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Recorded in London, Confessions On A Dance Floor was primarily written and produced by Madonna and Stuart Price - the British musical director behind 2002s "Drowned World" and last summers "Reinvention" tour.
While Madonnas music is often both ethereal and political, Confessions On A Dance Floor is sheer, absolute discotheque. "I want people to jump out of their seats," she says. "My record is about having a good time straight through and non-stop."
"This is music that just comes very naturally to her," says Grammy Award-winning Price. "The songs flowed very quickly. Madonna was very interested in capturing the moment because, when all is said and done, its that instinctive joy of rhythm and movement that comes across best on the dance floor." Madonna and Stuart Price co-produced the album together with contributions from Henrik Jonback and the Grammy Award-winning team Bloodshy & Avant. Mirwais Ahmadzai, who produced Madonnas last two albums American Life and Music, has co-written two new songs and co-produced one track. Other collaborators include Anders Bagge and Peer Astrom of the Murlyn Music Collective and Jo Henry whose previous credits include "Dont Tell Me".
But Confessions on a Dancefloor has left me a little gobsmacked. Madonna has returned to what she always did best (even if I hadn't noticed until now!), disco. And not just your bog standard "down the local club on a friday night" kinda stuff, but original & catchy songs that keep on coming. Forbidden Love is not to dissimilar to some of Air's songs, hints of the Petshop Boys can be heard in "Jump", and is that a Donna Summer sample in "Future Lovers"?
She's revisted her roots and sliced some Kabala in here too. Great album, deserves to number one for at least 3 months, or until everyone has bought it.
BTW, I am not a hardcore Madonna fan.
'Confessions...'is an hour long continously mixed 'dance album', although that's not quite right. Musically it's hardly cutting edge stuff, particularly compared with 2001's Music album where Madonna was one part of an electronic cast that just pre-dated electro clash but still sounds disjointed but sedutive today. 'Confessions' dance roots are more Minouge than Moroder and although the lush, beguiling 'Forbidden Love' does sound like it could be on a late '70's Donna Summer album, 'Future Lovers' is so like Kylie's 'Light Years' that it has to be a tribute. 'Isaac' however sounds like it could be Andrew Lloyd Webber's attempt at making a 'cool' religous house record. Imagine that.
I am however, being picky. One has to admire Madonna's vision and on this album, she has just pulled it off. Listened to as a whole it comes across as a dramatic, highly charged pop dance opus, commenting on an a Superstar's climb to the top and her determination to stay there. 'Let It Will Be' and 'Sorry' for example are just thrilling and 'Push It' is a song Britney would give her right arm for. This time the prouction is big and busty and Madonna's vocals are pushed right up in the mix, you can hear every word snapping out of those tireless lips.
So we'll be seeing alot of Madonna this year in her awful mutton dressed as Farrah look and those glittering eyelashes. But that's what she's good at, never quite going away. She cant you see; despite her claims otherwise, she still needs us.