Category Archives: Madonna

It’s become almost impossible to objectively review any Madonna album at this point in time. Thirty years of an unprecedented stint in the spotlight (a light that continues to shine brightly as everyone continues to offer their take on the woman). It’s worth resurrecting one of my favorite Oscar Wilde quotes: ‘The only thing worse than being talked about is not being talked about.’ To cavort, wrestle, and entangle yourself with the fickle beast of fame takes something altogether superhuman – to win more often than not takes a miracle. The fact that the world still has an opinion on Madonna – no matter what it may be – is proof that she’s still winning.

Ageist, sexist, and below-the-belt jabs aside, the single constant that most people side-step when it comes to the woman herself is what she has always done best: music. With ‘Rebel Heart‘, the music once again almost gets lost amid the tumultuous journey to get here: early leaks and piracy, sexy photo shoots and red-carpet ass-flashes, and that dangerously epic tumble on stage. Now that the album has seen its official release, the world can hear things as Madonna originally intended.

Opening with an instant Madonna classic, ‘Living For Love’, things get off to an anthemic powerhouse start, as a gospel-tinged chorus builds to a rousing hand-clapping climax. At first I was oddly unimpressed by the song. Yeah, it was good, but was it great? It took a few listens, one magnificent video, and a pair of live performances to reveal the merit of this. Madonna knows what she’s doing. That some of us still doubt and wonder only makes her prove it, and such drama is what drives much of the album.

“Tell me I’m no good and I’ll be great,” she defiantly commands on ‘Iconic’, following up,  “Say I have to fight and I can’t wait.” With a spoken-intro by Mike Tyson and a bit by Chance the Rapper, ‘Iconic’ is a pretty pop song draped in other distractions. As on bonus tracks like ‘Autotune Baby’ there’s a gorgeous song trapped within the skittering rap and musical madness, and she’s going to make you work to find it.

For ‘Rebel Heart’ Madonna worked with everyone and their mother ~ Diplo, Avicci, Nicki Minaj, Chance the Rapper, Natalia Kills, Nas, Kanye West, Alicia Keys and even Mike Fucking Tyson ~ and it’s apparent in the sometimes-jarring stand-alone construction of the songs. While some Madonna albums (‘Ray of Light’ or ‘Confessions on a Dancefloor’) work best as a cohesive whole, others offer a smorgasbord of songs that have nothing to do with one another (‘True Blue’ and ‘Music‘). Each format has its merits and drawbacks, and ‘Rebel Heart’ is decidedly in the latter bunch. The first eight songs alone are the very definition of extreme, veering from the wild and wonderfully crass ‘Bitch I’m Madonna’ to one of the most tender songs she’s written in her career ‘Joan of Arc’. Such a roller coaster is sometimes difficult to stomach, but to her credit Madonna manages to wrap it all up into one giddy ride.

‘Devil Pray’ is a glorious folk song accented by electronic flourishes, vocal distortions, and a melody-line oddly reminiscent of ‘House of the Rising Sun’ while rumored second single ‘Ghosttown’ is the sort of power balladry that Madonna has never been given the due respect owed for such majesty. (See ‘Rain‘ or ‘Live to Tell‘ or ‘Drowned World’.) ‘Ghosttown’ is rife with apocalyptic images of the end of the world, but Madonna finds solace in holding onto another person. That sort of rumination is what lifts the album through its sagging points. Like the pair of bitch songs: ‘Unapologetic Bitch’ and ‘Bitch I’m Madonna’. The former stings an ex-lover over a reggae-electronic beat and the latter is an all-out aural assault on any naysayers. Those two cuts fall clearly on the ‘Rebel’ side of the equation, but they veer toward the grating. Madonna does rebellion more convincingly on ‘Veni, Vidi, Vici’ where she ticks off a list of all the provocative and milestone pop culture markers she’s staked over the years (name-dropping ‘Ray of Light‘, ‘Musicâ’, ‘The Power of Goodbye’, ‘Like A Prayer‘, ‘Open Your Heart’, and ‘Justify My Love’) and on challenging tracks like ‘Illuminati’ where she espouses the “all-seeing eye” and shoots down conspiracy theories with commanding authority.

