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=== Madonna - Music ===
=== General information ===
* Who: Madonna
* Album: Music
* Year: 2000
* Number of tracks: 10
=== Who is Madonna? ===
If you're talking about pop music then you quickly talk about Madonna. Born in 1958 she's rightfully called the Queen of Pop. This American singer sold worldwide for more than 300 million albums and is considered the best-selling female singer at all times. The first album was released in 1983 and since then it's impossible to imagine the music world without her. She is not only busy with music but she is also an actress, director and she does many more things.
=== Madonna - Music ===
This is the eighth studio album of Madonna called Music released in 2000. This album has produced three singles and the album focuses more on electro pop and dance music. Meanwhile, the album sold over 11 million times. On this song she co-written nearly every song.
The album starts with the song Music were the influences of electro pop are obvious. The song begins with a male voice saying: 'DJ put on the record. I want to dance with my baby. 'After that you can hear the electro beat on the foreground and after about 20 seconds Madonna stars singing. Her voice is soft and the infectious beat is clearly present. It is a more mid tempo song which certainly sounds good.
This song starts a little disco-like music with after about 30 seconds Madonna's voice is heard. Again, the electro pop is clearly evident. It is a reasonable number. It's a bit overproduced and it's a bit chaotic, but it does have a catchy chorus.
The song Runaway Lover continues a bit in the same tone as the previous track, but fortunately it turns into a much more upbeat dance song. A nice beat in the background and more the sultry voice of Madonna in the foreground makes this a nice upbeat song.
"I Deserve It"
I deserve it is another ballad with a particular voice of Madonna clearly present in the foreground. It's not a overproduced song, but more laid back and a pleasant change from the previous songs. Unfortunately, halfway through the song comes a bit electro pop influences forward, but it only last a few moments.
What It Feels Like for a Girl"
A lovely song that differs from the rest of the album. The song begins with a talking Madonna and then the song continues with a gentle beat. Madonna has a soft voice and the song remains slow. The song is not overproduced and it is more about the voice of Madonna. A very good song and one of my favorites.
=== Conclusion ===
Sometimes it feels as when an artist goes more electro pop / dance, they go a bit overboard and overproduce their songs. In some of the songs on this album that's clearly the case and they went a bit too far. It makes the song less unique and even a bit chaotic sometimes. Fortunately there are more successful songs on the album like Music and What If Feels Like For a Girl. Four stars for me.
Madonna musical career has gone through a series of transformations however at its heart she has always produced the occasionl great dance song witha heavy pop influence. Music marked a continuation of this even if she did seek to innovate and try new variations and styles.
On the down side to this album it does include an awful cover version of American Pie, I'm soirry but the original is a classic and can never be bettered so I eally have no idea why she even bothered.
Ignoring that negative on the plus side this album does baost some great tracks which includes the title track Music which has an electro beat to it and a synthesised voice as an opening it is a wonderful track to gyrate your body to. There is a definateelectro feel to a number of tracks on this album and there are some complicated well structured tracks, not all of them work but some do stand out as great dance tracks and Runaway Lover has a great stunted opening that leads into a solid dance beat.
2) Impressive Instant
3) Runaway Lover
4) I Deserve It
6) Nobody's Perfect
7) Don't Tell Me
8) What It Feels Like For A Girl
9) Paradise (Not For Me)
11) American Pie
Mdonna vocals are as striong as ever, she has a really good smooth voice on most of these tracks and she shows her range with the slower more simple I Deserve It with the opening acoustic guitar accompainment.
My other favourite song from this album is on't Tell Me which has a folkie feel to it with the stunted lyrics at the start transforming into a cool drum beat and guitar riff.
Not everyone liked this album but I think it was very much under rated by the critics, certainly it is one I still listen to every so often eight years after its release.
I remember I was seeing a girl at the time of the release of Madonna's "Music" album and she thought it was odd that I bought this album, music is never gender specific and even the staunchist egotist and follower of machismo would have to admit that Madonna is an extremley talented performer and her music has always been of the highest quality.
Released in 2000 once again Madonna was re-inventing herself with the release of "Music" the album. This was another switch in gears for Madge as she again tried to keep up with musical trends. Her first single was "Music" she featured Ali G in the video of this and it was a very catchy little tune which is still tearing up DJ Booths today. From there she released what I considered the best song on the album "Don't Tell Me" , she borrowed a very known Southern Rock riff and sampled it while she done her thing. Rounding off her releases was "What it feels like for a Girl" I didn't like this track as much as the previous 2 releases. Also featured on this was her excellent cover of "American Pie".
2. Impressive Instant
3. Runaway Lover
4. I Deserve It
6. Nobody's Perfect
7. Don't Tell Me
8. What It Feels Like For A Girl
9. Paradise (Not For Me)
11. American Pie
This is an excellent album and another triumph for Madonna's ever changing image, I really enjoyed the album, plenty of variations in sound and style and a couple of fantastic singles and a great cover too. I'd recommend this to any music fans but it's a must for all Madonna fans. Thumbs way up in the sky for this CD.
Following the record-setting success of the previous album, Ray Of Light, this long-awaited awaited album was pre-empted by the leak of the lead single 'Music' on the Internet. The result a curious mixture of country, techno, disco and je ne sais quoi! What the fans heard, they liked, so it must have been good publicity for the album, which was co-produced by four producers: Mirwais Ahmadzai, William Orbit (of Ray of Light fame), Guy Sigsworth and Mark Stent. Music is the title track and lead single of this album and is a party anthem dedicated to music. A curiously masculine sounding intro vocal of "Hey Mr DJ, put a record on, I wanna dance with my baby" (produced by slowing down Madonna's voice) leads into the by-now famous godzilla thumping bass synth and accompanied percussion crash (and interspersed with Prince-like guitar riffs) leads which in turn leads to a crazily digitally-altered question "do you like to...boogie-woogie?" repeated three time, and ended by "do you like my...acid rock?". Basically, this song returns to the age-old Madonna theme of getting up and shaking your booty - as started in 1982 with 'Everybody' - but refreshed to include the latest technical wizardly. As full of statements as vintage Madonna tracks, the song states that "music makes the people come together" and "music makes the bourgeoisie and the rebel" (now how many pop songs have you heard with that word in it - how she manages to sing it like that with a straight face is beyond me), but it also covers ground not usually seen on a Madonna song, like the "uh uh uh" usually found on rap/hip-hop. There is an element of Madonna's psyche that seeks to defy time, and she reaffirms that here with "don't think of yesterday and I don't look at the clock". The song ends with a series of techno wails from producer Mirwais' machines to the accompaniment of "do you like to.
