MDNA Press Reviews

[DIRTY PIG]

Guy Oseary just posted:

wow

[lightsight]

http://www.examiner....ght-on-steroids

Edward Daily San Diego Music Examiner

San Diego's Z90.3 will be premiering tracks from Madonna's upcoming spectacular album MDNA starting on Friday, March 23. But you don't have to wait—yesterday, we drove all the way to Los Angeles for a listening party. Needless to say, nearly getting in two accidents and driving in back-to-back rush hour traffic was worth it.

We won't be able to post our full and detailed review until sometime closer to the release date. However, we can reveal our first impressions after listening to the album just once.

• MDNA can best be described as Ray of Light on steroids. You can also throw in some Confessions on a Dance Floor.
• The first two singles don't do this album justice. "Give Me All Your Luvin" still sticks out like a sore thumb on the album. "Girls Gone Wild" is a great dance track, but doesn't display Madonna's full capabilities.
• Our favorite track on the album is "Love Spent," an amazing electro-ballad that is beautifully sung and produced. We were told that an acoustic version of the song is set to be released.
• Our second favorite song is "Gang Bang," which is wild, scary, and sexy all in the same breath.
• Guy Richie is still on Madonna's mind. "Best Friend" and "Falling Free" will put a smile on his face.
• Sorry, Little Monsters—we love Lady Gaga, but this album makes everything she has ever done seem reductive.

[Barbie]

http://www.examiner....ght-on-steroids

Edward Daily San Diego Music Examiner

San Diego's Z90.3 will be premiering tracks from Madonna's upcoming spectacular album MDNA starting on Friday, March 23. But you don't have to wait—yesterday, we drove all the way to Los Angeles for a listening party. Needless to say, nearly getting in two accidents and driving in back-to-back rush hour traffic was worth it.

We won't be able to post our full and detailed review until sometime closer to the release date. However, we can reveal our first impressions after listening to the album just once.

• MDNA can best be described as Ray of Light on steroids. You can also throw in some Confessions on a Dance Floor.
• The first two singles don't do this album justice. "Give Me All Your Luvin" still sticks out like a sore thumb on the album. "Girls Gone Wild" is a great dance track, but doesn't display Madonna's full capabilities.
• Our favorite track on the album is "Love Spent," an amazing electro-ballad that is beautifully sung and produced. We were told that an acoustic version of the song is set to be released.
• Our second favorite song is "Gang Bang," which is wild, scary, and sexy all in the same breath.
• Guy Richie is still on Madonna's mind. "Best Friend" and "Falling Free" will put a smile on his face.
• Sorry, Little Monsters—we love Lady Gaga, but this album makes everything she has ever done seem reductive.

[Cal1974]

The buzz around this album is huge, particularly here in the UK. It was only a few days ago some people on here were claiming the UK does not love her any more, time for them to eat their words. The article on the BBC is also unusual in that I cant recall such a story in recent times around the release of any artists album.

http://www.bbc.co.uk/news/entertainment-arts-17297661

Ok we still need it to sell, but given that the reviews I can see this being big.

Does anyone know how many albums have been pre-ordered in the UK? I am guessing enough to take it straight to number 1?

Its a good time to be a Madonna fan.

[dollhouse]

Pre-orders will be good but in the long running I think it still needs hits to be played on the radio to be huge seller.

Its so weird theres no hit yet..

[Butter9]

The buzz around this album is huge, particularly here in the UK. It was only a few days ago some people on here were claiming the UK does not love her any more, time for them to eat their words. The article on the BBC is also unusual in that I cant recall such a story in recent times around the release of any artists album.

http://www.bbc.co.uk/news/entertainment-arts-17297661

Ok we still need it to sell, but given that the reviews I can see this being big.

Does anyone know how many albums have been pre-ordered in the UK? I am guessing enough to take it straight to number 1?

Its a good time to be a Madonna fan.

If it wasn't going to hit number 1 based on the pre-order alone it sure will hit number one now after all the rave reviews ! It's like when the reporter from E! asked her before the Superbowl " What can we expect to see on stage ? " And she shouted back " Excitement ! "

[Guest groovyguy]

http://drownedinsound.com/in_depth/4144597-first-listen--madonna-mdna

First Listen: Madonna - MDNA

by Robert Leedham

"I've been to a couple of playbacks," comments one journalist after hearing Madonna's MDNA in full for the first time. "The louder they play the album, the more worried the record label tend to be worried about it."

'How loud was this particular listening session in the bowels of Abbey Road?', you ask. In a word, earsplitting.

For those of you unfamiliar with the story of MDNA so far, this is Madge's 12th solo album in total, her first for Universal and it has spawned her lowest ever charting debut single in 'Give Me All Your Luvin''. Its follow-up 'Girl Gone Wild' has hasn't been rapturously received either, so there's a fair bit riding on this swanky event attended by pretty much every major media outlet in the country... and your humble reporter.

Despite the obvious temptation to declare a phenomenal comeback after the disappointing Hard Candy or a continuation of that muddled slump, what follows is a guide to where the album is at. Not how good it is.

Opinions need time to fester and we wouldn't want to embarrass ourselves 12 months later for the sake of some easy hyperbole. This is simply our account of what happened when a 53-year-old singer's latest dance-pop record, primarily aimed at a market of teenage Radio 1 listeners, was played to a room of music critics in their early thirties.

