Lady Gaga - The Studio Album Collection (2008-2016) [Official Digital Download] Combined RE-UP

Stefani Joanne Angelina Germanotta, known professionally as Lady Gaga, is an American singer, songwriter, and actress. She is known for her unconventionality and provocative work as well as experimenting with new images. Having sold 27 million albums and 146 million singles as of January 2016, Gaga is one of the best-selling music artists of all time. This 24-bit collection includes all of her official studio albums from 2008 to 2016.



Lady Gaga's debut album, released in October 2008, reinvigorated the music industry by racking up worldwide sales of over 15 million copies, earning six Grammy Award nominations with one win and spawning three top five singles. Among the Grammy nominations was her first of three in a row for Album of the Year, a feat not seen since the Beatles. This edition includes the bonus track Disco Heaven.

The times were crying out for a pop star like Lady GaGa – a self-styled, self-made shooting star, one who mocked the tabloid digital age while still wanting to wallow in it – and one who's smart enough to pull it all off, too. That self-awareness and satire were absent in the pop of the new millennium, where even the best of the lot operated only on one level, which may be why Lady GaGa turned into such a sensation in 2009: everybody was thirsty for music like this, music for and about their lives, both real and virtual. To a certain extent, the reaction to The Fame may have been a little too enthusiastic, with GaGa turning inescapable sometime in the summer of 2009, when she appeared on countless magazine covers while both Weezer and DAUGHTRY covered “Pokerface,” the rush to attention suggesting that she was the second coming of Madonna, a comparison GaGa cheerfully courts and one that’s accurate if perhaps overextended. Like the marvelous Madge, Lady GaGa ushers the underground into the mainstream – chiefly, a dose of diluted Peaches delivered via a burbling cauldron of electro-disco – by taming it just enough so it’s given the form of pop yet remains titillating. Sure, GaGa sings of disco sticks, bluffin’ with her muffin, and rough sex, but her provocation doesn’t derive solely from her words: this is music that sounds thickly sexy with its stainless steel synths and dark disco rhythms. Where GaGa excels, and why she crossed over, is how she doesn’t leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave, like the title track that echoes Gwen Stefani in dance diva mode. But where Gwen simply celebrates celeb consumer culture, GaGa bites, her litany of runway models, pornographic girls, and body plastic delivered with an undercurrent of disdain, even as she loves all the glitz. This dichotomy propels much of The Fame, particularly on the clever “Paparazzi,” where she casts herself as the photographic parasite chasing after her crush, but none of this meta text would work if the songs didn’t click, functioning simultaneously as glorious pop trash and a wicked parody of it.

Tracklist:

01 - Just Dance
02 - LoveGame
03 - Paparazzi
04 - Poker Face
05 - Eh, Eh (Nothing Else I Can Say)
06 - Beautiful, Dirty, Rich
07 - The Fame
08 - Money Honey
09 - Starstruck
10 - Boys Boys Boys
11 - Paper Gangsta
12 - Brown Eyes
13 - I Like It Rough
14 - Summerboy
15 - Disco Heaven [Bonus Track]




The Fame Monster is a reissue of Lady Gaga's debut album The Fame, including new tracks. The album included hits such as "Bad Romance" and "Telephone" and centered around the negative effects of fame.

Initially planned solely as a standard double-disc reissue in the wake of the blockbuster success of The Fame, Lady Gaga decided to release the new material as a separate EP called The Fame Monster in addition to the standard two-CD set, where it’s tacked onto a now standardized version of her debut. It’s a nice move for fans, plus it helps emphasize the new material, which does act as a bridge from the debut to a forthcoming full-length. Everything on The Fame Monster bears a galvanized Eurotrash finish, as evident on the heavy steel synths of “Bad Romance” and the updated ABBA revision “Alejandro,” as it is on the rock & roll ballad “Speechless” – its big guitars lifted from Noel Gallagher – and the wonderful, perverse march “Teeth.” Even the stuttering splices on “Telephone,” a duet with Beyoncé, leans to the other side of the Atlantic, which just emphasizes the otherness that’s become Gaga’s calling card. And even as she’s becoming omnipresent, with her songs mingling with those who co-opt her on the radio, she is still slightly skewed, willing to go so far over the top she goes beyond camp, yet still channeling it through songs that are written, not just hooks. The Fame Monster builds upon those strengths exhibited on The Fame, offering a credible expansion of the debut and suggesting she’s not just a fleeting pop phenomenon.

