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PREFACE: THREE FACETS OF GAGA
Whether or not you find appeal or inspiration in Gaga’s music, personality or choices, the most accurate fact about Lady Gaga is that she’s the only person in pop music who can actually be considered a walking and talking concept. A monster of meta, Gaga has designed herself as someone who can get away with ubiquitous standards toward female pop stars because she’s perpetually designed herself as an artificial force.
She doesn’t seem to get much credit for committing so powerfully to her performance as “Gaga”, or the fact that everything she’s done has been consistent with her entire general concept. From the name “Gaga” to the ridiculous avant-garde fashion, from the detached and awkward interviews to the seemingly narcissistic quotes on her behalf, she has linked everything she does to the lie, to the bullshit. It all comes from an honest place, of course, but Stefani’s “Gaga” creation is meant to be both a reflection of pop-culture decay and a celebration of its most superficial qualities.
Some have worried that her music has taken a backseat to the visual. The truth however is that the music plays the biggest role in her well-oiled machine. Her albums (including, we can project, her upcoming record) follow the three facets of her artistry:
1 -- Holding mainstream presence (The Fame, The Fame Monster)
2 -- Bold political activism (Born This Way)
3 -- Stylistic experimentation (ARTPOP, allegedly)
We’ll see how closely ARTPOP follows this trajectory (according to her own comments, it seems to be doing just that), but before that happens, let’s celebrate 20 songs that have brought her to where she is now. I actually ranked all 50+ songs of hers in order, and I found that once I had ranked down from 50 to 30, I was having a REALLY hard time ranking the rest. It’s very impressive that with only three albums (two and a half if ya nasty) I was able to make a top 30 list of songs that I still listen to on a daily basis. We’ll see how much this list changes once ARTPOP finally becomes a reality, but until then, let’s begin!
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20) HEAVY METAL LOVER (Born This Way)
WHAT IT SOUNDS LIKE: A steely ride through a Tron-like Sin City 150 years in the future. Synthetic sleaze mixed with electronic euphoria with a hint of Daft Punk. It’s tirelessly repetitive and yet amorphous in its structure and sound.
MOST EPIC MOMENT:
A scathingly forthcoming advance by Gaga in the second verse. Who can resist?
19) THE QUEEN (Born This Way)
WHAT IT SOUNDS LIKE: Bette Midler camp combined with Tom Jones’ eye for iconic chords. Gaga channels both with this elegant faux-ballad that’s as substantial as it is invariably self-aware of its cheesiness. It’s the kind of combination that makes for a song destined to be a drag show staple forever.
MOST EPIC MOMENT:
The operatic and self-prophetic bridge that’s both timelessly powerful and hilariously ridiculous.
18) MONSTER (The Fame Monster)
WHAT IT SOUNDS LIKE: A streamlined mid-tempo pop song with, strangely enough, a great deal of R&B DNA within. One of the most definitively “pop” songs by Gaga that’s simple in premise but rich in production and vocal delivery. Forever underrated, but has a certain soulfulness and attention to detail that no other song on The Fame Monster manages to match.
MOST EPIC MOMENT:
It wouldn’t be a Gaga song without an attention-stealing post-chorus hook, and boy does this song have one.
17) HAIR (Born This Way)
WHAT IT SOUNDS LIKE: A transcendent celebration of not taking yourself too seriously. The lyricism is a perfect concoction of a 1980s high-school female’s botched and naive perspective of herself and life. Everything from the eternally cheesy chorus to the eternally cheesier bridge is madly adorable, and as long as you listen to the song with the same tongue-in-cheek attitude as the Lady who sings it, you’ll find it hard not to fall for Hair.
MOST EPIC MOMENT:
The catapulted kitchen sink of camp, otherwise known here as Hair’s bridge.
16) DANCE IN THE DARK (THE FAME MONSTER)
WHAT IT SOUNDS LIKE: A towering confessional 50 stories high, with a deliciously overwhelming chorus and a cavalcade of strong lyrics. One of Gaga’s best written material if only for its ability to take a complex idea (women’s self-esteem and gender-envy) and simplify it while still retaining the sharp commentary.
MOST EPIC MOMENT:
The bold bridge, with an omnipotent grit that makes Vogue’s bridge sound like Turkey Lurkey Time.
15) JUDAS (Born This Way)
WHAT IT SOUNDS LIKE: An unmoving boulder of a song. Static in its presence but unexpectedly dynamic in both the production and her vocal delivery. Gaga sounds like a lunatic in Judas, and its invariable harshness is what makes it cut like a hot knife. The transition from her seething howls in the verses to the bubbly sweet delivery in the chorus is a welcome Gaga trademark, and while it doesn’t have the finish or fully-realized personality of Bad Romance, Judas is bigger, badder, and completely unhinged.
MOST EPIC MOMENT:
The clinically insane rap layered on a pummeling tribal beat. Once again, Gaga crafts an iconic bridge that punches the listener in the stomach.
14) TEETH (The Fame Monster)
WHAT IT SOUNDS LIKE: A long-lost number from an R-rated Peter Pan musical. Seductive hooks and an infectious tongue-in-cheek production make Teeth impossible not to like. Its sound stands uniquely as one of Gaga’s brightest pop moments, and what it lacks in substance (hardly a priority with Gaga) it more than makes up for it with its irresistible production. This song, coupled with the right video, could have completely taken over 2010.
MOST EPIC MOMENT:
The first verse sets the tone perfectly for this theatrical pop gem.
13) GOVERNMENT HOOKER (Born This Way)
WHAT IT SOUNDS LIKE: A rougher, sleazier Sexyback. I’m such a sucker for Gaga’s musky vocals, and she has a certain rasp in her lower register that, when paired with a monotone delivery, is absolutely fierce. The chorus is brutal, and the R&B production is an interesting choice for such a Euro-club-trash song. It has biting commentary that lets itself take a backseat to sleazy tongue-in-cheek, making it both wittingly smart and ridiculously stupid. Such an apt description of Gaga herself.
MOST EPIC MOMENT:
The iconic “HOOOooooKAHH” chant has pretty much been a regular thing I yell at people on Friday nights.
12) ALEJANDRO (The Fame Monster)
WHAT IT SOUNDS LIKE: A stunning pop song that’s both better and more valuable than people designate it to be. Not only do the verses in Alejandro reflect an artist who could actually conceive real poetry if she wanted to, but there’s a certain euphoria in the chorus and post-chorus hook that are perhaps unmatched in any other Lady Gaga song. Alejandro makes the best use of her trademark st-st-stutter, and it has a certain demure quality that makes it unique among Gaga’s otherwise “kitchen sink” discography. This is actually a personal favorite of mine.
MOST EPIC MOMENT:
The soothing transition into the second verse, layered on that elegant production.
11) BORN THIS WAY (Born This Way)
WHAT IT SOUNDS LIKE: Madonna, The Rockettes, and Martha Wash’s weird little red-headed step child. A song whose grungy, admittedly ugly production strangely contributes most to its beauty and purity. Born This Way is perfectly proud of being inelegant and un-poetic, and it’s very hard to find a song that so boldly stakes its claim without retreating to metaphors or analogies. You have to respect someone that’s willing to put it all on the line in the most literal way possible, especially when it pertains to polarizing politics. This holds a special place in my heart.
MOST EPIC MOMENT:
The perfect chorus. Bold, timeless, classic.
SONGS 10-1 COMING LATER TONIGHT