AL-reviews & comments
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AL-reviews & comments
From PLAYLOUDER
MADONNA ALBUM DETAILS
Get track-by-track low down here FIRST!
28.mar.03
Oh, the glamour... Yes, last night, folks, PlayLouder spent a couple of hours at a top secret do somewhere in west London listening to *gigantic fanfare* 'American Life'! And not just the single either - we've heard the WHOLE ALBUM! Still, it wouldn't be right not to share our Madonna joy, so let's take it one track at a time, shall we...?
It kicks off with the title track ('American Life') and new (as of April the 14th, one week before the album itself) single, which you've probably heard by now, but, in case you haven't, the verses are fairly electroclashy and sound huge on, er, huge speakers, while the chorus is all a bit Cher, and then there's that rap at the end, which, given that Madge has recorded some of the best talky stuff evah! in the past ('Vogue', 'Justify My Love' etc), is a little perplexing to say the least. Guaranteed number one, mind, but there's better to come.
Like 'Hollywood', f'r'instance, which, like 'American Life' itself, seems awfully disenchanted with this fame thing and, indeed, the culture of the so-called coalition countries generally. Coo! Lovely guitar intro before it sashays once more unto the dancefloor, and, while the beats are bumpy enough, you can bet some astute remixing'll bestow them with even more shock and awe. Sounds like a single to these ears, actually, but then again we thought that about Holly Valance's 'Whoop' and Dannii Minogue''s 'Vibe On', so what do we know about Warners A&R policy?
'I'm So Stupid''s up next, and it's easily one of the best things here, taking Madonna off in an entirely new direction. Or, to be more precise, in a New Order direction, all minor melancholy, rattly bedding and soaring singing. Absolutely lovely, and quite touching with it, as indeed is 'Love Profusion', one of the album's starker moments, on which, for the fourth track in a row, the Ritchie vocals get treated, which is all well and good, but, given the fine voice she proves herself to be in in the elpee's later stages, is kind of a shame too.
And there's more trickery up the immaculate sleeve of 'Nobody Knows Me', probably the standout track, blending as it does 'Trans-Europe Express' keyboards with thumping acid dynamics to the same ear-boggling effect as that first listen to 'Ray Of Light'. Fantastic! So far, so acely techno, eh? But, of course, it's been co-produced by the mighty Mirwais again, and we'd swear Stuart "Jacques Lu Cont" Price still has his mucky paws in somewhere...
'Nothing Fails' kicks off the more-vintage-Madonna section that was a feature of 'Music' as well, and it does so very elegantly indeed, swelling sweetly until a choir kicks in and the whole affair gets very 'Like A Prayer' indeed. Drama! The mid-point trilogy continues with 'Intervention', which is essentially a straightforward ballad done over some wonderful finger-pickin' good acoustic guitar, and concludes with 'X-Static Process', which, to be honest, we were a bit disappointed by since, with a title like that, we were expecting a Missy-ish glowstick bonanza.
...which is what we actually get with 'Mother And Father', a monumental pick-up in pace, slightly recalling 'Runaway Lover' and running for its ravey life. It's intriguingly upbeat about family life too, which Madge-o-philes might find intriguing in the light of such previous ruminations as 'Mer Girl' and 'Oh Father', and, after tracks 1 and 5, it's the album's other Blistering Club Moment. It leads into 'Die Another Day', which, thankfully, makes rather more sense here than it did as a single, particularly during its bursts of classy John Barry pretension, that set the stage perfectly for a grand finale.
And, indeed, what a grand finale 'Easy Ride' is. Straining strings, measured calls of knowing defiance, yet more rhythmic gamery... it's a track that dares to have it all and damns the consequences. How very Madonna, don'tcha think? Start saving for the 21st then. 'Erotica' champions, of which there are fairly fairly many, you get to hear the f-word without the bottle-it bleeping of 'Bye Bye Baby'. 'Ray Of Light' afficionados, you get the satisfaction of her Madgesty staying on top of the fringe-pilfering game. And 'Like A Prayer' lovers, this is another burst of emotional gobbetry, with a religious crisis being alluded to in FOUR separate tracks, and plenty more suggesting that, after the glee fiesta of the last album, perhaps Mrs R isn't wholly happy these days. She should be, though; twenty years on from the enthusiastic thrill of 'Everybody', she's still making music that'll make the people come together...
Iain Moffat was in 7th Heaven - TALK!
MADONNA ALBUM DETAILS
Get track-by-track low down here FIRST!
28.mar.03
Oh, the glamour... Yes, last night, folks, PlayLouder spent a couple of hours at a top secret do somewhere in west London listening to *gigantic fanfare* 'American Life'! And not just the single either - we've heard the WHOLE ALBUM! Still, it wouldn't be right not to share our Madonna joy, so let's take it one track at a time, shall we...?
It kicks off with the title track ('American Life') and new (as of April the 14th, one week before the album itself) single, which you've probably heard by now, but, in case you haven't, the verses are fairly electroclashy and sound huge on, er, huge speakers, while the chorus is all a bit Cher, and then there's that rap at the end, which, given that Madge has recorded some of the best talky stuff evah! in the past ('Vogue', 'Justify My Love' etc), is a little perplexing to say the least. Guaranteed number one, mind, but there's better to come.
Like 'Hollywood', f'r'instance, which, like 'American Life' itself, seems awfully disenchanted with this fame thing and, indeed, the culture of the so-called coalition countries generally. Coo! Lovely guitar intro before it sashays once more unto the dancefloor, and, while the beats are bumpy enough, you can bet some astute remixing'll bestow them with even more shock and awe. Sounds like a single to these ears, actually, but then again we thought that about Holly Valance's 'Whoop' and Dannii Minogue''s 'Vibe On', so what do we know about Warners A&R policy?
'I'm So Stupid''s up next, and it's easily one of the best things here, taking Madonna off in an entirely new direction. Or, to be more precise, in a New Order direction, all minor melancholy, rattly bedding and soaring singing. Absolutely lovely, and quite touching with it, as indeed is 'Love Profusion', one of the album's starker moments, on which, for the fourth track in a row, the Ritchie vocals get treated, which is all well and good, but, given the fine voice she proves herself to be in in the elpee's later stages, is kind of a shame too.
And there's more trickery up the immaculate sleeve of 'Nobody Knows Me', probably the standout track, blending as it does 'Trans-Europe Express' keyboards with thumping acid dynamics to the same ear-boggling effect as that first listen to 'Ray Of Light'. Fantastic! So far, so acely techno, eh? But, of course, it's been co-produced by the mighty Mirwais again, and we'd swear Stuart "Jacques Lu Cont" Price still has his mucky paws in somewhere...
'Nothing Fails' kicks off the more-vintage-Madonna section that was a feature of 'Music' as well, and it does so very elegantly indeed, swelling sweetly until a choir kicks in and the whole affair gets very 'Like A Prayer' indeed. Drama! The mid-point trilogy continues with 'Intervention', which is essentially a straightforward ballad done over some wonderful finger-pickin' good acoustic guitar, and concludes with 'X-Static Process', which, to be honest, we were a bit disappointed by since, with a title like that, we were expecting a Missy-ish glowstick bonanza.
...which is what we actually get with 'Mother And Father', a monumental pick-up in pace, slightly recalling 'Runaway Lover' and running for its ravey life. It's intriguingly upbeat about family life too, which Madge-o-philes might find intriguing in the light of such previous ruminations as 'Mer Girl' and 'Oh Father', and, after tracks 1 and 5, it's the album's other Blistering Club Moment. It leads into 'Die Another Day', which, thankfully, makes rather more sense here than it did as a single, particularly during its bursts of classy John Barry pretension, that set the stage perfectly for a grand finale.
