Lady Gaga, 'ARTPOP': Track-By-Track Review While most mainstream musicians care deeply about both the details of their music and the way that

music is presented to the world, Lady Gaga is the hardest-working artist in pop music because she

makes absolute certain that every inch of her craft evolves and innovates. Her first major hit, "Just

Dance," is a cleverly constructed account of being deliriously drunk but stringing together a solid

evening; because it posed as an enduring electro-pop jam, that cleverness was bestowed to a huge

audience. Since then, Gaga has done everything in her power to turn pop music into a grounds for

discovery that goes beyond face value, from bold fashion selections to sprawling live set -ups to

artiste collaborations to cultural engagements that go well beyond the transit ion of a verse into a

chorus. When Gaga wanted to herald a social movement, she focused the first single on her pivotal

"Born This Way" on LGBTQ rights; when she wanted to clue the unaware in on the magic of Jeff

Koons, she hired the world-class artist to create a nude replica of her "Fame" persona for her latest

album cover. Sure, there are times when the simple pleasure of a verse and a chorus is enough to

satisfy, but Gaga has always demanded more -- and when she has found success, she has upheld

achievements that no other pop artist has sniffed.

"ARTPOP," the follow-up to "Born This Way," naturally abides by this far-reaching ambition and

looks to re-think the "pop album" as an entity, even more than Lady Gaga's last album did. It's not

surprising that "ARTPOP" will be packaged with an interactive app that blends music, art, fashion

and technology together, since that is precisely what "ARTPOP" the album tries to actualize; Gaga is

grasping more cultural trinkets than ever before, and wants to synthesize them into one mind-

blowing, 15-song statement. When Gaga balances these skyward designs with dynamic songwriting

-- when she successfully mixes the 'art' with the 'pop,' if you will -- the results are often euphoric.

"Dope" and "Gypsy" are compelling accounts of personal hell and heaven on the back half of the

album, and when the midway run of the seductive "Sex Dreams," boisterous "Jewels n' Drugs,"

effervescent "MANiCURE" and slithering "Do What U Want" takes hold, it's a long-player experience

unlike anything a pop fan will hear this year. Of course, some of the more convoluted tracks sputter

out before Gaga can carry her vision through, but even the weakest moments on "ARTPOP" are so

carefully built and ardently imagined that one cannot help but admire the effort.

Coherently channeling R&B, techno, disco and rock music as a pop artist while discussing sex,

drugs, lust, God, fame and creativity, Lady Gaga has offered fans her most sonically and lyrically

diverse album to date. "ARTPOP" is imperfect, but so is its creator. It is a complicated album that

should be applauded (pun intended) for inspiring interpretation, as well as telling fans that it's also

okay to just dance.

Which songs on "ARTPOP" are our personal favorites? Check out our track-by-track take on Lady

Gaga's latest album.

1. Aura

Two years after kicking off "Born This Way" with the inspiring "Marry The Night," Gaga begins

"ARTPOP" under an exotic shroud, relating Muslim culture to the trappings of her famous lifestyle.

"Enigma pop star is fun, she wear burqa for fashion/It's not a statement, as much as just a move of

passion," Gaga spits on a song that positions "ARTPOP" as an album with ambitious ideas and

breakneck electronic passages.

2. Venus

A mash-up of astrology, Roman mythology and sex, "Venus" is the first song Gaga produced by

herself, and mines a gooey disco groove that the singer fully exploits in the brassy pre -chorus. The

planned second single from "ARTPOP" that got shuttled for "Do What U Want," "Venus" misses the

mark on some of its double entendres ("You're out of this world/Galaxy, space and time!" Gaga

cries), most notably on the intergalactic outro; still, it's easy to identify Gaga's passion toward the

concept, and she tries her darnedest to pull it off.

3. G.U.Y. - After blasting off to sensual heaven on "Venus," Gaga returns to Earth for "G.U.Y."

(which stands for 'Girl Under You,') a shuddering dance siren that makes the distinction between

gender equality and willful sexual submission. Zedd's hornet's nest of production swarms Gaga's

provocative commands, and the sucker-punch of the hook hammers the message home to create

the first true "ARTPOP" standout.

