Lady Gaga The Fame Monster Zip Rar Software
. ' Released: October 26, 2009. ' Released: January 26, 2010. ' Released: April 20, 2010. ' Released: July 26, 2010 The Fame Monster is a of American singer 's debut studio album, (2008), and was released on November 18, 2009, through. Initially planned solely as a deluxe edition reissue of The Fame, Interscope later decided to release the eight new songs as a standalone in some territories. The decision was also because Gaga believed the re-release was too expensive and that the albums were conceptually different, describing them as.
The deluxe edition is a featuring the eight new songs on the first disc and The Fame on the second disc. A super deluxe edition with additional merchandise, including a lock from Gaga's wig, was released on December 15, 2009.
Lady Gaga The Fame Monster Zip Rar Software Download
A album, The Fame Monster has influences of, and music of the and, as well as and. The album was also inspired by fashion shows and runways. According to Gaga, the album deals with the darker side of, and are lyrically expressed through a metaphor. The cover artwork, shot by, has a theme and was declined for release by her record company, but Gaga persuaded them.
The Fame Monster received generally positive reviews from music critics. The album charted as The Fame in some countries, and topped the charts in the United Kingdom, Australia, Austria, Belgium, Finland, Germany, Ireland, New Zealand, Poland, and Switzerland. In the United States, it reached number five on the, and topped the chart.
The album has won since its release. It was nominated in a total of six categories at the including Gaga's second consecutive nomination. It won three, including. ', the album's, was a commercial success, topping the charts in more than twenty countries and reaching number two on the in the US. The next two, ' and ' reached the top ten in multiple countries worldwide.
' was released as a single only in select territories, achieving moderate chart success. Gaga performing '. It was the first track written for The Fame Monster. Gaga released her debut studio album, in 2008. Consisting of and songs, the album offered a commentary on fame, duality between celebrity and fan base, as well as wealthy person's life. After the worldwide success of The Fame, the idea of a re-release arose.
However, Gaga felt that re-releases were a disservice to music artists because 'it's artists sneaking singles onto an already finished piece of work in an effort to keep the album afloat.' Her label, initially wanted three songs for the project, titled as The Fame Monster.
Gaga had already composed a song, ', by March 2009. She sought for a darker and edgier concept than she had previously done, and cited her love of and 'the decay of the celebrity and the way that fame is a monster in society' as creative inspirations for The Fame Monster.
Gaga explained in an interview with: I have an obsession with death and sex. Those two things are also the nexus of horror films, which I've been obsessing over lately. I’ve been watching horror movies and 1950s science fiction movies. My re-release is called The Fame Monster so I've just been sort of bulimically eating and regurgitating monster movies and all things scary. I've just been noticing a resurgence of this idea of monster, of fantasy, but in a very real way.
If you notice in those films, there's always a juxtaposition of sex with death. Unlike her debut album, the new record was inspired by the singer's personal experiences. The early musical direction was also shaped by Gaga's touring experiences with, during which she allegedly encountered 'several monsters' that encapsulated her biggest fears. These fears were divided into various monster metaphors, such as the 'Fear of Sex Monster', 'Fear of Love Monster', 'Fear of Alcohol Monster', and so forth. 'I spent a lot of nights in Eastern Europe,' the singer said. 'And this album is a pop experimentation with industrial/Goth beats, 90's dance melodies, an obsession with the lyrical genius of 80's melancholic pop, and the runway'.
In an interview with, Gaga said that The Fame and The Fame Monster were like because of their contrasting styles and concepts. Themes and composition The final cut of The Fame Monster contains eight tracks on the standard edition. The record showcases Gaga's taste for, drawing on 'Seventies arena glam, perky disco, and sugary throwbacks like ', according to. From felt that while not as thematically unified as its predecessor, The Fame Monster had engaging songs composed by virtue of Gaga's 'vivacious energy, bold melodies and almost comically relentless sensationalism'.
The lyrics contain metaphors in songs like 'Monster' ('He ate my heart.' ), the music in ' ('Take a bite of my bad-girl meat.' ) and 'Dance in the Dark' ('Silicone, saline, poison, inject me.' The last of those lyrics also refer to famous people who met a tragic end:, and. Recording sessions were held in Los Angeles, London, Osaka, and Amsterdam. Four of the songs were primarily produced by, with additional productions on the other songs by, Tal Herzberg, and.
Gaga was the co-producer on all the tracks. A 30 second sample of 'Bad Romance', which set the musical tone of The Fame Monster. The sample illustrates the and the club beat, which forms the backbone of the track, as well as the 'rah-rah' hook repeated throughout the track. Problems playing this file? The Fame Monster begins with the track ', which Simon Price from felt set the tone for the album.
He added that the track contained a 'dominant atmosphere and a, from the monochrome cover artwork of the version to the crucifix logo'. For Paul Lester from BBC, the refrain of 'Bad Romance' has sonic similarities to songs by, and the composition is reminiscent of 's fifth studio album, (1986).