And, indeed, what a grand finale 'Easy Ride' is. Straining strings, measured calls of knowing defiance, yet more rhythmic gamery... it's a track that dares to have it all and damns the consequences. How very Madonna, don'tcha think? Start saving for the 21st then. 'Erotica' champions, of which there are fairly fairly many, you get to hear the f-word without the bottle-it bleeping of 'Bye Bye Baby'. 'Ray Of Light' afficionados, you get the satisfaction of her Madgesty staying on top of the fringe-pilfering game. And 'Like A Prayer' lovers, this is another burst of emotional gobbetry, with a religious crisis being alluded to in FOUR separate tracks, and plenty more suggesting that, after the glee fiesta of the last album, perhaps Mrs R isn't wholly happy these days. She should be, though; twenty years on from the enthusiastic thrill of 'Everybody', she's still making music that'll make the people come together...
Iain Moffat was in 7th Heaven - TALK!
Редактирано от Bad_Bobby на
From SayHey:
From SayHey:
i went to a listening party at the 4 Seasons Hotel in LA yesterday to hear the AL album in full. a friend of mine is a journalist and snuck me along, and as they were not checking any names at the door i just went right in and sat and listened to it. they passed out lyric sheets, but collected them at the completion of the album.
when i first heard the single for AL, i was HUGELY disappointed. now though, in hearing it a few more times and in the context of the record, i like it a lot more. it makes sense thematically, and when heard on a proper stereo (vs a computer) the bass kicks you in the head. its a good track, but by far the least interesting on the album.
HOLLYWOOD is a number 1 single. it is madonnas top down, convertible, driving in the sun song. its her "our lips are sealed"... lots of pretty, jangly guitars and electro beats. mid tempo, and very sing songy. excellent.
IM SO STUPID lyrics about wanting to be "like all the pretty people" and "thats why i'm so stupid" and she sings the phrase "stupider than stupid". its fast and dancey, and fun.
LOVE PERFUSION dont really remember this one. guess that says something right there...
NOBODY KNOWS ME is a really pretty ballad, with lots of spare guitars and beats. simple, straightforward. think GONE from MUSIC.
NOTHING FAILS is the highlight of the record. it is most similar to the song LIKE A PRAYER. when the chorus comes in at the end, with the choir, it made a bunch of us in the room tear up. it is absolutely the best thing she has done in 10 years, in my opinion. thunderous and gorgeous.
INTERVENTION i barely remember because i whispered through the whole track about the previous one. sorry!
X STATIC PROCESS is very rocky and ballad like. almost like a musical number, like out of Jesus Christ Superstar, but not as silly. its very dramatic and honest, and obviously about falling in love with guy. she says something about "forgot i was the best too" or something... its really sweet.
MOTHER AND FATHER has very sad lyrics, that go "once i had a mother and she died when i was five. and i cried and cried and cried." its devastating lyrically, but its not slow. its a fast song, and at the end she repeats over and over "ive gotta let it go" or something like that... its excellent.
DIE ANOTHER DAY we all know, and it works even better in the context of this record. makes you orget about the silly bond shit right away.
EASY RIDE closes the album and talks about how she wants to "enjoy the good life but she doesnt want an easy ride". mid tempo, and pretty.
overall, in MY opinion, after only one listening, this is the perfect merging of RAY OF LIGHT and MUSIC. the style and fluidity and solidarity of MUSIC, with the song styling of RAY OF LIGHT. i personally though MUSIC was a better album, but RAY OF LIGHT had better SONGS. this album combines the two to make, what i think...after only one listening...is her BEST album ever.
i went to a listening party at the 4 Seasons Hotel in LA yesterday to hear the AL album in full. a friend of mine is a journalist and snuck me along, and as they were not checking any names at the door i just went right in and sat and listened to it. they passed out lyric sheets, but collected them at the completion of the album.
when i first heard the single for AL, i was HUGELY disappointed. now though, in hearing it a few more times and in the context of the record, i like it a lot more. it makes sense thematically, and when heard on a proper stereo (vs a computer) the bass kicks you in the head. its a good track, but by far the least interesting on the album.
HOLLYWOOD is a number 1 single. it is madonnas top down, convertible, driving in the sun song. its her "our lips are sealed"... lots of pretty, jangly guitars and electro beats. mid tempo, and very sing songy. excellent.
IM SO STUPID lyrics about wanting to be "like all the pretty people" and "thats why i'm so stupid" and she sings the phrase "stupider than stupid". its fast and dancey, and fun.
LOVE PERFUSION dont really remember this one. guess that says something right there...
NOBODY KNOWS ME is a really pretty ballad, with lots of spare guitars and beats. simple, straightforward. think GONE from MUSIC.
NOTHING FAILS is the highlight of the record. it is most similar to the song LIKE A PRAYER. when the chorus comes in at the end, with the choir, it made a bunch of us in the room tear up. it is absolutely the best thing she has done in 10 years, in my opinion. thunderous and gorgeous.
INTERVENTION i barely remember because i whispered through the whole track about the previous one. sorry!
X STATIC PROCESS is very rocky and ballad like. almost like a musical number, like out of Jesus Christ Superstar, but not as silly. its very dramatic and honest, and obviously about falling in love with guy. she says something about "forgot i was the best too" or something... its really sweet.
MOTHER AND FATHER has very sad lyrics, that go "once i had a mother and she died when i was five. and i cried and cried and cried." its devastating lyrically, but its not slow. its a fast song, and at the end she repeats over and over "ive gotta let it go" or something like that... its excellent.
DIE ANOTHER DAY we all know, and it works even better in the context of this record. makes you orget about the silly bond shit right away.
EASY RIDE closes the album and talks about how she wants to "enjoy the good life but she doesnt want an easy ride". mid tempo, and pretty.
overall, in MY opinion, after only one listening, this is the perfect merging of RAY OF LIGHT and MUSIC. the style and fluidity and solidarity of MUSIC, with the song styling of RAY OF LIGHT. i personally though MUSIC was a better album, but RAY OF LIGHT had better SONGS. this album combines the two to make, what i think...after only one listening...is her BEST album ever.
ALBUM REVIEW from listening party in Paris.
ALBUM REVIEW from listening party in Paris.
The listening party was held in a strip joint called Single Fellows, in a somehow posh neighbourhood in Paris today [March 28]. Here's my quick attempt for a track-by-track review - but please keep in mind that it's very difficult to have a clear and firm opinion of such songs just after one or two listens in a night club. And also, please remember - this is a purely subjective review - so don't flame me for not being in awe on each and every track. I will not comment on the lyrics as they will all be posted online today. This being said, let's start.
# 1/ AMERICAN LIFE - this one we know, and we don't all agree on. Nothing new here.
# 2/ HOLLYWOOD - Not the "in-your-face" hit everyone expected. Kind of like what slightly-faster paced "SWIM" would have sounded like with the Mirwais treatment. A happy, careless song.
# 3/ I'M SO STUPID - Good track. Uses a sequenced rhythm similar to that of Candy Perfume Girl.
# 4/ LOVE PROFUSION - Sounded blah. Another happy, light and dancey track. It sort of sledded on everyone apparently. Maybe a grower.
# 5/ NOBODY KNOWS ME - Stop it right there!! This may be one of the best track of Madonna's whole career, pure and simple. The Mirwais sound at its best, ever. The auto-tune (often mistaken for a vocorder) is everywhere. It’s everything American Life failed to be. The rhythm and vocals are just insane. It's an electronica chaos that results into a f-ing awesome track. A true filler for the dance floors - this will hopefully be released as a single, it is destined to become one of Madonna's greatest hit!
# 6 NOTHING FAILS - Starts like a campfire song. Think 'Gone'. Nothing could be further from Like a Prayer, unlike everyone thought. That is, until the choir kicks in (or should I say "flies up") near the end and replies "I’m not Religious" to Madonna. This was a heart-stopper, and a loud one!!
# 7/ INTERVENTION - I'll skip this one - I was talking with someone. Sounded like a B-side.
# 8/ X-STATIC PROCESS - Unlike everyone assumed, this is a rather slow and intimate song. Madonna's voice is pure and detached. Think "I Deserve It" for its quiet, reflective feel.