Tracklist:

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
10 - Just Dance
11 - LoveGame
12 - Paparazzi
13 - Poker Face
14 - Eh, Eh (Nothing Else I Can Say)
15 - Beautiful, Dirty, Rich
16 - The Fame
17 - Money Honey
18 - Starstruck
19 - Boys Boys Boys
20 - Paper Gangsta
21 - Brown Eyes
22 - I Like It Rough
23 - Summerboy
24 - Disco Heaven




Born This Way is the second studio album by American singer Lady Gaga, released in 2011. It is a follow-up to her internationally successful album The Fame (& The Fame Monster 2009). As co-producer of every track on the album, Gaga collaborated with several producers, including RedOne and Fernando Garibay, with whom she had previously worked. She also worked with artists such as E Street Band saxophonist Clarence Clemons and Queen guitarist Brian May.

Not long into the ceaseless promotional parade for Born This Way, Lady Gaga’s second full-length record and easily the most anticipated record of the 2010s, a certain sense of inevitability crept into play. It was inevitable that Born This Way would be an escalation of The Fame, it was inevitable that Gaga would go where others feared to tread, it was inevitable that it would be bigger than any other record thrown down in 2011, both in its scale and success. This drumbeat, pulsating as insistently as Eurodisco, is so persistent that there is an inevitable feeling of anticlimax upon hearing Born This Way for the first time and realizing that Lady Gaga has channeled her grand ambitions into her message, and not her music. Gaga has taken it upon herself to filter out whatever personal details remain in her songs so she can write anthems for her Little Monsters, that ragtag group of queers, misfits, outcasts, and rough kids who she calls her own. Gaga is hardly insincere – this isn’t an act, she’s been instrumental as a gay rights activist – but her conquistador stance ironically reduces Born This Way to a collection of songs about fashion, freaks, and religion, with the occasional respite arriving via German unicorns.

Tracklist:

01 - Marry The Night
02 - Born This Way
03 - Government Hooker
04 - Judas
05 - Americano
06 - Hair
07 - Scheiße
08 - Bloody Mary
09 - Black Jesus + Amen Fashion
10 - Bad Kids
11 - Fashion Of His Love
12 - Highway Unicorn (Road To Love)
13 - Heavy Metal Lover
14 - Electric Chapel
15 - The Queen
16 - You And I
17 - The Edge Of Glory
18 - Born This Way (The Country Road Version)
19 - Judas (DJ White Shadow Remix)
20 - Marry The Night (Zedd Remix)
21 - Scheiße (DJ White Shadow Mugler)
22 - Fashion Of His Love (Fernando Garibay Remix)




Lady Gaga's third studio album, released in 2013. Featured the hits "Applause" and "Do What U Want". Gaga collaborated with longtime partners Paul "DJ White Shadow" Blair and RedOne and new partners Zedd and Madeon. The lyrical themes revolve around her personal views of fame, love, sex, feminism, self-empowerment, overcoming addiction, and reactions to media scrutiny; references include Greek and Roman mythology, and classic jazz and electronic musician Sun Ra. Artpop also features guest vocals from T.I., Too Short, Twista, and R. Kelly.

If Born This Way was made for the Little Monsters, its 2013 sequel ARTPOP was made for the world. Lady Gaga has grand designs for her third album, to pull a "reverse Warhol," which presumably means she wants to channel high art into pop instead of pop into high art, but it's a little difficult to discern Gaga's intent, either in this statement or ARTPOP as a whole. Willfully existing simply on the surface, a surface that perhaps (or perhaps not) signifies a greater depth, ARTPOP is teasingly garish, its bright colors and brittle beats attacking with glee, the emphasis always on big, pulsating beats, shattered reflections, and sound cascading over song in every instance. Inevitably, this emphasis on production means the pop in ARTPOP winds up diminished; perhaps it's "pop" in the pop-art sense, as it's shamelessly intentionally populist, but as pop music it's stiff, relying not on hooks in either its melody or rhythm, but rather a full-on glitz blitz that can dazzle as often as it tires. Lost in her self-generated mythos, Gaga doesn't much care whether her music sticks as long as she's not ignored – even such seemingly soul-baring moments as the single-spotlight showcase "Dope" aren't confessional so much as gear shifts designed to capture attention – and ARTPOP continually demands attention as it eschews the notion of love, right down to how all the sex songs deliberately separate the body from the soul. This isn't limited to Gaga's exhortation to R. Kelly to "do what you want with my body" on "Do What U Want," either. At times – particularly through the album's first half – ARTPOP is a non-stop erotic cabaret, Gaga contorting herself to fulfill any desire, switching roles between a guy and a girl, and a bottom and a top, her ambidextrous sexuality signaling power, not sensuality. This same arrogance glides her through songs about style – the ludicrous "Donatella," a tribute to Versace that borders on character assassination; "Fashion!," which isn't a David Bowie cover, no matter how much it longs to be – and through the songs about drugs, a cycle that takes her toward a concluding coda where Gaga stands resplendent in the applause. The concept is artful and logical, yet ARTPOP never insinuates or settles in the subconscious; it always assaults, determined to make an impression even when all it has to say is that it doesn't have much to say.

