via Showing Out
Bad Romance
(prod. by RedOne; written by RedOne and Lady Gaga)
The world has already been treated to this gibberish-fueled jam, which bops along with a sprightly kick, searing ‘80s synths and stinging metal snares. If you haven’t yet seen the absurdly sensational video for this track yet, click here and watch immediately. Then, watch the behind the scenes clip from the video. Watched them? Proceed.
Alejandro
(prod. by RedOne; written by RedOne and Lady Gaga)
This Spanish-tinged electro jam plays like a pseudo mashup between Ace of Base’s early ‘90s hits and a flamenco stomp. Over burning synths and bloopy keyboard flourishes, Gaga sings, “Don’t call my name, don’t call my name / Alejandro / I want you babe, I want you babe / Fernando / Don’t want to kiss, don’t want to touch / Just smoke my cigarette and hug / Don’t call my name, don’t call my name / Roberto” before repeating “Ale-Ale-jandro.” Spicy.
Monster
(prod. by RedOne; written by RedOne, Space Cowboy and Lady Gaga)
“Don’t call me Gaga,” she says at the beginning of this power-pop gem. “I’ve never seen one like that before. Don’t look at me like that. You amaze me.” Soon, the beat kicks in, with Gaga singing, “He ate my heart out” in full-out autotune mode. The song transforms into an angular, futuristic club smoker, with a beat that recalls that of “Just Dance,” only a shade darker.
Speechless
(prod. by Ron Fair; written by Lady Gaga)
This track takes the album in a completely different direction. Synths are nowhere to be found on “Speechless,” which sees Gaga channeling the spirit of John Lennon as she coos over a Beatles-esque piano arrangement. She sings, “I can’t believe you looked at me / With your James Dean glossy eyes / With your tight jeans, with your long hair / And your cigarette-stained lies” before launching into the emotionally-wrought chorus, “Oh boy, you’ve left me speechless / You’ve left me speechless / So speechless.” But the later in the song, the clouds part and sunshine peeks through as the melody brightens, taking on an optimistic tone that contrast her heartbroken lyrics. This is the track that will silence anyone that thinks she’s nothing more than a dance-pop princess.
Dance in the Dark
(prod. by Fernando Garibay; written by Lady Gaga and Fernando Garibay)
Gaga slips back into her icy pop persona for this ’80s-inspired tune, which rides on foggy synthesizers, a neck-snapping beat and fuzzy electronic vocal filters. “Some girls won’t dance to the beat of the track / She won’t walk away but she won’t look back / She looks good but her boyfriend says she’s a mess, she’s a mess, she’s a mess,” Gaga coos before launching into the chorus, “Baby doesn’t dance in the dark / ‘Cause when he’s lookin’, she falls apart.” Another dance floor-friendly glitter jam.
Telephone ft. Beyonce
(prod. by Rodney “Darkchild” Jerkins; written by Lady Gaga, R. Jerkins, Lashawn Daniels, Lazonate Franklin and Beyonce)
This track is the standout from the bunch, not because it’s an infectious tune with Billboard written all over it, but because it sees two of the world’s biggest pop stars going head-to-head on their debut collaboration. “Telephone” is a kiss-off to the persistent boyfriend that won’t stop calling your phone, with Gaga and Bey taking turns chewing out their man that won’t stop blowing up their cellulars. The song begins with a spidery keyboard line that gives way to a blinding pop backbeat, with Gaga taking first verse duties, singing, “Just a second it’s my favorite song they’re gonna play / And I cannot text you if I’m drinkin’ more Henny.” Soon, the power chorus kicks in: “Out in the club when I’m sippin’ that bub / No, you’re not gonna reach my telephone,” repeating a few times before Beyonce sasses her way onto the track and breaks it down. “By the way you blowin’ up my phone / Make me leave no faster / Put my coat on faster / Leave my girls go faster / I should have left my phone at home / Cause this is a disaster.” After Bey finishes tearing up her bug-a-boo, the track gives way the bridge where Gaga and Beyonce take a few bars together, with Beyonce singing, “Sometimes I feel like I live in Grand Central Station / Tonight I’m not takin’ no calls / ‘Cause I’ll be dancing” before the track rolls out into free-for-all duet between the two. Mark our words: this will be a hit.
So Happy I Could Die
(prod. by RedOne, Lady Gaga and Space Cowboy; written by RedOne, Lady Gaga and Space Cowboy)
Only Gaga could get away with this one, which boasts lyrics about her lesbian attraction to that “lavender blonde” and how, through all the tears and all the lies, she “touches [herself] to feel alright.” The dreamy pop confection floats on airy, brooding synths, with Gaga singing on the hook, “Happy in the club with a bottle of red wine / Smiles in our eyes ’cause we’re having a good time / Eh, eh / So happy I could die / Be your best friend, yeah, I’ll love you forever / Up in the clouds, and we’re higher than ever.” The track vacillates between the doe-eyed chorus and snapping verses, and while many might peg this as an ode to masturbation, it’s suggestive just enough to evade any criticism.
Teeth
(prod. by Teddy Riley; written by Taja Riley and Lady Gaga)
Gaga encroaches on gypsy-pop territory on this vamping tune, which chugs along with stomping drums, a sleigh bell jingle and blaring trumpets. Throughout the song, Gaga wails as she sings, “I need a man that’ll show me your fangs / Tell me something that’ll save me / I need a man that makes me alright (a man that makes me alright) / Tell me something that’ll change me / I’m gonna love you with my hands tied / Just show me your teeth.” This one closes out the album on a bold note, a sharp conclusion to a tightly woven collection of tracks.
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