Celebration (album) reviews

[loomer]

@ the comments left by the Kylie fan about that DigitalSpy review.

The same one also left a comment at the NME

[loomer]

Madonna – Celebration, Album Review (Part One)

(4.5) Celebration, released this week, marks Madonna’s fourth ‘greatest hits’ package.

That review is brilliant.

[Guest dicktracy]

Madonna also scored massive hits singing about child abuse ('Live To Tell'), teen pregnancy ('Papa Don't Preach') and S&M ('Erotica').

I never thought of that. Is this true? I always thought it was about a lover.

[acko]

R there no real reviews? Honestly..these bloggers & websites..who cares.

[Glindathegood]

R there no real reviews? Honestly..these bloggers & websites..who cares.

Most major papers like the Washington Post and the New York Times don't review greatest hits albums and compilations. They usually only review albums of all new material.

[loomer]

I never thought of that. Is this true? I always thought it was about a lover.

I read ages ago that was the interpretation. It certainly makes it more powerful to think of it that way.

[Carta]

the loons will have a heart attack

and accuse NME of being snobs .... when in fact they've given most of M's albums great reviews , up until Hard Candy

So if they've given most of Madonna's albums "great reviews", why do they then trash the songs coming from those albums that they reviewed in a positive light?

[howie]

So if they've given most of Madonna's albums "great reviews", why do they then trash the songs coming from those albums that they reviewed in a positive light?

they were hardly trashing songs, they just pointed out that some of the songs are in their opinion overrated or something.

And also, albums and singles are two separate things. Albums are judged as a whole, and singles are just separate pieces of music.

Now if they questioned her writing credits for Revlover, that would be something

They gave COADF a 9/10 wihich is a GREAT review, I'd say.

Even American Life scored a good review with NME.

[Carta]

they were hardly trashing songs, they just pointed out that some of the songs are in their opinion overrated or something.

And also, albums and singles are two separate things. Albums are judged as a whole, and singles are just separate pieces of music.

Now if they questioned her writing credits for Revlover, that would be something

They gave COADF a 9/10 wihich is a GREAT review, I'd say.

Even American Life scored a good review with NME.

No, they pretty much dismissed them - they didn't say that they were "overrated", they dismissed them.

As for the album, what you're suggesting is that the albums are greater than the sum of their parts. Perhaps the NME reviewers liked the album tracks more than the singles.

In any case, it's completely clear that whoever reviewed "Celebration" was not one of the writers who reviewed any of her previous albums. It's the same old "Madonna was better in the 80s and should have given up 19 years ago because almost everything she's done since then is worthless" garbage.

[howie]

It's the same old "Madonna was better in the 80s and should have given up 19 years ago because almost everything she's done since then is worthless" garbage.

I don't agree with that at all, but the compilation is indeed relying a lot on her 80's hits...

there are 18 songs from the 80's

8 songs from the 90's and 10 from the 00's

[Carta]

..."but for the rest of us, her career may as well have ended in 1990". What does that mean to you??

He goes on about the goodwill of her loyal fans keeping her right up there as a concert draw (the ones who grew up on a soundtrack of her music) and although he acknowledges that it would be unfair to suggest that she hasn't done anything great since 1990, he identifies just two....TWO tracks worthy of mention over the past 19 years, describing the rest as "slim pickings". He describes her post 1990 material as dance floor killers etc. etc.

[Guest Pud Whacker]

..."but for the rest of us, her career may as well have ended in 1990". What does that mean to you??

He goes on about the goodwill of her loyal fans keeping her right up there as a concert draw (the ones who grew up on a soundtrack of her music) and although he acknowledges that it would be unfair to suggest that she hasn't done anything great since 1990, he identifies just two....TWO tracks worthy of mention over the past 19 years, describing the rest as "slim pickings". He describes her post 1990 material as dance floor killers etc. etc.

which is such a cop out. why, oh why, cant people just give it up to madonna? however, i must say, that does keep her afloat. gets everyone all riled up.

[Bitch]

Music review: Madonna's Celebration

Published: 1:55PM Tuesday September 29, 2009

By tvnz.co.nz's Jeremy Todd

Source: TVNZ

I was an impressionable age when I first encountered Madonna. She was rolling around seductively on a suburban street in her 1983 video for Burning Up.

Despite that impression, I could not have predicted that 24 years later I would insist her dance anthem Hung Up be on the soundtrack to my wedding.

Such is the longevity and influence of her career that there can be few people with a passing interest in pop culture who don't have some sort of connection to her - whether they like it or not!

