There was a discussion I found myself in a year or two ago, in which I offered the opinion that if Lady Gaga kept up her output for four more albums, she would find herself an equal of Madonna. That this has been somewhat of an ambition for Miss Germanotta is no secret: she’s openly expressed admiration for the 80′s pop queen, and in the title track of her latest album, Born This Way, one hears enough of “Express Yourself” to question how much longer Gaga is capable of being truly original. I understand how it’s almost impossible to separate one’s own music from one’s influences and heroes. So maybe I’ll give Stefanie the benefit of the doubt, and call “Born This Way” a homage instead. Based on this logic, does it work within the context of the album as a whole? Is it a cheap knock off, or a brilliant detour into the past that makes the rest of the LP that much more brilliant?

One thing the title track is is typical. Typical of the majority of what Lady Gaga has chosen to fill the first and last thirds of Born This Way with. “Marry The Night” and “Government Hooker” don’t really depart that much from the catchy-but-heard-it-before makeover of 80′s dance she often puts out. Towards the end, ”Black Jesus – Amen Fashion” is another shameless Madonna knockoff, made even less compelling by inane phrases like “Jesus is the new black.” All of this is exacerbated by the fact that none of these tracks are as addictive as “Just Dance” or “Pokerface,” which would have absolved her of all sin. They just come off as serviceable dance-head filler.

Refreshingly, “Judas” is not quite as typically neo-80′s, but it’s  from the “whoa-oh-ohs” to the alternating rhythms between schizophrenic and smooth robotic dance grooves. That said, I kind of like it. It’s got a killer bridge and lyrically is much more interesting than the standard “be different” mantra she over-offers in so many of her songs. But I think a big reason I like it is because it’s so reminiscent of “Bad Romance.” She won’t be able to get away with this again.

The second third of the LP is markedly stronger than the first. I really liked “Americano” – it had me bobbing my head within seconds. I can’t help but think of it as what “Alejandro” would have been if it were edgier and less generic. Why she didn’t release this track instead of the less interesting “Born This Way” still escapes me. “Hair” kicks up the energy level another notch, and while it’s as much a triumph of production quality as songwriting, it also feels more genuine and personal than many of the previous tracks. If it is possible to glean who Lady Gaga is at her most honest, “Hair” might be the track to listen to. “Scheisse,” too, gets your body moving, and while the spoken-word vamp in German comes off as maybe a little gimmicky, it’s delicious, too.

“Bloody Mary” is filled with lyrics and screams that blatantly cater to the controversy-starved (OMG it’s sacreligious and she referenced crucifixion), toolishly-nicknamed “Little Monsters” that compose much of Gaga’s core fanbase. It is also, if this is possible, both hard to get out of your head and entirely forgettable, and represents at the very least one of the several triumphs of production that comprises at least the second half of Born This Way. “Bad Kids” is a poor choice to end the album with. While it briefly redeems itself with a somewhat catchy chorus, lyrically, I only foresee it appealing to an identity-challenged teenager.

There are several moments to like in Born This Way. “Americano,” “Scheisse,” and “Hair,” in particular, represent a continuation, if not an evolution, of the sound Gaga has become famous for. But I don’t forsee any of the tracks racking up anywhere close to the plays that “Pokerface” and “Bad Romance” had for me. I’d like to believe that Lady Gaga understands this, and will shift the direction of her next album more in favor of the innovative, sweeping pop that comes up on a third, maybe half of what she’s given us. But she seems to have found a market (or, if you’re less cynical, a calling) for catering to the world’s pseudo rebels. An increasing proportion of her music reflects this: not horrible, but increasingly generic and predictable. You could say I’m cautiously pessimistic.

Lady Gaga – Scheiße by Interscope Records