Gaga has begun ven-
turing into new territory. With touches of rock and
blues, she% resisting pigeonholing as a club diva.
Gaga showssuch growth in "You and I" and "Elec-
tric Chapel." The subtlety of electric guitar punctu-
ates the still dance-y edge of "Chapel," but "You and
I" is solid bluesy despite its Mutt Lange tendencies.
That signature background chorus of Lange, mostly
heard in his Def Leppard tracks, detracts from the
soul of the song, but plays with its gravitas.
"Born This Way"
Lady Gaga
Interscope Records
gC^-rvtSWAY
Of
With the buzz of her pre-release singles — "Judas"
and the title track — Gaga might have known that
throwing in a few obvious hits she could get away
with some textures she hasn't pursued before. "Gov-
ernment Hooker" delves in darker territory, but it's
also off-putting, though as it unfolds, we hear her
voice in a political stance. The song is not her great-
est, but the girl obsessed with fame is developing
into a woman with eyes opening into substance.
Even with its techno-sheen, Gaga does something
lovely with "Bloody Mary." Co-writ-
ten with DJ White Shadow (as are
several tracks on the CD), she shows
restraint with visually intense lyrics
minus a turbo-charged beat. Words
like We are not just art for Michelangelo
/To carve he can't reivrite theagfo/Of
myfuried heart are degrees above
what other popsters are doing and
refreshing to See her developing this
way.
Lots of Gaga's appeal is in her
hooks and the ease of her repetitive
chants. They get stuck in your head and perhaps
that's been her plan all along. Some songs stil] have it
("Judas" most famously), but maybe she's moving
beyond such tricks.
While she generally succeeds lyrically and musi-
cally, she does misstep on occasion. She goes Latin
again with "Americano," but not with the sophistica-
tion demonstrated on "Alejandro," The fast beat
sounds like a throbbing headache and the chorus is
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05.27.11
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Nash, Tammye. Dallas Voice (Dallas, Tex.), Vol. 28, No. 2, Ed. 1 Friday, May 27, 2011, newspaper, May 27, 2011; Dallas, Texas. (https://digital.library.unt.edu/ark:/67531/metapth239169/m1/49/: accessed May 1, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Libraries Special Collections.