PHOTOS: Lady Gaga's 50 Most Awesome Stage Outfits

4. Sex Dreams - And here's where the sexuality and synth-pop pleasures of "ARTPOP" fully bloom:

"Sex Dreams," in which Gaga balances a disintegrating relationship and a lustful fantasy, similarly

juggles a pastel-colored 80's aesthetic and R-rated breakdown of unspoken desire. At the "I can't

believe I'm telling you this…" conclusion, Gaga sounds loose and light-hearted, letting her audience

twirl around on the dance floor.

5. Jewels n' Drugs (feat. T.I., Too $hort and Twista) - The transition between the starry-eyed "Sex

Dreams" and T.I. thumping his chest at the start of "Jewels n' Drugs" is more than a little jarring, and

the Gaga-assisted hip-hop summit exists in its own grimy world on "ARTPOP." Kudos to Gaga for

refracting her latest tale of fame addiction through the prism of hip-hop, as well as tapping a world-

class veteran like Twista to help get the job done.

6. MANiCURE - An obvious choice for a future single, the buoyant "MANiCURE" provides everything

that a pop fan aching for a new "Pokerface" would want. With a chorus that's grafted onto the

listener's brain after a single listen, double-meanings stemming from shouts of "MAN! CURE!" and a

colorful arrangement highlighted by a funk guitar breakdown, this ode to superficial perks graces the

high ceilings of Gaga's hits.

7. Do What U Want feat. R. Kelly

This R. Kelly duet was never supposed to be a radio single before the release of "ARTPOP," but the

darkly lit synth-n-B track exploded upon release, and plans promptly changed. The most surprising

aspect of "Do What U Want" is how seamlessly Gaga's wail and Kelly's croon fit together -- from the

soul veteran's opening demand to turn the mic up to Gaga's unyielding cries at the song's end, the

pair have envisioned a specific blueprint for their theatrical collaboration, and execute it efficiently.

8. ARTPOP - "My ARTPOP could mean anything," Gaga sings on the album's title track, while later

adding, "Come to me, without your subtext and fantasy." Gaga is an artist that creates for the sake of

creation, and this is her manifesto, set over a lurching electro-jazz beast that grows wilder with each

passing second.

9. Swine - Gaga transports her listeners to an angry corner in her mind on the shrieking industrial

number "Swine." The singer sounds physically disgusted as she cuts an "animal" out of her life, and

the squealing keyboards concoct a sense of mayhem as she rails against the unnamed pig. "Swine"

isn't as accessible or cleverly penned as other "ARTPOP" tracks, yet as far as detours go, this one's

fascinating.

10. Donatella - Whisking pop fans into the fashion world and squaring her sights on one of the

strongest figures in that medium, Gaga turns "Donatella" into an anthem for the outcasts that h ave a

right to feel gorgeous. Unlike "G.U.Y.," Zedd's production work here doesn't quite hypnotize, but like

that earlier "ARTPOP" track, Gaga embraces the pointedly playful concept wholeheartedly.

Lady Gaga, Eminem, Katy Perry: Vote For The Best New Duet!

11. Fashion! - Perhaps the most straightforward on "ARTPOP," "Fashion!" is a fist-pumping

throwback that is unafraid to play up its campiness and exalt the process of "looking good and

feeling fine." An inoffensive partner to "Donatella" on the track list, "Fashion!" once again underlines

the suggestion that Gaga's impact on culture extends well beyond the music world.

12. Mary Jane Holland - Peer beyond the weed references and focus on the intensity of whirring

beats soundtracking them -- "Mary Jane Holland" finds Gaga dabbling in a sea of squelchy rhythms,

which eventually pull back and float over the admission, "I know that Mom and Dad think I'm a

mess/But it's all right, because I am rich as piss." Searching for answers in the form of a new

identity, Gaga's voice survives just long enough to outlast the EDM storm.

13. Dope

"Mary Jane Holland" hinted at addiction in the line "I love, love you better than… my darkest sin,"

and on the excellent "Dope," drugs are equated to the one thing Gaga needs most… other than the

man that might save her life. The ballad is constructed in a manner that recalls a Broadway show-

stopper, but the electronics pulsating beneath the percussion grounds the song in contemporary

pop. Gaga sounds broken here, and the effect is bruising and brilliant.