A 'catchy' chorus and a club-like beat is the crux of the song, talking about how love hurts in both good and bad ways. There is a sing-along hook—'Rah, rah, ah, ah, ah/Roma, roma ma/Gaga, ooh la la'—present in between the verses. Second track, ', incorporates elements from music of and, with the lyrics talking about Gaga fending off a harem of Latino men. The lyrics were also interpreted as bidding farewell to a lover, accompanied by RedOne's production. 'Monster' consists of stuttering synths and instrumentation from heavy drums. The intro contains a double four-square beat and on Gaga's vocals as she sings the lyrics with a womanizer metaphor. The fourth track is the ballad ', a 1970s -inspired number that discusses abusive relationships with lyrics like 'I can't believe how you slurred at me with your half-wired broken jaw'.
It consists of vocal harmonies and guitar riffs, which according to, is comparable to the work of and. Gaga's inspiration for the track was her father's heart condition.
She recalls how her father used to call after having few drinks, but the singer was speechless in her response, fearing for his death. Produced by, 'Speechless' was recorded with all live instruments such as drums, guitars, bass and piano played by Gaga. The album's fifth track, ', talks about a girl who likes to have sex with the lights off as she is ashamed of her body. Gaga has 'resolute' vocals in the song, and the synths ultimately lead to the chorus where she belts, 'Baby loves to Dance in the Dark, 'Cause when he's looking she falls apart'. ' was originally written by Gaga for singer 's sixth studio album, (2008), but Spears' label rejected it.
Gaga later recorded it as a collaboration with for The Fame Monster. The song talks about the singer preferring the dance floor rather than answering her lover's call, with the verses sung in a way, accompanied by double beats. Gaga explained that the song deals with her fear of suffocation, 'fear of never being able to enjoy myself.
'Cause I love my work so much, I find it really hard to go out and have a good time.' In ', Gaga presents an to sexual feeling and actions, stating, 'I love that lavender blonde, The way she moves the way she walks, I touch myself, can't get enough.'
The object of affection in the track becomes Gaga herself as she sings about drinking, dancing, observing, and touching herself, in a sedated, Auto-Tuned voice. The Fame Monster ends with the song 'Teeth', which has a style composition. Release and artwork. French photographer shot the album covers Gaga confirmed that the eight new songs would be released in North America as a standalone (EP).
She felt that The Fame Monster should be treated as her sophomore release and did not want to 'add, nor take away any songs from this EP. It is a complete conceptual and musical body of work that can stand on its own two feet'.
The EP was released in North America on November 23, 2009. The deluxe edition—a featuring the eight new songs on the first disc and The Fame on the second disc—was launched the same day. The limited edition, which included a lock of her wig, followed three weeks later. Interscope had planned to release only a double-disc edition of The Fame, but it was not feasible financially. So in countries like United States, The Fame Monster was also released as a separate standard EP. On May 3, 2010, The Fame Monster Limited Edition was released.
It included the explicit version of the tracks, as well as nine remixes, eight, a, single, and a photo gallery. Two covers were created for The Fame Monster, both of which were shot by French photographer. In the artwork of the standard edition, Gaga is seen sporting a blond wig and a sleek, angular black coat, the collar of which covers the lower half of her face. The angular obscuring of her face was a reference to the similar cover art for The Fame, but was relegated as 'sleek' by Andrew Unterberger from Billboard. He added that 'there's a danger in Gaga's eyes this time out, and the feeling of greater depth in its austerity: A star, but one with a lot to say.' The image of the deluxe version sees the singer draped in thick brown hair, her face embellished with heavy, streamy black eyeliner. Gaga initially had a dispute with her record label over the artwork; Interscope found the brunette cover to be too dark and gothic for a mainstream release.
However, Gaga convinced them by explaining that both would be suitable with the yin and yang concept of the album. The font used on the cover is the letterform used by in their campaigns. Main article: Gaga had initially planned to accompany rapper on concert tour. After his with, West announced that he was taking a break from music. All the Fame Kills tour dates were immediately cancelled and Gaga confirmed that she was going on tour alone to promote The Fame Monster. Described by Gaga as 'the first-ever pop electro opera', started from November 2009 and finished in May 2011. Gaga and her production team initially developed a stage that looked like a frame with the show fitted within it.
The singer felt that the design would allow her creative control. Since the album dealt with the paranoias faced by Gaga over the year, the main theme of the show became evolution, with Gaga portraying growth as the show progressed. The set list consisted of songs from both The Fame and The Fame Monster. For the 2010 shows, Gaga felt that a revamp was needed as the original tour was constructed in a very short span of time.
The new theme narrated a story where Gaga and her friends, traveling through New York, get lost while going to the Monster Ball. The show was divided into five segments with the last one being the encore. Each segment featured Gaga in a new dress and was followed by a video interlude to the next one. The tour grossed an estimated US$227.4 million from 200 reported shows attended by an audience of 2.5 million, making it the highest grossing trek by a debut headlining artist. A was filmed by during Gaga's February 2011 shows at in New York City.