Since 1983 Madonna has imposed herself on popular culture, her tireless work ethic seeing her become an icon several times over - pop music, style, sexual, music video, gay, business, and (anti?) religious icon to name a few.

Without her would Kylie, Britney, Pink, The Spice Girls, J Lo, even Destiny's Child, exist or be the same as we know them today? Nearly 30 years after her first release, Madonna remains one of the most popular, powerful, and influential artists of our time.

Madonna has now released her third greatest hits album - Celebration. And it truly is a celebration of her pop music career; a whopping 36 remastered songs (including two new songs), half from the 1980s and the other half evenly split between the 1990s and 2000s.

However the running order is not at all chronological, which keeps it interesting, but also forces a reassessment of some songs - for instance Sorry (2005) suffers next to the superb Ray Of Light (1998).

The sequencing also highlights the strong influence her various producers (e.g. Nile Rodgers, William Orbit, Timbaland) have had on her sound over the years, and picks out different Madonna eras as strongly as her constant self-reinvention.

While for this listener there is probably as much pleasure hearing some of the nearly forgotten songs (for me, Burning Up), as there is temptation to skip past the lesser material (Lucky Star anyone?), there is a lot to enjoy in Madonna's musical legacy.

In particular the remastering breathes life in to the 1980s material, allowing them to stand beside and often out-perform later songs.

However, for a retrospective of such an icon, it is disappointing there are no liner notes or even a short message from Madge herself to accompany it.

Justify My Love appeared as a new song on her 1990 greatest hits Immaculate Collection. There can't be too many artists whose "bonus" track on one compilation appears on a subsequent greatest hits album.

So will either of the two new tracks on Celebration appear on her next compilation? Hopefully not the dated trance of the Paul Oakenfold produced title track, but Revolver, with critics' favourite rapper Lil Wayne, may well stand the test of time.

While Ray Of Light and Like A Virgin remain her most iconic albums, Celebration contains all the Madonna songs most iPods will ever need. And canny as ever Madonna has ensured this one supercedes all previous greatest hits as the best celebration of her music.

[Guest dicktracy]

While for this listener there is probably as much pleasure hearing some of the nearly forgotten songs (for me, Burning Up), as there is temptation to skip past the lesser material (Lucky Star anyone?), there is a lot to enjoy in Madonna's musical legacy.

FOOL!!!!

[SkyHigh76]

The NME review is in

Why Madonna's new Greatest Hits is no cause for 'Celebration'

So Madonna has a new greatest hits out, 'Celebration'. Fine, you’d think – she’s had a lot of them. Sadly, listening to the 36-track compilation, it's depressingly apparent that there have been two distinct phases of her career – the pop nirvana of her 80’s output, and the joyless bandwagon- hopping of her later years. Unfortunately, she thinks both have equal merit.

It would be unfair to say Madge hasn’t touched magic since 1990 – 'Hung Up', for example, is a fine dancefloor-filler. And ‘Ray Of Light’ isn’t bad, even if she was going through her horrifically unappealing "earth mother" phase.

But apart from that, it’s slim pickings. Despite commissioning the most hip collaborators around at the time, (Mirwais, William Orbit, Stuart Price), Madonna's latter records sound strangely cold and joyless, devoid of the warmth that infuses the likes of ‘Like A Virgin’, ‘Dress You Up’, ‘Cherish’ and the immortal ’Like A Prayer’. Hell, even her overwrought ballads from that purple patch (‘Live To Tell’, ‘Crazy for You’) have a certain charm.

One of my colleagues summed up the conundrum recently – if you're at a party and one of Madonna’s early classics comes on, everyone goes nuts. Play anything from "phase two" and the result is completely the opposite: the dancefloor empties, the buzz dissipates.

So while Madonna clearly thinks this collection represents a celebration of her longevity – hence the title - in reality all it does it expose her more recent failings. True, she still sells out enormodomes, but a lot of that can be attributed to an extension of goodwill from people whose formative years were soundtracked by her. There is a lot of loyalty there. Fair enough. But for the rest of us, her career may as well have ended in 1990.

