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Track List
01) Bad Romance
02) Alejandro
03) Monster
04) Speechless
05) Dance in the Dark
06) Telephone
07) So Happy I Could Die
08) Teeth
09) Bad Romance (Starsmith remix)
10) Telephone (Passion Pit remix)
11) Paparazzi (Demolition Crew remix radio edit)
12) Just Dance (Deewaan remix)
13) LoveGame (Robots to Mars remix)
14) Eh, Eh (Nothing Else I Can Say) (Frankmusik
15) Pokerface (live from the Cherrytree House)
16) Bad Romance (Grum remix)
17) Telephone (Alphabeat remix)
01) Bad Romance
02) Alejandro
03) Monster
04) Speechless
05) Dance in the Dark
06) Telephone
07) So Happy I Could Die
08) Teeth
09) Bad Romance (Starsmith remix)
10) Telephone (Passion Pit remix)
11) Paparazzi (Demolition Crew remix radio edit)
12) Just Dance (Deewaan remix)
13) LoveGame (Robots to Mars remix)
14) Eh, Eh (Nothing Else I Can Say) (Frankmusik
15) Pokerface (live from the Cherrytree House)
16) Bad Romance (Grum remix)
17) Telephone (Alphabeat remix)
4:54
4:34
4:10
4:31
4:49
3:41
3:55
3:41
4:55
5:12
3:53
4:15
3:13
3:48
3:38
4:50
4:48
Data Complete
80%
Total Rating
80%Total Rating
(5 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2009
Pop
Quirky
Rock/Pop
---
Medium
Album
5,000,000 copies
Album Description
Available in:
The Fame Monster —en español: El monstruo de la fama— es el tercer extended play (EP) y segundo gran lanzamienton. de la cantante estadounidense Lady Gaga, lanzado al mercado musical el 18 de noviembre de 2009 y en fechas cercanas alrededor del mundo. Inicialmente planeado como una reedición de su álbum debut, The Fame, The Fame Monster trata sobre el lado oscuro de la fama, y el contenido lírico se basó en los temores y miedos de Gaga.
Lady Gaga se desempeñó como coproductora de todas las canciones del disco, además de componerlas. En The Fame Monster trabajaron los productores RedOne, Space Cowboy, Fernando Garibay, Darkchild y Ron Fair, siendo la primera vez que trabaja con los tres últimos. Además, apareció como artista invitada del disco la cantante estadounidense Beyoncé, quien participó en la canción «Telephone».
El disco contó con comentarios positivos por parte de los críticos de música contemporánea, llegando a acumular una puntuación de 77 sobre 100, según Metacritic. De acuerdo con los críticos, «Bad Romance» y «Dance in the Dark» son las canciones que más se destacan. Por otro lado, tuvo una buena recepción comercial, entrando en el repertorio de los diez álbumes más vendidos de casi todos los países en los que estuvo. Para la promoción del disco, fueron lanzados tres sencillos mundiales los cuales tuvieron gran éxito, y un sencillo promocional.19 Para promover el disco, Gaga inició su segunda gira mundial titulada The Monster Ball Tour. El álbum recibió una nominación en los premios Grammy de 2011 a la candidatura de álbum del año, además de ganar el galardón al mejor álbum vocal de pop.
User Album Review
It’s hard to believe that just a year ago nobody had heard of Lady Gaga. Now, she’s a proper pop star ”“ a genuine household name on both sides of the Atlantic, with a fair degree of cultural traction. And she has achieved this with a blend of hooky tunes and outrageous outfits, a mix that Madonna once offered.
It’s all old-fashioned, really. That sci-fi clobber of hers, and her interviews where she talks up the Warholian nature of her project, flatter to deceive: this music is nowhere near as mould-breaking as she would have you believe. It’s a sound that Britney Spears purveyed on her last two albums, but for young fans of this sort of electro-ish RnB who probably consider Spears too old and can no longer identify with a harried mum of two, Gaga is providing a fresh alternative, and this has allowed her to sell four million copies of her debut album, The Fame.
And now those four million are being treated to a sequel, of sorts ”“ The Fame Monster is available as a bonus disc on The Fame’s re-release, and its content can be downloaded separately. Among the eight new tracks are the new RedOne-produced single Bad Romance, which features cheesy rave synths, the now typically Gaga stomping beat and a controversy-lite lyric (“I want your ugly, I want your disease”). Melodically, it recalls Black Celebration-era Depeche Mode and keeps up Gaga’s habit of referencing herself in her songs. Admittedly, Warhol would have loved it.
