| Product: |
Confessions On A Dance Floor - Madonna |
| Date: |
22/07/08 (19 review reads) |
| Rating: |
 |
Advantages: Madonna perfected the dance-pop sound she was aiming for here.
Disadvantages: Three glaring filler tracks.
The sticker on my copy of this album claims "the non stop, all-dance tour de force" and that's pretty much what the album is, Madonna's crack at the dancefloor and all the tracks are mixed.
The first single of this album, 'Hung Up' proved a huge success. I was hooked on it at the time of release but it's only good for the briefly addictive factor, it doesn't last and relies far too heavily on that ABBA sample.
Thankfully most of the album does stand up over time and 'Hung Up' pales in comparison.
For instance, the second single 'Sorry' is a classic disco-dance-pop hands in the air anthem, complete with Madonna bitching down a man, who could possibly resist that?
Highlights of this album are 'Jump', my personal favourite on the album and a solid gold pop song with catchy hooks aplenty, and was eventually made a single, 'I Love New York' with a great loud and amplified electro-pop feel to it, the lyrics sound a bit like she was high on magic mushroom when she wrote them, but I find them amusing.
'Future Lovers' is another electronic disco track, but not quite as fast paced as ILNY and has more of an 80s feel to it.
'How High' is fairly standard dance-pop with a bouncy beat, but is a strong track where Madonna sets the record straight about how she got where she is.
'Push', the second from last track on the album slows down the pace a bit, a cross between urban and disco, with lyrics being an ode to someone who has been there for her and sounding as if it's sung in tune to The Police's 'Every Breath You Take' in places.
The album is rounded off by a completely oddball track for the album, but brilliant all the same. 'Like It Or Not' is produced by Bloodshy & Avant, regular producers for Britney and is a sort of "F you" to her detractors.
Overall, this album is classic Madonna after American Life which was self-indulgent and tried too hard to glean credibility. This is not a "dance" album per se, but it is dance influenced. Stuart Price produced most of it and it's sound is spiky, bionic disco and is a cohesive album.
Filler tracks are the bland 'Let It Will Be' and 'Forbidden Love', and 'Isaac' which has quite frankly daft Kabbalah chantings on it.
Despite these fillers, the rest of the album is just that good that it warrants a five star rating.
Summary: A brilliant album and recommended purchase.
|
|
