It has the audacity to utilise Beyoncé sparingly and somehow get away with it. Either way, the result is a turbo-charged, constantly mutating dancefloor behemoth about suffocating relationships. Originally rejected by Britney Spears (her demo leaked online in 2010), a subsequent duet between the two was then rumoured to have been curtailed by Gaga, who opted for Beyoncé instead. Telephone (feat Beyoncé)ĭespite being one of her biggest songs, Gaga confessed to hating Telephone during an interview with Popjustice in 2011, describing its production and mixing process as “very stressful”.
A similar joy vacuum almost upends the song itself, but there is just enough recklessness in its heady swirl of Kevin Parker-assisted glam rock. Premiering its lead single, Perfect Illusion, on BBC Radio 1, she was keen to let the public know the lyrics had been crafted on an old typewriter, as if even putting pen to pad left her too open to claims of frivolity. Perfect IllusionĪn emblem of how keen Gaga was to move away from her old self came early in the campaign for Joanne. It was propelled into the US Top 5 three months after its initial release following her spectacular performance at Super Bowl LI in 2017. In hindsight, Gaga had essentially auditioned for her role in A Star Is Born on Joanne, with this lovely, stripped-back ballad showcasing her more rough-hewn vocals and the idea of fighting for love against all the odds. watch Gaga’s performance of Million Reasons at the Super Bowl in 2017. The line: “I’m off the deep end, watch as I dive in,” is the song’s devastating centrepiece, but surely the Oscar was in the bag from the moment she spectacularly shifted through the gears on those wordless moans that spawned a million memes. Sure, Bradley Cooper has a pleasant growl of a voice, but it is Gaga who takes A Star Is Born’s instantly vintage-sounding dustbowl anthem and shoots a rocket up its backside. On the far superior Mark Taylor remix, the riddle is solved and Twain reigns supreme. By the time it appeared on Born This Way later that year, it had mutated into a strange hybrid of Queen (Brian May plays guitar on it) and Shania Twain (Twain’s long-term collaborator and ex-husband Mutt Lange produced it), but without leaning enough into either camp. You and I originally appeared on the setlist for the Monster Ball tour in early 2011 as a contemplative piano ballad. “I want your whiskey mouth all over my blond south,” coos Gaga, before seemingly reading from a Countryfile voiceover script as she intones: “Dirty pony, I can’t wait to hose you down.” 23. With its central synth riff and its lyrical reference in the bridge, the throbbing, horned-up Heavy Metal Lover is the cooler older sister to the eager-to-please Born This Way (from the homonymous album). One for the anti-pop brigade who remain unconvinced about her vocal prowess.
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Referencing the uber-ballads Without You and All By Myself, this tear-jerking closer from A Star Is Born is given the full Whitney Houston treatment by Gaga, who doesn’t let a single syllable go unadorned.
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