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StrikeItUp

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Posts posted by StrikeItUp

  1. I'm so glad I waited to do Barclays. Didn't realize my seat was closer than I thought.

    Ghosttown was the surprise show stopper and I think it really caught M by surprise. This show had an excellent balance of old hits + some killer Rebel Heart material. She sounded beautiful and looked so radiant that at times I teared up quite a bit. She was so down to earth, funny, and surprisingly self-deprecating (she joked about supposedly covering up some cellulite, lol).

    I personally loved Unapologetic Bitch as the second to last number. And Rebel Heart as well!

    I wouldn't change a thing about the show. I just love this woman!

  2. Who the hell ever says that? :laugh:

    Interesting to note that Grace doesn't actually slam Madonna at all. If you read the full Time Out execerpt from the book she feels Madonna (along with Annie Lennox, funny enough) are her pupils that derived from her. Which is as close to shade as it gets (is it even really?).

    Oh, and Doris is totally Gaga! Looking forward to this book.

  3. Thank you, this definitely breaks it down into laymens terms on how a song is crafted these days.

    I've never doubted Madonna's lyrical input when she's inspired (and clearly she was in RH, whereas not so much in Revolver). So it sounds like while she might have had an additional songwriter or two in writing the lyrics (since she doesn't compose music) in most of the songs, it seems each track went through a lot of production changes which I imagine affects the musical composition -- ultimately leading to many songwriting credits.

    I think you're confusing the terms "songwriter" and "producer". A songwriter is anyone who is involved in the composition of the song, including music and lyrics (your comment suggested that you thought everyone listed was involved in writing the lyrics). A producer is responsible for determining how the song sounds. In the old days, most producers weren't involved in the songwriting process - they simply took a song and determined how it would sound. Jellybean produced "Holiday", "Crazy For You" and "Gambler", but he wasn't involved in writing any of those songs - he determined how they sounded, though. Two different producers could take the same song and make it sound completely different (see "American Pie", for example - same song, but the two versions sound completely different).

    If a producer changes/adds a melodic line, a new synth arrangement, a guitar riff etc. etc., then they can claim a songwriter's credit (which, it seems, almost everyone involved in the production of RH has done). Even a minor addition/change can be worthy of a credit (see Madonna's input on "Revolver", which consists of minor lyrical changes and the addition of a vocal riff - "faaaaaaaaaallllllllllll").

    Hope this helps! :)

  4. It's a shit song and I'm sorry but her vocal isn't very nice.

    Especially when they layered Madonna's paper-thin vocals with Annie's wounded sparrow-vocals. Musically you couldn't hear Madonna, not the right track for her (and those awful Hard Candy vocals).

    And the song was crap to start with.

  5. I don't think it needed to be explosive, but something less repetitive and to distinguish it from the rest of the song would have been nice. Still, the more I listen to it, the more I'm absolutely appalled it wasn't the first (or at least second) single. This has got to be one of the biggest missed opportunities of her career to date.

    I agree. It's mainstream enough without sounding too much like what the other pop tarts are putting out there, and the lyrics suggest more of an anthemic trademark Madonna song (like LAP, ROL, Secret, etc). It's a shame she missed the ball on this one, but I hope this song gets to see some light of day either on tour or as a single (even if it flopped). Plus the verses on the latter half of the song are quite a standout.

  6. NEWS: FULL LYRICS AS POSTED FROM WILLIAM ORBIT'S FACEBOOK

    Wrap you arms around my neck

    It's time to deal so cut the deck

    If you wanna play this game with me

    I'm not like all the rest

    Some girls are second best

    Put you lovin' to the test you'll see

    Some girls are not like me

    I never wanna be like some girls

    Some girls are just for free

    I never wanna be like some girls

    This song is LIFE! But these lyrics in conjunction with that amazing vocal delivery are to die for. Honestly if you took away the vocal effects on the song, her vocals probably still sound as flawless as her ROL/Music days (same goes for Love Spent).

  7. Do you all get more of a scary feeling from the song, or a camp vibe? I am dying.

    Definitely camp in the end, which kind of kills the momentum. I mean could she sound anymore like an elderly drag queen on last part: "If you're gonna act like a bitch, then you're gonna die like a bitch"? :lol:

    For that I give it a 7.5/10. Chop off the last minute or so and then you have a 10/10 moment.

  8. The high quality version is great. There's something underground/indie about it. I can imagine Pitchfork liking it if Madonna wasn't the artist.

    Agreed. It's a brilliant track. Does anyone else think this is the Candy Perfume Girl of this album? For a rather simple track it's so beautifully polished and cooler than the title makes it out to be. I think if the vocal effects were taken off her, she would still own it vocally.

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