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Guest groovyguy

Glamour Magazine UK ‏ @GlamourMagUK

So, we've heard Madonna's album, and it is awesome. Lots of dancy electro-pop, dramatic strings, big beats & a few sly digs (Gaga?) #MDNA

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Thanks everybody for posting the reviews. Can't wait !

WooHoooo MDNA!

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Mirror.co.uk review

MDNA review: Madonna's new album shows the young pretenders she is still a force to be reckoned with

Madonna rocked the Superbowl but the single quickly dropped out of the charts - now we've had a first playback of her album

OK, let's talk about Madonna and her twelfth studio album, MDNA.

Admittedly with all that she's been up to of late, her directorial debut W.E. and that amazing Superbowl performance, I was a very worried Madonna fan.

Would she be able to deliver the goods on this latest record? Especially with her eagerly awaited reunion with William Orbit – the man that reignited her career at one point with the exceptional album Ray of Light. There was a lot riding on this being a success.

To sum up – she's nailed it. And in doing so seems to have produced one of her most personal lyrical efforts to date. Tracks including I F***ed UP and Best Friend (featured on the Deluxe version of MDNA) are clear odes to her failed marriage with Guy Ritchie. Whilst tracks like Gang Bang (!) leave you wondering who exactly the star wants to shoot in the head. The lyrics screech: "Bang, bang, shot you dead. Shot my lover in the head."

One thing you need to wipe clean from your brain immediately as the album starts is the fact Madonna is 53. She sounds 25. In fact, if this album was released by a Pop Princess then it wouldn't be out of place. It feels centred and controlled whilst the likes of Gaga and Britney's latest efforts feel try-hard and sloppy in comparison.

This is one girl that still knows what she's doing and she's in control.

Part of the reason for such a slick record is down to who she's worked with. As always, Madonna's chosen wisely with her collaborators for this record.

William Orbit is in the frame on five tracks, French electronic DJ and super producer Martin Solveig provides the most forward thinking six tunes and ye olde faithful Marco "Benny" Benassi does what he does best and turns Madge into the dancefloor electro diva she's clearly still wanting to be.

Is MDNA her best work for years? In short, no. It doesn't reach out like Confessions on a Dance Floor – but it easily surpasses American Life and Music.

Is it an album I literally can't wait to have on my iPod following my one listen at Abbey Road Studios. YES.

Madonna's still pushing the envelope of her superstardom and MDNA is in no way a let down. It's just the next chapter in an already enthralling story. And I can't wait for you all to get involved.

Track-by-track review of MDNA

Girl Gone Wild

Take her track Celebration, zoop it up and make it bigger and better. It's a club track that feels young vibrant and fresh for an artist like Madonna. It's techno-pop-ready-for-radio-heaven. Very Benny Benassi and very much one for the kids – without it feels like a mum-of-four sings it. Phew.

Gang Bang

Let's get dirty and keep it mucky throughout. A stripped back filthy electro beat makes you want to get down. It's different to anything she's ever done. I especially liked the ending where she sings in a Human Nature stylee: "If you're gonna act like a bitch, then you;'re gonna die like a bitch." And a shotgun noise kicks off. Boom.

I'm Addicted

Euphoric and addictive. This song needs to be played loud and for the satisfaction of a dance floor. It's heavily Benny Benasi and by the end you want to get up and squeal: "I'm addicted to your looooovvvvve."

Turn Up The Radio

Why this wasn't the lead single on MDNA I'm not very sure. It's a stonker of a pop song. Her vocals are finally clear (well, not as worked on) and it gave me 'the tingle'. It's ready to go and and instant Madonna pop classic.

Give Me All Your Luvin'

The track that divided opinion from the start. Notably, the song sounds a lot better on speakers that can make your skin quiver through bass. But it feels far more forgettable pop compared to much of the album.

Some Girls

Finally, an Orbit song. This is probably the most cosmic of his tracks he's done with M. Her vocal is almost tinny and echoes. Bit rocky towards the end but it's an exciting introduction to a new wave Orbit.

Superstar

This was the one I wasn't immediately keen on – but the one that's in my head. It's lyrically very simple and definitely one that the star could pull a guitar out for to perform on tour. She sings: "Ooh, la la you're a superstar/ooh la la love the way that you are." It's a little rockier than the others and more conventional.

I Don't Give A

This is probably the most interesting track on this album. She's nearly rapping again, there's a hip-hop feel. It feels like the Human Nature of Eortica – and clearly sending out messages about her marriage breakdown. She sings: "I tried to be a good girl / I tried to be your wife / I diminished myself / And I swallowed my light / I tried to become all / That you expect of me / And if I was a failure / I don't give a …"

I'm a Sinner

Back to William Orbit and the Ray of Light guitar has been found. This track immediately reminds you why Madonna and Orbit worked so well first time around – there's even a return to the Erotica dirty whisper voice. It starts fairly slow but builds and builds to an orgasm of techno. Enjoy the ride on this one.

Love Spent

There's a gypsy string twang, a hauntingly high vocal and it's not instantly Orbit. Later in the song you realise it couldn't be more like him. It's about giving so much love that you're spent and like the previous song climaxes like a beauty.

Masterpiece

The theme song to W.E. brings the tempo right back down to a chilled vibe. This is the song that makes us realise that despite most of this album making us want to dance, the star is still able to chill out and relax those dancing shoes. It really feels like the come down song that gives you a big hug.

Falling Free

Well this one was a surprise. It made me instantly want to hear her singing it with just a guitar and a mic stand. It would be an acoustic dream. Her vocals are crisp and penetrate. It's obviously a song about letting go – but will she ever truly let go of the career she's worked so hard for?

Madonna, MDNA, March 26, Interscope Records.

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OK, let’s talk about Madonna and her twelfth studio album, MDNA.

Admittedly with all that she’s been up to of late, her directorial debut W.E. and that amazing Superbowl performance, I was a very worried Madonna fan.