..boogie-woogie". Mirwais' production is certainly creditable and the song has a thumping beat with some nifty special effects, all set against the resurgent French disco scene. Influenced by work from bands like Daft Punk, there is no doubt that this song was going to do well ever since it was leaked on the Internet before its release, and it was a number one hit in many countries, including the UK and the US (where it was Madonna's first number one for several years). Don't look too deeply into the lyrics for hidden meanings, as that's a road to disappointment. You have to get your mind out of Ray of Light gear and firmly into party mode, as this is where this track ultimately thrives and not on the spiritual plane. It's so full of hooks that it's almost impossible to escape once snared! The live version of this song throws yet another hook in at the end, where Madonna alters the lyrics to "music, music, music, muu-oo-sic!". A superb start to this album, though not to all tastes by any means. Impressive Instant is another Mirwais-produced track, and is descended from one of his own songs, 'Naive Song'. It starts off with a wonderful trance-house bass synth-heavy intro which features a swooshing siren effect. There is then a dark sounding loop, which leaves you completely unprepared for the surprisingly upbeat theme of the song. Some of the lyrics are neat, though a bit heavy, like "cosmic systems intertwine, astral bodies drip like wine, all of nature ebbs and flows" and others sound dippy, like "I like to singy singy singy, like a bird on the wingy wingy wingy, I like to rhumba rhumba rhumba, dance to a samba samba samba" but somehow it all works to great effect - only Madonna could pull this off. Madonna uses the vocoder at judicious points adding electronic squeaks and bleeps to her vocals, and whispers at others, melding with the plethora of tricks that Mirwais unleashes. With its inf
ectiousness, it's easy to overlook what this song is about - the magical moment when love strikes at first sight and the whole universe moves. It's as rockin' as Ray Of Light, but so much more complex, so much simpler, so much lighter, so much darker. Hell, just listen to it!! It's one of the gems of this album and deserves to do well. Runaway Lover is the first Orbit production on the album. The intro is a schizophrenic, scattered and staccato mix of classic Orbit bubbles and squeals and Flat Eric synths. Then when Madonna starts to sing, it all comes together with a thumping clubby beat (not quite as earth-shakingly monstrous as in Music though) and some of the best vocals Madonna has ever sung. Don't ask me why, but I can see part of this song being the theme tune to a movie, perhaps because of the dramatic feel of the verses. The schizo feel is renewed later in the song as a trance-club theme takes over briefly, then the previous song returns with a vengeance. The way Madonna lingers over her 'm's is delicious and the hooky "uh-uh, no way" is quite effective. The song is about a lover who can never commit to his romantic interests...but this time Madonna says he's met his match and that she's not letting him go that easily and she asks him "now what will you do?". This is a very brave and powerful song. Madonna's life was changing between her last album and this one...she was falling in love with British director Guy Ritchie, with whom she had a son in August 2000 and whom she was to wed in December of the same year. I Deserve It (produced by Mirwais) is quite obviously 'Guy's song' (though the connection can be seen in 'Impressive Instant' and 'Amazing' too) and starts off with an acoustic guitar and drum accompaniment only, and it feels like a classic song of these genre. The lyrics are simple (and none too subtle about the subject, playing on the Guy/gu
y theme), "This guy was meant for me, and I was meant for him, this guy was dreamt for me, and I was dreamt for him..." but it's so beautifully sung that it fits right into the theme. There are some special effects used in this song (sounding like a digitalised whale song), but they have been kept to a minimum and are only there to add to the feel, not to overpower it. Some of the lyrics are really cute "I have no regrets, there's nothing to forget, all the pain was worth it..." and others veer towards being cliched, like "many miles, many roads have I travelled, fallen down on the way", but I think they just stay on the right side of that grey line. After the relentless party mood of the first three songs, 'I Deserve It' allows the listener to sigh a mental sigh of relief and to recover from the onslaught of high tempo. A good thing too... ...as Amazing (the second Orbit-produced song on the album) returns to the mould. The intro, comprising of a swooshing keyboard synth, is very '60s mixed with Time Stood Still-esque vocals and effects, but then it erupts into a song that could follow on from Beautiful Stranger (it's been called Beautiful Stranger Part 2 by many critics). The trademark bleeps and synths are still there, as is the jangly rock guitar and maybe it is this that robs this song of some of its oomph value (that Beautiful Stranger had). There again, it's every bit as frivolous as Beautiful Stranger, telling how she is helpless to prevent herself from falling in love with a boy who has a profound impact on her: "It's amazing what a boy can do, I cannot stop myself, wish I didn't want you like I do, want you and no one else...seems I love you more than yesterday" is followed the more dramatic "mmmmm, it's amazing...I cannot stop myself" Don't get me wrong, this is really quite a good song, and it improves with repeated hearing as the song takes on a more
addictive nature (especially the mad staccato bass in the second verse) rather than the instant gratification of the song it resembles so much. The trance piano backing is very effective too, and Madonna beautifully-sung vocals sound really very young and free in this song. I can see this being put on TV when profiling some young male hearthrob like Leo DiCaprio - mark my words... Nobody's Perfect (produced by Mirwais) can be a difficult song to get into. I say this, because I hated it at first as it heavily uses the vocoder like in Cher's 'Believe'. Don't get too hung up on this though, as the vocoder is used in a different way, more continuously interspersed with extra boost rather than the stop-start usage in 'Believe'. Following the whispered first half of the intro and the sung second half, the bass beat starts and reveals itself to be slower than in many of the other songs, almost sounding mellow (an effect which is heightened by a frankly wierd drawn-out electronic burble). "Nobody's Perfect" Madonna bleats electronically, pleading for understanding and forgiveness. The special effects team went into overdrive with song, and the simplistic lyrics ("nobody's perfect, nobody's perfect, what did you expect, I'm doing my best") amplify the depressed feeling - however, this is one of those wierd songs that is curiously uplifting despite its depressing theme (almost as if life can't really be that bad). The basic instrumentation is acoustic guitar, as usual with Mirwais's songs, but there are underlying keyboard chords and twittering, springy and chirpy electronic sounds as well as harder rock guitar and percussion interludes. The beating ending of "mmm, mmm, yeah..." accompanied by a bone-shaking rock guitar and drums combination is glorious and possibly the best moment in the entire album. I went on a Road to Damascus with this song, hating it initially, but it grew on me
and has become one of my favourite tracks on the album, so my advice is: if you don't like it initially, give it time and try to appreciate the different levels the song works on (and forget about 'Believe'!); it's my opinion that this song takes the use of the vocoder to another level, as it's over-exposed in the Cher-manner nowadays with everyone from rap stars to pop stars using it. Firstly Madonna's singing, though simple in style, is far more effective than the other singers to use it yet, and Mirwais is careful to restrict the Cher-factor to the "mmm, mmm, yeah" part and the vocoder is used in other places in continuous slow-release form. Someone commented to me that it sounded like a John Lennon song (in theme) and I would agree with that as it's highly introspective and not afraid to confront self-defects. In common with the use of the vocoder, I found this to be a slow-release killer pill which will become addictive with time. Don't Tell Me (a Mirwais production) is an upbeat inroad into country music (originally written by Madonna's brother-in-law Joe Henry and referred to Madonna by her sister - Joe's wife) with an orchestral backing in places to an overall guitar and drums backing and occasional electronica (the so-called techno-country). Important note: the stuttering accousitic guitar intro is entirely intentional and is not a defect of manufacture...because some people didn't 'get' that, despite the same trick being played on one of Madonna's previous songs 'Erotica'. Madonna's voice mutates into a Sheryl Crow sound-a-like, which is surprisingly good. The pace is slower, but she sounds oh so cool, mostly flinty, but outright growly in places and slinky in others. The lyrics sometimes give you a tingling feeling, especially the hook "tell me, love isn't true, it's just something that we do..." and "don't tell me to stop, tell the rain not
to drop, tell the wind not to blow, 'cause you said so...". Madonna seems to be warning her critics not to tell her to stop and to give up, not to write her off - another example of time-defiance, as started on 'Music'. It's a simple, uncomplicated message for the most part, but there are a couple of really wierd lines: "tell the bed not to lay, like the open mouth of a grave" and "...not to stare up at me, like a calf down on its knees. Only God and Madonna know for sure what she means by that! Madonna backs herself with some computerised vocals and some normal vocals and this complexity is fascinating. This is a song that ends (in terms of vocals) unexpectedly fading out into an orchestral finale and it leaves you wanting more. This is a much more successful foray into country than Madonna's only previous attempt - 'Crazy For You' - a real eye-opener. What It Feels Like For A Girl is so very different, perhaps because it was produced by Guy Sigsworth. Before you do a double-take on hearing the start (as I did), it's not Madonna in the spoken intro section. It's an actress called Charlotte Gainsbourg (daughter of Serge Gainsbourg) and its a snippet from a movie called 'The Cement Garden'. Anyway, back to the song itself. Is this is 'Man, I Feel Like A Woman'? The answer is no! It is less jingoistic, more profound than the Shania Twain song, and sounds more like a female Semisonic song. It is more a question "Do you know what it feels like for a girl?" than a rocking country track. The song has some pretty lyrics detailing how a girl 'ought' to be like and basically the theme is: why is it alright for a boy (also read men in general) to do something but not alright for a girl (read women) to do the same thing; or, according to intro, it's OK for a girl to do something as long as it's what a boy would do but not alright for boys to adopt the female way of looki
ng at things, as it's somehow 'inferior'. It's a challenging concept, and really probably a bit too profound for the bulk of music buyers, who are teenagers more into pure pop songs. This was potentially worrying as it was penned to be the third worldwide release from the album, but Madonna employed Above & Beyond to provide a trance remix of the song, coupled with a cool but controversial (read violent!) video directed by hubby Guy Ritchie, and this improved the song's 'cool-factor'. Despite this, this is really a beautiful song in its original format and it veers smoothly (if that's possible) from slow rock to pop and back again, and it's a emotionally-sung ballad in the true sense rather than an electronica track...my only criticism is that perhaps it's a little (only a little, mind) too long. However, the welcome return to a strongly-themed debating song more than makes up for this. Paradise Not For Me is a wonderfully complex yet startlingly simple song. Another Mirwais production, it has very little actual conventional music on it, just special effects that leave you feeling that Madonna is crawling around your ear while she sings this. The haunting and robotic electronica perfectly compliments Madonna's whispered and sung vocals and is strongly reminiscent of the French group 'Air'. Funky and modern in a way so french, it also features a verse sung entirely in French. The vocoder is used here again, seems to transform Madonna's voice into an instrument (sounding at times as if crafted from cut glass) and there are more mellow synths and bleeps. Apparently, Mirwais produced this song over a whole year, and the amount of loving work shows. It is also to be found on Mirwais' album 'Production'. The main instrumentation is keyboard and xylophone, and Madonna's lovely vocals are a perfect compliment in this song which talks - at a superficial level at least - about manic-depression.
