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11 of 11 people found the following review helpful
5.0 out of 5 stars QUEEN OF POP KEEPS A FIRM GRIP ON THE CROWN
Madonna is undoubtedly the best female artist in history. She is still light-years ahead of the wannabes like Kylie Minogue.Following the Something To Remember album, critics said Madge was done with, a no-hoper trying to recapture the glory days . But with Ray of Light and this, she proved them all wrong. This album can't beat Ray of Light but what can? Madonna's music...
Published on 26 Feb 2001

versus
2 of 2 people found the following review helpful
3.0 out of 5 stars Madonna's Music CD album
Others have spoken of the music, I'm writing about the disc itself.

For those of you who use PCs to play music, you may want to think twice about buying this version, it uses a variant of the copy protection system that can make it unusable on some players / drives.

Having tried the disc on 4 separate PCs, only 1, (vintage 1994), would play it, same...
Published 21 months ago by Bitbrain1967


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11 of 11 people found the following review helpful
5.0 out of 5 stars QUEEN OF POP KEEPS A FIRM GRIP ON THE CROWN, 26 Feb 2001
By A Customer
This review is from: Music (Audio CD)
Madonna is undoubtedly the best female artist in history. She is still light-years ahead of the wannabes like Kylie Minogue.Following the Something To Remember album, critics said Madge was done with, a no-hoper trying to recapture the glory days . But with Ray of Light and this, she proved them all wrong. This album can't beat Ray of Light but what can? Madonna's music has changed again, this time to garage/dance/pop grooves, shown in the title track and the brilliant Impressive Instant, which has got to be the next single! The album is not all up-tempo as someone who had only heard the singles would think, but Madonna manages to mix brilliant mid-tempo (my fave song off the album, Don't Tell Me, and the new single, What It Feels Like For A Girl), up-tempo (Impressive Instant, Music, Runaway Lover, Amazing) and down-tempo (the fantastic Gone, I Deserve It), all in all which combines to make the best album from any artist in 2000, and one of Madonna's best ever albums. 10/10!!
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4 of 4 people found the following review helpful
5.0 out of 5 stars Another Superb Effort, 3 May 2006
By 
Ian Phillips (Bolton, Lancashire, UK) - See all my reviews
(REAL NAME)   
This review is from: Music (Audio CD)
Madonna returned in late 2000 with this superb effort, following on from the critically-acclaimed and grammy award winning success of what is still possibly her greatest album yet, Ray Of Light (1998).

The album would be titled Music and would again offer the sound of the future and continued in a vaguely similar format to Ray Of Light. Madonna worked with a multiple number of producers on this project which included William Orbit (who also co-produced Ray Of Light), Mirwais Ahmadzai, Guy Sioworth and Mark "Spike" Stent. Music, offered another set of a diverse range of tracks that were both adventurous and compelling which has always been the genius of Madonna as she still never ceases to amaze and surprise. Madonna has always had that uncanny ability to be experimental and creative and still always come out on top.

The title track, Music is a monster dance-floor filler. Containing a swirling electronic pop-funk vibe, Madonnas playful delivery gives startling ignition to this slick offering that caught onto the public like a magnet. Unsurprisingly and very deservedly, Music became a cross-Atlantic chart-topper.

Impressive Instant is another startling and mesmerising tune with its strikingly synthesised effects and driving grooves. Would have made a perfect choice for release as a single as this would undoubtedly have been another monster hit.

Runaway Lover, is a mid-tempo dance number that contains another series of bizarre, synchronised sounds thats still vastly origanal and highly inventive with its unique musical arrangements. Actually Runaway Lover does admitedly sound like a left-over track from Ray Of Light, but still is utterly impressive.

I Deserve It has a remarkable combination of electronic-dance, with its again, synthesised effect, blended neatly into an arrangement that has a country twinge to it. A moody, acoustic guirtar ballad, the song is blatantly a touching dedication to her husband, Guy Ritchie, an immensley talented film director, whose credits include the two cult classics, Lock, Stock And Two Smoking Barrells (1998) and Snatch (2001) You get to more fully apprerciate Madonnas striking vocal abilities here, and she puts in a powerful and passionate performance as always the case with Madonna.