Would she be able to deliver the goods on this latest record? Especially with her eagerly awaited reunion with William Orbit – the man that reignited her career at one point with the exceptional album Ray of Light. There was a lot riding on this being a success.

To sum up – she’s nailed it. And in doing so seems to have produced one of her most personal lyrical efforts to date. Tracks including I F***ed UP and Best Friend (featured on the Deluxe version of MDNA) are clear odes to her failed marriage with Guy Ritchie. Whilst tracks like Gang Bang (!) leave you wondering who exactly the star wants to shoot in the head. The lyrics screech: “Bang, bang, shot you dead. Shot my lover in the head.”

One thing you need to wipe clean from your brain immediately as the album starts is the fact Madonna is 53. She sounds 25. In fact, if this album was released by a Pop Princess then it wouldn’t be out of place. It feels centred and controlled whilst the likes of Gaga and Britney’s latest efforts feel try-hard and sloppy in comparison.

This is one girl that still knows what she’s doing and she’s in control.

Part of the reason for such a slick record is down to who she’s worked with. As always, Madonna’s chosen wisely with her collaborators for this record.

William Orbit is in the frame on five tracks, French electronic DJ and super producer Martin Solveig provides the most forward thinking six tunes and ye olde faithful Marco “Benny” Benassi does what he does best and turns Madge into the dancefloor electro diva she’s clearly still wanting to be.

Is MDNA her best work for years? In short, no. It doesn’t reach out like Confessions on a Dance Floor – but it easily surpasses American Life and Music.

Is it an album I literally can’t wait to have on my iPod following my one listen at Abbey Road Studios. YES.

Madonna’s still pushing the envelope of her superstardom and MDNA is in no way a let down. It’s just the next chapter in an already enthralling story. And I can’t wait for you all to get involved.

Track-by-track review of MDNA

Girl Gone Wild

Take her track Celebration, zoop it up and make it bigger and better. It’s a club track that feels young vibrant and fresh for an artist like Madonna. It’s techno-pop-ready-for-radio-heaven. Very Benny Benassi and very much one for the kids – without it feels like a mum-of-four sings it. Phew.

Gang Bang

Let’s get dirty and keep it mucky throughout. A stripped back filthy electro beat makes you want to get down. It’s different to anything she’s ever done. I especially liked the ending where she sings in a Human Nature stylee: “If you’re gonna act like a bitch, then you;’re gonna die like a bitch.” And a shotgun noise kicks off. Boom.

I’m Addicted

Euphoric and addictive. This song needs to be played loud and for the satisfaction of a dance floor. It’s heavily Benny Benasi and by the end you want to get up and squeal: “I’m addicted to your looooovvvvve.”

Turn Up The Radio

Why this wasn’t the lead single on MDNA I’m not very sure. It’s a stonker of a pop song. Her vocals are finally clear (well, not as worked on) and it gave me ‘the tingle’. It’s ready to go and and instant Madonna pop classic.

Give Me All Your Luvin’

The track that divided opinion from the start. Notably, the song sounds a lot better on speakers that can make your skin quiver through bass. But it feels far more forgettable pop compared to much of the album.

Some Girls

Finally, an Orbit song. This is probably the most cosmic of his tracks he’s done with M. Her vocal is almost tinny and echoes. Bit rocky towards the end but it’s an exciting introduction to a new wave Orbit.

Superstar

This was the one I wasn’t immediately keen on – but the one that’s in my head. It’s lyrically very simple and definitely one that the star could pull a guitar out for to perform on tour. She sings: “Ooh, la la you’re a superstar/ooh la la love the way that you are.” It’s a little rockier than the others and more conventional.

I Don’t Give A

This is probably the most interesting track on this album. She’s nearly rapping again, there’s a hip-hop feel. It feels like the Human Nature of Eortica – and clearly sending out messages about her marriage breakdown. She sings: “I tried to be a good girl / I tried to be your wife / I diminished myself / And I swallowed my light / I tried to become all / That you expect of me / And if I was a failure / I don’t give a …”

I’m a Sinner

Back to William Orbit and the Ray of Light guitar has been found. This track immediately reminds you why Madonna and Orbit worked so well first time around – there’s even a return to the Erotica dirty whisper voice. It starts fairly slow but builds and builds to an orgasm of techno. Enjoy the ride on this one.

Love Spent

There’s a gypsy string twang, a hauntingly high vocal and it’s not instantly Orbit. Later in the song you realise it couldn’t be more like him. It’s about giving so much love that you’re spent and like the previous song climaxes like a beauty.

Masterpiece

The theme song to W.E. brings the tempo right back down to a chilled vibe. This is the song that makes us realise that despite most of this album making us want to dance, the star is still able to chill out and relax those dancing shoes. It really feels like the come down song that gives you a big hug.

Falling Free

Well this one was a surprise. It made me instantly want to hear her singing it with just a guitar and a mic stand. It would be an acoustic dream. Her vocals are crisp and penetrate. It’s obviously a song about letting go – but will she ever truly let go of the career she’s worked so hard for?

Madonna, MDNA, March 26, Interscope Records.

Oh how exciting! I just bought the GMAYL remixes and I gotta say after a few listens there better than I thought, although still no magic. Either way, the reviews are getting me excited. Falling Free seems to be very "Gone", "Easy Ride", "Voices", "Mer Girl" in the sense that it closes the album out the way it's described which I loved all those tracks very much! Going to be another great cardio album for me! Can't wait to shred the fat and expose those abs for the summer with this album! Will totally motivate me!

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Capital FM Presenter / Views are my own MOFO

#1 #GirlGoneWild The second single from #MDNA! #Madonna wants so badly to be good... AS IF

#2 #GangBang This has some serious #WubWubWub and #Madonna goes mental at the end singing "Act Like A Bitch Die Like A Bitch" Amazing.

