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PopMatters Top Tracks of 2010 - No. 29:
“Telephone”, much like the workaholic singer herself, never shirks in giving you it’s all. Opening with the deceptively gentle strains of a harp, it morphs into a club-stomping paean to 21-first century girls who just want to have fun. Exploding with frenetically layered beats, discordant ringtones and diva rap cameos, it feels like you have been invited to hear three minutes of chaos at the fiery heart of the fame monster. It is the distilled essence of the Lady Gaga and the apex of her career to date. Tom Fenwick
NME Top Tracks of 2010 - No. 25:
It’s 11 years since Beyoncé made the original stop-calling-me anthem with Destiny’s Child, the seminal ‘Bug A Boo’. Since then advances in phone technology have created a thousand new ways to annoy your girlfriends while they’re out. Yet G and B’s point is the same: they’re having way more fun than you.
Pitchfork Top Tracks of 2010 - No. 55:
"Telephone" is one of the less weird tracks on The Fame Monster, a stuttering Eurodance confection about the First World Problem of cell/text communication in the club, featuring a brief cameo by Beyoncé at her (Sasha) fiercest. But with Lady Gaga, the music itself is often just the side dish to the sumptuous entree that is her ever-evolving freakshow image. And thus, the "Telephone" video made the song iconic by association. "Telephone" cast Gaga and Beyoncé as a funhouse mirror Thelma & Louise, mashing up women's prison sexploitation, Broadway musicals, Tarantino, and feminist rage into the most fun, most ridiculous, and arguably best music video of the year. Without it, we might never have known that cigarette sunglasses and phone receiver hair curlers exist. --Amy Phillips