At a deeper level, it's about Madonna looking back in the past and saying how her old life seems a world away now. This is a song curiously aware of the unstoppable march of time and of the mortality of the singer who appears vulnerable, tired and confused by a hard life, and this is a direct contrast to the time-defiance shown in 'Music' and 'Don't Tell Me'. Sometimes when I hear it, I feel it's an out-of-body experience, where Madonna's life flashes past her as she decides whether to live or to die. This is the wierdest song that you'll have heard since...well, since 'Mer Girl', but it's all the more gripping and intruiging for that. Gone (Orbit/Stent) is another guitar-backed song. A strongly guitar-based intro leads to a more dreamy main song, with a definite downbeat feel to it ("how can I be sad, for what I never had?") and which has you floating around in your consciousness. Madonna's self-backing is again very beautiful and the wailing electronic sounds are very fitting to the theme of the track. This is a very soothing and self-comforting song that's just perfect for listening to on the sofa after a hard day's work. Just don't play it if you're really depressed; it'll make you cry! On a more serious note, is this an indication of how Madonna's singing career will eventually wind up? "Turn to stone, lose my faith, I'll be gone, before it happens" she sings - if seen in this light, it could be seen as a warning that she'll walk away if she becomes disenchanted, no matter what the rewards may be ("selling out"). OK, don't cry now, it's just my thoughts and I never said it's going to happen any time soon! American Pie (a Europe bonus track) is, in my humble opinion, many times better than the Don McLean original about the death of Buddy Holly. I apologise to any Americans who passionately believe that this is the grea
test song ever, but I just don't see it. I'm afraid it was too long, boring and tuneless for me. In contrast, the version created by Madonna and William Orbit is more lively and involved, and has more of a focus. The only critcisms are that Everett's vocals are not very interesting (but then again, how much of that is due to his status as a film star? If he had been a backup vocalist, would such a fuss have been made over his lack of talent? I think not. But then again, would he have made a backing singer? I think not again. Oh well...) - even Madonna sounds bored at times. Though it is quite a nice song, treated to trademark 'Orbitalisation' (bleeps, bubbles, squeaks and rock guitar), I still feel that American Pie is a little lightweight when compared to Madonna's other songs, despite it being a vast improvement on the original. Having said that, it did make number 1 in many countries, including the UK, the first number 1 there for Madonna since Frozen, and placing her at number 3 in the all-time great acts list, behind The Beatles and Elvis. My only real query is what it's doing on this album...it was supposed to be on the soundtrack to The Next Best Thing and on the CD single, but it has also been included here - a commercial decision based on its success? (whatever happened to "selling out is not my thing"?). Or does it fit right in because it's about music? It's up to you how you view it. Cyberraga (produced by Talvin Singh) is a bonus track in Japan, and it resembles Shanti/Ashtangi from Ray Of Light in that it is entirely in in the Hindu language of Sanskrit. But this song has a faster, funkier feel which is part Indian, part Middle-Eastern and part Catholic choir (or am I imagining those last two?) and part disco-club. The sitar and tabla (Indian drum) lends a great deal of authenticity to it, and the electronica is very judiciously used, melding with the traditional Indian theme as seamlessly as the s
ongs in Ray Of Light. In fact, I'd go as far as to say that this is a better song than Shanti/Ashtangi. It has a more mystical yet more upbeat feel to it, rather than simply being a vedic chant. The lyrics form a sort of prayer (a 'raga' is a type of Hindu prayer that has a lot of 'aaaaaahhh' vocal tricks and this is a cyber version of a raga, hence the name 'Cyber-raga' or 'Cyberraga') that asks for blessing and protection from the world and an offering of ones all to the supreme being. Couldn't have put it better myself. This is a bonus in the true sense of the word. After a trip through spiritualism and, prior to that, S & M, ....who would have thought Madonna would rule the world by singing "Music makes the people come together", and "I like to singy singy singy, like a bird on a wingy wingy wingy" ?? Her ability to surprise has been one of her biggest talents. Music is yet another change in direction and is much more based on the ground rather than above the clouds. Back to her club roots the title track pulsates with funk-electronica and brings the party song right back into fashion. The video is even more generic, but purposefully apeing hiphop videos using a blaxploitation-styled visual and subplot. The funky bleeps give way to an innovative new electronic cowgirl-style on such tracks as 'I Deserve it' and 'Gone' and the genius single 'Don't Tell Me' with its accompanying genius video, which is already being aped as we speak. Its clear throughout this highly entertaining album that Madonnas back in 'fun' mode. Some interesting tracks break the positivity, such as the perplexing 'Nobody's Perfect' and 'Paradise (Not For Me)' but by and large this is an 'up' album. What It Feels Like For A Girl is the only song that sounds much like a Madonna song, but even that is encased in a foamy bubble of warmth, and it happens to be the be
st melody on here. But the stand out track is 'Impressive Instant', a vocoder-gone-mad burst of intergalactic energy where Madonna shrieks "I'm in a trance". And with any luck she aint gonnna snap out of it any time soon. Following on from 'Ray of Light' (but, importantly, not being 'Ray of Light Part 2'), this album is such a brave, brave collection of songs. Some of them are so different from one another that it's hard to see at first how they can all fit in under the same umbrella. But by and large they do. The major exception is the bonus track - 'American Pie' (Europe only), which I do not think belongs here. Personally speaking, as I already had 'American Pie', I believe that 'Gone' would have been a perfect, if slightly depressing, way to end the album - which is not a problem for US fans, as it is the final song there. I don't think the title track is the strongest song on the album - after the unbeatable 'Impresssive Instant', it shares that honour with several of the other songs. In general, this album has succeeded at its desire to show Madonna's voice off in a more raw sense, rather than the beautiful multi-layered production characterised by the 'Ray of Light' songs. It was always going to be hard to live up to the success of the last album, and even more so to surpass it. If you ask me to choose between the two, I will probably still go for 'Ray of Light', but only because that album has more personal, cathartic meaning to me. 'Music' is far more accessible, more fun overall and a 'younger' album, focusing on the music (hence the name and lack of a lyrics book). The inspiration is definitely still there, and Madonna is brave enough to keep experimenting and to bring underground music to the forefront. I don't think it's as all-round polished as 'Ray of Light' and the cohesiveness of a true packaged album is not the
re, but in exchange, the flashes of genius are more obvious to the beholder, and all the more so because Madonna worked with several different producers. Madonna said "music is in the doldrums". Well, not any more, hon'!