#3 #ImAddicted is a #SLUT of a song "It fits like a glove, Im addicted to your love" TMI #Madonna! The @BennyBenassi trance is #beyond #MDNA

#4 #TurnUpTheRadio Instantly sounds like classic #Madonna @MartinSolveig produced it it's got #Hello swag and the speakers actually blow

#5 #GiveMeAllYourLoving We all saw the chart position...

#6 #Something has fake tits

#7 #Superstar OOH LA LA YOU'RE MY SUPERSTAR is #Madonna doing a Bruno Mars! 'You're perfect just the way you are"! ITS MY FAVE TRACK e t**s

#8 #IDontGiveA is #Amaze @NickyMinaj owns this when she says it all "There's only one queen & that's #Madonna... BITCH"!

#9 #ImASinner #Madonna's going to hell

#10 #LoveSpent #Madonna's not a material girl anymore she just wants to be loved #Spoon #MDNA

#11 #Masterpiece Is the first ballad (or as close as it get's to one) on #MDNA I went for a wine when this came on..

#12 #FallingFree Another Ballad :( ... Went for another wine.

#13 #BeautifulKiller... Meh

#14 #IFuckedUp "I made a mistake I wish I could have you back one day..." This is BEYONNDDDDDDD! #MDNA #Madonna is so honest on this song!

#15 #BDAYSong Feat M.I.A THIS IS ADORABLE! There's no birthday sex or booze... "My type of party there's no hangover"

#16 #BestFriend #MDNA I went for my third wine...

It's got the swag of #ConfessionsOnADanceFloor, #Music and totally KILLS THE DFLOOR! #HardCandy never happened..

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Guest groovyguy

http://www.gq-magazine.co.uk/entertainment/articles/2012-03/07/madonna-mdna-album-review-nicki-minaj-lyrics

The best track on the new Madonna LP

Abbey Road Studio Two is lit by Diptyque candles, the Steinway Model D concert grand piano has been pushed aside to make room for a bar and giggly journalists are making notes in pink pencil: it could only be a Madonna album playback. GQ.com has come to the studio of choice for the Beatles and Pink Floyd to hear MDNA, the 12th album from Ms Ciccone. It's Madge's return to the dance floor record - after the drama of her period film WE, this is her bolshy, boshy statement of intent. The highlight is the unpromisingly named "I Don't Give A", a slice of digital funk produced by Martin Solveig that is made all the more memorable for its anti-Guy Ritchie sentiment ("I tried to be a good girl / I tried to be your wife").

While the Material Girl simultaneously claims defiance and self reliance ("I'm going to be ok / I don't care what people say"), two thirds of the way through Nicki Minaj steps up to the mic to provide one of her best verses in months. The theme, bizarrely, is cars with Nicki affirming her "Don Dada" status by spending "Ten grand a tyre". She then proceeds to rhyme "Volvo" with "Aldo", produces a sex change on Jay-Z's famous line from "Diamonds Are Forever" ("I'm a business woman, I'm a business, woman") and ends with the potential Gaga diss ("There's only one queen…and that's Madonna, bitch!"). It's unhinged, unlikely and not short of surprises - we just can't wait to tell you about the full album...

Madonna's new album is out 26 March.

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Earlier today Digital Spy was invited to Abbey Road Studios to listen to Madonna's 12th studio album MDNA.

There were crab salads, multicoloured cocktails and, as if that wasn't enough, a chunky notepad with the album cover on the front waiting for us on our chair. We presume it was there for us to scribble our notes on, but we didn't feel comfortable putting our ugly scrawlings over something so clearly amazing.

We've posted our thoughts on each of the LP's 17 tracks below:

1. 'Girl Gone Wild' (produced by Madonna, Benny Benassi)

Most of you will have heard this one by now, and truth be told we're still not sure about it. Our guess was that it was chosen for its appeal to a wide audience and radio stations, but as a Madonna album trailer it's surprisingly weak. That said, it makes for a brilliant opening track.

2. 'Gang Bang' (produced by Madonna, The Demolition Crew)

Ignore the title - this isn't about a 53-year-old woman singing about having lots of group sex. "Bang bang shot you dead/ Shot my lover in the head," she chants over a relentless, pulsating electro beat before announcing: "I'm going straight to hell - I've got a lot of friends there." Just when you think things are wrapping up, she interrupts, "If you're gonna act like a bitch, you're gonna die like a bitch!" before firing off a gun. It's completely ridiculous and amazing.

3. 'I'm Addicted' (produced by Madonna, Benny Benassi, The Demolition Crew)

We noted that this would have probably been a better single choice than 'Girl Gone Wild'. "I'm addicted to your love" she admits on the chorus that is a mixture of hard house beats with a club classics melody. It all climaxes in the song's finale, in which she chants "M D N A" over and over.

4. 'Turn Up The Radio' (produced by Madonna and Martin Solveig)

After three hard-faced club bangers, Madge offers up the softer but equally dancey 'Turn Up The Radio'. "When the world starts to get you down and nothing seems to go your way... turn up the radio," she professes over a propelling beat that Daft Punk wouldn't cock a snook at. It might be weak lyrically, but the message is genuinely uplifting.

5. 'Give Me All Your Luvin'' (produced by Madonna, Martin Solveig)

Madonna's "Superbowl Single" doesn't seem to have lived up to a lot of people's expectations, but we'll happily admit that we're still enjoying it. It also serves as a welcome break from what is so far a high-wired run of songs.

6. 'Some Girls' (produced by Madonna, William Orbit)

"Some girls wanna be on top...some girls got a filthy mouth," she sing-speaks with a distorted vocal over a squelchy bassline. It's a confident number about female empowerment in 2012, and probably highlights best how MDNA isn't simply about hopping on the dance bandwagon, but pushing it into new and exciting realms.