# 9/ MOTHER & FATHER - Here again, everyone was wrong. This is not "Oh Father" or "Promise To try": Despite the sad & personal lyrics, this is a happy and dancey song. Think of Mirwais' 'Naive Song' (I believe it even uses a similar sample) or 'Impressive Instant'. Madonna even does two little "raps" (but not like in A.L., calmer ones). One of the 2 best tracks on the album - I simply ADORED this one
# 10/ DIE ANOTHER DAY - This we know already, but like someone mentioned, it finally does make sense here. Note: Mother And Father actually fades into Die Another Day (all the other songs on the album are separated). This fade-in is very well thought and gives new life to the song.
#11/ EASY RIDE - Touching, yet slightly boring. It sounds redundant and too similar to Gone to close the album. The intro (violins) sounds very similar to the bridge in Paradise. The acoustic guitar kicks in, soon joined by electro beats we've heard a thousand times. The final is a beautiful violin part, sequenced like in Die Another Day.
PS - After hearing the full album, it strikes me how inappropriate the album artwork is. Something doesn't fit.
All in all - a good album. Unlike MUSIC, this one is coherent. Mirwais delivers new tricks and seems to have mastered his art completely. The production is phenomenal on each and every track. Madonna's song writing has never been this good - her songs have now exceptional structures. And her voice is simply flawless. I regret that some of the songs sound so much alike - but that's what a coherent record does. And regarding M&F and N.K.M. : these tracks may be HUGE in Madonna's career. They make up for the least good songs surrounding them.
Better than MUSIC, probably not as ground-breaking as ROL was: This is good stuff. I certainly don’t see any other artist in the mainstream delivering an album of this global quality.
The listening party was held in a strip joint called Single Fellows, in a somehow posh neighbourhood in Paris today [March 28]. Here's my quick attempt for a track-by-track review - but please keep in mind that it's very difficult to have a clear and firm opinion of such songs just after one or two listens in a night club. And also, please remember - this is a purely subjective review - so don't flame me for not being in awe on each and every track. I will not comment on the lyrics as they will all be posted online today. This being said, let's start.
# 1/ AMERICAN LIFE - this one we know, and we don't all agree on. Nothing new here.
# 2/ HOLLYWOOD - Not the "in-your-face" hit everyone expected. Kind of like what slightly-faster paced "SWIM" would have sounded like with the Mirwais treatment. A happy, careless song.
# 3/ I'M SO STUPID - Good track. Uses a sequenced rhythm similar to that of Candy Perfume Girl.
# 4/ LOVE PROFUSION - Sounded blah. Another happy, light and dancey track. It sort of sledded on everyone apparently. Maybe a grower.
# 5/ NOBODY KNOWS ME - Stop it right there!! This may be one of the best track of Madonna's whole career, pure and simple. The Mirwais sound at its best, ever. The auto-tune (often mistaken for a vocorder) is everywhere. It’s everything American Life failed to be. The rhythm and vocals are just insane. It's an electronica chaos that results into a f-ing awesome track. A true filler for the dance floors - this will hopefully be released as a single, it is destined to become one of Madonna's greatest hit!
# 6 NOTHING FAILS - Starts like a campfire song. Think 'Gone'. Nothing could be further from Like a Prayer, unlike everyone thought. That is, until the choir kicks in (or should I say "flies up") near the end and replies "I’m not Religious" to Madonna. This was a heart-stopper, and a loud one!!
# 7/ INTERVENTION - I'll skip this one - I was talking with someone. Sounded like a B-side.
# 8/ X-STATIC PROCESS - Unlike everyone assumed, this is a rather slow and intimate song. Madonna's voice is pure and detached. Think "I Deserve It" for its quiet, reflective feel.
# 9/ MOTHER & FATHER - Here again, everyone was wrong. This is not "Oh Father" or "Promise To try": Despite the sad & personal lyrics, this is a happy and dancey song. Think of Mirwais' 'Naive Song' (I believe it even uses a similar sample) or 'Impressive Instant'. Madonna even does two little "raps" (but not like in A.L., calmer ones). One of the 2 best tracks on the album - I simply ADORED this one
# 10/ DIE ANOTHER DAY - This we know already, but like someone mentioned, it finally does make sense here. Note: Mother And Father actually fades into Die Another Day (all the other songs on the album are separated). This fade-in is very well thought and gives new life to the song.
#11/ EASY RIDE - Touching, yet slightly boring. It sounds redundant and too similar to Gone to close the album. The intro (violins) sounds very similar to the bridge in Paradise. The acoustic guitar kicks in, soon joined by electro beats we've heard a thousand times. The final is a beautiful violin part, sequenced like in Die Another Day.
PS - After hearing the full album, it strikes me how inappropriate the album artwork is. Something doesn't fit.
All in all - a good album. Unlike MUSIC, this one is coherent. Mirwais delivers new tricks and seems to have mastered his art completely. The production is phenomenal on each and every track. Madonna's song writing has never been this good - her songs have now exceptional structures. And her voice is simply flawless. I regret that some of the songs sound so much alike - but that's what a coherent record does. And regarding M&F and N.K.M. : these tracks may be HUGE in Madonna's career. They make up for the least good songs surrounding them.
Better than MUSIC, probably not as ground-breaking as ROL was: This is good stuff. I certainly don’t see any other artist in the mainstream delivering an album of this global quality.
Madonna hits out at 'homogenised' pop
Madonna has strongly criticised manufactured pop acts and the stream of TV talent searches.
She said the pop world had become "homogenised" and accused record chiefs of working out how wannabes can be marketed rather than finding true talents.
In an interview with the May edition of music magazine Q, Madonna said she could not understand the direction the music world was taking.
In the UK acts spawned by talent shows Pop Idol and the two Popstars series have enjoyed a number of huge successes.
And in the US, where Madonna is currently based although she still has a home in the UK, American Idol 2 is again enjoying a large audience.
Madonna said: "I arrived at a different time - before the time of Svengalis holding talent searches; finding a girl that looks right and can carry a tune and then figuring a way to market her."
Referring to Pink, Christina Aguilera and Britney Spears, she said: "I'm not saying those girls can't grow into something, but I really don't know where we're going with the world."
Madonna, 44, was also critical of young hopefuls' craving for celebrity for its own sake, rather than finding acclaim for their abilities.
"It's the allure of this beautiful life. Drive this car, you're gonna be popular," she said.
"It's a very powerful illusion and people are caught up in it, including myself - or I was."
She said the pop world had become "homogenised" and accused record chiefs of working out how wannabes can be marketed rather than finding true talents.
In an interview with the May edition of music magazine Q, Madonna said she could not understand the direction the music world was taking.
In the UK acts spawned by talent shows Pop Idol and the two Popstars series have enjoyed a number of huge successes.
And in the US, where Madonna is currently based although she still has a home in the UK, American Idol 2 is again enjoying a large audience.
Madonna said: "I arrived at a different time - before the time of Svengalis holding talent searches; finding a girl that looks right and can carry a tune and then figuring a way to market her."
Referring to Pink, Christina Aguilera and Britney Spears, she said: "I'm not saying those girls can't grow into something, but I really don't know where we're going with the world."
Madonna, 44, was also critical of young hopefuls' craving for celebrity for its own sake, rather than finding acclaim for their abilities.
"It's the allure of this beautiful life. Drive this car, you're gonna be popular," she said.
"It's a very powerful illusion and people are caught up in it, including myself - or I was."
шведско ревю- песен по песен
"American Life": A minimalistisk electrotune with modern hip hop
sound and rap. Not her best, but a safe single.
"Hollywood": Right as elecro as "AL" but with more deeper,
funkier sound than "AL". Critical about life in Hollywood.
Another singlecandidate.
"I'm So Stupid": Calmer, but not a ballad. M is singing more, but the
electronic sound is harder and deeper when she sings about regreting
her own greed.
"Love Profusion": More slower and a very melodious love song, with some
happy rhytems from her own musical history.
