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When you're talking about pop music than you quickly talk about Madonna. Born in 1958 they call her the Queen of Pop. This American singer has sold more than 300 million albums and is considered the best-selling singer at all time. The first album was released in the year 1983. She is not only busy with music but is also an actress, director and has many more things. Simply put everyone has ever heard of Madonna.
Madonna - You Can Dance
This is the first remix album by Madonna released in the year 1987. The album features songs from her first three albums: Madonna, Like A Virgin and True Blue. In addition there is also a new song called Spotlight which is also released as a single in 1988. The rest of the songs are all redesigned and now fit more into the dance genre.
With a nice drum beat the album starts well. The synthetic pop sound comes to the foreground and it's definitely an 80's dance song. Madonna's voice also sounds more synthetic but it fits with the song. It is a nice mid-tempo song, but the song lasts more than six minutes and towards the end it is a bit long.
The famous Madonna song Holiday revamped, but you certainly recognize the original. The beat beneath the song sounds a lot louder and more present in the foreground. Madonna's voice is still the same and the lyrics are not changed. I thought it was a nice mid tempo song.
Everybody starts as with a singing Madonna but she is more present in the background and the drum beat is more to the fore. This actually continues throughout the song making it for me monotonous. Here and there you'll hear some more synthetic sounds, but he takes too long for me with almost seven minutes.
The song begins with a nice synthetic pop beat that you hear throughout the song. Madonna's voice sounds here and there rawer than the previous songs and sounds good. The song is upbeat and keeps the pace pretty good.
An album with only a few good songs, but most songs are almost all around the seven minutes, so you have more than an hour of music. The problem for me is however, that if you do not like a song, it still lasts seven minutes. Also songs quickly sound monotonous by the length and the synthetic pop sound. I prefer the originals songs. Three stars.
One of Madonna's earlier albums finds her in a suitably poppy mode. This album is littered with songs which will tempt you onto the dancefloor.
The queen of pop Madonna has now racked up hits between 1984 and 2009. This album arrived in the fall of 1987 and went top five.
On this album:
This is a collection of some of her dancier numbers which have been given a remixing or a remastering. One of the crucial choices was 'Into The Groove' which is weaved into a glorious, if not slightly overlong remix. It comes in at not far off nine minutes! 'Holiday' is given a good extended version, perfect for filling dancefloors. 'Spotlight' is a little known song but is a superb start to the album and will set the tone of things to come.
There are some interesting choices on here and some rarer tracks like 'Over And Over' which will tempt fans, but those who not familiar with Madonna could have done with remixes of more of her well known songs. 'Borderline' and 'Papa Don't Preach' would have worked well on here but are not used. Some of the extended versions are too drawn out as well. However, this was released when Madonna was in her peak of eighties dance pop and it is a worthy addition to any fan's collection.
Verdict: I recommend giving it a listen
To be honest, this album is quite a cop-out for an artist who, even at this point in her career, made a point of being original and standing out from the crowd. Ignore all that garble about "going back to my roots" and "this is for the fans" - the fans are perfectly capable of buying the original tracks, rather than forking out for this very, very long album.
The songs are all joined together so you never get a chance to draw your breath - no-one can dance for that long without getting a stitch.The remixers have also murdered 'Over And Over' and 'Where's The Party' with what sounds like naff keyboard demos played over the top of them. The two redeeming features are the inclusion of a new track, 'Spotlight' which, while not brilliant, is like a slightly geeky older sister of 'Into The Groove' - all serious and full of advice but without the sexual innuendo. Also, the updated 'Everybody' makes Madonna sound a lot more dirty than when she originally sang it, and transforms a very mediocre song into a bangin' dance track. However, unless you are a Madge obsessive, download 'Spotlight' or copy it off someone else, and just buy this when it gets to below a five on eBay.