Amazing is a highly stylized, guirtar-powered and uptempo William Orbit collaboration who works his magic yet again with Madonna as he had done so consistently on the Ray Of Light album.

Nobodys Perfect is one of the more commercial-orientated singles though those synchronised and echoey sound effects are still clocking away amidst the musical arrangements and Madonna delivers a subtle, exuberant vocal performance, neatly surfboarding along the complex arrangements.

Don't Tell Me, returns again to the neatly gelled mixture of Dance/Country and delivers it with seemingly a vengeance. Madonna has always been sassy and street-smart and its nice to see she hasn't lost any of her magical touch over the years and if anything she just gets better and better!

What It Feels Like For A Girl, is a more sultry, grooving number that is effectively mellow in its content and is a nice way of beginning to wind the album down. Certainly has many musical merits and this also was lifted as a single where it became another rapid Top 10 seller, though its mix is different to the version on here.

More atmospheric was the stormy, moody, Paradise (Not For Me) where Madonnas slightly chilly delivery sends shivers down the spine through its trance-like arrangements. One of the more adventurous and inventive recordings on here!

Finally this rollercoaster ride of an album begins slowing down with two impeccably delivered Dance-Country numbers, Gone and her fabulous renedition of American Pie which rounds the album off on a high note.

Expectations were high after the classic Ray Of Light set which was one of the most significant albums of the 1990's and certainly one of the biggest of Madonnas career to date. The album generally received critical praise but was often unfairly compared constantly to Ray Of Light (which often came out better) but you should really judge this album on its own merits as there are enough individual qualities of its own and is consistently excellent, bubbling in a remarkable multitude of styles.
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4 of 4 people found the following review helpful
5.0 out of 5 stars Sweet sweet Music!, 4 Oct 2000
By A Customer
This review is from: Music (Audio CD)
Mad Maddie's back with an album that just surpasses her previous offering, Ray Of Light. Music is full of positive upbeat tunes sure to get you dancing and the odd ballad here and there. Here's a track-by-track review;
1. Music - The No.1 single is one of the highlights. An electro funk tune with echoes of underground dance music. 2. Impressive Instant - Well produced slice of dance pop with catchy hook and lyrics (the memorable "I like to singy singy singy like a bird on a wingy wingy wingy"). 3. Runaway Lover - Should be the next single, a William Orbit track not too disimilar from Ray Of Light but better! 4. I Deserve It - Dedicated to hubby Guy Ritchie, this wonderful ballad sees Madge accompanied by acoustic guitar. Perfect! 5. Amazing - Similar to Beautiful Stranger, this 60s influenced slice of upbeat pop isn't one of the strongest tracks but could end up a party fave. 6. Nobody's Perfect - Yet another highlight. The vocoder is used to full effect, while the production is wonderful. Quality! 7. Don't Tell Me - Funky mid-tempo track, a bit more chilled out. 8. What It Feels Like For A Girl - Rumour has it this is going to be the next single but it's probably my least fave song on here. Not terrible, though, but nothing new and a bit bland... 9. Paradise (Not For Me) - An epic six minute musical highpoint where Madge tells us she can't remember when she was young. The string arrangement is beautiful and the end result is very spooky! 10. Gone - A fine track with a memorable first line - "Selling out is just not my thing". It certainly isn't... 11. American Pie - Cheeky but class! The No.1 cover ends things nicely...
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4 of 4 people found the following review helpful
4.0 out of 5 stars 'Material Girl' turns 'Minimalist Girl'., 17 Sep 2000
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This review is from: Music (Audio CD)
In "I Deserve It", Madonna takes pause to reflect on the current state of her "Music": "Many roads I have traveled/fallen down along the way/many hearts, many years have unraveled/leading up to today/and I thank you/".
Madonna and her creative-not to mention personal-trajectory has led us to this place in 'Music"-her eighth studio release-where the icon comes full-circle relying often on the precepts of her earlier work to chart a course through this most understated, post-modern, minimalist, and intimately candid work of her career that at the same time will prove most challenging to her fans who will see Mo in a new 'light'.