http://www.nme.com/blog/index.php?blog=10&...p;tb=1&pb=1

This review is bullshit.The statement "her career may as well have ended in 1990" is ridiculous.It shows that some critics continue to live in the past.The same statement is often applied to virtually any artist who has been around several decades...Janet Jackson,Prince,Elton John,Michael Jackson,George Michael,etc.People with this mindset can't seem to accept and understand the fact that artists ("real artists",anyway) move on,they grow,they evolve,they try new sounds and ideas.The 80s are OVER! Why even bother comparing the new songs to the old songs,anyway?? It's a different time,a different era.Would this critic be happy if Madonna had spent the past two decades repeating herself over and over? If somebody were to release a song like "Material Girl","Into the Groove" or "Papa Don't Preach" in 2009,guess what? It would probably bomb on the charts.And if Madonna had retired in 1990,we would have never gotten "Ray Of Light","Frozen",Drowned World/Substitute For Love","Music","Nothing Fails","Rain","Deeper and Deeper","This Used To Be My Playground","Gone" and all the other AMAZING songs she has recorded since then.Honestly,I like alot of the post-1990 stuff more than the 80s hits,but what's the point in comparing,or pitting one group of songs against another?

[Guest Danny86]

ROL is one of her best-received albums, so that NME writer is smokin' something. Then agian, something could be among her best and not contain music that's gonna have everybody at a party on their feet- obviously.

I always said that from a UK point of view, ROL is just as bandwagon jumping as Madonna singing a song written by Bjork a couple of years earlier, after she got big. There's no mystery in this, it was her best received album at the time but was hardly a critics' darling initially. The RS review of ROL actually talked about the same thing Pud said, they were lamenting the "fun and carefree" Madonna and saying that would never come back.

But why exactly are we giving too much thought into Celebration reviews? Obviously each reviewer will have his different favs, some will say she was corny in the 80s but became an artist after, others say she died after 1990, what's new? As for bashing the 4 non hits included, that's nothing more than just going with the flow and trying to find a flaw for the sake of it. I still can't see why this GH could be better if they were substituted with TB and 3 dated 90s ballads, but that's just me.

[Madfan58]

The Houston Chronicle...3 1/2 Stars out of 4!!!

http://www.chron.com/disp/story.mpl/ent/music/cdreviews/6641754.html

Madonna's Celebration is impressive

Madonna

By JOEY GUERRA Copyright 2009 Houston Chronicle

Sept. 28, 2009, 6:10PM

Even with two discs and more than 30 songs, Madonna's impressive Celebration package is missing a few key tracks (True Blue, Causing a Commotion, I'll Remember, Don't Cry For Me Argentina).

It's a nice problem to have. (The companion double-DVD includes a whopping 47 videos.)

Most every song on Celebration defines a moment in time, a radio sing-along, a twirl under the glitterball.

It's a pulsing testament to Madonna's often-overlooked pop prowess, from the scrappy electro beginnings of Everybody and Burning Up to the retro-disco swirl of Beautiful Stranger and Hung Up, still a hands-in-the-air highlight.

(The unique CD artwork alone is worth the price.)

Celebration also marks the end of an era: It's Madonna's final release for Warner Bros, her label since 1982. She jumps to LiveNation for her next studio album.

It's impressive how well most of the old songs hold up, particularly ballads Live to Tell and the truly gorgeous Take a Bow. And including the slicker video mix of Express Yourself was an inspired choice. (The original album version featured more live instrumentation.)

The obligatory new tracks are more filler than truly fascinating.

Revolver is a generic, electro-pop tune that could have been recorded by Rihanna or the Pussycat Dolls. Lil Wayne's auto-tune rap adds little to the party.

Better is the title track, which doesn't break any new ground but finds Madonna where she's most comfortable — on the dance floor. It's also her 40th chart-topper on the dance chart, the most for any artist.

Celebration, indeed.

joey.guerra@chron.com

[magom]

^Bravo, I like it.

[loomer]

Neither the new Uncut, Mojo or Record Collector have reviewed it. What utter shyt! No doubt the awful Q will review it, but not good enough!

[HolidayGuy]

ROL wasn't a critics' darling at the time? It did pretty well on year-end best-of lists, so I would not agree with that sentiment. It was creditd as being the first real mainstream pop album weaving techno and pop beautifully; Bjork did similar things, but she is no pop artist. Plus, it's not like ROL isasoundalike to any Bjork album; it has its own identity. Now, sicne Madge worked with Nellee Hooper on Bedtime Stories, there one would moe likely find a similarity (esp. in "Bedtime Story," since Bjork co-wrote it).

Is there a USA Today review yet?