"Nobody Knows Me": The song with the purest electronic so far.
Mirwais is free and plays with the techno elements.
"Nothing Fails": Ballad with acustic guitars and a gospelchoir.
A pure lovesong, where she sings great. A typical third choich
for a single.
"Intervention": A slow, traditional poptune, that emphasize that she has
had much to say. Not only produced by Mirwais. A realy happy poptune.
"X-Static Process": Alone with song and guitars, is it not as static as the
tittle promises. A tune about the hard selfishness in love.
"Mother and Father": The duo drags up the tempo again, in a tune with some
Prince like guitars and rhytems, and a extreme catchy chourse.
Clear single choich.
"Die Another Day": The allready known and ruff bond track is also on the album.
"Easy Ride": The concluded ballad. If someone is dissapointed, they should know
that she just want to be with her kids peacefully.
sound and rap. Not her best, but a safe single.
"Hollywood": Right as elecro as "AL" but with more deeper,
funkier sound than "AL". Critical about life in Hollywood.
Another singlecandidate.
"I'm So Stupid": Calmer, but not a ballad. M is singing more, but the
electronic sound is harder and deeper when she sings about regreting
her own greed.
"Love Profusion": More slower and a very melodious love song, with some
happy rhytems from her own musical history.
"Nobody Knows Me": The song with the purest electronic so far.
Mirwais is free and plays with the techno elements.
"Nothing Fails": Ballad with acustic guitars and a gospelchoir.
A pure lovesong, where she sings great. A typical third choich
for a single.
"Intervention": A slow, traditional poptune, that emphasize that she has
had much to say. Not only produced by Mirwais. A realy happy poptune.
"X-Static Process": Alone with song and guitars, is it not as static as the
tittle promises. A tune about the hard selfishness in love.
"Mother and Father": The duo drags up the tempo again, in a tune with some
Prince like guitars and rhytems, and a extreme catchy chourse.
Clear single choich.
"Die Another Day": The allready known and ruff bond track is also on the album.
"Easy Ride": The concluded ballad. If someone is dissapointed, they should know
that she just want to be with her kids peacefully.
Сингъла на American Life- негативно ревю- Билборд
MADONNA
Producer(s): Madonna, Mirwais
Writer(s): Madonna, M. Ahmadza
Publisher(s): WB Music/Webo Girl/ 1000 Lights, ASCAP Label/Catalog Number: Maverick Records (download)
Source: Billboard Magazine
Originally Reviewed: April 12, 2003
Madonna rapping? She really shouldn't have. Really. But that's just one of the missteps sabotaging new single "American Life," a blurry snarl of style and composition that sounds more like a disjointed medley than a song. Enough already with substituting electronic blips for melody; it may have worked well on "Music" and sufficed on "Die Another Day," but the novelty effect is well-worn and just plain grating on this effort. To further the sting, the space-age noises are followed by a jarringly disparate fanning of acoustic guitars, and then what appears to be two choruses. Huh? But watch out, next is the rap - soulless and in your face, it is positively atrocious. Our beloved Madonna is certainly the industry's most-accomplished musical chameleon, and previous evolutionary inquisitions have changed the face of pop music to great effect. Not this time. This "American Life" should be hastily deported. -CT
Producer(s): Madonna, Mirwais
Writer(s): Madonna, M. Ahmadza
Publisher(s): WB Music/Webo Girl/ 1000 Lights, ASCAP Label/Catalog Number: Maverick Records (download)
Source: Billboard Magazine
Originally Reviewed: April 12, 2003
Madonna rapping? She really shouldn't have. Really. But that's just one of the missteps sabotaging new single "American Life," a blurry snarl of style and composition that sounds more like a disjointed medley than a song. Enough already with substituting electronic blips for melody; it may have worked well on "Music" and sufficed on "Die Another Day," but the novelty effect is well-worn and just plain grating on this effort. To further the sting, the space-age noises are followed by a jarringly disparate fanning of acoustic guitars, and then what appears to be two choruses. Huh? But watch out, next is the rap - soulless and in your face, it is positively atrocious. Our beloved Madonna is certainly the industry's most-accomplished musical chameleon, and previous evolutionary inquisitions have changed the face of pop music to great effect. Not this time. This "American Life" should be hastily deported. -CT
Re: Сингъла на American Life- негативно ревю- Билборд
Е, поне от Q пак ще са във възторг 
.
Мадона е на корицата на майския брой на списанието (може би вече го знаете):
MADONNA - THE ONLY INTERVIEW
Gather round! Madonna has something to tell you. Prepare for a full briefing on global conflict, life after death and her Mini Cooper... "Humiliating someone for gain will haunt you," she assures us. "God will have his revenge..."
she descended onto Earth and is seated at the right hand of the piano The EWF Creed
.
Мадона е на корицата на майския брой на списанието (може би вече го знаете):
MADONNA - THE ONLY INTERVIEW
Gather round! Madonna has something to tell you. Prepare for a full briefing on global conflict, life after death and her Mini Cooper... "Humiliating someone for gain will haunt you," she assures us. "God will have his revenge..."
she descended onto Earth and is seated at the right hand of the piano The EWF Creed
в отговор на armydreamer
#10
Re: Сингъла на American Life- негативно ревю- Билборд
Доколкото си спомням Billboard направиха негативни ревюта и на първите сингли на Уитни и Марая.
Положително ревю
HOT PEOPLE: NEW MADGE CD IS AMERICAN BEAUTY
I AM the first journalist to review the new CD by MADONNA, American Life.
As with Music her previous album she's written a song for Guy, X-Static Process. She sings: "I always wished that I could find, someone as beautiful as you, but in the process I forgot that I was special too."
And in one of her most personal songs to date, Mother & Father, she sings: "My mother died when I was five, And all I did was sit and cry, I cried and cried and cried all day, Until the neighbours went away."
Here's my track-by-track rating:
American Life: It mixes R&B beats with her producer's familiar electronic sound. 4/5
Hollywood: A mid-tempo sugary-sweet guitar song. 3/5
I'm So Stupid: A great rock-based and upbeat track. Lots of electric guitar. This is more like ALANIS MORISSETTE than the Madge we are used to. 4/5
Love Profusion: One to set the nightclubs alive. Great melody and acoustic guitar flavour to it. Definitely a grower. 3/5
Nobody Knows Me: Not only the best song of the album, but one of her best ever. Shows why Madonna is Queen of Pop. 5/5
Nothing Fails: Starts out like a campfire song. Towards the end comes a rousing gospel choir. 4/5
Intervention: Fairly average, but it could be a grower. 3/5
X-Static Process: Very laid back ballad. 3/5
Mother & Father: Move over Kylie. This 80s-style disco tune has dark lyrics. Also sings of her love for her father. 5/5
Die Another Day: Bond theme is not her finest moment. 2/5
Easy Ride: Luscious strings of previous hit Frozen and the electronic beats of Music. 4/5
Overall it's good, but will take a few listens to get into. 4/5
---------------------------------------------------------------------------------------------------------
имам чуството,че много ще заобичам Nothing Fails,Nobody Knows Me,Mother & Father и Easy Ride.
Bad Girl,drunk by six
I AM the first journalist to review the new CD by MADONNA, American Life.
As with Music her previous album she's written a song for Guy, X-Static Process. She sings: "I always wished that I could find, someone as beautiful as you, but in the process I forgot that I was special too."
And in one of her most personal songs to date, Mother & Father, she sings: "My mother died when I was five, And all I did was sit and cry, I cried and cried and cried all day, Until the neighbours went away."