This is essentially a remix album with the previously unreleased song 'Spotlight'. Not being an original studio album, it will not be at the top of many people's buying lists, but it is a party album that successfully summed up the mood of the time. An indication of this is the way the songs run on from each other without stopping. Spotlight is the only totally new song on the album, and it happily encourages everyone to get up and go into the spotlight, because "Everybody is a star, everyone is special in their own way...". Held over from Madonna's first early albums and mixed by 'Jellybean' Benitez, it has a similar chord sequence to that of 'Holiday', which might explain its early rejection. The usual arrangement of drums, bass and higher synth is present, but there are also vocal harmonies, a piano section and some violin section. Infectiously enthusiastic, this is one of Madonna's finest songs of the period. Her attitude comes through perfectly "Don't be afraid to try" and "Don't be afraid to fall". Quite apart from the message, this song shows off Madonna's voice well and the verses and chorus compliment each other. What can you say about Holiday? It is one of the most famous songs ever. It has charted three times, doing well every time. It may come as a surprise to people who weren't around at the time, but Holiday wasn't Madonna's first song, though it was her first big hit. Fresh, with a supremely catchy and uplifting tune, you couldn't get away from this song for a few months in 1984. A huge huge hook ensures that this song is as infectious as the plague and this is emphasised by the fact that this track has no structure - it is in effect a prolonged chorus. The song starts with a chord sequence which is reminiscent of Cyndi Lauper's 'Time After Time' and most of it is based on a four-bar sequence which just keeps moving around. A C
hic-guitar flickers away in the background, accompanied by electronic handclaps and synthesised strings, which adds just the right touch of glamour to the melody. The only thing that changes in the music is the arrangement, like the piano break that comes towards the end. A massive hit, Mary Wilson (formerly of The Supremes) must be kicking herself for turning this song down prior to Madonna and then boyfriend John 'Jellybean' Benitez taking it and reworking it. A six-minute monster of a chorus, this song is sheer genius. Apparently, this is the mix that 'Jellybean' Benitez wanted to do in the first place, with the guitar more to the front and with a clearer sound. There is also a piano break and a middle section with drums and echoed voice. Everybody was actually Madonna's first single, where she urges everyone to "come on, dance and sing, everybody get up and do your thing". People seemed to have taken it to heart as they are still dancing to Madonna today, and it was certainly a great club hit when (according to the Madonna legend) DJ Mark Kamins played an early version of it at the Danceteria Club in New York. It's a great feel-good song and especially good when sung on stage. A heavily synthesised intro and a spoken introduction with a loud intake of breath, constantly repeated invites you to dance, and Madonna's voice is wonderfully controlled and double-tracked for extra effect. There are a few spoken lines here too, but overlapped in a style she would use in her 1992 song 'Rain'. What a lot of people don't know is that it is a re-worked remnant from Madonna's career before she was signed up to her record company. The mix on this album starts with four repetitions of the vocal hook and then moves into a stark rhythm-centred arrangement. As expected, the middle section features the standard 'beatbreak' and a skeletal synth tune. Games are played with the word 'dance', which is echo
ed and slowed down. At the very end of the song, the drums are pulled, leaved Madonna repeating the "get up and do your thing" phrase which hovers over the intro to the next song. Physical Attraction is a lovely little song where Madonna gets all girly and she is head-over-heels in love. Yay! A medium-paced track with synth bass right to the fore, a Chic-style guitar line and a few synth brass flourishes. Interest is added with a few Collins-style drum fills panned across the stereo field. Madonna sings in her shrillest voice about a suitor and his magnetism...ok it wasn't magnetism, "it's a physical attraction, it's a chemical reaction" - aww, sweeeeet! While the verses are quite repetitive, they are sung with an earnestness which is endearing and there is another interesting pointer to the future, where Madonna adds a talking section, a technique Madonna would use heavily in her career (especially in her 1992 album 'Erotica'). The song is rounded off with some scat-singing. Again, in this mix, the guitar seems more to the front and the sound is clearer. It has a more varied arrangement than the original. Over and Over is possibly the first song Madonna ever had a hand in writing (it may have originated in 1979 when she was being to play the guitar by then-boyfriend Dan Gilroy) has a super little beat and really gets you into the song. It's about overcoming disappointments and trying again to succeed (more weight to my theory about its origin, as the time period in question was not easy for Madonna). Engaging rather than classy, it has an endearing innocence about it ("it doesn't matter who you are, it's what you do that takes you far"), yet there is a hint of rebellion ("I'm not afraid to say I hear a different beat, oh, when I go out in the street, yeah"). The production includes drums, synths and Rogers on a silk-chorused guitar. This reworked version is much longer a