I am a huge Madonna fan. She has been in the charts for as long as I can remember. I was only two when she released ‘Holiday’ and so can not remember a time without Madonna. Madonna’s great popularity is probably due to her ability to change, to move with the trends and be on the pulse of what is fashionable at the time. No two Madonna albums sound the same, from the bubblegum pop of 'Like a Prayer' to the dance beats of ‘Erotica’ to the spiritual songs of ‘Ray of Light’. When Ray of Light was released I fell in love with the album straight away. It was a total change from her previous albums, it was emotional, had meaning and depth and I felt it gave all us mere mortals an insight into the Queen of Pop’s world. So, I was waiting with anticipation for her new album to arrive in 2000, I thought if Ray of light was good then ‘Music’ would be even more emotive and spiritual. How wrong I was! For ‘Music’, although full of great dance/pop tunes is for me only throwaway pop. It is not bad by any means, and in comparison to most chart albums is a really good, quality CD full of great music. However, it lacks any heart and depth. As well as Madonna co writing and co producing, she bought on board two other music writers/ producers to help out with the project: William Orbit (the genius behind Ray of Light) and Mirwais Ahmadzai (top dance DJ and record producer). These producers are top quality and on the cutting edge of music today. However, somehow this makes the album sound forced (as if it’s trying to be trendy) and because of the different producers the songs don’t merge well together. OK, so let’s get onto the songs. I don’t think anyone reading hasn’t heard the title track to this album, ‘Music’ or the other single taken from this album, ‘Don’t Tell Me’. ‘Musi
c’ is a great pop anthem, with a retro feel, complete with cheesy drum programming and strings. The lyrics are pretty meaningless but it is a real feel-good tune. ‘Don’t Tell Me’ is a wonderful pure pop tune, with a great guitar riff and danceable beat. ‘Impressive instant’, ‘What it feels like for a girl’ (Ahmadzai) and ‘Runaway Lover’ (Orbit) are good dance tunes. Again the lyrics are complete drivel but what the lyrics lack the music makes up for. Whenever I listen to these tracks I end up thinking ‘this album must have cost a FORTUNE to make’ as the amount of special equipment that must have been used to create all the strange sounds on the album is incredible. I think that ‘Music’ is going to sound dated quite quickly though as although the music sounds cool and retro now I have a feeling that in a few years it will just sound naff. ‘Amazing’ and ‘American Pie’ (William Orbit) are real disappointments. ‘Amazing’ is a total remake of ‘Beautiful Stranger’, the same mentality in the lyrics and the music sounds are used, and it lacks any originality. ‘American Pie’ is just utter pants. I’m sorry, but Madonna is just AWFUL at cover versions (take ‘Fever’ from her Erotica album if any proof is needed). The sounds used sound comical and utterly naff (rather like something John Shuttleworth would create on his Yamaha keyboard). For me, the best songs on ‘Music’ are ballads. They are the only songs where we get any real heart and soul from Madonna. Even these songs though are nowhere near as personal as those on ‘Ray of Light’. ‘I deserve it’ (Ahmadzai) is a song dedicated to Guy Ritchie and is a song full of tenderness, a simple beat and acoustic guitar accompany Madders, with a few little weird noises coming in towards the end. ‘
Nobody’s Perfect’ (Ahmadzai) is the most personal song on the album, but is totally ruined by over use of voice filters and too many techno sounds. ‘Gone’, another ballad, is the simplest song on the album, with acoustic guitar and drums. A nice change from all the techno sounds that drown the rest of the album. This song is also notable as it is the only song not written by Ahmadzai or Orbit, instead it is written by Madonna/Damian Le Gassick/Nik Young. This probably accounts a lot for the change in style to the rest of the album. My favourite song on the album is ‘Paradise (not for me)’ and this is the only song on the album with a ‘Ray of Light’ sound. For once on this album I feel as though Madonna really has something to say. Sung half in English, half in French, it has a real melancholy sound and would be really quite heart rending if it weren’t (yet again) totally ruined by the voice filtering. A full string section brings something a bit different to this song, as well as a nice vibraphone sound. So, this is an OK album, but is certainly not great. I feel it would be a lot better without so many fancy techno sounds and could certainly do with a lot less of the voice filtering. Do you really want to hear a robotic voice singing ‘I like to singy singy singy like a bird on a wingy wingy wingy’?! For me this album sounds too forced, as if Madonna is desperate to sound hip and trendy but in doing so the music has lost it’s heart. Maybe I am being a bit too harsh on Madonna, but I really was disappointed with this album. I guess after reaching perfection and so much success with ‘Ray of light’ there must be a lot of pressure on her to keep up with the trends and gain that success again. As a pop album ‘Music’ is high quality but for people looking for a bit more depth than throwaway tunes that will sound dated in a few years this al
bum really is a let down. I do listen to it on a regular basis, but it doesn’t make me FEEL anything. Songs such as ‘Mir Girl’ and ‘Nothing Really Matters’ from ‘Ray of Light’ really do touch me and I can relate to them, but I find it very hard to relate to any of the songs on this album. The songs are quite simply too fancy, they are over produced and it loses it’s personal touch which was in Ray of Light (and in many other Madonna albums too). This is an album to put on before a night on the town, to get you into the mood for clubbing and drinking. It has some great pop tunes such as ‘Don’t Tell Me’ and ‘Music’. It is full of retro, synth sounds and beats with heavy bass, great for getting you in the mood for a party.
It's impossible to listen to Music, Madonna's ninth album of new material, without making the inevitable comparisons to her Grammy-winning 1998 electronic opus Ray of Light. Like that album, Music is awash in dance beats and computerized bleeps and loops (William Orbit, who co-produced Ray of Light, is even brought back on a few tracks here) -- but that's where the similarities stop. Music is a weaker record than its predecessor, with only a few tracks possessing the strength, pop sensibility, and hooks that made Ray of Light such a success. The record is also a slightly less intimate one, with only "I Deserve It" (which addresses the singer's beau, British filmmaker Guy Ritchie), "Nobody's Perfect" (which addresses her critics), "Paradise (Not for Me)" (which looks back at her career), and "Gone" (reaffirming her values) pertaining directly to her life. Several of the songs -- "I Deserve It," "Don't Tell Me," and "Gone" -- are oddball amalgamations of folk and electronica that don't always work. On each of these songs, Madonna sings over weakly arranged trip-hop beats and acoustic guitars. This sounds especially inconsistent on "I Deserve It," which comes after the heavy disco pace and electronic loops of "Impressive Instant" and "Runaway Lover." "Amazing," a cheesy attempt at recreating the retro-guitar charm of Madonna's 1999 hit, "Beautiful Stranger," is also far less than perfect, and "Paradise (Not for Me)," which tries hard to sound artful with its whispery spoken-word vocals, fails miserably. Fortunately, all is not lost on Music. The single-worthy "What It Feels Like for a Girl" is one of Madonna's best songs in recent years, thanks to a catchy refrain, keyboard hook, and clever lyrics depicting society's double standard for the so-called weaker sex:
"Strong inside but you don't know it / Good little girls they never show it / When you open up your mouth to speak / Could you be a little weak?" "Impressive Instant," despite being one of several tracks tackily using a vocoder, and "Runaway Lover," with its catchy melody and arrangement, also provide some of Music's better moments. Unfortunately, these are but a few bright spots on a record that is far from Madonna's best work. Obviously, not every release can possess the strength of Ray of Light, even for someone of Madonna's caliber. She inadvertently addresses this issue when she sings, "Nobody's perfect / What did you expect? / I'm doing my best." Indeed.