14. Gypsy - It's okay if you try to resist the chills shooting down your spine during this epic paean to

navigating an unknown road and trusting instincts -- just know that it's a lot more fun if you give in

and rock out. "I don't want be alone forever… but I can be tonight," Gaga winks in the chorus of this

sing-along, which draws from the classic rock palette of her "Born This Way" album and only gets

more cocksure as it races toward the end.

15. Applause Gaga has said that she envisions playing "ARTPOP" from start to finish in concert, and if that's the

case, first single "Applause" will make for a pretty thrilling encore. The verses are still a bit clunky,

but the hook is even more shimmering after dozens of times digested on Top 40 radio. As always,

Gaga has turned an lofty idea into a jingle for the masses.

Katy Perry's 'PRISM': Track-By-Track Review Katy Perry released her sophomore album, "Teenage Dream," at the age of 25, but the 2010 effort

pristinely captured the chirpy buoyancy of youth through gooey synth-pop. There was a reason that

"Teenage Dream" spawned a record-tying five No. 1 singles on the Hot 100 -- it was extremely easy

for large audiences to relate to Perry's themes of euphoria, independence and summer fun,

especially with such a likable figure presenting these topics in the catchiest of forms.

Perry is still championing optimism with super-producers Max Martin, Lukasz "Dr. Luke" Gottwald

and Cirkut as her sonic guides -- see her latest chart-topper, "Roar" -- but "PRISM" is also a firm and

well-executed step toward adulthood. New single "Unconditionally" trades in the idealistic love of

"Teenage Dream" for a romance more realistic and reliable; elsewhere, Perry evokes her recent

divorce ("Ghost") and its personal effects ("By The Grace of God") with slowed-down guitar hooks

and thoughtful piano strikes. While the first half of "PRISM" flashes an array of sonic and lyrical

colors, hopping from disco ("Walking on Air") to rap ("Dark Horse") to sumptuous pop-rock

("International Smile"), the second half feels more lived-in, with Perry patiently discussing her battles

with hopeless relationships, struggles to understand herself and attempts to live for the moment in a

whirlwind reality. These songs are not the bubblegum summer smashes of a California Gurl, but

something much deeper from an artist striving to tell her full story.

"PRISM" has its share of candy-colored fun, but also something else: more detail in its tempered

shades. With a string of hit singles under her belt, Perry has aspired to create a multi -faceted full-

length and has consummately succeeded.

Which songs on "PRISM" are the best of the best? Check out our track-by-track take on Katy Perry's

third album.

1. Roar

On an album that contains multiple "I survived a trauma and am stronger for it" anthems, "Roar" is

the most accessible, and deservedly became Perry's eighth No. 1 Hot 100 single. One could dock a

few points for the lack of a compelling bridge, but those points would be scooped back up thanks to

the chorus' combustible assonance and the morphing of the word "roar" into a two-syllable rallying

cry.

2. Legendary Lovers - Perry name-checks Cleopatra and Shakespeare's Juliet in describing the

eternal passion she and her man could experience on this mystical love song. The singer's multi -

cultural excavations are proudly rattled off, but the hook tidily simplifies Perry's intent as the drums

are unforgivingly clobbered.

3. Birthday - Taking the fairly straightforward lyrical concept of birthday-as-sex and making the

absolute most of it, Perry outclasses Rihanna's "Birthday Cake" and shimmies through a blazing

brass party. Dr. Luke, Martin and Cirkut concoct a delicious nugget of synth candy, but the star here

is Perry, who keeps her tongue firmly in cheek during the salacious verses before teetering between

power and falsetto on the hook.

4. Walking on Air

"Walking on Air" shirks the double entendres of "Birthday" and allows Perry to re -imagine herself as

a progressive house artist, complete with brassy backup vocals bridging the gaps in her euphoric

lyrics. Credit to Klas Ahlund, a frequent Robyn collaborator, for knowing precisely how to utilize

Perry's layered vocals on this crackerjack genre stop.

5. Unconditionally - The beat drips toward a drain, a distant voice cries something undecipherable,

and Perry sounds defeated before committing to "your bad days with your good." Perry has

described "PRISM's" second single as her favorite song on the album, and while "Unconditionally" is

more difficult to uncork than, say, "Birthday," the visceral ballad successfully conveys Perry's most

prized possession: a relationship with zero asterisks.