Madonna’s own hurt and vulnerability form the crux of what makes her so lovable in spite of her self-obsessed tendencies. Scars form a metaphor for a number of cuts here: “We made it through the fire, Scarred and we’re bruised but our hearts will guide us,” she sings on ‘Hold Tight’, while ‘Beautiful Scars’ expounds upon its titular theme atop a percolating modern-disco backing track. After everything she’s been through (and put herself through) a few battle wounds are to be expected. For the woman who once showed off her naked body in ‘Sex’, she’s been largely uncomfortable in her skin – no one who shape-shifts in such chameleon-like ways could be entirely happy with herself. Madonna works that out through the music here.

One of the strongest cuts on the album, ‘Inside Out’ finds her seeking a deeper connection: “I wanna know what you’re all about, You’re beautiful when you’re broken down, Let your walls crumble to the ground… Every scar that you try to hide, all the dark corners of your mind, Show me yours and I’ll show you mine.” It also boasts the best bridge Madonna has written in years ~ big, beautiful, and soaring: “Let’s cross the line so far we won’t come back, Can’t read your mind, I shouldn’t have to ask, Cynical smile, Time to take off your mask, I’m on your side so let me love you, let me love you.”

Madonna has said that she wanted to focus on solid song-writing this time around, and she’s largely succeeded, even if you have to hunt to find some of them. (Buried gems lie in hidden wait behind the distractions constructed around ‘Illuminati’, ‘Veni Vidi Vici’ and ‘Iconic’.) Other songs are more readily accessible. ‘Heartbreak City’ is emotionally haunting, chronicling the dark ending of a relationship, as the steady drum march drones toward its inevitable ending.

Percussion plays a main role on this album, driving in some songs, dropping out in the middle of others, and it comes in all forms. From the natural hand-clapping of ‘Body Shop’ to the thundering beats of ‘Hold Tight’ to the racing programmed power of ‘Graffiti Heart’ it’s always exhilarating. Remember, Madonna got her start playing the drums, and the beat has always been her most powerful stock in trade. Even when something starts out as quietly as ‘Wash All Over Me’ the percussive march of time arrives to obliterate: “Torn between the impulse to stay, Or running away from all this madness. Who am I to decide what should be done? If this is the end, then let it come, let it come, let it rain, rain all over me.”

In the end, Madonna is at her best when stripped down and working a pop song within its basic framework. The lush orchestral grandeur of ‘Messiah’ and the gorgeous melody of ‘Joan of Arc’ find her at her most vulnerable (“I can’t be a superhero right now, Even hearts made out of steel can break down”) but the music is so rich the introspective lyrics are buoyed by her delicious delivery.

Title track ‘Rebel Heart’ provides the emotional apex and namesake centerpiece of the beautifully unwieldy collection, finding Madonna at a certain peace: “I’ve spent some time as a narcissist, Hearing the others say, ‘Look at you, look at you’ Trying to be so provocative, I said, “Oh yeah, that was me,” All the things I did just to be seen.”

Three decades into the fascinating career we’ve had the privilege to watch unfold before our eyes, she’s still finding new ways to surprise and rebel, and it’s still the best show in the business. As the brilliant ‘Graffiti Heart’ reminds us, Madonna played with Jean-Michel Basquiat and Keith Haring in the 80’s, and the artistic scene of New York City that was so fresh and vibrant and raw is something that Madonna, even in all her commercial success and polished personae, has kept as key to her artistic merit. Now she’s inviting the rest of us to show her our graffiti hearts, to reveal our scars, to confess and to be ourselves. Throughout all the guises she adopts in this latest romp ~ a rebel heart, unapologetic bitch, martyr, lover, sinner, and queen, there’s one thing she can’t help but be: Madonna.

Like its various versions (Standard, Deluxe, Super Deluxe) ‘Rebel Heart’ is a fragmented affair ~ a fascinating patchwork that almost becomes a rich tapestry, but even when it’s a mess, it’s a gorgeous mess (witness the sonic wonder of ‘Holy Water’ or the scattered multiple-personalities of ‘Iconic’). In the end, Madonna reveals and revels in the rebellion of her heart, and as she continues to forge new ground in the way a female artist is perceived and behaves, she proves to be as relevant as she was thirty years ago.