1) Girl Gone Wild

The album's second single, revealed via a cringey lyric video, sets the mould for MDNA. That mould being a whole lot of synth and some frivolous good time lyrics. A modern on twist on the old school fun of 'Holiday' and 'Open Your Heart'.

2) Gang Bang

Despite the eye-raising title this track is more concerned with smoking firepower than demeaning group sex. An orgy of pithy lyrics for your earholes, this song includes the hilarious spoken word kiss off "If you're gonna act like a bitch, you're gonna die like a bitch!" Cue blazing shotgun My notes also mention the phrase, 'Obligatory dubstep breakdown'. Take that as you will...

3) I'm Addicted

Produced by Benny Benassi, 'I'm Addicted' is the track from which MDNA gets its name. You can pick this up quite easily because Madge takes to chanting her album's title repeatedly over some squelching electronic vibrations. A song with an irresistible chorus which comes pretty close to an instant favourite.

4) Turn Up The Radio

So far the Material Girl she hasn't pulled any punches in pushing for a club-friendly audience but 'Turn Up The Radio' feels more like one for the oldies. That is, the theatrics are toned down a bit in favour of a whopping chorus which goes something like this, "Turn up the the radio, turn up the radio. Don't ask me where I wanna go, we've gotta turn up the radio." Big but in no way clever.

5) Give Me All Your Luvin' feat. Nicki Minaj & M.I.A.

For all its flaws, it's easy to see why 'Give Me All Your Luvin'' was selected as the lead single for MDNA. A likeable song with the guest vocals from two critically claimed and commercially successful rappers could have spelt chart gold. If only the whole affair didn't seem so half-hearted.

6) Some Girls

The first of five William Orbit tracks on the album, this is a disappointment for those expecting the blissed out vibes of Ray Of Light. These come a little later, so for now it's another slightly tired banger which goes heavy on the vocoder while pushing the vocals right to the back of the mix. Seems to be trying too hard to impress but will hopefully even out on repeated listens.

7) Superstar

Not the first song to see Madonna name check Marlon Brando, this is decent enough mid-album album fare. "Ooh la la, you’re a superstar” goes the idiosyncratic chorus and we bob our head along obligingly. As another bassy wobble reigns in, the album is beginning to feel like a more refined version of Britney's Femme Fatale. We liked Femme Fatale, a lot.

8) I Don't Give A

Just when we were getting worried MDNA was too light on personality 'I Don't Gives A' arrives to allay our fears with lashings of brash sentiment. Tabloid hacks will no doubt have a field day with Guy Ritchie referencing lines like, “I tried to be a good girl. I tried to be your wife". The real scene stealer comes at the end of the track however, with Nicki Minaj proclaiming, "There’s only one Queen and that’s Madonna. Bitch!" On this form, it's hard to disagree with the 'Stupid Hoe' chanteuse.

9) I'm A Sinner

As everyone knows, Jesus Christ died for Madonna's right to make mildly controversial statements. While not quite up there with 'Like A Prayer's' comparison of solemn meditation to a good old blowjob, an "I'm a sinner and I like it that way" line at least keeps up the tradition of Catholic-baiting. William Orbit's track through and through, this mix of looping drums and reverb-laden guitar tees the album up for a decent home run.

10) Love Spent

Featuring a banjo-lead intro and a proper (auto-tune assisted) key change, 'Love Spent' is a silly little romp which we were rather fond of. Much like Confessions On A Dance Floor there's no real message to MDNA, just a series of four-to-the-floor tracks and more reflective numbers like this one.

11) Masterpiece

The album's penultimate offering and its only straight up ballad, 'Masterpiece' is overwrought but underwhelming. Admittedly Madge isn't famed for her cracking pipes yet a sudden reach for the high notes would do well to distract from a humdrum acoustic backing track. It's no 'Crazy For You' that's for sure.

12) Falling Free

A complete contrast to the opening synthetics of 'Girl Gone Wild', 'Falling Free' is a sombre and string-drenched affair. After an avalanche of opening dramatics, it's pleasing to hear MDNA end on a reflective note. "We're both free, free to go," coos the world's best-selling female artist of all time.

In truth, we would leave but there's the small matter of some bonus tracks to skip through. Of this ramshackle bunch 'Beautfiful Killer' and 'I Fucked Up' reward our perseverance but 'B-Day Song' and 'Best Friend' feel a bit kitsch on first impressions at least.

Summary

Madonna has stepped back into the pop fray with a something for everyone. The first Demolition Crew and Benny Benasssi-produced half of MDNA sees her try and play to a synth-hungry 21st century audience. The second returns to the comforting fold of William Orbit's mellow ambient bliss.

What we'll be grappling with as we get down to our review is whether the record hangs to together well enough as a whole. In the opulent surroundings of a free bar and several bowls full of jelly beans, it's easy to get carried away with your own enthusiasm. Still, we arrived at Abbey Road with no little trepidation and left reassured that Madge hasn't succumbed to Top 40 drudgery yet. That will do for the meantime.

[Guest groovyguy]

Polydor Records ‏ @polydorrecords

By the way, Madonna's MDNA is indeed EPIC... and the critics agree. Here's what @deanpiper had to say about it: mirror.co.uk/lifestyle

[Barney]

Thanks groovy! That was a crap review from someone who didnt want to like it but ended up liking it???