[Skin]

The NME review is in

Why Madonna's new Greatest Hits is no cause for 'Celebration'

So Madonna has a new greatest hits out, 'Celebration'. Fine, you’d think – she’s had a lot of them. Sadly, listening to the 36-track compilation, it's depressingly apparent that there have been two distinct phases of her career – the pop nirvana of her 80’s output, and the joyless bandwagon- hopping of her later years. Unfortunately, she thinks both have equal merit.

It would be unfair to say Madge hasn’t touched magic since 1990 – 'Hung Up', for example, is a fine dancefloor-filler. And ‘Ray Of Light’ isn’t bad, even if she was going through her horrifically unappealing "earth mother" phase.

But apart from that, it’s slim pickings. Despite commissioning the most hip collaborators around at the time, (Mirwais, William Orbit, Stuart Price), Madonna's latter records sound strangely cold and joyless, devoid of the warmth that infuses the likes of ‘Like A Virgin’, ‘Dress You Up’, ‘Cherish’ and the immortal ’Like A Prayer’. Hell, even her overwrought ballads from that purple patch (‘Live To Tell’, ‘Crazy for You’) have a certain charm.

One of my colleagues summed up the conundrum recently – if you're at a party and one of Madonna’s early classics comes on, everyone goes nuts. Play anything from "phase two" and the result is completely the opposite: the dancefloor empties, the buzz dissipates.

So while Madonna clearly thinks this collection represents a celebration of her longevity – hence the title - in reality all it does it expose her more recent failings. True, she still sells out enormodomes, but a lot of that can be attributed to an extension of goodwill from people whose formative years were soundtracked by her. There is a lot of loyalty there. Fair enough. But for the rest of us, her career may as well have ended in 1990.

Hung up is dance floor filler? That song was a behemoth!!! Along with her Ray of Light era and Music. Fucking fool.

[Elysium]

http://slantmagazine.com/music/music_review.asp?ID=1858

4 stars (out of 5)

Madonna

Celebration

by Eric Henderson

Posted: September 23, 2009

Confession from my own private dance floor: I've never been a fan of The Immaculate Collection, despite the canonization accorded it in the absence of any competing career compilation up until its companion volume GHV2 in 2001. In almost every case, I found Immaculate's QSound makeovers by Shep Pettibone (at the time, Madonna's go-to guy thanks to his revelatory work on "Express Yourself" and "Vogue") to be earsores, if not total desecrations, of the original works. The winningly tremulous qualities of her earliest hits were all but obliterated by Pettibone's glossy remixes, and don't even get me started on the deadening house beats he used to kamikaze "Like a Prayer," a song which, like no other song from her first decade, did not exactly want for urgency. The upside of the album was and remains this unique feat: how its obligatory new tracks, the simmering "Rescue Me" and the aromatic "Justify My Love," are considered by most fans to be among the singer's best work.

Unfortunately, only one of those two songs survived the transition to Celebration, the "best of" reboot I've been wanting, needing, waiting for since 1990. Representing Madonna's first post-iPod compilation, the full two-disc version of Celebration promises more bang for your buck than her previous hits collections and, in the bargain, reverts many (but not all) tracks previously assembled on Immaculate to their original mixes, essentially making Celebration her most retro retrospective to date. The backward compatibility is born out in the album's cover art by Mr. Brainwash, which features a True Blue/"Vogue"-eras composite shot tarted up a la Andy Warhol. As she herself sang on the soundtrack to A League of Their Own, "Don't hold on to the past/Well, that's too much to ask." (Unless the past in question is "This Used to Be My Playground," which is the sole #1 not included here.)

Speaking of things that are too hard to hold on to, Celebration's other major deviation from the Immaculate template is primarily structural. Maybe the compilation represents Madonna acquiescing to the death of the album and the rise of the mp3, but the overall effect of the song sequence is that of a frenzied shopping spree, not a careful retrospective. I'm not necessarily in the camp that insists compilations follow chronological order, but segues should at least make some sense of a career path. Celebration isn't totally random—the first disc seems to focus more often than not on the dance-floor burners while the second spreads its attention across a broader definition of pop—but it seems tailor-made to purchase song-by-song to fill the gaps in your collection. Maybe Madonna is, 40 #1 dance hits into her career, making the sloppiness the point itself. Maybe she's trying to suggest that her career can no longer be summarized. But if that's the case, why bother collecting representative tracks in the first place?

