Lady Gaga's "The Remix" — How Different Is It?

Currently on her worldwide Monster Ball tour, Lady Gaga has managed to bang out another hit album straight from her tour bus. “Lady Gaga–The Remix” provides clubs around America with 10 more Gaga songs to blast through the speaker.

Combining songs from her previous two multi-platinum albums, Gaga hits all the notes she should, while bringing her loyal fans more of the same — which is probably what she was aiming for in the first place. 

The American version of the album contains a measly 10 songs to the international’s 17, leaving many stones unturned for Gaga’s U.S. fans â€” the ones unwilling to venture onto YouTube anyway.

Marilyn Manson collaborates with Gaga on “Lovegame,” making for one of the more remarkable remixes on the album. Despite the odd twist on the song, the two oddballs bring a much-needed change to the album that seemed to be doomed to the fate of boring. “Lovegame” incorporates the best one can expect from a remix of an already successful song. The reintroduction of Manson lives up to the hype of this highly anticipated collaboration.

The remixes of “Eh Eh (Nothing Else I Can Say)” and “Telephone” are less impressive; Gaga’s voice comes off more electronic and automated than ever, almost sounding like a creepy answering machine’s voice. The remix of “The Fame” is much simpler than one would expect from the always extravagant and over-the-top Lady Gaga, compiling the original song with a few more beats overlaid, but no surprising changes are made to the hit.

A standout and favorite of the album slows things down quite a bit, lending a refreshing change to Gaga’s usual dance floor classics: “Alejandro” is both well done and sounds accurate to Gaga’s voice, but will most likely go unnoticed by casual listeners; its sound is somewhat similar to the original. The worst of the album unfortunately comes at the close of it. Gaga’s most recent smash hit single, “Dance In The Dark,” employs a lengthy intro that is simply boring, in a spot on the album where a new and attention-grabbing remix is most needed. It is the longest song on the album, dragging on for over six minutes. Perhaps if it were shorter, the finale of the U.S. version of the album would be more appreciated by critics and fans alike.