Tuesday, June 14, 2011

Lady Gaga - Born This Way: nor are we in 1989, or you're Madonna

Lady Gaga has upped the ante with Born This Way to the absolute limits. She has had no problem in getting on the vine and talk about the inimitable quality of his work, statements with which some will agree and many others will pull no problem soils. Some things are indisputable, however. That this woman has a spectacular voice and know how to take full advantage can is one of them, just having a stunning left hand when writing, as we demonstrated in both The Fame Fame as The Monster.

All these advantages and many others as likely to have Lady Gaga, however, go unnoticed against a number of factors that have a very negative Born This Way. If you're expecting the best album of Gaga, yet you still have a good time sitting. Even exceeds in quality, originality and fun to your debut, and much of its tracklist is as a cyclic dejavu.

Sorry, but much more of a sting, Lady Gaga has made clear that Madonna is more than an influence on his career, to put it delicately. The hare jumped when he appeared 'Born This Way', the figurehead and the first single from the album. More than one of us came to mind that legendary 'Express Yourself' mixed with a bit of 'Vogue' and gone all through the sieve of the Germanotta.

The result does not supersedes any of his previous singles, not to compare ourselves with 'Just Dance', by equating front. First hit. 'Born This Way' is the first in a large part of the tracklist that seem patches eighties issues without any interest or innovation. From this side we find 'Hair', 'Bad Kids', 'The Edge Of Glory', 'You And I' - winning integers, as you will see, live - and, in general, is a sense that virtually disappears any court of record.

At times it seems the soundtrack of Top Gun. The self-empowering lyrics eventually saturate, and claims, which are very well done if they are well proportioned, in turn, end up losing strength and repetitive. I have the feeling I'm listening to an album from the leader. Linguistic experiments, without much explanation or justification, are almost unintelligible, as in 'Scheiße' or 'American', although this second issue is among the most salvageable of Born This Way.

Lady Gaga does not waste an atom of his strength when he returns to what it did in his previous work. 'Judas', terribly beaten just for being so similar to 'Bad Romance' - is lighter than water - yet it is one of the strongest points of the album just to rescue the style that catapulted to the top so fully justified.

If Born This Way had been what it should, 'Judas' would have passed as a simple nod to the past, but being what it is, this issue seems the only link with what we knew - and liked - by Lady Gaga. The best prank that has gone on this album is 'American', despite the tongue twisters in Spanish seems to recite without much tact.

Still, the pace and the dye casposillo are great and are fun and hot point you expect to find on an album Lady Gaga, and that except on this occasion, conspicuous by its absence. The commitment remains the variety of styles and expands the total consistency so too diffuse style of the singer, who had left so strong to date.

Now the only tonic is the criticism and the pursuit of controversy as far as religion is concerned, to the point and not be vindictive, but a simple remedy for it is spoken by all means. The strange thing is that we can find a theme that combines both defects and yet is one of the most interesting sections of the disc, although again, the aftertaste is excessive eighties: 'Bloody Mary'.

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