I'm aware that every Madonna fan has his or her own favorite moments, but I'm sure I'm not the only one who will find the placement of "Vogue" sandwiched between "Music" and her Justin Timberlake duet "4 Minutes" obfuscatory to the point of offensiveness. "Vogue" is the lynchpin of her greatest, gayest period, and as such has a rightful place in Madonna's narrative, one that does not nestle comfortably aside the hijinks of a toy boy. "Vogue" falls in line with a startling arc of growth and self-consciousness of which "Express Yourself" was the warning shot, an unmistakably feminist missive that explicitly excluded straight males from its directive and then commanded they respond to its demands. From telling straight women and gay men their love has every potential to be real, Madonna then submitted her persona within the gay identity with "Vogue." If some found her cultural appropriation presumptuous, the reward was in the music you could let your body move to, hey, hey, hey. At least so far as pop music is concerned, "Vogue" was instrumental in allowing disco revivalism to emerge, allowing the denigrated gay genre to soar once again within the context of house music, the genre disco became in its second life. The queer-celebratory "Vogue" became, with a dash of ACT UP rage, Erotica, her darkest and most politically rewarding album and one that revealed a full understanding of the bipolarity of the gay experience circa AIDS, the self-actualizing highs and the then-tragically pervasive lows. If Silence = Death, Erotica's aggressively gay house beats intended to make a whole goddamned lot of noise.

I use "Vogue" as merely one example of the benefit of chronological representation. On a song-to-song basis, the inclusion of recent misfires such as "Miles Away" and "Hollywood" (the latter marking an embarrassing moment in Madonna's career no matter how you slice it, being her first single in two decades to completely miss Billboard's Hot 100) would read as forgivable tokenism if the album were merely presented in chronological order. But to have them pop up unannounced among some of the unassailable classics of pop is flatly disruptive. The arrival of the commercially successful but creatively stagnant "Die Another Day," for instance, in such close proximity to her Austin Powers ditty "Beautiful Stranger" (stupid, cute) only calls to attention Celebration's most glaring soundtrack omission: the long-legged 1994 hit "I'll Remember," which, much like "Vogue," represents one of the most important gear-changes in Madonna's entire career. An underwater indigo dirge featuring a remarkable below-the-root bassline and supple, husky vocals, "I'll Remember" settles up the score following the widely (and wrongly) derided Sex era and finds Madonna switching Who's Afraid of Virginia Woolf roles mid-performance from "hump the hostess" Martha to "I wanna have a baaay-bee" Honey. It's the key to understanding how both Lourdes and Ray of Light came into being. And it gets the shaft in favor of "Sigmund Freud, analyze this!"

Okay, so the legitimacy of the song selection can, in this Cuisinart iteration, only be appraised on a case-by-case basis. How do the songs sound? And are the mixes definitive? Great and mostly, respectively. The oldest and newest tracks have been given the most attention. Almost everything from her first two albums shimmer with virginal moisture (especially "Dress You Up" and "Holiday"), and all of her tracks from the neo-aughts boast robust EQ credentials (though the claustrophobia of the production on "Music" almost seems overripe compared to the open warmth of the comp's kickoff, "Hung Up"). Between "Like a Prayer" (thankfully, the album version) and "Sorry," "Ray of Light" sounds strangely weak and muffled. I was hoping for a deeper bass sound on "Everybody," but "Lucky Star" (which, best I can tell, seems to be a smartly remastered hybrid of the original track and the Pettibone remix) emerges as an absolute monster, a Larry Levan-worthy concoction of clanging rhythm guitars, synth atmospherics, and chugging bass.

The album is missing songs, doesn't always include the right ones, seems to have been sequenced by a not particularly intuitive Genius playlist, and the two new tracks aren't fit to kiss the feet of "Justify My Love": The title track is a zero-traction dance track that's as shallow lyrically ("If it makes you feel good then I say do it, I don't know what you’re waiting for") as it is musically, and the less said about her clumsy collaboration with Lil Wayne, "Revolver," the better. But functionally, what Madonna and fans are really celebrating with the release of Celebration is the hard proof that Madonna's back catalogue is now so immense and so varied that she can release a behemoth, two-disc greatest hits package that shoehorns in 36 songs and still manages to significantly short-change the singer's legacy.

Music album/single reviews these days are just like fashion journalism. Superficial and vapid. But this review I agree with...especially his point about Vogue as a lynchpin in her career.

[Elysium]

I predicted reviews like the NME one weeks ago. Fact is, her sales are equally spread throughout her career with Ray Of Light and Music selling more than Like A Prayer in the UK and COADF equalling it. It's the same with the singles, if you look at her top 10 biggest sellers, they're spread evenly across the decades. However, she could have made the album more representative of her hits by not including the dross such as Hollywood and Miles Away - regardless of what anyone thinks of those songs, they weren't notable hits and things such as True Blue, Deeper And Deeper and You'll See were.