Here's my track-by-track rating:
American Life: It mixes R&B beats with her producer's familiar electronic sound. 4/5
Hollywood: A mid-tempo sugary-sweet guitar song. 3/5
I'm So Stupid: A great rock-based and upbeat track. Lots of electric guitar. This is more like ALANIS MORISSETTE than the Madge we are used to. 4/5
Love Profusion: One to set the nightclubs alive. Great melody and acoustic guitar flavour to it. Definitely a grower. 3/5
Nobody Knows Me: Not only the best song of the album, but one of her best ever. Shows why Madonna is Queen of Pop. 5/5
Nothing Fails: Starts out like a campfire song. Towards the end comes a rousing gospel choir. 4/5
Intervention: Fairly average, but it could be a grower. 3/5
X-Static Process: Very laid back ballad. 3/5
Mother & Father: Move over Kylie. This 80s-style disco tune has dark lyrics. Also sings of her love for her father. 5/5
Die Another Day: Bond theme is not her finest moment. 2/5
Easy Ride: Luscious strings of previous hit Frozen and the electronic beats of Music. 4/5
Overall it's good, but will take a few listens to get into. 4/5
---------------------------------------------------------------------------------------------------------
имам чуството,че много ще заобичам Nothing Fails,Nobody Knows Me,Mother & Father и Easy Ride.
Bad Girl,drunk by six
Madge CD is a beauty - First UK press review
From The People's Sean O'Brien
I am the first journalist to review the new CD by Madonna, American Life.
As with Music her last album she's written a song for Guy, X-Static Process. She sings: 'I always wished that I could find, someone as beautiful as you, but in the process I forgot that I was special too.'
And in one of her most personal songs to date, Mother and Father, she sings: 'My mother died when I was five, and all I did was sit and cry, I cried and cried and cried all day, until the neighbours went away.' Here's my track-by-track rating:
American Life - It mixes R&B beats with her producer's familiar electronic sound 4/5
Hollywood - A mid-tempo sugary-sweet guitar song 3/5
I'm So Stupid - A great rock-based and upbeat track. Lots of electric guitar. This is more like Alanis Morrisette than the Madge we are used to 4/5
Love Profusion - One to set the nightclubs alive. Great melody and acoustic guitar flavour. Definately a grower 3/5
Nobody Knows Me - Not only the best song on the album, but one of her best ever. Shows why Madonna is the Queen of Pop 5/5
Nothing Fails - Starts out like a campfire song. Towards the end comes a rousing gospel choir 4/5
Intervention - Fairly average, but could be a grower 3/5
X-Static Process - Very laid back ballad 3/5
Mother and Father - Move over Kylie. This 80's-style disco tune has dark lyrics. Also sings of her love for her father 5/5
Die Another Day - Bond theme is not her finest moment 2/5
Easy Ride - Luscious strings of previous hit Frozen and the electronic beats of Music 4/5
Overall it's good, but will take a few listens to get into 4/5
[линк]
I am the first journalist to review the new CD by Madonna, American Life.
As with Music her last album she's written a song for Guy, X-Static Process. She sings: 'I always wished that I could find, someone as beautiful as you, but in the process I forgot that I was special too.'
And in one of her most personal songs to date, Mother and Father, she sings: 'My mother died when I was five, and all I did was sit and cry, I cried and cried and cried all day, until the neighbours went away.' Here's my track-by-track rating:
American Life - It mixes R&B beats with her producer's familiar electronic sound 4/5
Hollywood - A mid-tempo sugary-sweet guitar song 3/5
I'm So Stupid - A great rock-based and upbeat track. Lots of electric guitar. This is more like Alanis Morrisette than the Madge we are used to 4/5
Love Profusion - One to set the nightclubs alive. Great melody and acoustic guitar flavour. Definately a grower 3/5
Nobody Knows Me - Not only the best song on the album, but one of her best ever. Shows why Madonna is the Queen of Pop 5/5
Nothing Fails - Starts out like a campfire song. Towards the end comes a rousing gospel choir 4/5
Intervention - Fairly average, but could be a grower 3/5
X-Static Process - Very laid back ballad 3/5
Mother and Father - Move over Kylie. This 80's-style disco tune has dark lyrics. Also sings of her love for her father 5/5
Die Another Day - Bond theme is not her finest moment 2/5
Easy Ride - Luscious strings of previous hit Frozen and the electronic beats of Music 4/5
Overall it's good, but will take a few listens to get into 4/5
[линк]
dotmusic за сингъла- по- скоро отрицателно
Released on Mon 14 Apr 2003
Label : Maverick
Madonna artist area
She didn't get 50 plus hits under her diamond-studded belt without having an uncanny sense of timing. No one can deny that Madonna's always had the unique instinct to stay ahead of her competitors. That may be stating the obvious but if you've heard 'American Life' you'll be left wondering if this still applies to the 21st century Mrs Ritchie.
Unlike 'Music' and 'Ray Of Light' before it, 'American Life' is not a classic pop song. Instead it's too busy with irritating electronic duck noises, vocoder overkill, and an acoustic chorus that smacks of a 'cut and shut' job. There's little time for anything as trivial as a tune or melody.
But it's Madonna, so there must be more to it than that. Erm, maybe not this time. As you're scratching your head wondering if 'American Life' is a shambles or latent genius, Madge injects a sly rant targeted at the celebrity culture (could be anyone from Mariah to Kelly Osbourne) and an inspirational closing line: "I'm just living out the American dream/And I've just realised nothing's what it seems."
Has Madonna lost her touch or has she finally grown tired of music to make the people come together? You decide. We can't.
Chris Heath
Label : Maverick
Madonna artist area
She didn't get 50 plus hits under her diamond-studded belt without having an uncanny sense of timing. No one can deny that Madonna's always had the unique instinct to stay ahead of her competitors. That may be stating the obvious but if you've heard 'American Life' you'll be left wondering if this still applies to the 21st century Mrs Ritchie.
Unlike 'Music' and 'Ray Of Light' before it, 'American Life' is not a classic pop song. Instead it's too busy with irritating electronic duck noises, vocoder overkill, and an acoustic chorus that smacks of a 'cut and shut' job. There's little time for anything as trivial as a tune or melody.
But it's Madonna, so there must be more to it than that. Erm, maybe not this time. As you're scratching your head wondering if 'American Life' is a shambles or latent genius, Madge injects a sly rant targeted at the celebrity culture (could be anyone from Mariah to Kelly Osbourne) and an inspirational closing line: "I'm just living out the American dream/And I've just realised nothing's what it seems."
Has Madonna lost her touch or has she finally grown tired of music to make the people come together? You decide. We can't.
Chris Heath
NME за сингъла- много положително
'What's On The NME Stereo?'
Madonna
American Life (Feliz Da Housecat Mix)
Felix rips Madge's single apart, turning it into the electroclash stormer it should have been.
Single Review:
Jesus, this is awful. Crippled electro-mince fused with mid-life whinge - like a busted lift, the taster single from Madonna's forthcoming album doesn't work on so many levels. On 'American Life', Madge mercilessly exposes the vapid horror of the celebrity that has become her prison. Bad enough on paper, but the defused blonde bombshell's hitherto unheralded rapping skills border on harrowing. 'I drive my Mini Cooper/I'm feeling super-duper'. Indeed. Pish, madam.
Madonna
American Life (Feliz Da Housecat Mix)
Felix rips Madge's single apart, turning it into the electroclash stormer it should have been.
Single Review:
Jesus, this is awful. Crippled electro-mince fused with mid-life whinge - like a busted lift, the taster single from Madonna's forthcoming album doesn't work on so many levels. On 'American Life', Madge mercilessly exposes the vapid horror of the celebrity that has become her prison. Bad enough on paper, but the defused blonde bombshell's hitherto unheralded rapping skills border on harrowing. 'I drive my Mini Cooper/I'm feeling super-duper'. Indeed. Pish, madam.
BBC1- страхотно ревю
Most people have heard the single and title track of the 'American Life' album, and for the first time in years, people have an opinion about a Madonna record. It might be a difficult single to get used to, but it serves as a good introduction to the album.
On 'Ray of Light' post-motherhood she was spiritual. On 'Music' she was in the throws of Guy Richie induced love and a new found friend in Mirwais. Here on 'American Life', Madonna talks and really opens up.
