Let’s get the skeptical sentiment out of the way first, shall we? The Fame Monster is essentially Malibu Stacy with a new hat. You are paying 17.99 for eight new songs. It’s an obvious ploy from a dying industry. “Poker Face” is going to appear twice in many iTunes libraries.
It’s tempting to approach The Fame Monster with such a cynical point of view, especially since most “deluxe” editions of mainstream pop albums offer nothing more than a new single and some throwaway b-sides. The evil corporate empire has to recoup its losses somehow. If it’s at the expense of some gullible fans, so be it.
The Fame Monster is the exception to the rule. Listening to the original record and the eight new songs in sequence, it’s astounding how much Lady Gaga has grown. The Fame was an introduction to the character of Lady Gaga, and Monster is her coming out party. Most pop stars are hindered by the fickle nature of their fanbase, who expect them to remain the same person forever. Gaga has no such hang-ups. These eight songs are so adventurous that it is hard to believe that they are being embraced in the straight laced world of corporate radio.
Adventurous is a relative term of course. Nobody is going to mistake The Fame Monster for an Ornette Coleman album, but compare “Bad Romance” to “Party in the USA.” One of them has odd vaguely Italian babbling, while the other awkwardly name drops Jay-Z. “Bad Romance” is Gaga’s best single to date; a mixture of stabbing keyboards, odd time signatures, macabre lyrics and an incoherent bridge. Is there a reason for Gaga to chant her name and give “Rome” several extra syllables? Probably not, but it could have a deeper meaning…or perhaps not. This is why Gaga succeeds and Adam Lambert is an American Idol contestant. She has created something that is completely shallow, simple and superficial, but also complex, ornate and deep. Lady Gaga bleeds with mystique, and the mystique is part of what makes her music so great.
Lady Gaga gives her fans tiny glimpses into her life in her songs, but she plays everything else close to the vest. Who is the disembodied voice in the background of “Monster,” mentioning that Gaga is hot as hell? We don’t know. Even when Gaga names names, she keeps the listener in the dark. “Alejandro” is more of a twisted ABBA tribute than a salacious tell-all.
The Fame Monster offers something that very few pop albums do. As you listen to the eighteen tracks within, you actually hear the artist evolve. Lady Gaga is much more than a stylized Barbie doll with synchronized dance moves. The eight new songs are bigger, grander, weirder, and catchier than anything on The Fame. Lady Gaga is a monster, and she’s going to be around for a while.
The Fame Monster is also available as a single disc.