- Original Release Date: November 23, 2009
- Release Date: November 23, 2009
- Label: Streamline/Kon Live/Interscope
- Copyright: (C) 2009 Interscope Records
- Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
- Duration: 4:49 minutes
- Genres:
- ASIN: B002X0BT5K
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Best Sellers Rank: #77,569 Paid in MP3 Songs (See Top 100 Paid in MP3 Songs)
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| Song Title | Artist | Time | Price | ||
|---|---|---|---|---|---|
| Play | Dance In The Dark | Lady Gaga | 4:49 | $1.29 |
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Heard this for the first time today, and I am honestly shocked that Interscope held this track back for use as a follow-up single -- "Bad Romance" & "Telephone" led the charge at radio for the "Monster" version of THE FAME, yet DANCE IN THE DARK is clearly the monster of the set: the track is absolutely massive -- I literally have nothing to compare this to in modern pop, certainly nothing since LONG before disco sucked... you get the feeling that Gaga here is simply showing off with Dance; she's so talented as a songwriter (and her production team is so talented behind the board) that it's almost unfair to the rest of the industry... the hook-setting & production here are flawless -- the fidelic qualities within this SKU make the song akin to something like cocaine for the ears. Dance In The Dark is perhaps the most radio-friendly unit since Buffalo Stance, and I'm not even half-joking: everything here is absolutely, utterly correct. This is pop music as is created by a true craftsman.
The intro is "Vogue"-like -- the attempt to mimic Madonna is obvious; Gaga's voice even sound's like Ms. Ciccone -- the song then suddenly moves into compound time, and while Gaga heads straight for a minor key, the backing bass hits a rising major scale while the mix combines high treble levels with a deep DEEP bass allowing essentially no mid-range save for Gaga's vocals (what are these combos, anyhow, 43rd chords...?!!) -- anyhow, let me be clear: this is pop perfection... the electronically-induced stuttering, the shimmering synthesizers, the major/minor "key of awesome" interplay... this title is an absolute masterclass in how to create a monster hit record. Everything about it feels exactly correct.
Lyrically, Gaga (again) refers to herself as a "bitch" -- Twice! -- (she referred to her self as a "bitch" in Bad romance, as well (Gaga almost seems to be building this word into her work as a self-referencing artistic trademark)); Gaga also intersperses "Vogue"-like spoken word segments betwixt the chorii (allowing no room for an instrumental break; no short solo piece really fits, here). Gaga refers to, "Marilyn, Judy, Sylvia, Princess Diana, and Jon-Benet Ramsey," (I think), all of whom died before their time. "Find your Jesus, find your Kubrick," she continues -- Bad Romance cleverly worked four Hitchcock films BY NAME into its lyrics; you gotta wonder who the next Director will be to find himself in a Gaga song.
I don't think it's unrealistic here to say that Gaga may eventually find herself with a diamond debut (a "diamond" record is one which sells 10 Million units, i.e., 10X platinum). As I write this, a quick check shows that THE FAME is at roughly 4.5 Million units moved worldwide; yet this absolute monster of a single (and the many re-mixes which are probably being created at this very moment) seems, to me, to be more than enough to take The Fame to the 8-9 Million unit mark. The follow-up album & tour should be able to carry THE FAME the rest of the way.
I'm gonna confess here that I downloaded the song for free -- yet, at this point, make no mistake about it: I'm ABSOLUTELY going to buy it: anything this good I really have to INSIST on paying for. As far as chart success, I cannot imagine that the track here doesn't find its way to #1, whether Interscope likes it or not.
It's a monster, alright.
Absolutely friggin' massive.
The idea that Interscope had this planned as a third single is inexcusable.
The intro is "Vogue"-like -- the attempt to mimic Madonna is obvious; Gaga's voice even sound's like Ms. Ciccone -- the song then suddenly moves into compound time, and while Gaga heads straight for a minor key, the backing bass hits a rising major scale while the mix combines high treble levels with a deep DEEP bass allowing essentially no mid-range save for Gaga's vocals (what are these combos, anyhow, 43rd chords...?!!) -- anyhow, let me be clear: this is pop perfection... the electronically-induced stuttering, the shimmering synthesizers, the major/minor "key of awesome" interplay... this title is an absolute masterclass in how to create a monster hit record. Everything about it feels exactly correct.
Lyrically, Gaga (again) refers to herself as a "bitch" -- Twice! -- (she referred to her self as a "bitch" in Bad romance, as well (Gaga almost seems to be building this word into her work as a self-referencing artistic trademark)); Gaga also intersperses "Vogue"-like spoken word segments betwixt the chorii (allowing no room for an instrumental break; no short solo piece really fits, here). Gaga refers to, "Marilyn, Judy, Sylvia, Princess Diana, and Jon-Benet Ramsey," (I think), all of whom died before their time. "Find your Jesus, find your Kubrick," she continues -- Bad Romance cleverly worked four Hitchcock films BY NAME into its lyrics; you gotta wonder who the next Director will be to find himself in a Gaga song.
I don't think it's unrealistic here to say that Gaga may eventually find herself with a diamond debut (a "diamond" record is one which sells 10 Million units, i.e., 10X platinum). As I write this, a quick check shows that THE FAME is at roughly 4.5 Million units moved worldwide; yet this absolute monster of a single (and the many re-mixes which are probably being created at this very moment) seems, to me, to be more than enough to take The Fame to the 8-9 Million unit mark. The follow-up album & tour should be able to carry THE FAME the rest of the way.
I'm gonna confess here that I downloaded the song for free -- yet, at this point, make no mistake about it: I'm ABSOLUTELY going to buy it: anything this good I really have to INSIST on paying for. As far as chart success, I cannot imagine that the track here doesn't find its way to #1, whether Interscope likes it or not.
It's a monster, alright.
Absolutely friggin' massive.
The idea that Interscope had this planned as a third single is inexcusable.