[Guest groovyguy]

Thanks groovy! That was a crap review from someone who didnt want to like it but hated up liking it???

IKR

[Guest Xanthium]

I'm loving that the reviews are very positive.

[datf]

Madonna, 'MDNA': Track-By-Track Review

http://www.billboard.com/features/one-direction-up-all-night-track-by-track-1006388352.story#/new-releases/madonna-mdna-track-by-track-review-1006416552.story

Madonna is still very much the Queen of Pop.

Nearly 30 years after first hitting the Billboard charts in late 1982 with her debut single "Everybody," Madonna is still showing the pop world how it's done.

"MDNA" -- her 12th studio album -- is a collection of thoroughly pumping pop tunes, some of which are slices of sheer brilliance. Not only does Madonna take us to the club with "MDNA," she exhausts us, drains us, and confides in us. Five minutes after an aerobic workout on the dance floor, we're in her private booth, where she's spilling her guts about relationships and how things just didn't turn out the way they planned. Then, another five minutes later, we're back to dancing up a storm to a song like "Gang Bang."

Yes, "Gang Bang."

The track is one of the album's many stand-outs. It's a dark, throbbing tune that is twisted and surprising and altogether pop-tastic. (Yes, that's a word.)

Also notable is the summery pop nugget "Turn Up the Radio," the full-throttle digital rave-up of "I'm Addicted" and the driving, clever word play of "Love Spent."

"MDNA" reunites Madonna with her "Ray of Light" co-producer William Orbit, who polishes her songs with cosmic flourishes and rushes of fuzzy-retro bits. Madonna also enlists the production assistance of Martin Solveig, the Demolition Crew, Benny Benassi, Alle Benassi, Hardy "Indiigo" Muanza and Michael Malih.

Curiously, the set's first single -- the rah-rah "Give Me All Your Luvin'" -- doesn't properly prepare the listener for what they're going to get on the album. Basically: set it aside and go into "MDNA" with a clean slate.

Here's a Track-By-Track Take on "MDNA":

"Girl Gone Wild" The second single from "MDNA" is also the dance floor-ready opening number from the set. In a way, it's very dance-by-the-numbers with Madonna -- a "good girl gone wild" -- singing about her "burning hot desire" to have some fun. The production is familiar Benny Benassi -- all driving, thumping, electronic beats. It's comparable to his remix of Madonna's own "Celebration" single. The track does a good job of getting stuck in one's head, thanks in large part to its "hey-yay-yay" sing-song chorus. One notable difference in hearing this track on a proper stereo setup with quality speakers: you get carried away a bit more by the "whoosh," shall we say, of the song.

"Gang Bang" Commence freaking out, hard core Madonna fans, as "Gang Bang" is the song you've been waiting for. It's dark, clubby, driving, thumping and altogether sickening. (Meaning: It's fantastic, y'all.) Consulting our notes, the scribbles include the words "OMG," "dubstep breakdown" and "GOD THE BEAT." So yeah, it's freaking amazing.

Eight songwriters, including British pop singer Mika (?!), collaborated on the song. On March 8, he Tweeted that it's "weird as fuck, underground and lyrically cool, it's amazing and bizarre. I love it, she sounds so good singing words so harsh." Madonna sing/speaks over the tweaky production about how she keeps her "enemies close" and how she "shot my lover in the head." Truly, "Gang Bang" is going to be one of the most talked-about tracks on the album and is completely unexpected after hearing "MDNA's" first two singles (the cheery "Give Me All Your Luvin'" and dance-by-numbers "Girl Gone Wild").

"Gang Bang's" lyric "Drive bitch!" -- so eloquently used in the song -- will become quite the catchphrase in the coming months. (Notably, as "Gang Bang" is explicit -- and perhaps un-editable -- it will be omitted from the "clean" version of "MDNA." A shame.)

"I'm Addicted" Hey, you wanna go dancing? We'll meet Madonna at the club, as she's got this fantastic, swirling, digital get-down number she wants to play for us. "Something happens to me when I hear your voice and I have no choice," Madonna sings on the hypnotic, Daft Punk-y song. And when Madonna says in a cool, instructive tone, "I need to dance," you know what -- you'll need to dance too. (And now we know where the title of the album comes from, as Madonna chants "MDNA" in "I'm Addicted.")

"Turn Up the Radio" A cousin to "Girl Gone Wild," this tune is a summery pop number that's as effortless as it is simple. It's mindless fun where Madonna sings about how the "temperature's pounding'" and longing to "escape" and how she's "sick and tired of playing this game." (Haven't we heard that before? Enough with the games Madonna!) -- Basically the point of the song here is: "turn up the radio until the speakers blow." While the lyrics aren't provocative or necessarily new, it's still a peppy little tune that would sound great "on the radio."

"Give Me All Your Luvin'" (featuring Nicki Minaj & M.I.A.) You've already heard "Give Me All Your Luvin'," the album's lead single, which peaked at No. 10 on the Billboard Hot 100 chart. The throwback cheerleader-like song almost seems like it was a commercial for Madonna's Super Bowl halftime show as opposed to a proper promotional single for "MDNA." Its lyrics and vibe aren't indicative of "MDNA" as a whole and mislead the listener into thinking the album is going to be full of singsongy jingles with by-the-numbers lyrics.