7. 'Superstar' (produced by Madonna, Indiigo, Michael Malih)

This is where the record makes a distinct shift lyrically between basic one line choruses to surprisingly intimate details of her life. Here she compares her man to the likes of James Dean, Caesar and Al Capone, promising to "give you a massage when you get home". It's less in-yer-face than most of the LP, and where she sounds at her most relaxed.

8. 'I Don't Give A' (produced by Madonna, Martin Solveig)

Madonna opens up about life as a 53-year-old divorced mum in a sing-rap fashion - "got to call the babysitter...got to sign the contract" - but insists that she "don't even feel the pressure". The best bit comes at the end when Nicki Minaj announces: "There's only one Queen and that's Madonna, bitch," before a regal orchestra ensues that sounds like it was lifted straight out of a blockbuster movie.

9. 'I'm A Sinner' (produced by Madonna, William Orbit)

It took us all of 30 seconds to realise that this sounds like a sequel to Ray Of Light's 'Beautiful Stranger' which, given the producer, we're sure isn't a coincidence. "I'm a sinner and I like it that way," she sings on the psychedelic chorus, before preaching "Jesus Christ hang on the cross, died for our sins it's such a loss" on the middle eight.

10. 'Love Spent' (produced by Madonna, William Orbit)

We'll be honest, we weren't particularly taken with this one. There's a banjo on the intro that re-appears later on, but it's worth sticking with for a glorious ending of crashing symbols and booming electronics.

11. 'Masterpiece' (produced by Madonna, William Orbit)

It's the first ballad on the album, and it feels like it arrives just at the right moment. The production is more "organic" (there's drums, guitars and Orbit's trademark wobbly bits),and it doesn't try to be anything other than a solid pop song. "I can't tell you why it hurts so much to be in love with a masterpiece," she sings on the chorus.

12. 'Falling Free' (produced by Madonna, William Orbit)

This one is even more stripped back, relying solely on strings, piano and some synths littered throughout. "Our hearts are intertwined and I'm free, I'm free of mind," she sings with what is easily her strongest vocal on the record.

13. 'Beautiful Killer' (produced by Madonna, Martin Solveig)

We're surprised this was demoted to deluxe-only, as it is easily one of our favourites. A thumping pop hook and glitchy beats play out as she confesses her penchant for bad boys. "You're a beautiful killer with a beautiful face," she admits before rolling out the best line of the song (and possibly the album): "Baby, I can't talk with a gun in my mouth."

14. 'I F**ked Up' (produced by Madonna, Martin Solveig)

A thumping midtempo number in which Madonna confesses that sometimes (though probably not that often), she isn't perfect. "I made a mistake/ Nobody does it better than myself," she admits before the pace picks up dramatically in the middle and tails off at the end.

15. 'B-Day Song' (produced by Madonna, Martin Solveig)

It's essentially the complete opposite of what you'd expect from a Madonna and MIA collaboration. It's unashamedly fun, has no political agenda (that we can tell anyway) and, in truth, is a bit pointless.

16. 'Best Friend' (Madonna, The Demolition Crew)

The album closes with a dubsteppy ballad in which Madge talks about missing her closest pal. "I won't pretend, I feel like I lost my very best friend," she says, before singing "It wasn't always perfect, but it wasn't always bad" in isolation at the end.

17.'Give Me All Your Luvin'' (Party Rock Remix)

They didn't play this at the showcase, so we can only assume their feelings about it are the same as ours.

MDNA is by no means a perfect Madonna album, but it certainly has the potential after repeated listens to be up somewhere in the top six. There are some glorious highs and, unfortunately, one or two misfires, but it wouldn't be a Madonna album if she wasn't taking risks. Perhaps the most surprising aspect of this record is that there are no obvious hits on it, but as a body of work it makes for a thrilling and genuinely fascinating listen.

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Madonnatribe review

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Today we had the chance to listen to the new Madonna album as a whole to review it for our website and we have to say it's really a very good work that will please both casual and hard-die fans. Well maybe it won't be pleasing a lot catholic groups as the queen of pop dips again in the imagery she grew up with in an even strongest way than like a prayer. With Like A Prayer she rebelled against the religious "values" imposed on her by her family, with MDNA she revisits the themes adding some twisted irony proving that she may have Kabbalish blood in her veins now but her bones are still impregnated with catholicism, rivisiting again themes as sin, death, shame, betrayal , twisted love affairs and regret.

The opening of the album's first song, Girl Gone Wild is a hint of what's instore. She reprises one of the most sacred catholic prayers, the Act Of Contrition, and revisit it as a bad girl would do.

1. Girl Gone Wild

A great way to open the album, with a song that grows on listeners more and more. We didn't like it AT ALL a week ago and now we are singing it and humming it all the time. It really represents the album well as the whole album is like a diary of a catholic girl gone wild. We still have to forgive her for J-low inspired bit "Dj play my favourite song" but we are quite happy with it!

2. Gang Bang

When MadonnaTribe first reported online about this track last November it could well be defined as an electronic ballad. It was sung in Madonna's clearest voice and told the story of a love affair from the side of a hopeless victim. Now, the track has turned into one of the most hysterical tracks of the album with a beat inviting anyone to the dance floor and with some of the most daring Madonna lyrics in which Madonna turns into a killer for love and she's proud of it, no regrets! From the first listening the theme plot of the song appears to be about a woman who first kills her lover for betraying her, then take her car and drives insanely on the street to commit suicide. In a firm cold voice she says to herself "now drive bitch, I said drive bitch and while you're at it die bitch, that's right drive bitch."

At one point her thoughts go back to her killed lover and she says he deserve it "I'm going straight to hell and I got a lot of friends there. And if I see that bitch in hell, I'm gonna shoot him in the head again. Cause I wanna see him die over and over and over.." Lyrically it's not the typical Madonna track, not a surprise it was axed from the family friend version of the album sold by Walmart! Musically the song reminds us a lot of Impressive Instant from Music (2000) and it end with an "If you act like a bitch then die like a bitch!" sentence and the noice of a police car approaching.

