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Posts posted by Priceless

  1. If we are to believe everything we've read, Madonna was told about Casey's involvement and tried to make it right. However, her lawyers FAILED in not getting this wrapped up before he blew his top and went on his Insta-rant. (Why does she always have such lousy lawyers?) They could have paid him his $25,000 (a drop in the bucket for her) and he would have been gone. Is it possible he refused to sign the non-disclosure agreement he alluded to in one of his posts?

    Regardless, I always think it's cool to hear other people's demos and what Madonna winds up doing with them. The pieces of what became the opening lines of God Control are there, but it's clear that she made even further changes to the melody (the rhythm of the words are different, too) and made additional adjustments to the lyrics. Her vocal performance also brings to life what was an otherwise tepid idea.

    I'm confident that we would have wound up with a great track even without Casey's involvement. It's a shame it wasn't handled better from the start.

  2. This version has really grown on me, too! (I never really cared for the demo very much.) I like it mostly because of the world music vibe and the way the vocals are chopped up and repeated. I'm also very fond of hearing her sing "i'll be wearing diamond grills and seeking thrills a lot" because it's a line that only she can really get away with singing because everybody knows it's the damn truth. :lol: The sparse use of the "do it" refrain is also a definite improvement. (The way it repeated on the demo was severely grating.)

    I never have and probably never will come around to liking Birthday Song. I remember hearing Madonna talk about recording the "Like a Prayer" album and she said that one day she and Pat decided they were going to write a really crap song just to get it out of their system. This sounds like something she would come up when she's really trying to lay a turd (metaphorically speaking.)

  3. 2 hours ago, peter said:

    I’ve never seen that — or else I’m not remembering it. Where did you see this, if you don’t mind my asking and can remember? Would be interested in reading it, too. Thanks!

    I don’t disagree with most of what you wrote. I think she lost some/many connections when she and Warner parted ways. I also think she has sort of set her face in a new direction in terms of what videos she will make — not necessarily “singles” in the traditional sense, but those tracks on the album which have a visual/cinematic potential for her, or which have an important message to which she wants to lend extra weight.

    I am not so sure about her “not wanting to spend the money on that” — in the past, the record company wanted their artists to succeed, and so marketing budgets were allocated in that way. Sure, like with the videos, some of that marketing money *was* Madonna’s, because that’s how advances work. She needed to shift product in order to earn back the money/investment in her work. But I don’t think it was ever a case where M was saying, “I’ll give up my video budget and scrap that fourth single video if you guys will hire more promo team members to make my second single a bigger hit.” That’s just what the label team did as a matter of course — promote their artists to radio.

    I agree that Warner's promoted her music to radio and MTV (back in the day) so they could fatten the bottom line. But now that she's with Interscope, who knows what their arrangement is? I think we all see that Madonna is not treated like Interscope's other artists; it's entirely possible that if she's generating her own music video budget, it's not out of the realm of possibility that she and her team are also responsible for the costs of promoting her music to various industry outlets. And she simply might have looked at that line item in the budget and said "nope." I'm just speculating, as I am not an industry insider.

    Btw, the note I referenced is below. I think (but I'm not positive) that "Russ and Stu" are Russ Rieger and Stu Bergen (Maverick and Warner executives, respectively.)


  4. I know we're talking about MTV here, but when I recently saw Madonna's handwritten note to the industry people who helped "Take A Bow" get to #1 on the Billboard charts, it really confirmed for me that getting these awards and chart achievements really boils down to having a team that 1) is dedicated to working on those things for the artist and 2) has solid connections in the industry that will cooperate with that team.

    I feel like Madonna simply doesn't want to spend the money on this kind of stuff anymore, despite her comments to Keith Caulfield about Billboard not giving her #1 singles anymore. And I've said before, I think once she left Warner's, she lost all of those connections. After all, they were most likely Warner's connections, not really hers.

    I admire her current approach of raising her own funds to pay for music videos, releasing them on her own schedule and saying "to hell" with charts and awards. I just hope she feels like continuing this model in the future, because as many people have pointed out - this trend of being ignored by the charts and by awards committees will only continue its current trajectory.

  5. 12 minutes ago, miki said:

    I am with you on that. I figured that on every song she just assumed different personalities and maybe accents. And the lyrics on certain songs are as if written or sang by a person of a non English speaking country. And all of these work phenomenally. I think she is like an actor in the album and is a young girl from Cape Verde on Batuka, then a Portuguese in Killers, and a woman on shrooms on Medellin. And maybe she used vocal effects to attain her goal. 

    I feel like this is what sets her apart from so many other pop performers out there...she truly inhabits a mood, a feeling and a character in so much of her work and she employs a level of specificity and detail that other performers simply cannot match. There were several reviews that spoke of her using "so many accents" on this album - it's like, duh, of course she is speaking in different accents on this album, this is what Madonna does. I think her use of a vocal producer and vocal effects are really just an extension of that...she's trying to push her voice into new territory and different realms. And her voice is particularly suited for that, because on its own it's so clear and melodic that it really lends itself well to manipulation and distortion. I understand it's not everyone's cup of tea, but when has Madonna ever pleased all of the people all of the time?

  6. I share many of the sentiments in this thread. Yes, the MTV VMAs are not important. Yes, they pander to the youth market. Yes, they're corporate and corrupt and ageist.

    And yet I'm still pissed off about this. Madonna (in part) MADE MTV and they've paid her absolute dust for the last 3 video cycles.

    It's infuriating, since she has been truly creative, daring and prolific this time - 5 original videos? (I don't count that Time video for "I Rise.") Gorgeous painterly video? Check. Avant-garde pro-trans video? Check. Trendy age-defying trap video? Check. Provocative protest disco video? Check. Historically respectful tribute video? Check.

