Album Review: "Born This Way" by Lady Gaga

"In the religion of the insecure I must be myself, respect my youth." -Born This Way

Released in 2011 at the height of Gaga-mania, Born This Way was a peak for Lady Gaga in every sense of the word. In terms of commercial success, cultural relevancy, and critical appreciation, Lady Gaga would never be bigger than she was at that moment. The titular single debuted at #1 on the Billboard Hot 100 with what was at the time the highest first week single sales for a female artist ever. The album would debut at #1 on the Billboard 200 with over one million units sold, ultimately becoming the world's and USA's third best-selling album of 2011.

It was both the culmination and the end of an era, if not an era upon itself. For many in their 20s today, this is an album particularly hard to look at objectively. It is an album that for myself and millions of other teenagers at the time, spoke to us as outsiders, as if we were not alone, with a prominent voice who not only understood and accepted us, but was one among us. It truly felt like a watershed moment.

Yet, it's hard to not look back on Born This Way with some blue nostalgia, knowing that Lady Gaga's brand of freak-show acceptance would soon lose favor, becoming relegated to online pop forums as the moment ended. By the end of the album campaign, it was clear that the moment, and Gaga-mania, as much of a rush as they both had been, were over.

In digging through the feelings associated with an album and an artist, it can easily become instinctive to overlook the music and the quality of it by itself. However, this is what I will attempt to do as I attempt to separate the music from the context.

The following is a track-by-track review:

1. Marry The Night: Gaga's tribute to her teenage and early-20s days in NYC, Marry The Night introduces the dance-rock influence present on much of the album. With an emotive and fleeting feeling, it's a perfect introduction to the album. 4/5

2. Born This Way: Essentially the album and Gaga's musical mantra, Born This Way demonstrates exactly why Gaga had and continues to have such a dedicated core of fans. Musically, it received many correct comparisons to Madonna's 1989 song Express Yourself, which it shares much with thematically. While not as musically accomplished in my opinion as Express Yourself, I have to give it points for being a hit song that positively impacted people. 3.5/5

3. Government Hooker: Eh, it's ok. I appreciate the opera-esque opening and the "John F. Kennedy" line deserved the laughs it got. Fairly monotonous, it's supposed to seem dark and sexy but just ends up seeming nonsensical. 2/5

4. Judas: My personal favorite from the album back in 2011, and still one of my favorites from it today. Dramatic and theatrical, Judas is even more frantic and edm influenced than most Gaga songs, being more tribal house and techno influenced than a pure pop song. Forget Government Hooker, this is how a dark love song is supposed to sound if it has a pulse. 4/5

5. Americano: Here we are again with these slow, dramatic openings before a thumping, darker love song. By this point the album's formula is starting to show how repetitive it is. This time Gaga's a Hispanic lesbian before same-sex marriage was legalized, in some type of vague rebellion against American culture. I will say, the mariachi influence does make for a nice change from the usual 120 bpm-esque dance-pop. 3.5/5

6. Hair: Basically Born This Way, just now it's about hair apparently. Much like Born This Way, I appreciate the message, but this one feels much more awkward lyrically and directly pandering towards out-there teenagers. I will say, the chord progression matches the lyrical intent well though and expresses well Gaga's intent. 3/5

7. Scheiße: One of the few German words I managed to pick up from my family, title aside, it's essentially a more dance-pop,and industrial take on Judas' tribal house and techno elements. With more of a feminist message than anything else on the album, the industrial-influenced song fits its Germanic character like a glove, invoking images of bleak Berlin nightclubs. 4/5

8. Bloody Mary: For all the complaints I may give the album for relying a bit too heavily on dance-pop, Bloody Mary really helps demonstrate why that is. The moments the album slows down tend to be the weaker moments. There's really not much to say about Bloody Mary lyrically or musically, it's just some petering out midtempo music without much to say. 2/5

9. Bad Kids: Did she just try to make dork sound like dirk to rhyme it with work? Regardless of that, we have another Gaga self-empowerment anthem. The character she's playing sounds pretty obnoxious, but I guess not that bad. 3/5

10. Highway Unicorn (Road To Love): Tf is up with this title? Well, aside from the awkwardness of that, this is actually pretty good. Kind of like a less dynamic Marry The Night, this does evoke a dance-rock image of driving Mustang with the top down on a long highway at night with your SO. The organ at the end was a nice touch too. 3.5/5

11. Heavy Metal Lover: Great title to start, definitely more risqué than most of the relatively clean album. Should have been more rock heavy than the midtempo electronic pop for this kind of title and theme in my opinion. 3/5

12. Electric Chapel: Now this is how you make dramatic dance music with a rock edge! To think, it only took us to get more than 80% through the album to finally get it down. A logical track to follow Heavy Metal Lover, it 's sexy, dark, has a pulse, and for some reason makes me think of vampires nightclubbing in an old cathedral. A definite high point on the album. 4/5

13. You And I: Boy have my opinions changed on this one. I absolutely hated it back in 2011 and felt it was totally out of place. While still out of place, this electronic folk rock style actually worked pretty well for Gaga for a song. (But not a whole album, *cough* *cough* Joanne) It's a really nice change from the dance anthems and over-the-top theatrics of the album. This song may be the only thing to ever make me want to visits Nebraska and see their vast collection of barns and corn. 4/5

14. The Edge Of Glory: The improper grammar on these titles has really been bothering me. Now with that aside, this is without a doubt Gaga's best moment on the album, and captures what it is about her that keeps me coming back for new music. Dedicated to her grandfather's final moments in life, TEOG packs a musical punch befitting of a celebratory eulogy. This is music with a pulse and a meaning, that you can play in a club or while sitting in your room crying. Simply beautiful. 5/5

Conclusion:

While Born This Way was an important album in pop culture and for many young people at the time of its release, it's ultimately a very mixed bag. It has a fair share of great moments, starting and ending on high notes, but it often drags on too long and can become very monotonous. I appreciate Gaga's theatrical attempts though and especially her well-intentioned shots at promoting self-acceptance.

3.5/5

Interesting Fact: Clarence Clemons, Bruce Springsteen's saxophone player, played on The Edge of Glory. It would ultimately be the final song he would record before his death in June 2011. Interesting to think that a song celebrating someone's last moments would end up being his unexpected final song as well.