'American Life' succeeds as an album where 'Music' failed. It sounds like an album, with an agenda of what the singer wants to say. On 'Music' the mix of Mirwais, William Orbit and Mark 'Spike' Stent all producing made it sound unresolved as a whole and a bit messy. And it had 'American Pie' on it. Here the sound is consistent and as a result it's brave and strong where 'Music' was afraid to really go for it.
Initially it's not an easy listen. There is a lot going on here, but it sounds fantastic and definitely an album which you want to listen to again and again.
With her vocals right up in the mix, this is as close as we've ever got to Madonna. Moreso, than the last album and also on 'Ray of Light'.
It's braver too - no longer does she hedge her bets and mix an album with people which she scored earlier successes with like Pat Leonard on 'Ray of Light' ('Frozen'), and William Orbit on 'Music' ('Runaway Lover', 'Amazing'). On 'American Life' it's her vision and Mirwais's production alone - and it's all better for it.
However, like 'Erotica' this album could be overlooked if people judge the album by the first single. And like with 'Erotica', that would be a real shame.
It's a strong album. It's a break-up album, a fed up of work/school/college album. It has attitude and balls - just like a good Madonna record should have.
BBC1- песен по песен
American Life- First single (not including 'Die Another Day') and it's the mission statement of the album. Whether you love it or hate it, as the beginning of the album it makes sense and serves as a good introduction as to what the rest of the albums' lyrics are about. It's also, in my opinion, the weakest song.
Hollywood- This is going to be the second single. After the first track it's actually a huge relief after the single 'American Life' - instantly catchy and fast-paced it reminds you of what Madonna really is about when she's good. Great tunes, attitude. It starts with bird singing noises in the background, and soon Madonna gets into the Hollywood is not-a-very-nice-place theme of the song.
I'm So Stupid- A bit slower with her voice distorted at the start. It's sounds a little 60s with the synths in the background, and has more of a rock feel to it. With lyrics like 'Everybody's looking for something', it's a grower
Love Profusion- Probably the most straight forward dance track on the album. I think this is one of those which could become a favourite and it feels like a classic upbeat Madonna song. It fuses the message behind the song 'American Life' with Mirwais' beats and acoustic elements really well.
Nobody Knows Me- This song is insane. Very electronic, chaotic, fast, manic. Pounding synths. There is so much going on here several it'll take several plays to really get it, but it's ace.
Nothing Fails- Rumoured to be single no.3, this is classic downbeat Madonna. It's also the first time the album drops the pace. Think 'Don't Tell Me' mixed with the low, gravelly voice on 'Live to Tell'. The London gospel choir sounds amazing when their voices take off. Strong, with beautiful strings.
Intervention- Mid-paced, it builds up to be a lovely album track. Not a single, but with its REM 80s-style guitars in the background it's a good track to follow 'Nothing Fails'.
Xtatic Process- Early rumours that this would be the big 'Impressive Instant' dance track were wrong. It's one of the slowest tracks. It's also striking because throughout the album Madonna vocals feel very close and real - here's she sounds bare. Intimate.
Mother and Father- This isn't the sad confessional track the title leads you to believe. It's stronger than previous attempts on a similar theme - 'Inside of Me', 'Promise to Try' and 'Oh Father'.
Die Another Day- Like the 'American Life' single, this song had mixed reactions when released. But bizarrely, because the production sounds consistent throughout the whole album, it fits. Where on 'Music' 'American Pie' irritated the flow of the album, 'Die Another Day' finds itself a home here and compliments the set.
Easy Ride- Like 'Gone' near the end of the last album, this feels like an epitaph for the album. It sounds like she's exhausted - and no wonder - in a good way, and again the strings sound amazing. A great and natural end to the album.
Madonna has said of the album via an official statment from her record company that:
"All of these songs reflect my current state of mind. I feel like I have just woken up out of a dream. They range from dismay and anger to joy and certainty. Hopefully, I have taken the personal and made it universal."
Hollywood- This is going to be the second single. After the first track it's actually a huge relief after the single 'American Life' - instantly catchy and fast-paced it reminds you of what Madonna really is about when she's good. Great tunes, attitude. It starts with bird singing noises in the background, and soon Madonna gets into the Hollywood is not-a-very-nice-place theme of the song.
I'm So Stupid- A bit slower with her voice distorted at the start. It's sounds a little 60s with the synths in the background, and has more of a rock feel to it. With lyrics like 'Everybody's looking for something', it's a grower
Love Profusion- Probably the most straight forward dance track on the album. I think this is one of those which could become a favourite and it feels like a classic upbeat Madonna song. It fuses the message behind the song 'American Life' with Mirwais' beats and acoustic elements really well.
Nobody Knows Me- This song is insane. Very electronic, chaotic, fast, manic. Pounding synths. There is so much going on here several it'll take several plays to really get it, but it's ace.
Nothing Fails- Rumoured to be single no.3, this is classic downbeat Madonna. It's also the first time the album drops the pace. Think 'Don't Tell Me' mixed with the low, gravelly voice on 'Live to Tell'. The London gospel choir sounds amazing when their voices take off. Strong, with beautiful strings.
Intervention- Mid-paced, it builds up to be a lovely album track. Not a single, but with its REM 80s-style guitars in the background it's a good track to follow 'Nothing Fails'.
Xtatic Process- Early rumours that this would be the big 'Impressive Instant' dance track were wrong. It's one of the slowest tracks. It's also striking because throughout the album Madonna vocals feel very close and real - here's she sounds bare. Intimate.
Mother and Father- This isn't the sad confessional track the title leads you to believe. It's stronger than previous attempts on a similar theme - 'Inside of Me', 'Promise to Try' and 'Oh Father'.
Die Another Day- Like the 'American Life' single, this song had mixed reactions when released. But bizarrely, because the production sounds consistent throughout the whole album, it fits. Where on 'Music' 'American Pie' irritated the flow of the album, 'Die Another Day' finds itself a home here and compliments the set.
Easy Ride- Like 'Gone' near the end of the last album, this feels like an epitaph for the album. It sounds like she's exhausted - and no wonder - in a good way, and again the strings sound amazing. A great and natural end to the album.
Madonna has said of the album via an official statment from her record company that:
"All of these songs reflect my current state of mind. I feel like I have just woken up out of a dream. They range from dismay and anger to joy and certainty. Hopefully, I have taken the personal and made it universal."
Таймс- средно с елементи на отрицателно
April 11, 2003
Out of tunes with the times Link
By Lisa Verrico
Madonna's combat chic and scattershot techno miss the mark
Madonna
American Life
MADONNA’S FIRST assault on the album chart for three years should have been a precisely timed operation. The woman as well known for reinventing herself as she is for her songs had cottoned on to the hostile mood of the moment and decided to hitch a ride on the prospect of war. So she clad herself in combats, dyed her hair dark brown, donned a beret and dog tags and made a controversial, guns’n’Gucci video for the album’s title track and first single. It was war-meets-pop with a wink, with an army of stylists instead of soldiers and a George Bush lookalike.
The problem was, a real war got in the way. Or rather, Madonna got cold feet. On the eve of its release last week, the video was ditched - out of respect for real soldiers - and Madonna’s big comeback was delivered a severe body blow. Stripped of the video, American Life misses its target by about a mile. It’s a messy mish-mash of blippy techno beats, bendy keyboard parts, treated acoustic guitars, lyrics about being a celebrity and a rap that sounds positively silly. Oh, and there isn’t a tune.
Since hooking up with the Parisian producer Mirwais, Madonna’s music has become increasingly electronic. It was William Orbit’s work on Ray of Light that first sent the singer down that road, but with Mirwais on 1999’s multimillion-selling Music Madge plunged much deeper into dance.
And as part of a glossy package it worked pretty well. Music’s title track was a catchy classic that still sounds good, and the second single, Don’t Tell Me, boasted a clever blend of acoustic guitars and beats. As for the rest of the album, well, it was OK. But the mighty Madge is such a master at marketing that no one really noticed the fillers. We were all too busy admiring her cowboy outfits and watching Ali G act as her chauffeur.