On this date way back in 1998 Madonna released what remains her best album to date: ‘Ray of Light.’ It’s my personal favorite as well, thanks to the time in my life when it came out, in addition to its own musical merit. ‘Light’ remade Madonna into the critically-acclaimed artist she has remained through this present day (continuing with next week’s release of ‘Rebel Heart.’)

Whenever winter starts to crumble, when spring is in the night air, I’ll play this album start to finish, and go on the emotional roller-coaster that was 1998 all over again. It’s Madonna’s most fully-realized album, a soundscape held together by William Orbit’s production, grounded in the warmth and resonance of Madonna’s voice, and lifted by the higher concerns of our place in the universe. It’s also a marker of my youth, of a time when I was searching for love, stumbling through my 20’s, and wondering whether I’d always be alone. When music comes out at such personal cross-roads, it becomes part of your soul. That’s what ‘Ray of Light’ is for me, and if you ever want to get closer to me, listen to that work and we’ll talk.

The last few videos Madonna has made have largely been, gasp, lackluster – and for the woman who practically invented the music video, this was simply unacceptable. Don’t get me wrong, fluffy escapist trifles like ‘Turn Up the Radio‘ and ‘Give Me All Your Luvin‘ provided passing interest, and were devoured by a Madonna-hungry public because of the piss-poor promotional efforts for her last record, MDNA, but they paled in comparison to former glories like ‘Like A Prayer‘ or ‘Bad Girl.’

Her latest video for ‘Living For Love’ doesn’t quite return her to the apex of video artistry, but it comes damn close, and carries with it enough powerful imagery to turn a relatively standard song into something more meaningful, something more galvanizing, something more, well, Madonna. As noted, I found the ‘Living For Love’ song nice enough, but wasn’t convinced it was lead-off single material. Yes, it brought her back to those 90’s-nostalgic house beats and piano chords, and the injection of gospel elements lifted it to a higher ground, but it still felt a bit like a filler track, a throw-away song that could be taken away without leaving a hole in my heart. The video changes things a bit, more succinctly bringing the song into focus as a self-empowerment anthem, as Madonna vanquishes a circle of encroaching minotaurs like so many fallen chess pieces.

As someone who’s been under his fair share of attacks, both deserved and unfounded, I like the metaphors and the dazzling imagery. Most of all, I like the classic Madonna theme of exorcising the ghosts of those who have wronged her in such a cathartic and spellbinding way. We go to battle with our demons every day, be they family or foe (or any combination of the two), ex-lovers or longstanding-obsessions, former flames or future fucks – but rather than indulging in the bitter she exults in the sweet, rising above and leaving the past behind. It’s what Madonna has always done best: never looked back. There’s a cost to it, but you’re not about to see her emotional bank account.

The video is notable for the impossible way it manages to reinvent Madonna for the bazillionth time, repositioning her as toreador, and showing off several camera moves and angles and dance moves that she’s never tried out before – that in itself is a pretty substantial accomplishment for a woman who’s done practically everything on video by this point (witness the incredible fall and rise close-up that begins at 0:41 and the stunning jump at 1:48.)

Most thrilling for those of us die-hard fans who notice every subtle nuance, intended or not, are the references that Madonna makes to her own body of work. The matador outfit brings back the days of ‘You Can Dance‘, and the bolero might even have been reclaimed from 1987 itself. She steps into the male bull-fighter role she so elegantly paired off with in ‘Take A Bow’ and ‘You’ll See‘ – and executes a snippet of the ‘Papa Don’t Preach‘ strut that originally ended with the first sanctioned peek-a-boo of nipple back in 1986.

Madonna’s come a long way since that epochal decade in which she rose to the pinnacle of the pop heap. She still hovers in that rarefied air, and really, no one else can quite touch her when it comes to history and legacy and modern-day currency. If she isn’t as pervasive as she once was, she still holds incredible sway and power, and the readily-admitted worship of almost every current pop star, and quite a few who have come and gone over the incredible ongoing span of her career.

