Album Title
Artist IconLady Gaga
Artist Icon Born This Way
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First Released

Calendar Icon 2011

Genre

Genre Icon Pop

Mood

Mood Icon Quirky

Style

Style Icon Rock/Pop

Theme

Theme Icon ---

Tempo

Speed Icon Medium

Release Format

Release Format Icon Album

Record Label Release

Speed Icon Interscope Records

World Sales Figure

Sales Icon 8,000,000 copies

Album Description
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Born This Way é o segundo álbum de estúdio gravado pela cantora, compositora e produtora musical norte-americana Lady Gaga. Foi lançado a 23 de Maio de 2011 e distribuído pela Interscope Records como um acompanhamento aos sucessos internacionais The Fame e The Fame Monster. Born This Way é notavelmente diferente dos álbuns anteriores, como incorpora uma vasta gama de elementos de vários géneros musicais, inclusive a ópera, o heavy metal, o disco e o rock and roll, e funde os elementos com sons de electropop e dance. Também é fortemente inspirado pelo synthpop e pela música electrónica das décadas de 80 e 90. Na gravação das canções, Gaga trabalhou com vários produtores, incluindo RedOne, Fernando Garibay, Jeppe Laursen e DJ White Shadow, e contou com a participação de artistas como Clarence Clemons e Brian May. Com Born This Way, a cantora teve mais controle de sua direcção musical e composição.

De Born This Way surgiram cinco singles. A faixa homónima alcançou o topo das tabelas de trinta e um países, incluindo os Estados Unidos, onde tornou-se o terceiro single de Gaga a atingir o pico nessa posição. Ele tornou-se o single com a venda mais rápida da história da iTunes Store, tendo vendido mais de um milhão de cópias nos seus primeiros cinco dias. "Judas" atingiu o pico entre as dez melhores colocações de dezanove países, incluindo os EUA. "The Edge of Glory" tornou-se em pouco tempo o terceiro single do álbum devido a boas vendas no iTunes. Estreou no número três nos EUA e liderou as tabelas do Brasil, Eslováquia, Coreia do Sul e Japão. "Yoü and I" estreou nos Estados Unidos no número trinta e seis, tendo mais tarde atingido o pico no número seis. "Marry the Night" estreou na tabela nacional no número setenta e nove, e no Canadá no número noventa e nove. "Hair" foi lançado como o único single promocional do disco.

Considerado um dos álbuns mais esperados de 2011, foi recebido com opiniões positivas pela crítica contemporânea especialista, que elogiou os vocais da artista e os estilos musicais variados do álbum. Porém, o uso repetitivo da palavra "Jesus", bem como o emprego de sinos de igreja e vozes de monge em muitas das faixas, provocaram reacções negativas de algumas sociedades cristãs, incluindo as do Líbano, onde Born This Way foi temporariamente banido. Apesar de tais conflitos, o disco liderou as tabelas em vinte e três países. Estreou no topo nos EUA, com a primeira semana de vendas igual a um milhão e cento e oito mil cópias. Mais de 430 mil destas vendas foram a um preço especial de USD 0,99, que a Amazon.com ofereceu por dois dias durante a primeira semana de lançamento do álbum.
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Album Review
Lady Gaga is the greatest thing that Planet Pop in 2011 could ever want. She’s a wise-beyond-her-years phenomenon who’s taken everything that has gone before and cast it into press-stopping new shapes ”“ the fright wig on top, merely a bonus. She’s so far above her chart contemporaries that she’s created her own orbit, around her own world. You’re all welcome here, whoever you are. What you take from it is your own business.
It’s probably best to ignore the questionable cover imagery of her third album (or second, depending on your definition of what The Fame Monster was) and focus on the actual music. What’s delivered is a high-octane blend of nods to cheesy Euro-rave (hints of Sash!, Human Resource and Rozalla) and the rock of Springsteen, Judas Priest and Queen. Add a smidgeon of electroclash (Chicks on Speed, Peaches) and giant choruses comparable to ABBA and Ace of Base, and it’s clear the average ”“ if the idea of ‘average’ exists in her world ”“ Gaga tune is designed solely to hook into your brain.
Opener Marry the Night is as perfect as a straightforward fist-pumping entry into a colossus can be. Does the title-track really sound like Madonna’s Express Yourself? Not to these ears ”“ and Gaga would never be so stupid as to allow blatant thievery to surface. The attempt to crowbar a song into what was built to be an anthem may put some off ”“ anthems follow their own destinies to such a deified status ”“ but it’s still an undeniably huge tune. If it speaks to a Middle America teen covering their bruises with foundation, then that’s a good thing. The following Government Hooker’s spooky opera entrance gives way to a Casiotone throb, Gaga throwing in references to JFK.
Americano delves into immigration over a futuristic musical theatre stomp, while Hair is an empowering freeway rocker about self expression. Scheiße is a monster tune begging for a sex dungeon-themed video event. The pace drops a bit for Yoü & I, a lighters-aloft moment which recalls Def Leppard. Not the most likely of stylistic inspirations, perhaps, but she makes the song work magnificently.
Gaga could have filled this album with guest slots from hip names and phoned-in cameos from rent-a-rapper types. But with the exception of Brian May axing all over Yoü & I, and the E Street Band’s Clarence Clemons honking over The Edge of Glory, there’s none of that. Born This Way is pretty much pure Gaga.
But this is not quite the revolution, and certainly not the greatest album ever made. It’s a storming collection of high-concept pop brilliance designed to soundtrack every preposterously tremendous Gaga moment for the next 18 months. If there’s a gripe to be had, it’s regarding the length: at an hour long, Born This Way initially feels more like an assault than an event, and it could easily lose a couple of tracks. However, if she is planning on releasing nine singles from it, then nobody can come away feeling ripped off.
Sometime in the future the frenetic, breathless giddiness will let up, and Gaga will ”“ after a holiday, hopefully ”“ breathe out and unleash her jazz odyssey. But until that happens, please enjoy someone actually putting a bit of effort and imagination back into pop, and keep the sneering and lazy comparisons in check. Not that they can take anything away from what is, simply, a marvellous record.
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