With American Life, how-ever, Madonna has taken her techno trip too far. What her audience wants are pop songs and - as much as I hate to be the one to break it to you - there aren’t any on her new album. Instead, Madonna has opted for a batch of experimental, studio-produced backing tracks, all of which occasionally break into bizarre, acoustic guitar-backed bits. On paper, it must have looked like a good idea. On record, it doesn’t really work. Hence, on first listen, you half want to pat Madge on the back for being so brave. But at the same time you’d like to rap her on the knuckles and shout: "What were you thinking?" It’s not that American Life is bad, it’s just kind of caught in a no-man’s-land. Or maybe it’s simply too clever for its own good. Either way, it tries too hard.
Mostly, the mix of electronic and acoustic just jars, there are no songs you can sing along to and too few melodies you’ll remember for more than a few minutes.
The album opens with the title track, which sets the scene for what’s to come. It’s a strangely soulless single. It sounds like Madonna, it’s got good beats, there are enough odd noises to keep you interested and there’s no denying it’s an adventurous step on from Music. But the song never adds up to the sum of its parts. It isn’t even a good radio record. Will anyone be playing it a year from now? I doubt it.
The second song and next single, Hollywood, is better. It’s more pop, for a start, and less disjointed, which at least makes it dancefloor-friendly.
Madonna continues her "celebrity is s" theme - something, apparently, she has only just discovered - to swaths of synths, booming bass, a driving, drum machine-driven rhythm and thumping beats. This time, though, it doesn’t sound much like Madonna. You could imagine a pop puppet such as Holly Valance singing Hollywood in an attempt to be hip. It’s good, but not special enough to be prime-time Madge.
Much of the rest of the album follows a predictable pattern. I’m So Stupid has a buzzy bassline, a looped guitar part, brisk-paced house beats and several acoustic intermissions in which Madge sings in that odd, gentrified accent she adopted for Evita. On Nothing Fails, she strips the song down and invites along a gospel choir. On the stuttering, Aphex Twin-influenced Easy Ride, she brings in classical strings, and on the likeable Mother and Father - a song about her search for the meaning of life inspired by the death of her mother when she was just six - she sings in an oddly pitched voice, as though to show there are sides of her we haven’t seen yet. But it’s always the same template, just given a twist.
Madonna veers slightly off course midway through American Life for a trio of tracks dedicated to her hubby, Guy Ritchie. Singing about the love of your life is a tricky task and, inevitably, Madge goes gooey. Nothing Fails begins with the line, "I’m in love with you, you silly thing," and goes downhill from there. Intervention is sweet and has lovely, lush instrumentation, but it’s four chords played over and over and all set in the same key.
Meanwhile, X-Static Process is a bizarre ballad with a backing track and vocal that don’t fit together and a verse that goes: "I always wished that I could find/ Someone as beautiful as you/ But in the process I forgot that I was special too." Oh dear.
American Life may be a grower and - well, hell - it’s Madonna, so it’ll sell. But on first impression, it’s a rather large let-down.
Rating: 2/5
Out of tunes with the times Link
By Lisa Verrico
Madonna's combat chic and scattershot techno miss the mark
Madonna
American Life
MADONNA’S FIRST assault on the album chart for three years should have been a precisely timed operation. The woman as well known for reinventing herself as she is for her songs had cottoned on to the hostile mood of the moment and decided to hitch a ride on the prospect of war. So she clad herself in combats, dyed her hair dark brown, donned a beret and dog tags and made a controversial, guns’n’Gucci video for the album’s title track and first single. It was war-meets-pop with a wink, with an army of stylists instead of soldiers and a George Bush lookalike.
The problem was, a real war got in the way. Or rather, Madonna got cold feet. On the eve of its release last week, the video was ditched - out of respect for real soldiers - and Madonna’s big comeback was delivered a severe body blow. Stripped of the video, American Life misses its target by about a mile. It’s a messy mish-mash of blippy techno beats, bendy keyboard parts, treated acoustic guitars, lyrics about being a celebrity and a rap that sounds positively silly. Oh, and there isn’t a tune.
Since hooking up with the Parisian producer Mirwais, Madonna’s music has become increasingly electronic. It was William Orbit’s work on Ray of Light that first sent the singer down that road, but with Mirwais on 1999’s multimillion-selling Music Madge plunged much deeper into dance.
And as part of a glossy package it worked pretty well. Music’s title track was a catchy classic that still sounds good, and the second single, Don’t Tell Me, boasted a clever blend of acoustic guitars and beats. As for the rest of the album, well, it was OK. But the mighty Madge is such a master at marketing that no one really noticed the fillers. We were all too busy admiring her cowboy outfits and watching Ali G act as her chauffeur.
With American Life, how-ever, Madonna has taken her techno trip too far. What her audience wants are pop songs and - as much as I hate to be the one to break it to you - there aren’t any on her new album. Instead, Madonna has opted for a batch of experimental, studio-produced backing tracks, all of which occasionally break into bizarre, acoustic guitar-backed bits. On paper, it must have looked like a good idea. On record, it doesn’t really work. Hence, on first listen, you half want to pat Madge on the back for being so brave. But at the same time you’d like to rap her on the knuckles and shout: "What were you thinking?" It’s not that American Life is bad, it’s just kind of caught in a no-man’s-land. Or maybe it’s simply too clever for its own good. Either way, it tries too hard.
Mostly, the mix of electronic and acoustic just jars, there are no songs you can sing along to and too few melodies you’ll remember for more than a few minutes.
The album opens with the title track, which sets the scene for what’s to come. It’s a strangely soulless single. It sounds like Madonna, it’s got good beats, there are enough odd noises to keep you interested and there’s no denying it’s an adventurous step on from Music. But the song never adds up to the sum of its parts. It isn’t even a good radio record. Will anyone be playing it a year from now? I doubt it.
The second song and next single, Hollywood, is better. It’s more pop, for a start, and less disjointed, which at least makes it dancefloor-friendly.
Madonna continues her "celebrity is s" theme - something, apparently, she has only just discovered - to swaths of synths, booming bass, a driving, drum machine-driven rhythm and thumping beats. This time, though, it doesn’t sound much like Madonna. You could imagine a pop puppet such as Holly Valance singing Hollywood in an attempt to be hip. It’s good, but not special enough to be prime-time Madge.
Much of the rest of the album follows a predictable pattern. I’m So Stupid has a buzzy bassline, a looped guitar part, brisk-paced house beats and several acoustic intermissions in which Madge sings in that odd, gentrified accent she adopted for Evita. On Nothing Fails, she strips the song down and invites along a gospel choir. On the stuttering, Aphex Twin-influenced Easy Ride, she brings in classical strings, and on the likeable Mother and Father - a song about her search for the meaning of life inspired by the death of her mother when she was just six - she sings in an oddly pitched voice, as though to show there are sides of her we haven’t seen yet. But it’s always the same template, just given a twist.
Madonna veers slightly off course midway through American Life for a trio of tracks dedicated to her hubby, Guy Ritchie. Singing about the love of your life is a tricky task and, inevitably, Madge goes gooey. Nothing Fails begins with the line, "I’m in love with you, you silly thing," and goes downhill from there. Intervention is sweet and has lovely, lush instrumentation, but it’s four chords played over and over and all set in the same key.
Meanwhile, X-Static Process is a bizarre ballad with a backing track and vocal that don’t fit together and a verse that goes: "I always wished that I could find/ Someone as beautiful as you/ But in the process I forgot that I was special too." Oh dear.
American Life may be a grower and - well, hell - it’s Madonna, so it’ll sell. But on first impression, it’s a rather large let-down.
Rating: 2/5
Daily Records Review- положително
MADONNA: NEW ALBUM REVIEWED
Apr 11 2003
WE at 192 are among the first to hear Madonna's new album American Life.