Two years after astonishing the world by CO-producing an album with electronicist William Orbit, she does it again. "Music" was recorded during her second pregnancy, and the sound is more perfect, more extreme than ever. Partly produced by French electro wizard Mirwais Ahmadzai, and William Orbit, again, Madonna offers once more a completely new side of her multiple musical personality Madonna has given us something new and fresh. This CD is filled with wonderful sparse electronica sounds with tracks like “Music” and “Impressive Instant”, and folk/country sounds with “I Deserve It”, and also traditional pop sounds with “Amazing” and “What It Feels Like For A Girl”. More varied than Ray of Light, so much so that it might take a few listens for those expecting Ray of Light 2, Music is a very apt title for such a showcase of sounds and moods. Songs like “Don't Tell Me” and “Gone” reveals a soulful, bluesy quality of vocal, which is well achieved. “Music” is a very ambitious album,. It probably will disconcert a few fans of the first albums, but they've grown used to her constant reinvention. “Ray Of Light” was a reflective record, the work of a woman calmer, more balanced. “Music” is quite different in that matter. It is a radiant record, more upbeat, even more adventurous. Almost every track is a gem in it’s own right! Although the album starts to get a bit tiresome towards to end, and although never getting boring, the tail of the album isn't as good or brave as the head, still a superb album and one of her better albums, a must buy for any fan of hers!
After thrilling everyone with the sublime Ray Of Light, Madonna returns with this dance influenced classic which recalls the heady glitzy hey days of the 70's mixed with millennium beats. Step aside Britney Spears, the mother of pop is back! MUSIC sets the scene with brilliant but simple lyrics and great 'Believe' type effects. From here-on the album never lets up. Standout tracks include I DESERVE IT- a homage to Guy Ritchie which is like listening to Beth Orton on a really good day. AMAZING is cousin to Beautiful Stranger-but more immediate if that's possible. NOBODY'S PERFECT is a great mesmerising number which glides over you with a great hook and you will fall for it line and sinker! DON'T TELL ME is Sheryl Crow meets Air! This album uses every influence in the books but reinvents them all with ease and a sense of sheer class. Will you like this album? The only dilemma you will have is that you will want to take it everywhere! Apart from American Pie- (the song we only remember when we're drunk!) there is not one duff track to be heard. This one of Madonna's finest albums. Unlike Britney, Madonna- oops- really has done it again! Young pretenders listen up and learn! Another one for the immaculate collection!
To be honest, I was not really enthusiastic when I discovered Madonna's latest album last summer. It had not been released yet but was in circulation on the internet. I was all the more disappointed because I knew "Paradise not for me" which had already been available in Mirwais' album for several months (in France at any case). This is really a great song ! I dote on this electronic voice. The video shot especially for the tour is fabulous : it is reminiscent of that of "Nothing really matters". I hope it will be included among the bonus materials of the DVD. Eventually, I got used to some songs I did not like at first : "Don't tell me" (whose video is great : it undoubtedly made me like this song) and "Amazing" among others. All the same, I find some tracks like "Gone" or "I deserve it" very boring. Apart from those two songs, the album sounds really innovative. Madonna keeps evolving contrary to many other artists. Mirwais is definitely a great composer and mixer. Curiously enough, he was nearly totally unknown before "Music", even in France. As usual, the release of the album was accompanied with a new look : Madonna became a cyber cow girl for a while. Here again, she managed to surprise us ! She is really fantastic
This is journey into the psyche of the woman now known as Mrs. Ritchie, is one of may twists and turns. This CD is also once again a tapestry of different musical influences. Madonna combines a plethora of people including Damian La Gassick and Nick Young under the collective flagship of William Orbit and Mirwais Ahmadzai. Aside from the craze for celebrity T-shirts and cowboy hats. Music is simply what the title says 1. Music 10/10 ‘Music makes the bourgeoisie and the rebel come together’. I wasn’t overly taken with this when I first heard it but the so unbelievably boisterous, the chorus so delicious that I soon realized that Madonna was once again re-emerging with a classic in the making. Forgive me if I sound a tad too glib but the woman had the foresight and sense of humour to put Ali G in the video. Fantastic weekend music to drink copious amounts of alcohol to before going to your chosen destination…. 2. Impressive Instant 8/10 ( Madonna/ Ahmadzai) ‘ Cosmic systems intertwine /Astral bodies drip like wine/ All of nature ebbs and flows.’ Throbbing base line accompanies this story of lust at first sight. A cracking tune with Madonna making all sorts of strange vocals and harmonies. 3. Runaway Lover 8/10 (Madonna/Orbit) ‘ You lost your reputation on a woman / You didn’t understand or care to know.’ Anyone who has been out with a complete and utter scoundrel can indentify with this song. It’s in your face and upbeat. Once again very good for those I am over him/her moments. 4. I Deserve It 10/10 (Madonna/ Ahmadzai) ‘ I have no regrets/ There’s nothing to forget/ All the pain was worth it’. This is almost acoustic. It is Madonna wearing her heart on her sleeve for the entire world to see. It is such a sweet song that overexposure can probably lead to cavities. Was the
word ‘ Guy’ used deliberately? I hope so. 5. Amazing 9/ 10 (Madonna / Orbit) ‘ You took a poison arrow and you aimed it at my heart/It’s heavy and it’s bitter and it’s tearing me apart.’ We’ve all been there. Been totally mad about someone who should be neutered/ slapped/ shipped off to another hemisphere (delete as applicable). Yet this person is like the human incarnation of all your desires. Madonna puts this vibe across in yet another bouncing track…. Is her energy boundless? 6. Nobody’s Perfect 10/10 (Madonna / Ahmadzai) ‘Cool I am when I am with you/ Cool I’m not when I am lonely’ The only downside to this effort is that it sounds a bit like that terrible Cher ‘ Believe’ record when she synthesizes her voice. The beat is steady, with an accompanying guitar. The lyrics are startlingly human … the track ends with the phase ‘ Love me’. Showing us all that even superstars are vulnerable. Great record. 7. Don’t Tell Me 9/10 (Madonna/ Ahmadzai) ‘ Don’t tell me to stop/ tell the rain not to drop/ Tell the wind not to blow/ Cos you said so’ This is the one that prompted the whole silly cowgirl thing. Great dance record. As if anyone would dare tell Madge how to do anything anyhow. Fabulous harmonies and violins. 8. What It Feels Like For A Girl 9/10 (Madonna/ Sigworth) ‘ Strong inside but you don’t know it/ Good little girls never show it’ I discovered last week is that she has also recorded this track in Spanish. This features a great excerpt from Serge Gainsbourg’s ‘ Cement Garden’. This record is so feminine and sexy it positively purrs. From a Girl’s perspective this is most suitable listening when your hormones are a bit chaotic. Womanly and wry. 9. Paradise (Not For Me) 9/10 ( M
adonna / Ahmadzai) ‘ I can’t remember when I was young/I can’t explain if it was wrong/ My life goes on / But not the same/ Into your eyes my face remains.’ Its track is delectably downbeat but still somehow remains on the chilled side of introspection rather than, in the 'I must drink a bottle of wine because my life is crap camp.' She sings a bit of French in it too, which sound quite alluring. I must translate it someday. The usual twiddly electric noises that loom largely in this CD also feature, but they appear with great care and excellent production. 10. Gone 10/10 (Madonna/ Gassick/Young) ‘Letting go is not my thing/ Walk away/ Won’t let it happen again/ I’m not/ I’m not very smart.’ This is as my first rather dire offering on this CD, where Madonna goes into Gloria Gaynor mode. No not sequins and seventies karaoke, but rather this acoustic based record is her answer to ‘ I Will Survive’. This record is quite possibly one of the most inspirational songs I have heard in years. Harmonies are fantastic. Lyrics are insightful. Whenever I am feeling a little low, this record rescues me from listening to radiohead. 11. American Pie 6/10 (McLean) ‘ Now do you believe and can music save your moral soul?’ Music the CD might possibly save your soul, but this cover version is almost certainly the most disappointing thing since Shangai Surprise or Body of Evidence. Lordy! I digress. This is a brilliant song that Madonna has over produced. The background electronic bits sound like a like a 1970’s children’s television program or something. On the whole you can see why this was a winner at the Brit Awards 2001. Madonna seems to be getting better and better. When I listen to this next to her earlier stuff such as ‘ Lucky Star’ or ‘Causing a Commotion’ the difference in her vo
cal talent and her level of production is phenomenal. I can’t wait for her next CD.
