вЂњSo Happy I Could DieвЂќ and вЂњTeethвЂќ end the EP in slightly more predictable waters, the former an unconvincing anthem for hedonism, sounding more like a wistful lament than a party track, and the latter a bizarre marching track featuring lyrics about вЂњbad girl meat.вЂќ On The Fame Monster she manages to ape herself and improve dramatically (the wordless vocalizations present in nearly every song, the chugging trance вЂњJust DanceвЂќ beat of вЂњMonsterвЂќ), combine Ace of Base and вЂњLa Isla BonitaвЂќ perfectly on вЂњAlejandro,вЂќ incorporate deeply uncool source material (WhamвЂ™s вЂњCareless WhisperвЂќ) and turn it into modern-sounding retro dance music on вЂњDance In The Dark,вЂќ and even sounds convincing trying out late вЂ™60s soul balladry and singing over George Harrison guitar lines on вЂњSpeechless.вЂќ I donвЂ™t even know where to begin discussing the futuristic production, swooping vocal lines and hilarious lyrics of вЂњTelephone.вЂќ Featuring an over-the-top spot from an angry BeyoncГ©, the latter track has Gaga working out of her comfort zone with producer Darkchild, giving her the futuristic, avant-pop treatment she deserves instead of the usual dumbly populist production of RedOne.

It is a facsimile of various trends and sounds in popular music, from the вЂ™80s to 2009, sometimes even stretching all the way back to the вЂ™60s. Yes, Lady GagaвЂ™s music as presented on The Fame Monster is still вЂњunoriginal,вЂќ but itвЂ™s no longer uninspiring. Staying with producer RedOne, the song still sounds like that curiously timeless, vacuum-sealed (and vacuous) dance music of The Fame, but this time it has gigantic choruses, propulsive verses, and most importantly, personality. Almost five minutes long, вЂњBad RomanceвЂќ is a veritable journey through hooks and wordless chants (a hallmark of hers that seems as if itвЂ™s going to remain a hallmark). First single вЂњBad RomanceвЂќ has an elaborate, jaw-dropping video, like the last few off of The Fame, but this time the music is able to hold its own. ThereвЂ™s an unprecedented sense of melody and confident grip of structure on these songs. But The Fame Monster is another story entirely. So the album is generally trash, and not worth the 60 minutes it takes to listen. The only saving grace on the album is the one non-hit single вЂњEh, Eh (Nothing Else I Can Say),вЂќ a charming bit of вЂ™90s throwback featuring ebullient, airy vocals and an irresistible chorus. And they sound exactly like what youвЂ™d think вЂ“ completely interchangeable and unforgivably boring. Featuring song titles like вЂњI Like It Rough,вЂќ вЂњMoney Honey,вЂќ вЂњBeautiful Dirty Rich,вЂќ вЂњBoys Boys Boys,вЂќ and the like, you can kind of guess what these songs sound like before ever hearing them. Unfortunately, despite any good will engendered by вЂњPaparazzi,вЂќ the rest of the album isnвЂ™t much better. A concise, catchy and clever song about stalking a Paparazzi rather than the other way around вЂ“ the verse is underdeveloped, but the chorus absolutely soars and features one of the few examples of Lady Gaga showing the true extent of her vocal prowess.

Even though it was recorded and written at the same time as all these other songs, вЂњPaparazziвЂќ was and is a breath of fresh air. вЂњPoker FaceвЂќ fares a little better, but the hooky chorus isnвЂ™t enough to save the pathetic verses and embarrassing lyrics like вЂњBluffinвЂ™ with my muffin.вЂќ вЂњLoveGameвЂќ harbours a mindless beat with equally mindless vocals, lacking any melody or nuance, content to rest merely on its sloppily slutty lyrics. вЂњJust DanceвЂќ features a chugging dance beat, the trashiest of Eurotrash, and is completely void of personality, replete with an unremarkable guest verse from a no-name rapper. The music on The Fame is just plain uninteresting, generic and cloying with an annoying sense of apathy to boot. Now, in late 2009, she is re-releasing that smash success with a quickly recorded follow-up EP, The Fame Monster. Releasing her debut album The Fame in summer of last year, it proved an inimitable slow burner, with its singles вЂњJust Dance,вЂќ вЂњPoker Face,вЂќ вЂњLoveGame,вЂќ and вЂњPaparazziвЂќ climbing the charts in an increasingly speedy manner. ItвЂ™s as if she had spent a few years cultivating a deliberate and elaborate look and style, and then realized she needed some songs to go with it, so she sloppily worked up some scraps. She had an interesting image, sure problem is, the music was nowhere near the same level. She appeared virtually out of nowhere, suddenly dominating popular music.

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