Tracklist:

01 - Aura
02 - Venus
03 - G.U.Y.
04 - Sexxx Dreams
05 - Jewels N' Drugs
06 - MANiCURE
07 - Do What U Want
08 - ARTPOP
09 - Swine
10 - Donatella
11 - Fashion!
12 - Mary Jane Holland
13 - Dope
14 - Gypsy
15 - Applause




Joanne is the fifth studio album recorded by American singer Lady Gaga. It was released in 2016 as a follow-up to Artpop (2013) and Cheek to Cheek (2014). Gaga collaborated with several producers on the record, including Mark Ronson, Jeff Bhasker, BloodPop and RedOne, and co-produced the majority of the material. The music of Joanne features "stripped-down" soft rock and dance-pop styles in order to emphasize the singer's vocal abilities, unlike on Artpop. Lyrically, the album delves on the theme of family and life's emotions, with the death of her father's sister, Joanne Stefani Germanotta, having a deep influence on the record.

It's difficult not to view Joanne through the prism of Artpop, the 2013 album where Lady Gaga's expanding fame balloon finally popped. Ambitious but muddled, Artpop debuted high but came crashing down to the ground, stalling out after the second single, the R. Kelly duet "Do What U Want." Gaga quickly retreated to the confines of cabaret, cutting a nicely accomplished standards album with Tony Bennett, a move that not only gave her the opportunity to work with a legend, but signaled that she considered Artpop a step too far: The camp of Cheek to Cheek was elegant, not garish, an acknowledgment that she was once again back in control of her joke. It set the stage for Joanne, a clever streamlining of the Lady Gaga persona that functions as the opposite of Artpop. All the excesses are excised while the eccentricities are used as accents on songs that are usually well-rendered pop. A few numbers take a passing glance at country music – the title "Joanne" winks at Dolly Parton's "Jolene"; in a different arrangement, the ballad "Million Reasons" could be an adult contemporary crossover from Faith Hill or Shania Twain – but Gaga's feet remain firmly planted in dance-pop even when she brings in Father John Misty, Beck, Florence Welch, and Josh Homme of Queens of the Stone Age for collaborations. Homme co-wrote "Diamond Heart" and "John Wayne," two of the harder disco songs here, while Misty assists on the steady rolling "Sinner's Prayer" – perhaps the best fusion of country and pop here – and "Come to Mama," a buoyant throwback to Motown that finds a companion on the Welch duet "Hey Girl," an analog slow jam that floats in the shimmer light. These, plus the riotous "A-Yo" and the masturbation ode "Dancin' in Circles," don't necessarily find comfortable companions in the ballads peppered throughout the album, but executive producer Mark Ronson helps polish Joanne so it flows easily, which is its appeal but also its Achilles Heel. Where previous Gaga albums were high-wire acts, Joanne is decidedly earth-bound, a record made by an artist determined to execute only the stunts she knows how to pull off.

Tracklist:

01 - Diamond Heart
02 - A-YO
03 - Joanne
04 - John Wayne
05 - Dancin' In Circles
06 - Perfect Illusion
07 - Million Reasons
08 - Sinner's Prayer
09 - Come To Mama
10 - Hey Girl
11 - Angel Down
12 - Grigio Girls
13 - Just Another Day
14 - Angel Down


Thanks to the Original customer(s)!