With this album the queen of pop has returned to show us there is nothing that she can not turn her hand to. The aptly titled “Music” album took its place amongst my music collection at the beginning of the year. Since then it has spent more time in my music system than in its case. What can you expect? Well almost everyone will be able to name at least one Madonna song but in her own typical way no two Madonna tracks are the same. This album contains 11 tracks from across a wide spectrum of music tastes. It starts with the fast moving Music and ends with an interpretation of the classic American Pie. Track Review 1.Music – The title track and a move in another new direction for Madonna – Fast moving and one of those tunes that will stick in your head. 2.Impressive Instant – Based around synthesizer effects this track uses a disguised Madonna voice and in truth is probably one of the low points in the album. Some how this track just doesn’t work. 3.Runaway lover. – A start stop track that takes a while to get going – once it starts it has a kind of clubby type feel. 4.I deserve it – A change in pace for the album(slow and thoughtful), a very memorable tune with a solid beat and rhythm. 5.Amazing– Nice jazzy tune but perhaps this track could be taken further especially since William orbit had an input – expected better. 6.Nobody Perfect – I don’t quite understand this track it just doesn’t fit. You can’t dance to it and its not memorable enough for a ballad. 7.Don’t tell me- A well worked track based around that strong drum beat and good Madonna vocals. 8.What it feels like for a girl – This album version is different from the radio version that you may have heard. It is much slower and in my opinion works very well. 9.Paradise (Not for me) - By the time you
get to this track you will be used to the synthesizer effects but this track does seem to go into overkill and its hard to try and understand where Madonna is going with this one. 10.Gone – Madonna at her plainest – making use of her voice and a simple musical accompaniment. I like it! 11.American Pie – Opinions differ on this one – the purists are horrified at what Madonna has done, on a personal level I actually prefer it to the original – (I know I’ll be panned for saying that!) Looking at the album track by track, it’s easy to gloss over the album and dismiss it as nothing special- I don’t know why but the tracks collectively become – well quite addictive a worthy follow up to “Ray of Light.”
Project: The reinvention of Madonna Terms of reference: The remaking of a pop legend Method: Chuck away preconceptions, take a big fat modern sound and sing like a girl Results: Breathtaking Conclusion: Buy this gorgeous record or I’ll send Mrs dave27 round to cut your toenails Pop music is an odd thing. Very often you get an act that has one song in them that’s dying to get out there. It soars into the charts has its fifteen minutes of fame (Thanks, Andy), and then vanishes, along with the career of its inventor. Then you get the more long lived performers who manage to sustain a career over a few years and have a lot of hits, then fade away in a barrage of legal lawsuits and bad feelings. Then you get the marathon men - those dudes who just hang around for ever, recycling the same three card trick for ever, just regurgitating the formula. Then you get the exception - Manchester’s spiky Mark E Smith and The Fall are one such example but now, surprisingly, so is Madonna, a pop icon who has burned brightly for almost two decades and who regularly goes spinning off in a new creative direction and re-emerges as something very shiny and new. And with ‘Music’, her latest album, she pulls the trick off in supreme fashion - she sounds amazingly fresh but at the same time more assured than ever before and the music here (with one unworthy exception is BANGING (Thanks Liam). She’s succeeding in no less a feat than totally reinventing her act, not merely polishing it or giving it this year’s sheen, but chucking out the trash and the memories and putting together a whole new ball game of gorgeous pop which is STREET HARD. To get the unwise moment out of the way first, this album includes the Don McLean cover and single ‘American Pie’ and I’m just left wondering why she did it - true, it’s pleasant enough but it gives us few new insights and devia
tes only marginally from Mr McLean’s original. It stands out here like a very THOR SUM and ends this otherwise exceptional work on a disappointing low. “Drove my Chevy to the Levy”? Keep going, Mads, dump the gas guzzler and check out yer new leccy car, it’s far more enoyable… That naffness apart, ‘Music’ is one blazing comet of an album, flaring across the sky, eclipsing all other mediocre lights and setting the world to rights while it plays … it just might be Ms Ciccone’s best work ever… She’s come an awfully long way from the insubstantial froth and pop of ‘Holiday’ and ‘Like A Virgin’, but you can see the progression just by taking a look through those INTERESTING album covers. And so we arrive here with the pasty faced cowgirl cover shot and could be forgiven for thinking “Oh, no, it’s Mads going C’n’W…” but it’s actually a cementing of some of the new sounds first heard on 1998’s ‘Ray Of Light’ album. It’s all rifferama electronica of the very best kind and the music is brought to you courtesy in the main of Mirwais Ahmdzai (programming, acoustic guitar and keyboards), regular producer William Orbit (keyboards and guitars) and Steve Sidelnyk (drums), although there are a couple of other contributors on some of the tracks and this little lot have produced a record of breathtaking brilliance. It’s almost exclusively electronic in content and when a ‘normal’ instrument comes in it has a wonderful shock quality, like the acoustic guitar in ‘I Deserve It’. It’s a great approach and works brilliantly. It's quite a schizophrenic album, either going for the bump and grind of the dance floor (on tracks like 'Music', 'Impressive Instant' and 'Amazing') or opting for the slow and atmospheric love songs (as with 'I De
serve It', 'Nobody's Perfect', 'Paradise', 'Gone' and 'Don't Tell Me'), but Mads is equally adept in both modes. Over the top of this lush and very danceable slab of music, you get Mads singing as well as she has ever done, amazingly innocent sounding and fresh - it’s very disconcerting that a girl who’s been round the block as many times as her can do this without it sounding very contrived but she manages the trick. She uses a vocoder on many of the tracks as per Cher and at times she sounds very reminiscent of that particular lady, but always great. The songs, music and vocals here are just sublime and don’t worry if you’ve never liked Mads - you will LOVE the new model… ~~~~~~~~~~~~~~~~~~~~~ Music ~~~~~~~~~~~~~~~~~~~~~ The most infectious hook of the year rams this song fairly and squarely into the forefront of your consciousness and you just can’t get the damn thing out of your head … “Hey Mr. DJ, Put a record on, I wanna dance with my baby, When the music starts I never wanna stop, It's gonna drive me crazy…” Stick this song on loud in a car and you’ll quickly find your driving starts to slip towards the grooving rhythm of this brilliant dance track, all cracking electronic percussion and seductive bleeps … a massive, massive song. Hey Mr DJ Put a record on I wanna dance with my baby When the music starts I never wanna stop It's gonna drive me crazy Music makes the people come together Never gonna stop Music makes the bourgeoisie and the rebel Never gonna stop Don't think of yesterday and I don't look at the clock I like to boogie-woogie It's like riding on the wind and it never goes away Touches everything I'm in Got to have it everyday Music makes the people come together Never gonna stop Music makes the bourgeoisie and the rebel Never gonna stop Do you like to Boogie-Woogie Do you like my Acid Rock? ~~~~~~~~~~~~~~~~~~~~~ Impressive Instant ~~~~~~~~~~~~~~~~~~~~~ Gawd, this one is just brilliant, even with that very odd bit that goes “I like to singy singy singy Like a bird on a wingy wingy wingy I like to rhumba rhumba rhumba Dance to a samba samba samba” (guess you have to be there really). The vocals here are very, very treated and just become an additional musical tool within the tool. It’s a wonderful piece which trips along at pace and draws you in despite yourself. Universe is full of stars Nothing out there looks the same You're the one that I've been waiting for I don't even know your name I'm in a trance I'm in a trance Cosmic systems intertwine Astral bodies drip like wine All of nature ebbs and flows Comets shoot across the sky Can't explain the reasons why This is how creation goes I don't want nobody else All the others look the same Galaxies are sliding into view I don't even know your name I'm in a trance And the word is spinning Spinning baby out of control I'm in a trance I let the music take me Take me where my heart wants to go Kiss me Kiss me I like to singy singy singy Like a bird on a wingy wingy wingy I like to rhumba rhumba rhumba Dance to a samba samba samba I'm in a trance And the world is spinning Spinning baby out of control I'm in a trance I let the music take Take me where my heart wants to go ~~~~~~~~~~~~~~~~~~~~~ Runaway Lover ~~~~~~~~~~~~~~~~~~~~~ This one is pleasant enough but nothing special - the sort of pop song Mads can write in her sleep. You lost your reputation on a woman Y