"Some Girls" The album's second William Orbit co-production, "Some Girls" will likely remind listeners of his work on the "Ray of Light" album. The tune has his trademark swirly, cosmic-like flourishes that zig-zag out of the speakers. On the track, Madonna lyrically references herself with the line "put your loving to the test" (oh hay "Express Yourself!") whilst elsewhere singing "I never wanna be like some girls."

"Superstar" Notably this track features the backing vocals of Madonna's eldest child, Lourdes (credited as Lola Leon), and name checks everyone from Marlon Brando and Michael Jordan to Julius Caesar and Abraham Lincoln. The gist here is: "Ooh la la, you're my superstar" and "I'm your biggest fan, it's true." Armed with yet another kicky dubstep bridge, Madonna also amusingly sings about how the "Superstar" subject of her devotion is "like John Travolta, getting into the groove." (Get it? She's referencing herself again -- but in a smart, cheeky way.)

"I Don't Give a F" (featuring Nicki Minaj) A very rat-a-tat-tat song, where Madonna barrels through a list of rants that vaguely reminds one of her rapping on the "American Life" single. She sings about how she "tried to be your wife" (Hey, Guy!) and "in the end it was a failure." Nicki Minaj puts in her second appearance on the album, where she closes her feature with the swipe "There's only one Queen and that's Madonna. Bitch!" The song ends with a rather lengthy orchestral bit that's epic and sweeping, but comes out of nowhere.

"I'm a Sinner" Reminiscent of William Orbit's own Ultra Violet remix of the "Ray of Light" single, the chugging track is so very, very Orbit. It's like the love child of "Beautiful Stranger" (another Orbit co-production) and "Ray of Light." Mid-way through, Madonna gets inspirational and recites "Hail Mary full of grace / get down on your knees and pray" followed by "Jesus Christ hang on the cross, died for our sins it's such a loss" and so on. (Yes, there's more, but we couldn't write that fast.)

"Love Spent" "You played with my heart, till death do we part," Madonna sings on this driving, building track. It's got these whooshes (yes, a technical term) that hark back to '80s tracks like Kim Carnes' "Bette Davis Eyes." It's a mesmerizing song that includes a wonderful little strummy bit (possibly a banjo?). The lyrics work some clever word play comparing love to money: "I want you to hold me like you hold your money / hold me in your arms till there's nothing left." Madonna co-wrote this track with a team of professional writers, and the assistance is evident and welcome. (We love you Madonna, but we also love it when you collaborate and produce amazing, beautiful pop, like "Love Spent.")

"Masterpiece" This was the first taste the public got of "MDNA," as it was unveiled late last year as the closing-credits song of the Madonna-directed film "W.E." (Though, at the time, it was unclear if the track would ultimately turn up on "MDNA.") The Golden Globe-winning track is very pretty -- percolating along with a clicky little beat, an acoustic guitar and delicate strings. Madonna's vocals are lovely, comparing someone to "a rare and priceless work of art."

"Falling Free" The quite gorgeous ballad reunites Madonna with her brother-in-law Joe Henry, who has co-written at least one song now on four different Madonna albums. He co-penned "Don't Tell Me" from 2000's "Music" album, as well as "Jump" from "Confessions on a Dance Floor" and "The Devil Wouldn't Recognize You" from the diva's last set, 2008's "Hard Candy." As an album-closer, it's perfect, with the lyric "I let loose the need to know / we're both free -- both free to go . . . "

Deluxe Explicit Album Bonus Tracks:

"Beautiful Killer" A concept song, certainly. Madonna goes on about how there's a "gun in my mouth" and "maybe that's what you've been dreaming about" and "maybe I'll let you shoot me down." There's an persistent string element here that brings to mind "Papa Don't Preach."

"I F****d Up" It's Madonna just straight out saying how craptacular a particular relationship turned out (we're guessing her marriage to Guy Ritchie). She sings, "I'm so ashamed, you're in so much pain," "wish I could take it back" and how she "destroyed the perfect dream." There's a whole lot of "couldas" here that just strike us as odd, as Madonna never was the "I'm sorry" kind of gal. She's all about no regrets and no apologies.

"B-Day Song" A fun girl-group ditty that's a throw back to Madonna's "True Blue" era of good time goof-off songs. It's light, fluffy and effortless -- and very stripped down. Think Go-Go's meets Madonna with lyrics like "Light my candles," "make a wish" and "give me a spankin'!" (Yes, really.) Sample silly lyrics include: "I wanna diamond, don't give me a fake!"

"Best Friend" Perhaps too personal of a song to be included on the "standard" version of the album, "Best Friend" can only be read as being about her ex-husband, Ritchie. Absolutely confessional in tone, Madonna sings "I feel like I lost my very best friend" but she has "no regrets" and that she "survived the biggest test." The song closes, monumentally, with the heartbreaking lyric: "It wasn't always perfect, but it wasn't always bad."

"Give Me All Your Luvin'" (featuring Nicki Minaj & M.I.A.) (LMFAO Remix) LMFAO reworks "Give Me All Your Luvin'" party rock style, dumping M.I.A.'s rap for lyrical insertions from Redfoo and SkyBlu.