nd better than the original, more assured and confident as well with an updated, more dramatic score. This was achieved by replacing the drum machine with the drummer Jimmy Maelen. Engineers Steve Thompson and Michael Barbiero reworked the song, with keyboard sections being played by Jack Waldman. There are a lot of rhythm-only sections, which nearly doubles the length of the track. New vocal phrases are added, some of them sounding like Enya being mugged in a Euro disco! But this does nothing to prevent this song sounded fresher. From the film 'Desperately Seeking Susan', this song is superb; a dancefloor classic that is pop at its best. The bridge "live out your fantasy here with me" has a delicious harmony in which Madonna adds a lower register voice to the main one. At its simplest level, this song is encouraging people to get up and dance, however like the title track there is a subtle sexual undertone manifested in the form of a lyrical hook for shy girls to get and do their thing "at night I lock the doors so no-one else can see". Apparently the song was inspired by a gorgeous Puerto Rican boy sitting across from Madonna in a fourth-floor walk-up on Avenue B in New York whom she wanted to ask out on a date. With this kind of song, it matters not whether you get the boy/girl as you hover uncertain on the edge of the dancefloor - you just feel great either way. This is the song that finally and irrevocably hooked me to Madonna, as she encourages the listener to dance with her. She says "...boy, you gotta prove your love to me..." - I'm still dancing all these years on. This version is much longer than the original, taking a lot longer to get going, as Madonna's "c'mon" at the start is sampled and used repetitively as percussion. There are some pretty drastic-sounding percussion breaks with a lot of sampled sound and repetition of phrases like "step to the beat" and "c'mon&q
uot;. There is more vocal echo on this mix, leading more overlap between adjacent phrases. There is also a touch of Bruce Hornsby-like piano, and the song closes with congas, whistles and timbale, giving it a Mexican feel! Where's The Party is a song with a theme of staying young, despite working for a living, by partying. Madonna said this song was inspired by a her statement 'where's the party?' which she used to say when she felt that work, The Press and life in general was getting too stressful and she remembered that she was supposed to be having a good time. It is nice and bouncy, but routine (with a standard Madonna arrangement of drum machine, synth and clattering rhythm), until the last part, where Madonna trots out with, "we can make it all right, we can make you dance, we can make a party last all night" at high speed and repeated, which adds a really nice touch to the song, and there is a final twist of humour right at the end - something Madonna does nowadays quite often. This is not one for listening to too closely. If you've having a party, and want to dance, well you know what to do! The original was and bouncy, but routine, until the last part, where Madonna trots out with, "we can make it all right, we can make you dance, we can make a party last all night" at high speed and repeated, which adds a really nice touch to the song, and there is a final twist of humour right at the end - something Madonna does nowadays quite often. This reworked version has addressed all the slight reservations I initially had about this song without losing any of the good bits of the original. The backing vocals sound as if they just came from a party and this improves the authenticity of the song. Madonna's performace increases in power and the mixing is quite superb. The result is a funkier, edgier, dancier song which engages you for the full seven-minute duration. Holiday (Dub Version) is more danc
e-oriented, with less vocals and more effects. In this version, we hear the line "we have got to come together..." and this is a nice touch. I'm not sure this is as good as the original, but then again it's hard to imagine how you could improve on the original - I don't think I would know where to start! Into The Groove (Dub Version) again uses voice-alteration and has much fewer vocals and is more dancey. The beat is sustained well and Madonna's voice, when it appears properly, fits into the reworked structure of the song well. Where's The Party (Dub Version) is a subtly remastered dance version of the song earlier in the album and loses none of its enthusiasm. So where's the party? Well, right here, of course, you've just missed it! This album is a great collection of Madonna's early dance music, some of which has been remixed - mostly to great effect. As there's only one new song on the album, listen out for the updated sections of some of the songs
Madonna decided that for this album she would revisit her songs and spruce them up a little bit, make them that bit different from the originals, she also added in some new songs as well, such as "Spotlight". Although this is a good album, I am not one for revisiting songs and changing them. The songs that Madonna sang are great the way they are, she does however add a few extra ones such as spotlight but I'd prefer it if she just left her songs the way they were.
Disc #1 Tracklisting
4 Physical Attraction
5 Over And Over
6 Into The Groove
7 Where's The Party
8 Holiday (1)
9 Into The Groove (1)
10 Over And Over (1)