No other Madonna album so aptly follows its predecessor as "Music" does on the heels of "Ray of Light". The critically acclaimed '98 set was itself stylistically a giant leap from '94's "Bedtime Stories", the set on which Madonna began to once again delve into contemporary electronica-on tracks "Sanctuary" and "Bedtime Story". Seldom had so intimate a portrait of the artist been delivered until "Inside of Me"; though direct and unabashedly simple, it was itself a milestone track in that it merged her old-school simplicity with current trends in electronica.
Not since the eponompusly titled debut, had she come across so uncomplicated and sincere. In terms of musical direction, however, Madonna has always been the chameleon. Though on some level, there was a always a logical progression from one release to the subsequent one sonically, there was never a clearly definitive "Madonna" sound that carried from one Madonna album to the next-the matters that make the artist's work more profound and legendary. For instance, the grittier aspects of "Erotica" gave way to the softer R and B tones of "Bedtime Stories; she may have employed Patrick Leonard on "Like a Prayer" then on "Ray of Light", but his contributions on each were distinct.
However, "Music" is the next phase in this chameleon's evolution, and it is not a jump, radical departure, or a calculated dalliance into some fad, but an artistic commitment that was established on the predecessor "Ray of Light"-and even the opuses that preceded it. It is as if this arc is the natural, unaffected next step. Where "Ray of Light" used electronica as sonic underpinnings for its compositions, its use on "Music" is more essential to the lyricism at hand-again a natural progression, not a forced one; even the William Orbit collaborations are tighter-for those who found the "Ray of Light" collection more airy and atmospheric than buoyant musically. Orbit cut "Amazing" owes much to "Beautiful Stranger", while simulatenously evoking '80s trends that Madonna bore witness to: think of "My Sharona" guitar-licks by the Knack meets one of the two Romantics songs "Talking In Your Sleep". The vaccuous opening lyrics of "Skin" are akin to the downright silly lyric on "Runaway Lover": "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. Definitely working with Orbit must be the impetus for such levity. This time around, however, this Orbit collaboration is more akin musically to the in-your-face material on Madonna's "Erotica", and a very infectious space-age jam that is club ready.
On "I Deserve It", the mini-diary of her life, reverberating and converging sirens courtesy of Mirwais Ahmadzai almost exponentially increase in a flurry-a perfect musical metaphor for the reverberations and controversies and backlash therein she has been party to and has come to terms with. The Cher-like "Believe" vocal distortions on "Nobody's Perfect" in combination with the clattering and clanging also courtesy of Ahmadzai are the perfect complement to the sincerity, directness, and sense of dejection in the vocal and lyrics; not since her debut in '83 has she sounded at once so vital and yet so unaffected with such electronic finesse. Undoubtedly, the brilliant title-cut "Music" is meant to evoke that period of "Everybody" or "Holiday".
On the electro-funk of "What It Feels Like For a Girl" she evokes her earlier work on the similarly avant-garde feminist power anthem "Borderline". The chic multi-dimensional commentary about women, men's perception of women, and how it affects their perception of themselves that is itself a vicious circle conveys through its use of swirling and swooshing effects in their appearance in the chorus the singular universality and resounds from the recesses of the female conscience, without resorting to a diatribe.
"Paradise (Not For Me)", the composition that is very much akin to the revelatory "Drowned World" in which she revels in and ultimately debunks the myth of her decadent material world, finds her once again visiting the territory of-now think the video- "Like a Prayer": an intriguingly minimalist lyric prevails throughout that concisely examines the struggle to recapture the innocence in God's eye's that we all once had before we had all fallen, and the struggle to reconcile the need for salvation with the immediacy of attention that love-namely sexual expressions thereof provide. One never knows whom she ultimately embraces: the lover or the lord. Religious ecstasy is tied up with sexual ecstasy a la "Like a Prayer".