Production Credits:

"Girl Gone Wild" Written by Madonna, Jenson Vaughan, Alessandro "Alle" Benassi, Marco "Benny" Benassi; Produced by Madonna, Marco "Benny" Benassi, Alessandro "Alle" Benassi

"Gang Bang" Written by Madonna, William Orbit, Priscilla Hamilton, Keith Harris, Jean-Baptiste, Mika, Don Juan Demarco "Demo" Casanova, Stephen Kozmeniuk; Produced by Madonna, William Orbit, Demolition Crew

"I'm Addicted" Written by Madonna, Alessandro "Alle" Benassi, Marco "Benny" Benassi; Produced by Madonna, Marco "Benny" Benassi, Alessandro "Alle" Benassi

"Turn Up the Radio" Written by Madonna, Martin Solveig, Michael Tordjman, Jade Williams; Produced by Madonna, Martin Solveig

"Give Me All Your Luvin" (featuring Nicki Minaj & M.I.A.) Written by Madonna, Martin Solveig, Nicki Minaj, Maya Arulpragasam, Michael Tordjman; Produced by Madonna, Martin Solveig

"Some Girls" Written by Madonna, William Orbit, Klas Ahulund; Produced by Madonna, William Orbit

"Superstar" Written by Madonna, Hardy "Indigo" Muanza; Produced by Madonna, Hardy "Indiigo" Muanza, Michael Malih

"I Don't Give a F" (featuring Nicki Minaj) Written by Madonna, Martin Solveig, Nicki Minaj, Julien Jabre; Produced by Madonna, Martin Solveig

"I'm a Sinner" Written by Madonna, William Orbit, Jean-Baptiste; Produced by Madonna, William Orbit

"Love Spent" Written by Madonna, William Orbit, Jean-Baptiste, Priscilla Hamilton, Alain Whyte, Ryan Buendia, Michael McHenry; Produced by Madonna, William Orbit

"Masterpiece" Written by Madonna, Julie Frost, Jimmy Harry; Produced by Madonna, William Orbit

"Falling Free" Written by Madonna, Laurie Mayer, William Orbit, Joe Henry; Produced by Madonna, William Orbit

Deluxe Explicit Album Bonus Tracks:

"Beautiful Killer" Written by Madonna, Martin Solveig, Michael Tordjman; Produced by Madonna, Martin Solveig

"I F****d Up" Written by Madonna, Martin Solveig, Julien Jabre; Produced by Madonna, Martin Solveig

"B-Day Song" Written by Madonna, Maya Arulpragasam, Martin Solveig; Produced by Madonna, Martin Solveig

"Best Friend" Written by Madonna, Alessandro "Alle" Benassi, Marco "Benny" Benassi; Produced by Madonna, Demolotion Crew; Co-produced by Marco "Benny" Benassi, Alessandro "Alle" Benassi

[sotos8]

The Queen of pop keeps her crown-London evening standard review

My link

Madonna

MDNA (Polydor)

Pretty much every band or musician who doesn’t split up or die reaches a point where they must accept that their fanbase is ageing with them and settle into making music of a signature style again and again. This is where Madonna is out on her own, still striving for contemporary relevance as she releases her 12th album later this month.

That she is increasingly ridiculed for seeking out the youngest, hottest collaborators, a pop vampire chasing eternal youth at 53, shouldn’t matter because here she consistently succeeds. Clubbers less than half her age will have to admit that she has earned her place on the dance floor with MDNA, its title presumably a cheeky play on the chemical name for ecstasy.

If party drugs had been available instead of jellybeans at the Abbey Road press preview for the album, the spiritual home of The Beatles would have witnessed some seriously embarrassing dance moves. MDNA doesn’t let up until the very end, driven by relentless techno beats until the underwhelming Latin sidestep, Masterpiece, near the finish. Weak early singles such as the cheerleader’s chant Give Me All Your Luvin’ (first heard at the Super Bowl) and the generic dance of Girl Gone Wild suggested she’s losing her touch but there’s lots more here that is fantastic.

Gang Bang is weird, minimal and very dark, lurching towards dubstep for a window-rattling climax as Madonna shouts: “Now drive, bitch!” I’m a Sinner, one of several new collaborations with her Ray of Light production partner William Orbit, fizzes along on a speeded-up We Will Rock You beat towards a gloriously catchy chorus. Both of the guest appearances from hotshot rapper Nicki Minaj are a fine fit.

It’s the blatant bid for A-list airplay that is Turn Up the Radio that should ensure that her glitterball shines brighter than ever. A breezy tune with an exhilarating breakdown and loads of stadium synths, it bodes well for a July 17 Hyde Park show that looks increasingly like a heck of a party. Out on March 26.

[davejr.]

Keith's review is very sweet...thank. u.now i cant sleep...

[Guest groovyguy]

If it wasn't going to hit number 1 based on the pre-order alone it sure will hit number one now after all the rave reviews ! It's like when the reporter from E! asked her before the Superbowl " What can we expect to see on stage ? " And she shouted back " Excitement ! "

The rave reviews make the best PROMO.

[aorlaan]

Have their been any Negative Reviews??

[Guest groovyguy]

"A collection of thoroughly pumping pop tunes, some of which are slices of sheer brilliance" - Billboard

[Bill]

"Best Friend" Perhaps too personal of a song to be included on the "standard" version of the album, "Best Friend" can only be read as being about her ex-husband, Ritchie. Absolutely confessional in tone, Madonna sings "I feel like I lost my very best friend" but she has "no regrets" and that she "survived the biggest test." The song closes, monumentally, with the heartbreaking lyric: "It wasn't always perfect, but it wasn't always bad."