6. Dark Horse feat. Juicy J

The pop singer sashays toward trap music on "Dark Horse" and absolutely scores; the dank,

murmuring production on the song is not the easiest track to navigate, but Perry shape -shifts into a

lip-puckering femme fatale and slays. Oddly, the album's lone guest, Juicy J, can't make a simile

stick ("She eat your heart out/Like Jeffrey Dahmer!"), but Perry rescues "Dark Horse" with a barn-

burning final chorus.

7. This Is How We Do - There's a reason that Perry repeats the phrase "It's no big deal" on the pre -

chorus in "This Is How We Do" -- the song is a paean for stakes-free frivolity, from the keyboard

blasts that puncture the hook to the ingenious "Mariah Carey-oke" line. The "bring the beat back!"

outro is a bit laborious, but at this point, Perry has earned the right to showcase her sillier side.

8. International Smile - The kicky pop-rock ode to Perry's pal, jet-setting producer Mia Moretti,

closes out the first half of "PRISM" on the lightest of steps. "International Smile" shifts to third -person

point of view as Perry studies her friend's global savvy, and features another ardent breakdown, this

time using a funked-up vocoder breakdown that would make Daft Punk green with envy (if they

weren't, you know, robots).

9. Ghost - The album's second movement begins with Perry extending the mood from "Wide

Awake," as she clearly sees her beau for all of his flaws. The self-assuredness is also recognizable

in this Dr. Luke/Martin/Cirkut collaboration, a ringing guitar riff chugging Perry along toward

independence.

10. Love Me - "I lost my own, my own identity/Forgot that you picked me for me," goes this snappy

track about the sanctity of acceptance, which benefits from Bloodshy's luminescent collection of soft

rhythms and escalating tempos. There's a lot to unpack in the details of "Love Me," making it one of

"PRISM's" most replay-worthy tracks.

11. This Moment - Pop songs often touch upon the pitiless passage of time, but rarely does a radio -

friendly track address the subject with this much clarity. In under four minutes, Perry inspires the

listener to stop dwelling on the past, understand the important of the present and seize the future, in

a neon package wrapped by Stargate and Benny Blanco.

12. Double Rainbow - Leave it to Sia and Greg Kurstin to contribute the most precise pop track to

"PRISM" -- like the former's David Guetta collaboration "Titanium," "Double Rainbow" lets its vocalist

drift through the uncluttered ether of its verse before hammering down on the majestic chorus. Perry

sounds supremely comfortable working over this throwback track, which could have easily been a hit

for Cyndi Lauper if it had been dreamed up three decades earlier.

13. By The Grace of God - A piano ballad that holds little back, "By The Grace of God" is the most

revealing song Perry will likely ever pen about her failed marriage and its resulting depression.

"Looked in the mirror and decided to stay/Wasn't gonna let love take me out that way," the singer

concludes, as she strides out of the abyss with her head held high. "By The Grace of God" is

obviously not the radio fare fans are used to from the pop star, but is crucial for anyone trying to

understand Perry's "PRISM" mind set.

14. Spiritual - The first extra song on the "PRISM" deluxe edition serves as the yang to "By The

Grace of God's" yin, with Perry's current boyfriend, John Mayer, co-writing a lilting track about being

head over heels. Fear not, "Spiritual" is not syrupy in the least -- in fact, the "sweet ecstasy" that

Perry sings about is gifted in such a charming, catchy manner that listeners are likely to float right

alongside the singer.

15. It Takes Two - One of the few songs on "PRISM" that does not sound quite right for its

performer, "It Takes Two" translates the soulful optimism of co-writer Emeli Sande's music into

another instant of self-examination for Perry. The lyrics are arresting enough to be heard, however,

and Perry musters enough power to sell "It Takes Two" the best she can.

16. Choose Your Battles- "PRISM" ends on a correctly contemplative foot, with tribal drums swirling

while Perry pounds her chest and spews venom at the man she cannot understand. Perry's longtime

collaborator Greg Wells works with a muted palette of colors here, keeping the focus on the drums

and the tender vulnerability on Perry's voice.