Little Monsters rejoice; Mama has a new anthem. Actually, a whole album full of them.
With Lady Gaga's newest release, "Born This Way," it doesn't matter if you're a "Bad Kid," a "Government Hooker" or "if you love him or capital H-I-M." Gaga just wants you to put your paws up and join her on a journey through her most autobiographical album to date, not to mention the most musically impressive.
She crashed into the music scene in 2008 with the party-anthem-fueled "The Fame" and continued with "The Fame Monster" in 2009, where she chronicled each of her demons. Though the latter was a bit more personal, a seemingly superficial screen kept the demons at bay while listeners jammed carelessly to hits like "Telephone" and "Bad Romance."
With "Born This Way," we are taken on a no-holds-barred trek into her deepest fears, fondest memories and the formation of Gaga as an identity.
The album commences with "Marry the Night," a Springsteen-esque ballad with the type of New Jersey angst that only the Boss (and now Gaga) can bring. The slight organ ringing in the background brings a baptismal feel, and with each throbbing electro pound, the listener is immersed and initiated into this new land where love of all kinds is the obvious theme.
The second track, "Born This Way," has undeniably become the national anthem of Gagaville. A strange mix of synthetic sounds and authentic lyrics, it perfectly sums up the ideal of creating an identity and truly embracing it.
The third track, "Government Hooker," sounds like the drowning of an opera-trained robot in a vat of Chanel No. 5 and sets the scene for the next track, "Judas," a tragic tale of biblical proportions.
The dark undertones of this Catholic conundrum chronicle the life of Mary Magdalene and her inner struggle to choose Jesus over his betrayer, Judas, and to bring down a "king with no crown."
"Hair," which serves as a personal breath of fresh air, shines light into the once turbulent relationship between Gaga and her parents. Whether one can be as free as his or her hair is yet to be determined, but with the mix of siren-like synth beats and Springsteen sax (provided by E Street's own Clarence Clemons), the allure of this song will certainly make him or her want to.
Other highlights include "Highway Unicorn (Road to Love)," the ultimate fast-car ridin' and rock-rollin' American fight for freedom, as well as "The Edge of Glory," where possibility pounds through the listener's speakers in an almost tangible way. This playful power ballad piques the listener's interest by pushing any and all limits, and the triumphant wail of a familiar saxophone sails through the once omnipotent darkness.
All of this might be a bit overwhelming, but what's Gaga without excess? Anyway, there is really only one thing she wants you to take away from the album: "Baby, you were born this way."