“Man is the cruelest animal. At tragedies, bullfights, and crucifixions he has so far felt best on earth; and when he invented hell for himself, behold, that was his very heaven.” ― Friedrich Nietzsche

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

Music can be such a revelation
Dancing around you feel the sweet sensation
We might be lovers if the rhythm’s right
I hope this feeling never ends tonight…

It was a hot and happening Saturday night in my bedroom. The girls from ‘The Facts of Life’ had just departed, leaving me alone in the bright lights of the neon-clad 80’s, and we were headed into the lateness of the nine o’clock hour. Fly 92 was probably playing its Saturday night dance jam, but I had a cassette tape of non-stop Madonna mixes, and I didn’t need Shadoe Stevens clogging up my head with his smoother-than-Black-Velvet voice.

While it was originally released in 1985, I had my head in the sand at that time, as I don’t quite recall the initial chart-storming that Madonna made with ‘Into the Groove’ – instead, my memory is of the re-release it got on 1987’s ‘You Can Dance’ remix EP. On those Saturday nights when I was freed from the chains of school, I found safety and salvation in the meanderings of my bedroom. A childhood bedroom holds wonders that no parent or guardian could ever fully understand.

Yet as much as I wanted safety and security, I yearned for escape. Even then I knew I had to create my own world and forge my own way because the things I thought were secure were about to come tumbling down. And the only constant in any gay boy’s world at the time was Madonna. The rest of the world, and sometimes our own families, wanted to quiet us with shame and silence, but Madonna embraced all – gay, straight, black, white, Catholic, Jewish, Muslim – it did not matter to the Material Girl. Everyone was invited to her party ~ hell, that’s how you made the money. Not by excluding or silencing, but by celebrating. We didn’t know how deep she went then, we only cared that she knew her way around a proper pop song. She was always one step ahead of the rest of us.

And so, on Saturday nights I’d lock the door where no one else could see, and dance my worries away. Escapism was the only way out. They could belt me, they could hate me, they could shame me, but they couldn’t take away what was inside my head. They couldn’t take away what was in my heart. That’s where the groove was. That’s where freedom would be found.

Only when I’m dancing can I feel this free
At night I lock the doors, where no one else can see
I’m tired of dancing here all by myself 
Tonight I wanna dance with someone else…

Regarding ‘Into the Groove’ – The Song – I actually never loved it. It’s sacrilege to say so to certain Madonna fans, but I just never connected to this one, which is odd because so many consider it a seminal piece of the Madonna mythology. The most fun I had with it was her Reinvention incarnation with bagpipes and drums. I was touched that she was making such an overt nod to her then-husband Guy Ritchie. Love makes us do odd things – and it’s always touching to see that. I guess I just needed that incongruous Scottish mash-up – kilts solve a multitude of problems. (Oh, and put this into your blasphemous files: I’ve never seen ‘Desperately Seeking Susan’ in its entirety. Yeah, I know. Kenneth in the 212 can shoot me now.)

SONG #110 – ‘Into the Groove’ ~ 1985/1987

When an album’s worth of Madonna demos leaked last week, all eyes were on the woman herself as to how she would handle the mess. (I’m sure someone got the worst rim job of their life if she found the culprit behind the leak.) Some have said it’s all a marketing ploy, but I’m not sure – this was just a little too messy to be more than unintentional. Regardless, the solution that Madonna shrewdly took was to offer six of the finished songs on iTunes, and the EP immediately went to Number One around the world.

The general consensus is that the new music is Madonna’s best in at least a decade. (Personally, I’m still entranced by many of the ‘MDNA’ cuts, but a lot of fans gave up after ‘Hard Candy‘.) Of the new songs, planned single ‘Living For Love’ is getting a lot of talk, but I’m less impressed by that than the shimmering brilliance of ‘Ghosttown’ and the sing-and-clap-along genius of ‘Devil Pray.’

More interesting and compelling yet may be tracks like ‘Illuminati’ and ‘Unapologetic Bitch.’ Whether or not she intended to make it an early Christmas, Madonna’s given us a glorious glimpse of the new sonic territory she’s staking out for a triumphant return to the pop fold next year. As always I’m chomping at the bit to hear more.

“When it all falls, when it all falls down, We’ll be two souls in a ghost town…”