3. I'm addicted

This is the one we like the less. Lyrically it doesn't add anything to the Madonna body of work. It's a song a-la I'm so stupid, with no real meaning. A lot of people like it tough and we respect that. At one point she starts chanting and repeating MDNA, MDNA, MDNA... we can report that legend says in the original early demo the word that is now replaced with MDNA was actually Hashish! that would really explain a lot!

4. Turn Up the Radio

This is probably the most Gaga-ish song on the album. Not right there with her great dance numebers like Into The Groove or Hung Up so We are not very fond of this one either. Fans were already exposed to bits and pieces of this one in the medley released online with Give Me All Your Luving and the comments were not so positive. We second that opinion but we promise this is the second and last one we don't particulary like.

5. Give Me All Your Luvin'

L.U.V. this song a lot ... Y.O.U all know it... L.U.V. listening to this single on the radio... Y.O.U have to request it a lot! It's poppy, it's catchy, it's pure Madonna.

6. Some Girls

This track somehow reminds us of her very early stuff she did with Emmy before her first album, probably it's the way she sings it or the fact the melody seems a nursery rhyme at times like her early stuff.

7. Superstar

"Like Brando on the silver screen you are a Superstar, that's what you are", this is the true romantic number of the album, a love song in the tradition of True Blue, Cherish, Nothing Fails. Madonna's love interest is compared to superduper actors like Marlon Brando, Bruce Lee, John Travolta, Jimmy Dean and to historic characters such as Ceaser or Al Capone. As for the lyrics imagine a list of songs rhyming with the word star! Oh La La, Another winner for us!

8. I dont give a

This is not the typical Madonna groove, a song that has parts of rap a-la American Life in which Madonna stresses over and over the fact that although she has made mistakes it's not other people's right to judge her. The ghost of Guy Ritchie also haunts the songs when she says "I've tried to be a good wife" and "I don't care what people say about myself". The track features a rap by Nicki MInaj that at some point reminds everyone that "there is only one Queen and that's Madonna!" and ends in a with an "epic chorus" and epic orchestration, the perfect epic background music for the trailer of an epic movie! How many times did we say epic? That's used to stress the concept!

9.I'm a Sinner

Ok, lyrically this is the new Like a Prayer, the song that will make catholics mad. Her voice on this song once again sounds different, you barely recognize her at the very beginning. Musically, it's the most classic Orbit guitar sounding song on this album, Ray of light remixes meet Beautiful Stranger but yet in a great different way. It should definitely be a single, with a great video accompaining it, she'd become once again the Queen Of Controversy many fans adore and in this case the controversy would spark from the nursery rhyme she says on the history of the most popular saints.It stars with a "Hail Mary full of grace, get down on your knees and pray" going ahead with a " Jesus Christ hang on the cross died for our sins it's such a loss". She continues with "St Christopher find my way I'll be coming home one day" and "St Sebastian don't you cry let those poison arrows fly"! Stuff that would really want Pope-a-Ratzi cover his ears with his velvet cape! Definitely one of our best favourites.

10. Love Spent

It starts with an Orbit guitar, Madonna has a sweet voice on this one. ANother love song a la Nothing Fails that would also fit well on the American Life album. There's a great, uncredited, reprise of the Abba theme used in Hung Up that pops up here and there throughout the song. Good one!

11. Masterpiece

This song HAD to be on this album, after discussing it for a while Madonna decided to include the W.E. on the record and she made a good decision. Masterpiece fits perfectly between Love Spent and Falling Free and it's the kind of classic, simple and straighforword Madonna ballad that she hasn't been delivering for a long time and it lets you catch your breath after all the dance numbers that preceed it!

12. Falling Free

The closing number for this album is a slow paced song co-written with Joe Henry. Her way of singing it is very sweet, using her "evita operatic voice" at times, and the theme is very melancolic. There no loop at all accompagning the song, it's just her voice, some Orbit electronic sounds and music instruments like cello. It's a song that Bjork would do and it also reminds us score music of some Japanese animation series. A great way to close the standard edition of MDNA

13. Beautiful Killer

We're back to dance music with beautiful killer and back on the theme of death. Here's she's a victim who is in love with a man who wants to kill her. This is another great song "You can call my name and I'll be around, maybe I'll let you shoot you me down cause you're a beautiful killer with a beautiful face". Like in her film Snake Eyes, the song ends with a gun shot hinting the fact her beautiful killer finally killed her.

14. I fucked up

To have regrets or not to have regrets? this is the question! On this one Madonna says she knows she made a mistake, she is so ashamed and whishes to take it back but she can't. She says nobody screws things better than her. She says she's sorry and "je suis desole'" but it's not clear to whom she is apologizing with. A friend, an ex lover, a ex husband? The ghost of G.R. appears again when she says she misses "running in the country".

15. B-song

It's the most positive and light song on this album, as cherish was on like a prayer. Madonna re-invented the classic motown sound for this track in which she, as first reported by Madonnatribe in December she celebrates her own birthday in the most joyous way. It's a great song that has been switched from the standard edition to the deluxe second disc as it doesn't completely fit the theme of the main album.

16. Best Friend

This is the real end of it. In this one she's is missing her best friend and the things and places they shared together..

"I miss the countryside where we used to mate".. Guy Ritchie again? but she says that "I've survived the biggest test" ... good for her then!

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Madonnalicious review

As for the album, the trouble is madonnalicious forgets to be a journalist for the day and becomes a fan. We cannot write long wordy pieces like other reviewers, we can only give you our essence of the album, our feelings.

On just one listen, fear not, there is hope! For a long-time Madonna fan the William Orbit tracks are the standout ones - or maybe more 'traditional Madonna'. It seems as if the album is almost in two parts - Before WO and After WO - maybe if the sequencing was different it might not have seemed so obvious.