That really is heartbreaking

[Shane]

Almost unanimous good reviews! I predict Q, NME, and Mojo will follow suit. People Magazine always loves her in the States. The only mag I could see breaking the streak would be Rolling Stone, but I sure hope not. Loving these!

[dollhouse]

Have their been any Negative Reviews??

Not really, few seemed resentful but had to admit theres some good on it.

Some gave her ageist remarks too, saying she "should act her age" and preferred "Masterpiece".

These were like 1-2% of the total reviews so far. So far its her most critically praised album post ROL, I think. I hope these transfer to sales since there are no songs on radio.

[Guest groovyguy]

http://www.madonnatribe.com/news/modules.php?name=News&file=article&sid=6668

MDNA - Full credits and details

Girl Gone Wild 3:44

Written by Madonna, Jenson Vaughan, Alessandro "Alle" Benassi, Marco "Benny" Benassi

Produced by Madonna, Alessandro "Alle" Benassi, Marco "Benny" Benassi

Gang Bang 5:28

Written by Madonna, William Orbit, Priscilla Hamilton, Keith Harris, Jean-Baptiste, Mika, Don Juan Demarco Casanova, Stephen Kozmeniuk

Produced by The Demolition Crew, Madonna, William Orbit

I'm Addicted 4:34

Written by Madonna, Alessandro "Alle" Benassi, Marco "Benny" Benassi

Produced by Madonna, Alessandro "Alle" Benassi, Marco "Benny" Benassi

Turn Up the Radio 3:48

Written by Madonna, Martin Solveig, Michael Tordjman, Jade Williams

Produced by Madonna and Martin Solveig

Give Me All Your Luvin' (featuring Nicki Minaj & M.I.A.) 3:22

Written by Madonna, Martin Solveig, Nicki Minaj, Maya Arulpragasam, Michael Tordjman

Produced by Madonna and Martin Solveig

Some Girls 4:55

Written by Madonna, William Orbit, Klas Ahulund

Produced by Madonna and William Orbit. Additional production by Klas Ahulund

Superstar 3:53

Written by Madonna, Hardy "Indigo" Muanza

Produced by Madonna, Michael Malih, Hardy "Indiigo" Muanza

I Don't Give A (featuring Nicki Minaj) 4:21

Written by Madonna, Martin Solveig, Nicki Minaj, Julien Jabre

Produced by Madonna and Martin Solveig

I'm a Sinner 4:52

Written by Madonna, William Orbit, Jean-Baptiste

Produced by Madonna and William Orbit

Love Spent 3:45

Written by Madonna, William Orbit, Jean-Baptiste, Priscilla Hamilton, Alain Whyte, Ryan Buendia, Michael McHenry

Produced by Madonna and William Orbit

Masterpiece 4:00

Written by Madonna, Julie Frost, Jimmy Harry

Produced by Madonna and William Orbit

Falling Free 5:12

Written by Madonna, Laurie Mayer, William Orbit, Joe Henry

Produced by Madonna and William Orbit

Beautiful Killer 3:47

Written by Madonna, Martin Solveig, Michael Tordjman

Produced by Madonna and Martin Solveig

I Fucked Up 3:29

Written by Madonna, Martin Solveig, Julien Jabre

Produced by Madonna and Martin Solveig

B-Day Song 3:34

Written by Madonna, Maya Arulpragasam, Martin Solveig

Produced by Madonna and Martin Solveig

Best Friend 3:20

Written by Madonna, Alessandro "Alle" Benassi, Marco "Benny" Benassi

Produced by Madonna and The Demolition Crew

Co-produced by Marco "Benny" Benassi, Alessandro "Alle" Benassi

Total Running Time (Standard Edition) 51:54

Total Running Time (Deluxe Edition) 1:10:07

[Guest groovyguy]

Almost unanimous good reviews! I predict Q, NME, and Mojo will follow suit. People Magazine always loves her in the States. The only mag I could see breaking the streak would be Rolling Stone, but I sure hope not. Loving these!

http://www.examiner.com/music-in-san-diego/madonna-early-mdna-reviews-say-she-is-queen-again

Madonna: Early ‘MDNA’ reviews say she is Queen again

Popjustice and Rolling Stone Magazine have tweeted that the album is far better than they expected, but they won’t be giving full reviews for the next week. This column expects to have a review later this week as well. Keep up the good work, Madonna!

[Dindi]

So has MIA been deleted off B-Day Song? The reviews seem to make no mention of her....

[Shane]

http://www.examiner.com/music-in-san-diego/madonna-early-mdna-reviews-say-she-is-queen-again

Madonna: Early ‘MDNA’ reviews say she is Queen again

Popjustice and Rolling Stone Magazine have tweeted that the album is far better than they expected, but they won’t be giving full reviews for the next week. This column expects to have a review later this week as well. Keep up the good work, Madonna!

Wonderful!

[Guest groovyguy]

A somewhat negative review. By Eva Barlow who writes for Q Mag

http://eve-barlow.tumblr.com/post/19003767113/madonna-does-not-amaze

Madonna Does Not Amaze

Do you want the good news or the bad news? Well, before I deliver both (eventually) I have to get something off my chest: Madonna is the Don, The Boss, The Dude, Her Majesty of Everything. Nobody in this universe can touch her. If I read another preamble or review about her latest album MDNA that builds context around Madonna’s place in a world that now contains Lady Gaga or compares her vocal pop abilities with those of Britney Spears, I am done with that person. Deleted.

