ALBUM REVIEW: Lady GaGa’s “The Fame”

I’ve gotta hand it to the Universal Music Group’s approach to marketing its newest artist Lady GaGa. Among so many more rights than wrongs, their most telling may be the project’s title itself. “The Fame” fulfills its own prophecy, promoting GaGa (real name Stefani Germanotta) as a jet-setting, international celebrity– when in reality she runs the risk of being confused with Gwen Stefani or even the lesser-known Aubrey O’Day than being chased by paparazzi (at least at this point).

Bragadocious tracks like “Paparazzi”, “Fame”, and “Beautiful Dirty Rich” seem to carry the same credibility as if Miley Cyrus were singing ballads about failed marriages, but nonetheless, the bisexual former NYC club-performer hits her mark, turning out an album that’s almost as cohesive as it is addictive. Lyrics like “All we care about are runway models, cadillacs and vodka bottles,” and “we like boys in cars, who buy us drinks in bars,” even bring the possibility of the album having a theme to the table– socially criticizing the elitists– if only it weren’t so damn glamorous sounding!

Behind every party girl these days though, (or rather, inside of ever party girl?) exists a tortured heart. Rihanna switches from begging to not stop the music, to vindictively telling a cheating ex to take a bow. Fergie boasted fergaliciousness, only to switch it up and claim big girls never cry. Taking little chance at being different, “The Fame” balances its party records with songs that showcase Germanotta’s songwriting abilities, like “Again Again” and “Brown Eyes” shine through, proving why she’s quickly-becoming an in-demand writer in her own professional right (having penned tracks for the Pussycat Dolls, Britney Spears, and The New Kids on the Block).

If only the music industry wasn’t the way it is today, we’d be hearing GaGa (and a lot of artists like her) on radio, but unfortunately, this album’s going to have some hurdles to overcome–most remarkable, that of finding its spot in between club kid house parties, and Perez Hilton’s iPod.

NOTICEABLE HEAT: The RedOne-produced lead single “Just Dance” featuring fellow Akon-mentee Colby O’Donnis, and the very-similarly-produced “Poker Face”