ou didn’t understand or care to know You get your education from your lovers But now there’s just no place for you to go It doesn’t pay To be a runaway lover It doesn’t pay To give away what you lack You’ll never get your money back You’re set adrift with no direction Just like a ship that’s lost at sea You don’t care where you drop your anchor Make sure it doesn’t land on me Walking around on a cloud Cause every girl you meet just trips on you Saying your name out loud I guess you met your match Now what will you do ~~~~~~~~~~~~~~~~~~~~~ I Deserve It ~~~~~~~~~~~~~~~~~~~~~ There’s some lovely acoustic guitar on this track and it’s a really beautiful soft love song without getting outrageously slushy and sentimental. Madonna’s singing here is as good as any of the tracks and she does melancholy so expertly. It's got a chorus to die for and is a stand out track among some brilliant songs here. This guy was meant for me And I was meant for him This guy was dreamt for me And I was dreamt for him This guy has danced for me And I have danced for him This guy has cried for me And I have cried for him Many miles many roads I have travelled Fallen down on the way Many hearts many years have unravelled Leading up to today This guy has prayed for me And I have prayed for him This guy was made for me And I was made for him I have no regrets There’s nothing to forget All the pain Was worth it Not running from the past I tried to do what’s best I know that I deserve it ~~~~~~~~~~~~~~~~~~~~~ Amazing ~~~~~~~~~~~~~~~~~~~~~ Mrs dave27 loves this one - it lets her do her pop dance and believe just for a minute that she is the Queen of Pop. It’s seduc
tive, beautiful and instantly memorable. It’s the sort of stuff that Kate Bush would do if she really liked pop music and love songs. The agony of love made very, very bearable. You took a pretty picture and you smashed it into bits Sank me into blackness and you sealed it with a kiss If only I could let you go Why do I need you so You took a poison arrow and you aimed it at my heart It’s heavy and it’s bitter and it’s tearing me apart If only I could set you free You worked your way inside of me It’s amazing what a boy can say I cannot stop myself Seems I love you more than yesterday Love you and no one else Oooooh it’s amazing I cannot stop myself Wish I didn’t Love you and no one else ~~~~~~~~~~~~~~~~~~~~~ Nobody’s Perfect ~~~~~~~~~~~~~~~~~~~~~ This is quite a throwaway and inconsequential piece among all the other stuff here but it's eminently listenable and quality pop music. It's got a loping rhythm track with clipped hi hat and plodding electronic bass lines. Cool I am When I am with you Cool I’m not When I am lonely I feel so sad What I did wasn’t right I feel so bad And I must say to you Sorry, but Nobody’s perfect Nobody’s perfect What did you expect I’m doing my best I feel so sad But you know I’ll be true I feel so bad And I must say to you Sorry, but Nobody’s perfect ~~~~~~~~~~~~~~~~~~~~~ Don’t Tell Me ~~~~~~~~~~~~~~~~~~~~~ This song is built around that quirky and cutely clipped acoustic guitar riff which initially feels a little stilted, but you soon get into it. Soon the sweeping orchestral synths take over, but it always returns to that same damned riff. It's one of the most attractive pieces on the entire
album and creates an odd effect. Marvellous, marvellous pop music. Don’t tell me to stop Tell the rain not to drop Tell the wind not to blow Cause you said so Tell the sun not to shine Not to get up this time Let it fall by the way Leave me where I lay down Tell me love isn’t true It’s just something that we do Tell me everything I’m not But please don’t tell me to stop Tell the leaves not to turn But don’t ever tell me I’ll learn Take the black off a crow But don’t tell me I have to go Tell the bed not to lay Like the open mouth of a grave Not to stare up at me Like a calf down on its knees ~~~~~~~~~~~~~~~~~~~~~ What It Feels Like For A Girl ~~~~~~~~~~~~~~~~~~~~~ This song smacks of Mads exploring the realism of gender. It kicks off with a spoken scene setting intro before staking a claim for womanhood everywhere - this is what it's like for us females. The words are splendid and create a nice mood. It fits in well with the little girl lost impression of much of the album. It's a slow and lingering celebration of womanhood but reflects the vulnerability of women trapped in a man's world. It's really quite a sensual song and I better not sat too much because Mrs dave27 might get jealous of me and Mads (we are secret lovers you know from the time when I wore a silver codpiece and was third male dancer in her Vogue tour - once a gimp, always a gimp). Silky smooth Lips as sweet as candy, baby Tight blue jeans Skin that shows in patches Strong inside but you don’t know it Good little girls they never show it When you open up your mouth to speak Could you be a little weak? Do you know what it feels like for a girl? Do you know what it feels like in this world for a girl? Hair that twirls on finger tips so gent
ly, baby Hands that rest on jutting hips repenting Hurt that’s not supposed to show and Tears that fall when no one knows When you’re trying hard to be your best Could you be a little less Strong inside but you don’t know it Good little girls they never show it When you open up your mouth to speak Could you be a little weak? In this world Do you know? Do you know? Do you know what it feels like for a girl? What it feels like in this world ~~~~~~~~~~~~~~~~~~~~~ Paradise (Not For Me) ~~~~~~~~~~~~~~~~~~~~~ I always get deeply suspicious when songs contain a foreign language bit because I always have the paranoid suspicion that they're actually singing "Look at that fat bloke trying to dance to us!" Here though it's just the verses repeated in French and they do fit the mood. It's quite insubstantial fare but nice to listen to. It's a very slow and atmospheric piece built about marimba like percussion, electronic bass lines and sweeping but harsh synths. I can’t remember When I was young But my life goes on But not the same Into your eyes My face remains I’ve been so high I’ve been so down Up to the skies Down to the ground I was so blind I could not see Your paradise Is not for me Autour de moi Je ne vois pas Qui sont les anges Surement pas moi Encore une fois Je suis cassee Encore une fois Je n’y crois pas I’ve been so high I’ve been so down Up to the sky Down to the ground There is a light Above my head Into your eyes My face remains I can’t remember When I was young Into your eyes My face remains ~~~~~~~~~~~~~~~~~~~~~ Gone ~~~~~~~~~~~~~~~~~~~~~ It's acoustic guitars to the fore again as the M
addy Busking Circus hits the streets. She could be one of those singers in a folk club. It's intended to be a bit of a Singalaongamads but never quite makes it and it plods along a bit. It's a big departure from the sort of stuff that she does and her voice here is sweet and crystal clear. Selling out Is not my thing Walk away I won’t be broken again I’m not I’m not what you think Dream away your life Someone else’s dream Nothing Equals nothing Letting go Is not my thing Walk away Won’t let it happen again I’m not I’m not very smart Why should I be sad For what I never had Nothing Equals nothing Turn to stone Lose my faith I’ll be gone Before it happens Selling out Is not my thing Walk away I won’t be broken again I won’t I won’t fall apart Dream away your life Dream away your dreams Nothing Equals nothing ~~~~~~~~~~~~~~~~~~~~~ American Pie ~~~~~~~~~~~~~~~~~~~~~ Totally and utterly worthless, this bland cover version is a sad mistake and brings a brilliant album sadly to its knees rather than allowing it to soar to a joyous finale - the less said about this one the better.
