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4.4 out of 5 stars
4.4 out of 5 stars
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on 24 August 2017
This is Madonna's best album. Buy it.
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on 1 April 2017
Madonna Magic.
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on 18 February 2017
Great album. And it took just ten days to get here!!! Wow! Thumbs up to Madonna and Amazon.uk !!!! 👍🏻😄
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on 24 February 2017
Perfect conditions
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on 7 January 2017
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on 19 April 2017
Great album clear sound
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on 26 February 2001
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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on 3 May 2006
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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on 4 October 2000
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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on 17 September 2000
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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