Newly embraced is a sort of a post-modern acousticism in "I Deserve It" and "Gone" a "Live to Tell" dirge that embraces a folkish sensibility that makes the meshing of electronica and folk all the more innovative, while "Don't Tell Me" is the funkiest folk song ever heard a la Prince's "7". On some level, Madonna is able to erase the stereotype that electronica cannot be anything other than a cold medium or a windowdressing by using it as am essential backdrop against a seemingly opposing style that radiates intimacy through different stages of the album: folk. Never before has she been such a trailblazer , and the cowgirl imagery visible on the cover lends credibility to the stake she wishes to claim.
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3 of 3 people found the following review helpful
5.0 out of 5 stars Music at it's best..., 11 Sep 2002
This review is from: Music (Audio CD)
This is one of Madonna's best albums. It acts as the perfect antidote to 'Ray of Light', which whilst a masterpiece in it's own right, tended to get bogged down by it's own deepness. 'Music' is a completely different story in every sense. We start off in clubland, with French underground dance shooting us off into the sky with Music, Impressive Instant and Runaway Lover. Then, just as we're about to spin out of control we're dragged back down to earth with an acoustic guitar on 'I Deserve It' as Madonna sings of her love for Guy and then declares that she deserves all that she's received in life. The bubblegum pop of 'Amazing' bridges the gap between the two halves of the album. One of the best songs, 'Nobody's Perfect' follows in all it's melancholy glory. Madonna sings beautifully through a vocoder and shows that computerized music can be extremely emotional and moving. From dance to acoustic to pop to techno, we move to country-styled punk pop with 'Don't Tell Me', one of the standout tracks that really gets under your skin. 'What It Feels Like For A Girl' follows, and I feel this is the album's main weak point. The lyrics are thoughtful and relevant, but the music is slightly bland. The following track 'Paradise' makes up for this as Madonna speaks and sings through a vocoder about how she can't remember her youth and how she discovered that the Paradise offered to her was not all it seemed. This track is mysterious and beautiful, and can really take you to another place if you lose yourself in it. The album ends with 'Gone', an acoustic testimony to Madonna's refusal to sell out and lose her faith. The album is not great on the lyric front as Madonna was going for a more 'minimalist' sound after the Drowned World feel of her previous album. This really is about the music and her creativity shines through (with the help of Mirwais). Back to her dance roots and then embracing the more acoustic side, Madonna continues to lead the pack. She doesn't even lead the pack, she's too far ahead for them to catch up. Maybe this isn't mainstream like her old stuff, but who needs to be mainstream when you're head and shoulders above the rest?
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3 of 3 people found the following review helpful
5.0 out of 5 stars Madonna's best album since 'Like A Prayer'?, 6 Jan 2001
By 
M. Bird (London, UK) - See all my reviews
(REAL NAME)   
This review is from: Music (Audio CD)
'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'.
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3 of 3 people found the following review helpful
4.0 out of 5 stars All hail the Queen of Pop, I give you.... Madonna!, 18 Sep 2000
By A Customer
This review is from: Music (Audio CD)
Madonna may well be striking a pose as an all American country gal on the cover of her new album Music but do not be fooled, this is a truely European album. As she did with Ray of Light Madonna has drawn on the particularly British talants of William Orbit whilst also going continental on us by drawing in Mirwais who adds a large dollup of Daft Punkyness typified on the title track Music. This is a strong track with which to open the album. Cheeky and catchy it's an instant dance floor filler which while marking the new direction Madonna's sound has taken does not alienate her old fans. Impressive Instant is more than anything a producer's song. Funky? Yes. Fun? Yes. But where's Madonna? This could be any singer whose chosen a very cutting edge producer. Her voice is lost in a whirl of electronic trickery. Runaway Lover is the most Ray of Light like track on Music. It's trance like Europop with an irresistable chorus with (at last!) Madonna's voice leading the song. I Deserve It is a simple ballad which builds up to a lovely multi-layered chorus which soothes the listener after the dance onslaught which precedes it. Amazing is one of the most enjoyable tracks. However