I love one of the comments on the NME site that says perhaps her career should have ended in 1990 for those whose youth ended then

Agreed. I'm still baffled at the inclusion of Miles Away and Hollywood. Should have been TB and YS instead. Oh well.

[howie]

Hung up is dance floor filler? That song was a behemoth!!! Along with her Ray of Light era and Music. Fucking fool.

A "dancefloor filler" as in "a song that fills the dancefloor" not as in "an album filler or the dance genre"

:vanitybonet:

[Queen Bitch]

The same one also left a comment at the NME

More comments from Kylie fans to the Digitalspy review

Matt, Leeds on October 2nd, 2009

This album just shows the staedy decline of ths thinly talented individual. From the ok songs of the 80's and 90's to the garbage she churns out now. Madonna hasn't been the queen of pop for a very long time, that crown belongs to Kylie who after 20 odd years is more popular than ever, sell out tours in record breaking time and acts her age. everything Madonna used to do but hasn't for the last 10-15 years. She more kinown now for just been a sad old lady still desperate to cling on to whatever credibility she has left, which isn't much. Retire dear you ain't fooling nobody anymore. Oh and Lisa from ireland, it's nice to see you stick up for madge but the facts speak for themselves, the woman is a joke these days.

[SkyHigh76]

More comments from Kylie fans to the Digitalspy review

Matt, Leeds on October 2nd, 2009

This album just shows the staedy decline of ths thinly talented individual. From the ok songs of the 80's and 90's to the garbage she churns out now. Madonna hasn't been the queen of pop for a very long time, that crown belongs to Kylie who after 20 odd years is more popular than ever, sell out tours in record breaking time and acts her age. everything Madonna used to do but hasn't for the last 10-15 years. She more kinown now for just been a sad old lady still desperate to cling on to whatever credibility she has left, which isn't much. Retire dear you ain't fooling nobody anymore. Oh and Lisa from ireland, it's nice to see you stick up for madge but the facts speak for themselves, the woman is a joke these days.

I wish I had this person's email address! I'd like to give him a piece of my mind.

[Queen Bitch]

Another response

Kylie's Sparkly Tiarra on October 2nd, 2009

Spot on Matt from Leeds. As the reviews for Kylie's first (of many) US tour show - she's the queen of pop not the old child stealing granny. All the reviewers are marvelling at how wonderful Kylie's tour is and say that not even in her brief heyday could Madonna have put on a show like it. Kylie is queen, Kylie is queen, Kylie is queen - yeah yeah yeah

[SkyHigh76]

Those Kylie fans are delusional Truly pathetic! Kylie is pretty much a "nobody" here in America.

[Elysium]

More comments from Kylie fans to the Digitalspy review

Matt, Leeds on October 2nd, 2009

This album just shows the staedy decline of ths thinly talented individual. From the ok songs of the 80's and 90's to the garbage she churns out now. Madonna hasn't been the queen of pop for a very long time, that crown belongs to Kylie who after 20 odd years is more popular than ever, sell out tours in record breaking time and acts her age. everything Madonna used to do but hasn't for the last 10-15 years. She more kinown now for just been a sad old lady still desperate to cling on to whatever credibility she has left, which isn't much. Retire dear you ain't fooling nobody anymore. Oh and Lisa from ireland, it's nice to see you stick up for madge but the facts speak for themselves, the woman is a joke these days.

Bless the Kylie loons! :lmao:

[Kurt420]

More comments from Kylie fans to the Digitalspy review

Matt, Leeds on October 2nd, 2009

This album just shows the staedy decline of ths thinly talented individual. From the ok songs of the 80's and 90's to the garbage she churns out now. Madonna hasn't been the queen of pop for a very long time, that crown belongs to Kylie who after 20 odd years is more popular than ever, sell out tours in record breaking time and acts her age. everything Madonna used to do but hasn't for the last 10-15 years. She more kinown now for just been a sad old lady still desperate to cling on to whatever credibility she has left, which isn't much. Retire dear you ain't fooling nobody anymore. Oh and Lisa from ireland, it's nice to see you stick up for madge but the facts speak for themselves, the woman is a joke these days.

I was talking about Kylie Minogue yesterday to this girl I work with and in the middle of me going on and on about her she stops me and says. "Who is Kylie Minogue?? I've never heard of her."