Critical reception Professional ratings Aggregate scores Source Rating 6.6/10 78/100 Review scores Source Rating A– 8/10 7.8/10 6/10 The Fame Monster received generally positive reviews from. At, which assigns a rating out of 100 to reviews from mainstream critics, it received an score of 78, based on 14 reviews. Sal Cinquemani from felt that the album was not a huge leap forward for Gaga, but provided 'small, if fleeting, glimpses behind the pretense.' Of called it 'a whole new piece of art in its own right.' From said that the album is 'a lot more splendidly deranged' than the work of.
's found it to be of 'comparable quality' as The Fame and gave it a rating of A–, describing the tracks as 'streamlined pop machines'. Christgau further elaborated that 'after being overwhelmed by the sheer visibility of her warp-speed relaunch did I realize how enjoyable and inescapable her hooks and snatches had turned out to be.' 's Emily MacKay described The Fame Monster 'as pristine as you'd expect, but has a sub-zero core of isolation and fear'. She went on to call the album's release as 'the moment Gaga cements herself as a real star'. Evan Sawdey from commended Gaga for being 'willing to try new things' and felt that the album shows 'she's not complacent with doing the same thing over again. Gaga is allowed to make a few mistakes on her way towards pop nirvana—and judging what she's aiming for with The Fame Monster, there's a good chance she's going to get there sooner than later.' Mikael Woods from felt that The Fame Monster continued to demonstrate Gaga's creative ambition and stylistic range.
Jon Dolan from called the EP 'largely on point,' and gave it 3.5 stars out of 5. He also said that 'half the disc is Madonna knock-offs, but that's part of the concept—fame monsters needn't concern themselves with originality.'
Edna Gundersen from observed that on The Fame Monster, 'Gaga's icy aloofness and seeming aversion to a genuine human connection leave a disturbing void. With an avant-garde intellect, pop-electro eccentricities and freaky theatrics competing for attention, there's no room for heart.' Ed Power reviewed the album for Ireland's magazine where he complimented Gaga's ability to 'always brings her A-game' in her musical outputs. Neil McCormick from commented that the album has 'an irrepressible quality that is given full rein. Although not as thematically integrated as the original The Fame, Gaga's vivacious energy, bold melodies and almost comically relentless sensationalism keeps things interesting.'
Josh Modell of gave positive feedback regarding the fast-paced songs on the record, but felt that 'When Gaga reaches for sincere balladry. she sounds lost'.
Writing for, Sarah Hajibagheri criticized the album due to its 'lack of the beat and bite that made us all go Gaga for the eccentric New Yorker'. Commercial performance. Gaga performing 'Bad Romance' during the original version of. The song became one of Gaga's most successful singles to date. In the United States, the individual disc of The Fame Monster charted at number five on the with sales of 174,000 copies while the double disc deluxe edition, including the original The Fame, moved up from number 34 to number 6 with sales of 151,000 copies.
The album also topped the chart with sales of 65,000. Seven of the eight songs from the record also charted on the chart, led by 'Bad Romance' which held the top position for the second week with sales of 218,000 copies. In total Gaga had 11 songs that week charting on the Digital Songs.
The Fame Monster topped the chart, replacing The Fame and becoming Gaga's second number one album on the chart. In January 2010, the album was certified by the (RIAA) for shipment of a million copies. As of April 2015, The Fame Monster has sold 1.6 million copies in the United States, according to.
For the 2010 Billboard year end tabulation, The Fame Monster was ranked at number 13 on the Billboard 200 and number two on the Dance/Electronic Albums chart. In Canada, the album debuted and peaked at number six on the Billboard. It was the 23rd best selling album in the country for 2010. In Australia, The Fame Monster initially charted with The Fame, but was later considered as a standalone entry. It debuted at number 6 on the ARIA Albums Chart and in its 18th week, the record climbed to number one. It received a triple platinum certification by the (ARIA) for shipments of 210,000 copies of the album.
In Japan, after being present on the Albums Chart for over 20 weeks, the album reached its peak position of number two in May 2010. By July 2011, the album had sold 548,000 copies in Japan and ranked at number 14 on the year end list for 2010.
In the United Kingdom, The Fame Monster was only available as a deluxe edition, not as a stand-alone album, hence it charted as part of The Fame. In its debut week, the record moved from number 55 to number 7 on the. All the new tracks from The Fame Monster charted within the top 200 of the. On the week ending March 6, 2010, The Fame reached the top of the chart.
The Fame Monster also charted with The Fame in Denmark, Ireland and Germany; it reached the top of the charts in the last two territories. Due to its chart activity across the European markets, The Fame Monster peaked at number 13 on the chart. It was certified triple platinum by the (IFPI) for shipment of three million copies across the continent.