you can't help comparing it to Beautiful Stranger it's obvious inspiration and I'm not quite sure that it lives up to it's predecessor. The vocador pops up yet again in Nobody's Perfect but this time it has quite a different effect adding an eerie quality on to perhaps the strangest ballad she has ever produced, touching never the less. Built on a disjointed giuitar refrain Don't Tell Me lets Madonna sing in a plaintive voice rarely heard previously and it's mix of the acoustic and the electronic works very well. There is a distincy lack of melody in What It Feels Like For A Girl which is a shame as it creates a lovely atmosphere. Paradise (Not For Me) contains the most interesting lyrics on the album (they are generally fairly uninspiring.) The production is particularly daring within the song's setting. Sadly, once again Madonna seems to be searching for a melody and failing to find one. For me (and Madonna apparantly) Gone is the strongest track on the album. Extremly personal and fitting to Madonna as an artist it's very touching and, thannk the lord, her gift for the melody has returned. My big tip for this album is to rush to the stereo and stop it before the final track. Why Madonna chose to end such a daring album with the commercial naffness that is her version of American Pie is beyond me. (Okey, so it could have something to do with the fact that it went to number one but still!) You have to admire this woman. She's frequantly called just a marketing phenomenon but it's beyond me how you manage to sustain hype for what, 15, 16 years. Above all this album proves that musically she is less afraid than ever to take risks and you have to applaud an artist for that. The album is slightly patchy but generally the songs are enjoyable, fresh and cutting edge. She may not set musical trends but Madonna definatly knows how to pick them up and run with them.
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4 of 4 people found the following review helpful
5.0 out of 5 stars Once again Madonna surpasses her previous album, 15 Sep 2000
By A Customer
This review is from: Music (Audio CD)
So we all know how Madonna relaunched her career with the help of William Orbit on her Ray of Light CD. Well on this she ditches him (except for two songs) and moves on to French producer Mirwais who helps her create an even better album. Starting with the disco funk of "Music" to the outrageously strange "Impressive Instant" then back to somewhat normality for the rest of the album but never mediocricy, with the stand out tracks "Don't Tell Me" and "what it Feels Like for a Girl" nestling neatly in the middle. My only complaint is that the album should finish with "Gone" rather than "American Pie" as it seems a more fitting finish. Oh, and by the way, track 3, "Runaway Lover" is meant to skip like that-there's nothing wrong with your CD!
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2 of 2 people found the following review helpful
5.0 out of 5 stars Oops! She's Done It Again!, 14 Oct 2000
By 
This review is from: Music (Audio CD)
No, not Britney! She would kill to produce an album of this maturity and excellence. It has taken over 15 years to produce an alubum of this quality and the wait has been well worth it.
I have been a fan of Madonna since I saw her live at The Camden Palce more years ago than I care to remember; yet, I approached this album with trepidation. The Press has loved it, and that is quite often a receipe for disaster. Not here. they say you need an exception to prove the rule, and here it is.
My first reaction was negative in the extreme. Where were the incessant beats of "Ray of Light"?; where was the beauty of "Something to Remember"?; where was the intelligence of "Bedtime Stories"?; where was the overt sexuality of "Erotica"?; where was the sheer brilliance of "The Immaculate Collection"?
Well, I listened. And then I really listened. And then I listened again... 'Music'? This album could easily be called 'Lyrics'. This is quite clearly the most personal album Madge has ever produced. A soul laid bare. For anyone who has ever loved, you can see that Madge loves Guy and she wants the world to know it. She is IN love. If love can help produce perfection, well...
Opening with the brilliant 'Music' and two following dance tracks, Madge move swiftly on to what this album is really all about - 'I Deserve It', a declaration of love, so heartbreaking it almost hurts. And when we reach 'Nobody's Perfect', I wince at the pain Our Lady must have endured to write a track of such raw emotion. I defy even the most hard-hearted not to recall a sad situation and not relive it when they listen to this.