There is categorically no need whatsoever to talk about Madonna in relation to Lady Gaga, Britney, Katy Perry, Rihanna, Kylie, Kitty Batshit Brucknell, or anyone else with a vagina, a chart song and a sense of drama. People have said it before and I will rip them off and say it again: None of these women would know how to put one hip in front of the over if it weren’t for Madonna. The popstars that have succeeded (as in “come chronologically after”) Madonna do not form part of Madonna’s Sphere. They are tiptoeing around her world, grateful of being given the limelight for a minute while the “Queen of Pop” has been momentarily distracted doing whatever she does to chill out (Ryvita snacks and/or 21-year-old dancers… Madge FTW).

Just because popstars have Being A Woman in common, doesn’t mean they have anything to do with Madonna’s job. (I don’t imagine fans of Paul Weller would be impressed if his latest was judged according to “where the Modfather sits” with post-Weller products such as Miles Kane or Kasabian. Music fans would not be impressed because THAT WOULD BE EXTREMELY RUDE, and pointless. Weller isn’t sitting with his guitar thinking about what Liam Gallagher’s peddling in Pretty Green. Similarly, Madonna isn’t downloading Rosetta Stone: Advanced German because Lady Gaga has Rilke tattooed up her arm.) Madonna is not thinking about all the “others”; they weren’t there when she started her career and they likely will not be there when she finishes it (insert large IF she finishes it). When asked what she thought of Lady Gaga a few months ago by Graham Norton Madonna’s response may as well have been: “[shrug]…[rolls eyes]… Whatever.” If you’re going to put MDNA in “context”, get it right: when Madonna sits down to write a new album, the only person “Madonna” ever has to compete with is… MADONNA.

And imagine that - you’re Madonna about to make a new album. The facts: You’ve sold 300 million records since 1979; You are still only 53; You have built a career on outdoing yourself; You have more fans than the Americas have people; You were responsible for ’80s pop hits like Get Into The Groove, Like A Virgin and Papa Don’t Preach; You got naked – really naked – on coffee tables; You are responsible for Ray Of Light; You made (upper case) Music; You own Like A Prayer; Confessions On A Dancefloor was something YOU did… I could just throw words around like “Frozen” (ZOMG), “Cherish” (amazarama), “Sorry” (multilingual!), “VOGUE” (FFS!) all day long and you’d get only one pixel of the picture. It must be exciting but also terrifying being as successful as Madonna because - frankly - what the hell do you do next? Who do you allow in? Is it a risk even opening your mouth again to do an Ocado order in case you speak a sentence less poignant than “Beauty’s where you find it”? For Madonna, it’s enough trying to deal with herself. So let’s consider Madonna in light of Madonna please.

Which brings me to the point of the day: is MDNA any good? I will start with the bad news. I’m not sure I was in the same room as everyone else at the Madonna MDNA listeners party (at Abbey Road Studios, *wees with excitement*). All the cliched talk in the papers and blogs about an hour following the playback was of a “Return to form” blah-blah-blah… Not since Woody Allen’s Midnight In Paris has there been such overuse of that phrase. And, btw, Midnight In Paris was charming, funny and intelligent but it was NOT a return to form. “On form Woody Allen” is Manhattan, Annie Hall, Hannah And Her Sisters… To say Midnight In Paris was in the same vein is not only wrong, it’s an insult to his best work. I suppose in this respect (and in this respect only) Madonna is just like Woody Allen; a visionary who continues to create (thank GOD) but is in a post-apex stage of their career, their fans desperate to re-live the golden age, like a Manchester United supporter dying to see a less acclaimed side win the Treble. When you consider Ray Of Light or Immaculate Collection or Music or Confessions On A Dancefloor and then you listen to MDNA, you are no longer in the same ballpark. Nobody should be asking if it’s a good album by modern pop standards. That’s not the question Madonna’s asking. Is it a “great” album by Madonna standards? No. Well… it depends on which half of the album you listen to.

I am sorry to have to say this but MDNA was a frustrating experience. Members of the press heard the Deluxe Edition of MDNA, which was a 12-track album followed by a further four tracks. The beginning of MDNA (and when I say “beginning” I mean the “first seven or eight tracks”) are simply not Madonna. They could be anyone because Madonna’s voice has been drowned out by pulsating, flat, uninteresting European thuds (incorporated with hints of dubstep break-it-downs to keep things “current”). The lyrical couplets are inexcusable. Madonna is reduced to the cheerleader her faceless dancers portray in Gimme All Your Luvin’ (Lourdes probably has more to say in her brain). Worse still, Madonna (being a sophisticated 53-year-old goddess) doesn’t sound like she’s having a good time. She doesn’t sound confident. It’s as though she’s given a platform to Benny Benassi and Martin Solveig - two (not especially “with it”) European dance producers – and not remembered her own part.