The Orbit tracks are the more introspective melodic ones, the Martin Solveig and 'Benny' Benassi tracks are the ones you could dance to in a club, but not maybe choose to just listen to at home.

This seems definitely to be the 'divorce' album, there is a lot of looking back at failed relationships and even admitting that she 'f*cked up'.

Our favourite tracks and ones we cannot wait to listen to again are (not including GMAYL and Masterpiece which we have heard lots of times):

Girl Gone Wild - just keeps growing on us, wanted to get up and dance to it right there! A good opener to the album with the spoken intro.

Superstar - ooh-la-la you're my superstar, light pop-song. New era Vogue-rap name-checking Bruce Lee, John Travolta and James Dean.

I Don't Give A - although quite hard to hear the lyrics clearly, we loved the whole song - and the Nicki Minaj rap which claims 'there is only queen and thats Madonna...bitch' - it is almost like a grown-up version of a playground rhyme.

I'm A Sinner - or Beautiful Stranger part II - which isn't a bad thing! Could have been on Ray of Light. Classic Madonna and William Orbit.

Love Spent - we are sure we heard some of the Hung Up/Gimme Gimme Gimme tune mixed in very quietly - need to hear it again.

Falling Free - with an almost Evita-like voice, very stripped down with piano and strings 'We're both free, free to go' Is this the divorce song?

Best Friend - quite a good ending to the (deluxe) album as the final line is 'Its so sad that it has to end' SILENCE...

I'm Addicted, Turn Up The Radio, Some Girls, Beautiful Killer, B-Day Song weren't stand-out tracks for us, but they were not bad either. Maybe on additional listens they will grow on us. And don't forget our opinion is always subject to change!

http://madonnalicious.typepad.com/madonnalicious/

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These reviews are driving me crazy....I need to have the CD right now!! I can't wait anymore.

So true! It's like with all those reviews you get to know almost every detail about the song but still you can't imagine on your own how those songs sound like at all!

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Madonnarama - Review:

http://www.madonnarama.com/posts-en/2012/03/07/madonnas-mdna-track-by-track-review/

1. Girl Gone Wild

Strong solid start to the album, very catchy unapologetic 90s-inspired powered pop and totally in your face.

Still not convinced? Turn the volume up!

2. Gang Bang

A very dark deep house track with a little dubstep interlude dealing with murdering your lover and going to hell for it. It has Quentin Tarentino’s amazing “Death Proof” movie written all over it. William Orbit and the Demolition Crew did a tremendous job on this song which is partly spoken. Oddly there’s something sexy in this track as if it was inspired by the Erotica era. Think “Goodbye to Innocence” meets “Thief of Hearts” but way more edgy. “Bang Bang shot you dead. Shot my lover in the head… Now my lover is dead and I have no regrets.” Madonna ends the song with “Now if you’re gonna act like bitch, you’re gonna die like a bitch.”

A favorite.

3. I’m Addicted

First, people should understand that the snippet posted by Perez Hilton is the ending of the song. With its infectious beats, amazing futuristic sound and really cool lyrics about love being like a drug (“Feels like a drug and I can’t get enough”), you can’t help but end up being addicted yourself. At some point, the song even has a 90s Prodigy’s “Out of space” vibe to it.

4. Turn up the Radio

Another collaboration with Solveig and yes, the song has hit written all over it. We understand why Madonna’s Team would release it as a single. It’s very mainstream pop so people will love it for sure.

Very happy and uplifting.

5. Give me all your Luvin’

Perfect for the Super Bowl. Happy song and great first single that did extremely well considering it was leaked on the Internet, months before.

6. Some Girls

Electronic fury. You’ll either love it or hate it. The lyrics are really cool “Some girls got an attitude. Fake tits and a nasty mood”, “Some girls make a scene, shoot their mouth and talk obscene”…

7. Superstar

Madonna mentions Brando, Travolta and James Dean in what seems to be the only filler in the album. Sweet but forgettable, Madonna goes “Oooh la la you’re my superstar, oooh la la love the way that you are, oooh la la you’re my superstar, oooh la la that’s what you are.”

Oh well…

8. I Don’t Give A

This one’s Minaj’s second appearance on “MDNA” and it’s one of the best songs of the album. Penned by Madonna, Martin Solveig and Nicki Minaj, Madonna sings unapologetically about her personal life, her marriage and how she does not care about people’s judgements. The chorus goes “I’m gonna be ok. I don’t care what the people say. I’m gonna be alright I heal fast and I’ve got it right.” The ending is just powerful and amazing. Nicki Minaj says it best “There’s only one queen and that’s Madonna, bitch.”

9. I’m a Sinner

A catchy happy sexy psychedelic 60′s-inspired song in the continuity of William Orbit’s previous creations for Madonna. Think “Beautiful Stranger” meets “Ray of Light”, and believe it or not, the sound remains very fresh and new! The lyrics are fun and serious at the same time, with Madonna taking responsability for being a sinner. She cites saints (Jesus, Mary, St Christopher, St Anthony…) and talks bible.

A perfect fit.

10. Love Spent

We expected a heartfelt ballad but we got an electro-pop number that opens with a combination of banjos and violons. Madonna dabbles with vocal distortion while asking her latest male subject: “Love me like your money”.

Monstrous and addictive.

11. Masterpiece

More than just a Golden Globe winning song, Masterpiece is perfection.

12. Falling Free

This song is slightly melancholic, yet uplifting at the same time. No beat, a naked voice. Madonna sings about how liberating the power of love is. Fans will be pleasantly surprised by the quality of the vocals, for sure. This showcases Madonna’s voice at its purest. A piano, a guitar, some violins with Madonna singing “Deep and pure our hearts align. Then I’m free, I’m free of mind, I let loose, don’t need to know. We’re both free, we’re free to go”.