'Music' is definately a grower. There are times when I'm still uncertain as to whether the title track and first single proper, is actually any good, and on a first listen the whole album can seem to coast by without any real significance. But on a closer listen, 'Music', the album, just like 'Music, the song, is undeniably groovy. But one thing that seems clear to me is that while hoping that after the one-two of 'Something To Remember' and 'Evita', Madonna wouldn't descend into MOR shlock hell (the uptempo greats on 'Ray Of Light' - 'Swim', 'Nothing Really Matters', the title track), the best songs here are definately the down-tempo numbers. The title track revels in it's own disposableness (for that's what pop music is all about afterall), and while 'Impressive Instant' is sonically intruiging, the faster tracks are somewhat uninspiring. 'Runaway Lover' is pretty average filler fare but Madonna-standards, and as everyone has already pointed out, 'Amazing' is a less interesting cousin to 'Beautiful Stranger'. The mid-tempo (single and single contender) numbers, 'Don't Tell Me' (did anyone believe those skips were *really* defects? Are you insane?), and the glorious 'What It Feels Like For A Girl' (thanks for 'The Cement Garden' quotes Mads - it's a killer movie) are perfect pop songs, shiny and new. But it's on the slow songs that Madonna's charms are most apparent. Even the least exciting, 'I Deserve It', which is marred by fairly cheesy Guy Richie inspired lyrics, is a fine song in it's own right. The vocoder drenched 'Nobody's Perfect' is glorious in it's own melancholy, while the show-stopper weepie 'Gone' is one of Madonna's finest ever songs (and, one would have thought, a perfect Christmas single). But it is perhaps with the album's
strongest track that the conundrum of this record is at it's most explicit. 'Paradise (Not For Me)' is a billingual odyssey that contains the most emotive vocal performance ever ("there is a light... above my head..."). It's also one of the saddest songs she's ever written. For while 'Music' is supposedly a happy emotional yang to 'Ray Of Light's introspective ying, it is the mainly melancholic second half of the elpee (yes, I know 'Don't Tell Me' is a clear exception) that really shines. And finally to the question of 'American Pie'. Well, I think it's a great song (and much better than the boring old original). But it isn't the greatest way to end this elpee - 'Gone' is more obvious in a tear-jerker way. But perhaps that's the point - does 'American Pie' offer some sort of optimism after the heart-wrenching pathos of 'Gone'.
Don't get me wrong. I'm a HUGE fan of Madonna's (and not HUGEin the grossly overweight way either). She was all I listened to as a child. I bought, listened to and loved every other album she made and I though this would be no exception. Boy was I wrong... It starts off great with the fantastic 'Music'. Fantastic song. After that it goes downhill so fast that I wasn't sure if it would ever stop. All other tracks on this album, with the exception of 'American Pie' and 'Don't tell me' are tuneless, bland, totally unoriginal pieces of crap. I mean, come on. What does she expect? She used to be the most fantastic singer in existance. But now she seems to have given up. The songs on this album are a huge letdown after the fantastic tracks from earlier on in her career. Who can forget 'Like a Virgin' and 'Holiday', or the more recent 'Frozen' and 'Beautiful Stranger'? And I have to mention this even though hardly anyone remembers it but what about 'Human Nature'? That was truly one of her best songs. All the songs on this album sound the same. If it wasn't for the odd decent songs ('American Pie', 'Don't tell me' and 'Music' then it would be possible to believe that its all one big boring song. And what happened to the controversial 'What it feels like for a girl'? Fantastic video, fantastic song, well, the remixed version that was released. The album version is, to put it frankly, as bad as the rest of the album. Well, I'm sad to say it but this album is a disapointment. Its like Madonna only made the effort on the songs she planned to release and couldn't be bothered with the album songs. This is not what I've come to expect from her, on all her other albums all songs have been high quality. This album also includes the first cover version Madonnas done (well,
the first I've known about). I didn't really think of Madonna as the kind of person who'd do cover versions. Normally her songs are original. Its not that its a particularly bad song, in fact I quite like it but this seems to be the song that has transformed Madonna. Her music is now quite unoriginal and her songs sound like something that comes from a crappy manufactured band. This album has definately made me look at Madonna in a different light. I definately won't be rushing out to buy her next album. In fact, I'm considering selling this one because I've only been able to force myself to listen through it twice. I'm hoping that maybe this was a one off, that at the time she was very busy. It could be possible as she was pregnant and planning a wedding at the time it was released. I really hope that this is what happened because it would be a shame if we have heard he last of Madonnas good music. All of the songs have quite fast beats, but very little tune. Anyway, that'll have to be the end of my opinion because I'm finding it difficult to write in detail as I've only listened to the album twice. I tried to listen to it while writing this but it was putting me off.
There are only 11 tracks on this album, which includes ‘Music’, ‘Don’t Tell Me’ and ‘American Pie’. There are some really good songs on here and some really bad ones. The tracks I liked were ‘Music’ for its old school electric 80s vibe, ‘ I deserve it’ and ‘Amazing’ which has a 60s sound similar to ‘Beautiful Stranger’. The songs that I really loved were ‘Don’t tell me’, ‘What it feels like to be a girl’ and ‘Gone’ which is fantastic and defiantly my favorite track off the album. ‘Don’t tell me’ is a breath of fresh air and totally different to any thing that’s been in the charts recently, I must admit that I wasn’t that keen on it the first time I listened to it but the second time I was absolutely hooked (it wasn’t just the gorgeous dancers in tight jeans and cowboy hats in the video honest!). ‘What it feels like for a girl’ and ‘Gone’ are fantastic and are quietly angst-ridden songs that if it they were performed with just a touch of anger and a bit more attitude wouldn’t be out of place on an Alanis Morisette album. They are both quite mellow and chilled out but don’t start analyzing the lyrics if you’re felling down or you’ll end up bawling your eyes out! (I.M.H.O these 2 tracks made it worth buying the album co they’ll never release them as singles). I absolutely hated ‘Impressive Instant’ which is a weird kind of experimental electronic thing that sounds like it was put together by some ones dad in the spare room on their state of the art synthesizer back in 1983. ‘Runaway Lover’ and ‘Nobody’s Perfect’ I wasn’t too keen on, but they are the kind of tracks that could easily grow on you. They both have quite a catchy chorus and I think that if any more singles are released off
this album ‘Runaway Lover’ will probably be one of them.
Disc #1 Tracklisting
2 Impressive instant
3 Runaway lover
4 I Deserve it
6 Nobody's perfect
7 Don't tell me
8 What it feels like for a girl
9 Paradise (not for me)
Disc #2 Tracklisting
1 Music (Deep Dish dot com mix)
2 Music (HQ2 club mix)
3 Don't tell me (Timo Maas mix)
4 Don't tell me (Tracy Young club mix)
5 What it feels like for a girl (Paul Oakenfold Perfecto mix)
6 What it feels like for a girl (Lo que siente la mujer)
7 What it feels like for a girl (video)