    Somewhere, Madame X is rolling her eyes and saying "how ironic."

  7. On 7/17/2019 at 5:10 AM, promise to try said:

    it sounds strange, but the timing for a star to die, is everything.Donna, or farrah fawcet for example, very bad timing...hopefully somebody will do a show with donna´s songs ala abba or queenn, and her name will be back where it should


    anyways, the name that I miss there is george harrison´s, they wre (?) friends, at least back in the day

    Welp, sometimes life just isn't fair. They already made a show on Broadway last year with all of Donna Summer's music in it (it did get a few Tony nominations) and it's now on tour but it certainly isn't getting the kind of reception that Mamma Mia got. And the less said about "We Will Rock You" (the Queen musical,) the better. :lol:

  8. On 7/16/2019 at 10:49 AM, Kurt420 said:

    Same here. Crave in particular is perfect the way it is. Doesn't need all the "extra" that Mirwais would bring......I'm not dissing him in ANY way because he has helped create some of the best music of her career with this album. Totally agree though, a full album with him may have been overkill. It's nice to have some variety. *warning* I'm giving a "friend" story....lol....so, I was at my cousins pool on Sunday and she and her friend and myself were swimming and I put on MX and the ONLY song both of them actually started to sing/hum along to was Crave. I truly think in another day and time, this song (in the US anyways) would've been a TAB sized hit. At the end of it all though, my cousin did say she thought the album was good and she liked the variety on it. 

    To me, Crave is the only obvious single on this album. I know many will say God Control but.......as brilliant as it is, one of the best of her career in fact, it's NOT single material (again, at least in the US)....it's WAY too "out there" and not a song most can immediately relate to. It's a song that's made to make you think.....typically, songs like that aren't the best single choices. Not that it matters what she releases as a single these days but just sayin.

    I agree that it's nice to have different producers on an album for the sake of variety. I absolutely love what Mirwais did with some tracks, but I'm not in love with ALL of them. I don't think he's infallible.

    I also agree that Crave is the only obvious single...just further proof in my eyes that if there weren't such a resistance to Madonna in today's commercial music landscape, she'd easily have more hits. I even think God Control could be a modest hit, protest-vibe-and-all, but only with that radio edit. I played it for someone I know and like and he said "Whoa! Now God Control sounds like a dance/pop song. That other version you've been playing (the album version) has a totally different feel." 

  9. On 7/19/2019 at 3:37 PM, Crozzauk said:

    Has anyone yet managed to work out the point of the Standard edition yet?


    Different artwork aside, I can't figure this out either. In today's streaming and digital world, most people would be able to get all of the tracks from the deluxe edition, so are there really some markets where people only listen to CDs and only have access to the standard version? I notice it was the version I received with my ticket purchase and it feels very basic.

    On a side note, I really wish there were official lyrics available somewhere. I remember getting an official version of the lyrics for Rebel Heart from the Japanese version (I think?)

  10. I played Faz Gosoto on vacation and my family had a real moment dancing and carrying on...and I'm pretty sure none of them had a clue it was Madonna. It was a real antidote to the fact that one of my family members was whistling the melody of a certain overwrought power ballad from ASIB for AN ENTIRE WEEK. :wacko:

  11. After having the entire album for several weeks, what strikes me the most is that her new music feels like it has a real sense of purpose, urgency and maturity. I love the progression from the last few albums to this one, I really feel like she had to make MDNA and Rebel Heart the way that she did in order to get to a place where Madame X was possible.

    I do feel like the sexy bad-girl element of her personality is somewhat subdued on this album, but I'm sure it will roar back into view at some point.

  12. I think it's a beautiful and stirring video. I especially appreciate the careful way in which she's spoken about and presented these women...it's obvious she's aware of the "appropriation" bullshit that SJWs perpetuate and is doubling down on her assertion that it's her right to bring light and attention to otherwise neglected subjects and people.

    I also think it's very interesting that she rolled this video out long after it would have any significant impact on sales of her album or concerts. She is clearly more concerned with making artistic statements than anything else. It makes enduring all of those MDNA ads worth it, since we know she used the profits to pay for videos like this.

  13. 47 minutes ago, Crystal Coffin said:

    Remember everyone: 


    Excellent! And for those iTunes/Apple music users out there, you can also set the track to just start at 0:14.85 in the properties and it will begin with Madonna's vocal every time you play it. Too bad we can't mask the other samples of her voice throughout the song.

    I want to be sensitive for what she's gone through, but her reaction is frustrating as it's clear she didn't watch the entire video. She obviously watched only part of it and then decided to broadcast her knee-jerk reaction on social media. On top of that, her talk about Madonna making money from the video is weird. Madonna's contribution here is the immense attention she'll generate for the issue; I don't think she'll wind up making back her budget on this video, much less any profits. (She's already sold the bulk of tickets for her tour, she's already past the first week in album sales.) The value in this video is the activism it represents, not because it's going to make any more money for her.

    As others have said, she is young but she if she's old enough to understand "how the government works," she's old enough to understand how to give reasonable criticism based on facts.

  14. Just watched the doc and it's very cool. Lots of great insights into many of the tracks on the album and I definitely learned a thing or two I didn't know before. I especially liked the extra footage of our favorite Madame X character in the short dark wig, fishnets and accordion. She is also clearly very comfortable with that saxophone. :lol:

    This is clearly the end result of all the footage shot during the blood moon at the Panorâmico de Monsanto. The only mystery footage is the stuff shot at the beach, which we have been speculating is a video for Batuka but remains to be seen.

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