Quite simply, if Madonna never produced another album, she could sleep safe in the knowledge that she has produced what could possibly be her highest career point. A swansong.
At 42 years of age, Madonna has proven to the world of pop and its pretenders that she really is top of the heap. She has ruled the roost for over 15 years and, without a doubt, has reaffirmed her place as the most influential, brilliant, and perfect female pop artist we have ever known.
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2 of 2 people found the following review helpful
5.0 out of 5 stars Madonna is the mother of reinvention., 21 Sep 2000
By A Customer
This review is from: Music (Audio CD)
Madonna's new album has appeared relatively soon after her significantly original "Ray of Light". Just when you thought Madonna, or rather her co-producers were all out of ingenuity, up pops Maddy with another new album.
"Music" as the album title suggests is perhaps more about the music than the lyrics. No lyrics can be found on the sleeve, perhaps emphasising the very point Madonna is making. Lyrically the album is no poetic revelation but it includes some fantastic new and modern sounds. Sounds impossible after "Ray of Light"? Don't believe it. Admittedly, "Runaway Lover" sounds much like a track that didn't quite make it on to her "Ray of Light" album along with "Impressive Instant" but "Amazing", would not sound out of place on the 60's inspired Austin Powers sound track. It has a hard funky 60's vibe which would be great to dance to.
So not very original? I hear you ask, but that would be unfair. The album is a collection of new ideas and sounds that stand out from previous releases of Madonna's. "Impressive Instant" has a really interesting sound and Madonna tells us how she likes to "singy, singy, singy, like a bird on a wingy wingy, wingy." Classic! Madonna shows us that despite all her new found maturity; she has not lost her sense of humour... I remind myself of a previous Madonna hit to parallel this humour. "Like a Virgin" springs to mind.
"I Deserve It" is a nice slow acoustic guitar ballad, which is nice to chill to but has no explicitly distinctive features. "Don't Tell Me" (...listen out for those mobile phone sounds...) is reminicent of "Secret" from the "Bedtime Stories" album. So what are we to think? The album's original but it pulls it inspiration from across Madonna's entire musical experience... with one exception. Madonna's collaboration with Mirwais for "Paradise" is a breath of fresh air. This is for me the album's standout track. We have violins, a xylophone a great funky keyboard and Madonna singing partly in French. The track is musical genius. You would have previously heard nothing like it.
Madonna addresses the issue of femininity in her track "What It Feels Like For Girl." Far away from the superficial considerations explored in previous hits like "Material World," Madonna seriously considers the penalty, consequences and forfeit of femininity in what is a light, sweet ballad. Lyrically comparable to the explicit meaning of Alanis Moresette's "Mary Jane" from the "Jagged Little Pill" album.
As I listen to the album I habitually skip past the two well-known tracks "Music" and "American Pie" because for me they lack the special ingredient that for me, is the NEW Madonna. I feel that "Music" (with a little cultural assistance from Ali G appearing in the video), was just a safe bet for a single release to launch the album. However, "American Pie" (...here come the Telly Tubbies...) is quite carelessly tagged on the end of the album after the supremely emotional "Gone". The emotional mood at this point of the album is somewhat undermined by Madonna's not unpleasant, but comic cover.
"Gone" details Madonna's extremely cathartic and relaxing epiphany that life is only a finite existence. For me this is what her new style and mood is about. This album, although still clinging on to the crazy but brilliant modern dance themes of "Ray of Light" is a maturer glimpse of Madonna's true musical agenda. At the same emotional level I would place "Nobody's Perfect" and "Paradise". For me both tracks hold great emotional significance but let's not forget the music. "Nobody's Perfect" contains the now ubiquitous but musically not dis-interesting vocoder. The use of the vocoder here is a far cry from Cher's comedy hit "Believe". No, Madonna has harnessed the vocoder to manipulate the mood of the track. An elegiac and reflective tone is explored here and again in "Paradise."
In reality the entire album is hard to review as it, to Madonna's credit, is so hard to describe. To define it, would underestimate it. Now find out for yourself.
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