Read more: http://www.madonnarama.com/posts-en/2012/03/07/madonnas-mdna-track-by-track-review/#ixzz1oTE1olS4

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Guardian:

First listen: Madonna's MDNA

We've had a sneak preview of the new album – get ready for terrible French accents, amazing pop raves and heartfelt ballads

Girl Gone Wild

After the relative failure of the album's first single Give Me All Your Luvin' – in with a bullet at No 37 in the UK – this throbbing, having-a-bit-of-a-dance electro-pop stomper was released a few weeks ago in the form of a fairly embarrassing lyric video. Embarrassing because the lyrics are probably the worst thing about it, all "you got me in the zone, DJ play my favourite song" club LOLs. Co-produced by Italian DJ Benny Benassi, it's a lot more exciting musically, especially when the whole thing disintegrates in the middle eight, dropping out completely as Madonna coos "forgive me". A signal we're back in Confessions on a Dance Floor territory following the relative misstep of Hard Candy.

Gang Bang

Madonna in playful mode. Big throbbing industrial-tinged beats, spoken word verses, no real chorus, just a ridiculous collection of sound effects (police sirens, gunshots) and imposing menace that's actually pretty fun in a kind of slightly unhinged way. Gang Bang recalls her American Life album in its slightly uneasy marrying of genres, with a sudden dubstep breakdown its most obvious detour. Lyrically it's a twisted revenge fantasy rather than a sordid romp, closing with the line: "If you're going to drive like a bitch then you're going to die like a bitch."

I'm Addicted

Again co-produced by Benny Benassi, this continues the theme of "Fun!" (however forced it might seem) that permeates most of MDNA's first half. "I need to dance," Madonna trills over squiggly synth squelches and a beat that morphs into a fairly ridiculous Calvin Harris-esque breakdown. By the end she's chanting "M D N A", which you imagine might be shouted back at her by some fairly large crowds come summer.

Turn Up the Radio

This one, co-produced by Martin Solveig, should have been the second single. Its relatively calm intro is a timely breather from the throbbing bass and feels more carefree and instinctive than what has gone before. Over a bouncing beat that filters, stutters and drops in all the right places, it slowly morphs into an anthemic raveathon, with a lovely middle eight underpinned by almost tribal drums. Again, the theme is the need for one and all to chill out and have some fun.

Give Me All Your Luvin' feat Nicki Minaj and MIA

If you were one of the 108 million people who watched this year's Super Bowl halftime show then you've probably heard this first single. If, however, you listen to the radio then you probably haven't, seeing as it wasn't playlisted on Radio 1 and received limited exposure elsewhere. Though admittedly not her best comeback single – that's Frozen, in case you were wondering – it's still a fun song, Solveig slightly reworking the bouncing beats and acoustic strums of his amazing Hello single and drafting in Nicki Minaj and MIA to add some personality to a middle section that's slightly dubstep-interlude-by-numbers.

Some Girls

Probably the album's weakest moment, with Madonna's vocals pulled, processed and buried deep in the mix, acting more like another instrument within a deluge of filtered beats. It could have easily been a leftover from her Music album, William Orbit unable to find a melodic core in a song that probably should have been included as a bonus track.

Superstar

Opening with a massive Cheerleader-style drum beat – reminiscent of the extended intro to Solveig's Hello – this is much better, Madonna sounding playful and energised, singing about how her new boyfriend is pretty amazing. In fact, she likes him so much she'll let him "have the password to my phone". Unfortunately, as with most songs on the first half of the album, the chorus is a bit weak, a simple "oh la la, you're my superstar". Also, memo to Madonna: massive pop stars knowing about dubstep is probably a bit old hat now, but we get another dubstepesque breakdown nonetheless.

I Don't Give a feat Nicki Minaj

Brilliantly odd. Opening with a bang, literally, it goes on to morph into an America Life-style rap (no wait, come back) that features a list of things Madonna has to do ("meet the press … sign the contract"). The industrial beats soon make way for spooky chants and out of nowhere Minaj pops up, finishing her rap with "there's only one Queen and that's Madonna, bitch". If this isn't being made into a T-shirt as you read this then there's something wrong with the world of merchandise.

I'm a Sinner

Futuristic-sounding, double-tracked beats hail a song that veers from having fun on a night out ("all the boys and the girls wanna be like us tonight"), to a religious revelry ("Hail Mary, Jesus Christ on the cross died for our sins"). Produced by William Orbit, his signature motifs are all over it, from the Ray of Light-style guitar line that emerges from nowhere to the bit later on that sounds like Beautiful Stranger.

Love Spent

Back come the guitars, this time working around processed strings, a pretty melody and lyrics about wanting to replace money in a man's affections. "Hold me like your money … Spend your love on me," Madonna sings over four-to-the-floor beats and a properly ravey middle eight. There's an amusing moment when she deadpans: "Frankly, if my name was Benjamin, we wouldn't be in this mess we're in."

Masterpiece

Over a simple fingerclick drum beat and a pretty acoustic riff, this ballad – which appeared on the W.E. soundtrack – takes the painting metaphor hinted at in the title and runs with it. "If you were the Mona Lisa, you'd be hanging in the Louvre," Madonna sings, with the implication being that it's hard to love something perfect and distant ("the look but please don't touch me type"). It's one of the best vocal performances on the album, her voice soft and sweet throughout, lifting effortlessly into the chorus of "I'm right by your side, like a thief in the night, I stand in front of the masterpiece." A breath of fresh air after heavy bass and ravey synths.

Falling Free

Opens with a spooky, slightly unhinged piano section that's more lonely woman in haunted house than Coldplay stadium filler. Deep strings underpin the whole thing, with just the piano and strange electronic textures – similar to Ray of Light's Drowned World – for company. As with most of the later songs, you could easily read a lot into the lyrics, specifically thinking about Madonna's divorce from Guy Ritchie. "We're both free, free to go," she sings as the strings sigh and slowly settle. It's a haunting way to end the main album.