Madonna unveiled her new album to a handful of journalists this week at a private party in a members only club. The venue, the renovated Electric Cinema in Notting Hill, was close to the first London home owned by the idol. Here's the track by track rundown ...
American Life - This controversial song reflects Madonna's state of mind about the world today. But when she rhymed Mini Cooper with super dooper you hope this is a sign of a sense of humour. 10/10
Hollywood - Tipped to be the second single is definitely the most joyful and cynical track on the album. It sounds like an experiment of noises and shows that with Madonna there's always something new. 10/10
I'm So Stupid - Madonna goes rock for the start of this track. Sounding like the start of a Red Hot Chili Peppers track with a lot of guitar. 7/10
Love Profusion - A song for Guy, but not Elton John's one. This is where Madonna starts to pour out her heart about her love for British film director husband, Guy Ritchie. By listening to the record you learn that she has got Guy under her skin. 6/10
Nobody Knows Me - One more for Guy. Madonna has bound up the realism of her life into another love song full of the energy that younger stars can only dream of bringing into their music. 9/10
Nothing Fails - This love record goes up and down with the powerful backing of a choir and strings. It's the outstanding track on the album. 10/10
Intervention - Kicking off with a guitar sound which would as easily be at home with the Red Hot Chili Peppers again, you wonder where she's going here with this song. Satan is brought into this song, but it's a positive love song again. As much a confirmation as it is an affirmation that Madonna is at last truly grounded and happy, yet knows her feminine weakness. 7/10
X-static Process - The slowest song on the album and you wonder if Madonna is putting her feet up right there and then as she puts some religious imagery into the song.
Asking Jesus Christ to look at her, she soon seems to going back to her famous subject on the album - husband Guy. 5/10
Mother and Father - The most poignant track on the album lets Madonna journey back to her childhood to put the story of her mother's death to music. She rapped: "My mother died when I was five and all I did was sit and cry. I cried and cried all day until the neighbours went away." Her voice is technically transposed into the sound of a small girl and you hear the pain in the heart of the young Madonna as she sings about her loss. 10/10
Die Another Day - The Bond film theme tune already sounds like a classic and is a perfectly crafted pop song. 9/10
Easy Ride - Madonna seems to be whipping herself into shape here as she lists her raison d'etres. Sun on her children's faces, blood and sweat on her fingertips are just a few of the things that drive the multi-millionaire to keep on working. 7/10
Apr 11 2003
WE at 192 are among the first to hear Madonna's new album American Life.
Madonna unveiled her new album to a handful of journalists this week at a private party in a members only club. The venue, the renovated Electric Cinema in Notting Hill, was close to the first London home owned by the idol. Here's the track by track rundown ...
American Life - This controversial song reflects Madonna's state of mind about the world today. But when she rhymed Mini Cooper with super dooper you hope this is a sign of a sense of humour. 10/10
Hollywood - Tipped to be the second single is definitely the most joyful and cynical track on the album. It sounds like an experiment of noises and shows that with Madonna there's always something new. 10/10
I'm So Stupid - Madonna goes rock for the start of this track. Sounding like the start of a Red Hot Chili Peppers track with a lot of guitar. 7/10
Love Profusion - A song for Guy, but not Elton John's one. This is where Madonna starts to pour out her heart about her love for British film director husband, Guy Ritchie. By listening to the record you learn that she has got Guy under her skin. 6/10
Nobody Knows Me - One more for Guy. Madonna has bound up the realism of her life into another love song full of the energy that younger stars can only dream of bringing into their music. 9/10
Nothing Fails - This love record goes up and down with the powerful backing of a choir and strings. It's the outstanding track on the album. 10/10
Intervention - Kicking off with a guitar sound which would as easily be at home with the Red Hot Chili Peppers again, you wonder where she's going here with this song. Satan is brought into this song, but it's a positive love song again. As much a confirmation as it is an affirmation that Madonna is at last truly grounded and happy, yet knows her feminine weakness. 7/10
X-static Process - The slowest song on the album and you wonder if Madonna is putting her feet up right there and then as she puts some religious imagery into the song.
Asking Jesus Christ to look at her, she soon seems to going back to her famous subject on the album - husband Guy. 5/10
Mother and Father - The most poignant track on the album lets Madonna journey back to her childhood to put the story of her mother's death to music. She rapped: "My mother died when I was five and all I did was sit and cry. I cried and cried all day until the neighbours went away." Her voice is technically transposed into the sound of a small girl and you hear the pain in the heart of the young Madonna as she sings about her loss. 10/10
Die Another Day - The Bond film theme tune already sounds like a classic and is a perfectly crafted pop song. 9/10
Easy Ride - Madonna seems to be whipping herself into shape here as she lists her raison d'etres. Sun on her children's faces, blood and sweat on her fingertips are just a few of the things that drive the multi-millionaire to keep on working. 7/10
Fantastic 'Daily Mirror' review of AL album!
Prime Madonna
Twenty years into her career the Material Girl still sets the
pace, says Gavin Martin
Last year marked the 20th anniversary of Madonna's debut single 'Everybody'. She has since experienced motherhood, divorce and the wraths of censors. She has scaled unimagined peaks of commercial success, produced some of the greatest pop ever and stripped herself bare literally and metaphorically. What more can she have left to offer?
As she nears 45, the former Ms Ciccone doesn't need to look very far to see her influence as a role model and fashion icon. Kylie Minogue, Britney Spears, Christina Aguilera and even Eminem may not bow down every night and thank Her Madge for paving the way for them but perhaps they should.
With her imprint so deeply embedded in the DNA of pop it would be understandable if she decided to settle down with her hubby and kids, replay a few videos, remember the old times and relax.
But American Life, a gloriously inventive, constantly surprising, deeply personal album, shows that rather than slowing down she's setting a pace that the young pretenders will be hard pushed to match.
Production/writing partner Mirwais Ahmadzal has helped her create an audacious sonic landscape that matches curring-edge cyber-dance techniques with prickly bruised guitars, gospel choruses, classical and operatic shading.
Hollywood has a worldly-wise, funny lyric that skewers the shallowness of Tinseltown. The enthralling Nobody Knows Me is musically as imaginative as anything U2 or Radiohead have attempted.
Religious references ( X-Static Process and the show stopping Mother and Father) run through the album. But even at her most serious and self-obsessed, Madonna never loses her sense of humour or feel for making life-affirming pop. She remains a colossus, with the competition left floundering in her wake.
In Vitro Love
Twenty years into her career the Material Girl still sets the
pace, says Gavin Martin
Last year marked the 20th anniversary of Madonna's debut single 'Everybody'. She has since experienced motherhood, divorce and the wraths of censors. She has scaled unimagined peaks of commercial success, produced some of the greatest pop ever and stripped herself bare literally and metaphorically. What more can she have left to offer?
As she nears 45, the former Ms Ciccone doesn't need to look very far to see her influence as a role model and fashion icon. Kylie Minogue, Britney Spears, Christina Aguilera and even Eminem may not bow down every night and thank Her Madge for paving the way for them but perhaps they should.
With her imprint so deeply embedded in the DNA of pop it would be understandable if she decided to settle down with her hubby and kids, replay a few videos, remember the old times and relax.
But American Life, a gloriously inventive, constantly surprising, deeply personal album, shows that rather than slowing down she's setting a pace that the young pretenders will be hard pushed to match.
Production/writing partner Mirwais Ahmadzal has helped her create an audacious sonic landscape that matches curring-edge cyber-dance techniques with prickly bruised guitars, gospel choruses, classical and operatic shading.
Hollywood has a worldly-wise, funny lyric that skewers the shallowness of Tinseltown. The enthralling Nobody Knows Me is musically as imaginative as anything U2 or Radiohead have attempted.
Religious references ( X-Static Process and the show stopping Mother and Father) run through the album. But even at her most serious and self-obsessed, Madonna never loses her sense of humour or feel for making life-affirming pop. She remains a colossus, with the competition left floundering in her wake.
In Vitro Love