Opening track Girls Gone Wild nods to Madonna’s last “GREAT” record Confessions On A Dancefloor but it’s just a nod. (Note: I’m wildly suspicious of the numerous people I’ve met who think that album is anything less than astonishing). In reailty, the track is a bit meh. And by that I mean that there were electro-rock singles by Bodyrockers (I Like The Way You Move) and Bodyrox (Yeah Yeah) years ago that serve the same purpose and are more catchy. Gang Bang follows as a far heavier, murder on the dancefloor-type belter that picks up the attitude (it wouldn’t be hard though given Girls Gone Wild’s “Girls just wanna have fun” message) with lyrics like “Bang bang, shot you dead/Shot my lover in the head”. You might not pick these lyrics out, however, given the constant distraction of the sound of a samurai sword being unsheathed (I’m glad Madge listens to These New Puritans in the gym). To be honest, this song might grow on me with another listen, the next time I need to fill a 15-minute session on the crosstrainer. Third track I’m Addicted (or as I might dub it I’m Totally Addicted To Bass) sounds like Swedish House Mafia, Tiesto and Justice (also ATB circa 1999) playing Pacha, Madonna’s vocal drowned out again by big phat beats like a tiny particle getting lost in the Tron Grid. By the fourth track, Turn Up The Radio, my new MDNA notepad reads “bored.com”. It’s clear that Madonna is not making waves anymore, she’s chasing them. That would be fine if the songs were good… BUT WHERE ARE THE SONGS? If I wanted to have my head pummelled by this sort of music (which I do often) I would listen to Plastikman. Madonna is not only looking to other’s conquered territory, she’s not learning anything from it.

Give Me All Your Luvin’ – the first single – is not the buoyant lead single we are used to hearing from Madonna. (Which is probably why she’s since rush-released Girl Gone Wild). It’s followed by the first track produced by William Orbit – Some Girls – which sheds some light on Madonna, The Control Freak. Orbit sounds nothing like himself. He sounds like he’s been told: “I’m doing an album with Benassi and Solveig dude, so try and do what they do, yeh?” What is the point? At this stage in the proceedings I’m dying to hear any real melody… the Tetris theme tune would do. But no. Track 7 is Superstar where melodies finally come to the fore but they are too saccharine for even Justin Bieber. I Don’t Give A (do we fill this bit in?) is the first moment that is truly interesting. It is the most intriguing song on MDNA. The lyrics allude to the breakdown of her marriage to Guy Ritchie, Nicki Minaj steals the limelight with a far superior rap to the one on Gimme All Your Luvin’ and it genuinely sounds unique. But right now I’d take an amazing pop song over “unique”.

So where are we? Track 9. TRACK NINE. Now for the good news; it is all uphill from here. Four absolutely stunning tracks produced by William Orbit at long last show why we’re still listening to Madonna. I’m A Sinner should be a major single. It’s a total change of gear, there is an immediacy to its simplicity, and ABOVE ALL, it’s confident – Madonna knows exactly what she’s doing and she KILLS IT. Love Spent is an update on Orbit’s Balearic mid-’90s euphoria, where strummed acoustic guitar meets the disco vibes of Confessions… Masterpiece, of course, a moving piece of cinematic balladry has already won a Golden Globe. It’s here that I realise something: when you go back to the drawing board there are basic elements required from a song – lyrics, melody and rhythm. The only thing MDNA cared about up until Track 9 was a beat. On Track 12 Falling Free, these three elements of songcraft align in (gushing hyperbole alert) the most sensational Madonna moment of the past 10 years.

Some more good news… The 4 tracks on the deluxe edition are brilliant (or comparatively brilliant). And what’s seriously WEIRD is that these are four tracks in the vein of the first half of MDNA that are BETTER than the the first half of MDNA (SERIOUSLY MADGE WHAT THE ACTUAL F?!?!?). I could remove tracks 3,4 and 7 and insert Fucked Up, B-Day Song and Best Friend immediately (I am not a qualified A&R though) and I’d have an MDNA that is lyrically better, far more sophisticated and FUN (with a capital F-U-N).

So considering all of this (Jeez, I do go on) in a world of Madonna versus Madonna, MDNA by Madonna is not an album that can stand up against the Great Madonna albums of which Confessions On A Dancefloor was the last (it really was - I listened to it from start to finish last night and it is complete, futuristic and relentless so piss off all you haters). Yes, we all know the rules - Madonna makes a belter every second album. BUT… MDNA as reviewed by most members of the press as a four star “return to form” is a three star album of two halves, one half of which had the potential to complement the brilliance of the other half had Madonna brought someone in (me) who could have told her to put the bonus Deluxe tracks on the proper LP.

Saying all this, if the Superbowl performance (a blueprint in live pop shows) is anything to go by the tour will be amazing. And I am most definitely going. Twice. Also, some of the bouncier tracks are great pre-party uppers and she looks better than anyone will ever look (or has ever looked). Madonna remains astonishing but we needn’t get carried away with ourselves. Let’s “be honest” about MDNA, for our own sake and more importantly for Madonna’s. Madge only knows she’s earned that level of respect.

[Nikki]

and its.. a woman. i swear..

DIE BITCH.

[Guest groovyguy]

and its.. a woman. i swear..

Yes.

[Shane]

If that is an example of a "bad" review of MDNA then this is the album of the year. The woman obviously worships Madonna.

[loowee]

zzZZZZZZZ....

" I’m not sure I was in the same room as everyone else at the Madonna MDNA listeners party (at Abbey Road Studios, *wees with excitement*). All the cliched talk in the papers and blogs about an hour following the playback was of a “Return to form” blah-blah-blah…"

This is like the MOST unprofessional review I've ever read. BLAH BLAH BLAH.

[Guest Not4Pussies]

it's very telling that she prefers the bonus tracks.