Beautiful Killer

The first of four bonus tracks, this draws on a fairly popular Madonna theme: that of being drawn to something bad for you. "Baby I'll let you shoot me down" and "I can't really talk with a gun in my mouth" are two lyrical highlights on a song that was rightly left off the main album.

I Fucked Up

This, however, definitely should have been on it. Opening with a big, bass-heavy beat and a snapped "I fucked up", it's Madonna at her self-lacerating best. "I made a mistake, nobody does it better than myself," she sings as the beat is joined by strings and sudden bursts of guitar. Suddenly the beat skips and speeds up, creating the album's grimiest, least polished moment. Fans of Confessions on a Dance Floor's Sorry will be pleased to hear her sing "je suis desolé" in the least convincing French accent.

B-Day Song feat MIA

Rumours that this MIA collaboration was bumped from the main tracklisting following middlefingergate were not confirmed during the playback, but it's more than likely it was left off because it's Motown/Spectorish beat doesn't really fit with the rest of the album. It's a jolly romp though, with MIA joining in on the chorus but letting Madonna deliver the line "give me a spanking, start the day off right" by herself.

Best Friend

A real highlight. With a massive electro beat that pogos all over the place, this is a brilliant rush of darting synths. Lyrically it's about a relationship that should never have been, Madonna lamenting the loss of a friendship after things went wrong. There are nods, perhaps, to her previous life as part of the English gentry – "I miss the countryside in which we used to lay" – and it's one of the few times on the album where the chorus truly soars. It ends with the line "it's so sad that it had to end" and, generally, this is true of Madonna's MDNA, an album that's been trailed by weak singles, but contains brilliantly bonkers moments.

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http://www.stylist.co.uk/life/madonna-mdna---track-by-track!

Madonna MDNA – track by track!

Stylist’s Anita Bhagwandas went to the playback of Madonna’s twelfth studio album MDNA, at Abbey Road studios earlier today (Wednesday 7 March). Here is her initial, unedited track by track reaction.

Girl Gone Wild

Dancefloor-filler and, I’d imagine, possible future single. It’s both catchy and forgettable in equal parts with its foot-tapping electro swerve and light-hearted lyrics.

Gang Bang

What am I expecting from a track with such a subversive title? Gaga-esque polish, pulsating baseline and hooks polished until they’re super slick. This track definitely delivers, right up until the final few bars when it’s ruined by an addendum of gangster rhetoric – “You’re gonna die bitch,” Madonna wails as Lourdes sits at home with her head in her hands crying ‘Mother you’re so embarrassing!’

I’m Addicted

Much of the same club-friendly dance, and yet, this filler track is one of those jaunty little ditties you might hear on the catwalks at fashion week. Lots of bleeps and cyber-pop melody, but the real question is whether it alludes to the double entendré suggested by the album name? Whatever she’s addicted to – be it young men or a little botox – there’s certainly not a hydrangea in sight.

Turn Up the Radio

Imagine what this sounds like from the generic moniker and pat yourself on the back. More of the sweet dance sensibility with a little retro euro-pop thrown in for good measure, but at this point in the album the adage ‘quality not quantity’ seems to be loitering poignantly.

Give Me All Your Luvin’ feat Nicki Minaj & M.I.A

It’s the first single from the album and although queen M is working with some bright young things, if this song were a pudding it would most likely be a macaroon. Something you really crave but saccharine and ultimately so unsatisfying you end up eating the whole box. Madonna would object-naturally. She’s good like that, darn her willpower.

Some Girls

Things are looking up, and it’s all down to producer William Orbit who worked with Madonna on the brilliant Ray Of Light and with Pink, All Saints and Blur’s emminemt 13. It’s synth-laden, sultry and brilliant – more like this please.

Superstar

We’re back to the same sugary retro-pop. But the bigger question is what’s with these song titles? Are they the tracklist to Madonna’s mind? We get that you’re great Madge but give us mere mortals a break from your too-cool song titles and down-with-the-kids attitude.

I Don’t Give A

Monkeys? Two-hoots? Aside from her slack sentence finishing ways, there’s a real sense of vigour and originality to this fully developed, techno-tinged track. Then Nicki Minaj pops up again to add a little rappity-rap over the top for an added bonus.

I’m A Sinner

We know, we saw that naughty book you put out a while ago Madge. This retro, Ronette’s inspired pop ditty differentiates itself from the rest of the album with the church-like references galloping sixties crescendo.

Love Spent

Credible and cool, this is how we want to hear Madonna, someone who’s used her experience to enhance her records rather than jumping on any passing bandwagon. This too-brief melody plays electro softness against delicate strings to impressive effect.

Masterpiece

A little slab of balladry with Madonna realising her own immortality “After all, nothing’s indestructible” she sings gently. It’s a softer approach with a silky melody that cuts a more grown-up swathe than anywhere else on the album. It’s also the theme to W.E, and this stripped back approach is arguably the route this album should have taken.

Falling Free

Hollow, melodic strings make this one of the few tracks that’s truly a little different – and, predictably it’s produced by Orbit again. Although it’s not quite as catchy as a few of the big shouty, dance floor fillers these dream-like, euphoric vocals and stripped back arrangement is the best we’ve seen her in years.

MDNA is released on Interscope on 26 March

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the person who reviewed MDNA from the stylist (by not looking I could tell it was a woman) she is very, very annoying. filled with backhanded compliments. as if to say..the music is good, but madonna is old, so we have to throw in some sexist & ageist remarks there.. and of course a bit of botox.

disgusting!

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the person who reviewed MDNA from the stylist (by not looking I could tell it was a woman) she is very, very annoying. filled with backhanded compliments. as if to say..the music is good, but madonna is old, so we have to throw in some sexist & ageist remarks there.. and of course a bit of botox.

disgusting!

sounds like she didn't take notes, doesn't remember a lot and is just filling space.

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