Elsewhere there is the superstar duet with Beyoncé, Telephone, produced by Rodney Jerkins (less stellar than it sounds); So Happy I Could Die, which is brazenly Auto-Tuned Europop that telegraphs Gaga’s Sapphic tendencies (“I love that lavender blonde... I touch myself and it’s all right); Alejandro, which moves at an Ace of Base pace; the generic machine RnB of Dance in the Dark; and Speechless, which is a bit like Pink in ballsy rock-ballad mode.
It’s hardly original, and nor is it exactly a triumph of DIY feminist invention ”“ look at the number of people listed on the CD credits, many of them men. But she’s bringing eccentric couture to the masses and is certainly fun to have around ”“ The Fame Monster is also available as a collector’s edition containing, among many other essentials, a lock of her hair and a paper doll collection. Now that’s Gaga.
External Album Reviews
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User Comments
Available in:
The Fame Monster —en español: El monstruo de la fama— es el tercer extended play (EP) y segundo gran lanzamienton. de la cantante estadounidense Lady Gaga, lanzado al mercado musical el 18 de noviembre de 2009 y en fechas cercanas alrededor del mundo. Inicialmente planeado como una reedición de su álbum debut, The Fame, The Fame Monster trata sobre el lado oscuro de la fama, y el contenido lírico se basó en los temores y miedos de Gaga.
Lady Gaga se desempeñó como coproductora de todas las canciones del disco, además de componerlas. En The Fame Monster trabajaron los productores RedOne, Space Cowboy, Fernando Garibay, Darkchild y Ron Fair, siendo la primera vez que trabaja con los tres últimos. Además, apareció como artista invitada del disco la cantante estadounidense Beyoncé, quien participó en la canción «Telephone».
El disco contó con comentarios positivos por parte de los críticos de música contemporánea, llegando a acumular una puntuación de 77 sobre 100, según Metacritic. De acuerdo con los críticos, «Bad Romance» y «Dance in the Dark» son las canciones que más se destacan. Por otro lado, tuvo una buena recepción comercial, entrando en el repertorio de los diez álbumes más vendidos de casi todos los países en los que estuvo. Para la promoción del disco, fueron lanzados tres sencillos mundiales los cuales tuvieron gran éxito, y un sencillo promocional.19 Para promover el disco, Gaga inició su segunda gira mundial titulada The Monster Ball Tour. El álbum recibió una nominación en los premios Grammy de 2011 a la candidatura de álbum del año, además de ganar el galardón al mejor álbum vocal de pop.
User Album Review
It’s hard to believe that just a year ago nobody had heard of Lady Gaga. Now, she’s a proper pop star ”“ a genuine household name on both sides of the Atlantic, with a fair degree of cultural traction. And she has achieved this with a blend of hooky tunes and outrageous outfits, a mix that Madonna once offered.
It’s all old-fashioned, really. That sci-fi clobber of hers, and her interviews where she talks up the Warholian nature of her project, flatter to deceive: this music is nowhere near as mould-breaking as she would have you believe. It’s a sound that Britney Spears purveyed on her last two albums, but for young fans of this sort of electro-ish RnB who probably consider Spears too old and can no longer identify with a harried mum of two, Gaga is providing a fresh alternative, and this has allowed her to sell four million copies of her debut album, The Fame.
And now those four million are being treated to a sequel, of sorts ”“ The Fame Monster is available as a bonus disc on The Fame’s re-release, and its content can be downloaded separately. Among the eight new tracks are the new RedOne-produced single Bad Romance, which features cheesy rave synths, the now typically Gaga stomping beat and a controversy-lite lyric (“I want your ugly, I want your disease”). Melodically, it recalls Black Celebration-era Depeche Mode and keeps up Gaga’s habit of referencing herself in her songs. Admittedly, Warhol would have loved it.
Elsewhere there is the superstar duet with Beyoncé, Telephone, produced by Rodney Jerkins (less stellar than it sounds); So Happy I Could Die, which is brazenly Auto-Tuned Europop that telegraphs Gaga’s Sapphic tendencies (“I love that lavender blonde... I touch myself and it’s all right); Alejandro, which moves at an Ace of Base pace; the generic machine RnB of Dance in the Dark; and Speechless, which is a bit like Pink in ballsy rock-ballad mode.
It’s hardly original, and nor is it exactly a triumph of DIY feminist invention ”“ look at the number of people listed on the CD credits, many of them men. But she’s bringing eccentric couture to the masses and is certainly fun to have around ”“ The Fame Monster is also available as a collector’s edition containing, among many other essentials, a lock of her hair and a paper doll collection. Now that’s Gaga.
External Album Reviews
None...
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