To Thank and Not to Thank
-LolaGOLB@gmail.com
Since our editions are now coming out on Tuesdays, we didn’t have an issue to send you off to your families with this Thanksgiving, but I still have a lot to be thankful for—and not so thankful for—and I still wanted to share it with you because I know there has to be a few people out there interested in what I have to say. (Hi, mom.)
I just listened to Lady Gaga’s second album, “The Fame Monster.”
I must say that I wasn’t really impressed. I was hoping for something more substantial, but I’m not sure what that would translate to in the world of pop and dance music. I’m not sure how many times synthesized beats can be reused and laid over one another to form a different sound. What I was really hoping for was an album that was catchier and at least worthy of dancing to, but this missed the mark—but that’s just my opinion. Check it out for yourself.
Trying something a little more informal this week, I decided to jot down notes as I listened to the album; here are my notes:*
Just trying to get caught up here, but I guess you can get away with horrible lyrics if the tune is catchy (reference: “Bad Romance” for her grunts and illiterate chants). Is that how it goes?
No, really, thanks for the aural assault. Was this song really supposed to elicit a response from any part of me?
Is “Alejandro” reminiscent of Madonna’s “La Isla Bonita”? The only good use for this song is to make a drinking game out of it. Every time she says “Alejandro,” take a shot and hope you pass out before you have to hear her say it again.
The name of the third track is “Monster.” Enough said.
OK, I have more to say…
“Monster” has auto-tune and lyrics like this: “We French-kissed on a subway train. He tore my clothes right off. He ate my heart and then he ate my brain.”
Maybe if this song had more bass (and part of my brain were eaten), it’d be more listenable.
“Speechless” takes its cues from Mott the Hoople in the first 10 seconds or so. I’m not sure if this is good or a rip-off. The rest of the song is OK. Though, I’m beginning to notice a pattern: she attaches herself to a word and repeats it until you feel like your ears have been raped. On the surface, though, it does have some bluesy, rock guitar/accompaniment. I guess it gets points for being a little different from the usual stock, dance music.
“Dance in the Dark” starts out with a promisingly heavy industrial sound and has definite splashes of 80s-influenced synthesizers. So far, this is the best song of the bunch. But that’s not saying much.
In “Telephone,” she continues to sing about her experiences/thought processes…on the dance floor. I liked this song better when it was called “Just Dance.” What’s weird is that Beyonce provides accompaniment and actually makes it a little better. Surprises come in all shapes and sizes, people.
“So Happy I Could Die” is a rip-off of the Chris Brown-Ne-Yo creature. Other than that, I don’t really have much to say about this.
“Teeth” is a little more inventive (in terms of this album) with its beat. The vocals are a little more real and sound like they’re sung with more feeling, with elements of groove and swing switching between Lady Gaga and the musical accompaniment. This isn’t a dance song, though, so you might not hear this in a club unless it’s remixed. And I’m sure it will be.
*I don’t consider myself to be an authority on music, just someone who wants to share her opinion.
Now for the more gracious side of me: here’s what I am thankful for that I’d like to bring to the surface in case they’ve been buried under work, family, turkey…life.
Don’t forget that I’d love to hear what you have to say. Write a review of a new CD or an artist you’d like to introduce us to. Don’t forget to support your local establishments and bands, too. Email them to me atLolaGOLB@gmail.com.
I just listened to Lady Gaga’s second album, “The Fame Monster.”
I must say that I wasn’t really impressed. I was hoping for something more substantial, but I’m not sure what that would translate to in the world of pop and dance music. I’m not sure how many times synthesized beats can be reused and laid over one another to form a different sound. What I was really hoping for was an album that was catchier and at least worthy of dancing to, but this missed the mark—but that’s just my opinion. Check it out for yourself.
Trying something a little more informal this week, I decided to jot down notes as I listened to the album; here are my notes:*
Just trying to get caught up here, but I guess you can get away with horrible lyrics if the tune is catchy (reference: “Bad Romance” for her grunts and illiterate chants). Is that how it goes?
No, really, thanks for the aural assault. Was this song really supposed to elicit a response from any part of me?
Is “Alejandro” reminiscent of Madonna’s “La Isla Bonita”? The only good use for this song is to make a drinking game out of it. Every time she says “Alejandro,” take a shot and hope you pass out before you have to hear her say it again.
The name of the third track is “Monster.” Enough said.
OK, I have more to say…
“Monster” has auto-tune and lyrics like this: “We French-kissed on a subway train. He tore my clothes right off. He ate my heart and then he ate my brain.”
Maybe if this song had more bass (and part of my brain were eaten), it’d be more listenable.
“Speechless” takes its cues from Mott the Hoople in the first 10 seconds or so. I’m not sure if this is good or a rip-off. The rest of the song is OK. Though, I’m beginning to notice a pattern: she attaches herself to a word and repeats it until you feel like your ears have been raped. On the surface, though, it does have some bluesy, rock guitar/accompaniment. I guess it gets points for being a little different from the usual stock, dance music.
“Dance in the Dark” starts out with a promisingly heavy industrial sound and has definite splashes of 80s-influenced synthesizers. So far, this is the best song of the bunch. But that’s not saying much.
In “Telephone,” she continues to sing about her experiences/thought processes…on the dance floor. I liked this song better when it was called “Just Dance.” What’s weird is that Beyonce provides accompaniment and actually makes it a little better. Surprises come in all shapes and sizes, people.
“So Happy I Could Die” is a rip-off of the Chris Brown-Ne-Yo creature. Other than that, I don’t really have much to say about this.
“Teeth” is a little more inventive (in terms of this album) with its beat. The vocals are a little more real and sound like they’re sung with more feeling, with elements of groove and swing switching between Lady Gaga and the musical accompaniment. This isn’t a dance song, though, so you might not hear this in a club unless it’s remixed. And I’m sure it will be.
*I don’t consider myself to be an authority on music, just someone who wants to share her opinion.
Now for the more gracious side of me: here’s what I am thankful for that I’d like to bring to the surface in case they’ve been buried under work, family, turkey…life.
- Musical messengers like Bob Marley and Michael Franti who spread messages of humanity and love. All that stuff you heard about in 1st grade is still pretty applicable, so try not to be a dick. Go listen now if you haven’t. Please.
- Humanitarian musicians (the non-musicians are good, too) like Bono who use their celebrity for good, such as working to reduce poverty and helping children in underdeveloped countries.
- Musicians like Trent Reznor who keep the fans and music at the center of his efforts by pushing back against companies who try to extort money from people who just want to see a live show once in a while.
- “New” acts like Them Crooked Vultures and The Dead Weather who put out albums that are solid and not just made of filler tracks.
Don’t forget that I’d love to hear what you have to say. Write a review of a new CD or an artist you’d like to introduce us to. Don’t forget to support your local establishments and bands, too. Email them to me atLolaGOLB@gmail.com.
