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Guest Coked Up Baby Boy

Pitchphork can go phuck themselves. CANNOT stand the UP TURNED NOSE SHIT they're all about. They clammer for AUTHENTIC art and are the FAKEST PHUCKS OF THEM ALL.

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The Scotsman

Published on Monday 26 March 2012 00:00

Madonna’s got news for Lady Gaga: she wants her Queen of Pop crown back. Trouble is, she’s too stuck in her ways to take the necessary risks

SINCE the release of her previous album Hard Candy in 2008, Madonna’s 1980s superstar peers Michael Jackson and Whitney Houston have met inauspicious ends, while her status as the queen of pop has been sorely challenged by a brazen pretender who has aped her visual and, to a lesser extent, musical style, sweeping all before her in the process. So in returning to a market which has embraced a newer model of herself, it’s time for some cultural revision, some words of warning which she puts in the mouth of Nicki Minaj. “There’s only one queen – and that’s Madonna,” purrs the hip-hop starlet (while eyeing her throne, probably).

Did you get that, Gaga? Her Madgesty wants her crown back. Having snatched that vulgar Superbowl showcase from under your nose, Madonna is playing hardball on her 12th album, proving she can churn out a load of catchy but insubstantial dance pop filler as mindlessly as the next girl in the designer meat frock.

The strikingly titled MDNA demonstrates again her nose for a shrewd partnership, one which benefits Madonna in cred points and her collaborators in exposure. Her Ray Of Light saviour William Orbit is back on board, along with Euro house producers Martin Solveig and Marco Benassi. But this time, it’s also about the girls, with high-profile cameos from femme rapper du jour Minaj and DIY auteur MIA, who revels in her Madge-like capacity for troublemaking.

Admittedly, their inaugural effort Give Me All Your Luvin’ made a particularly poor showing in the hit parade – Madonna’s worst, in fact, since her debut single Everybody, back in 1982 when no one knew who the NY club queen was anyway. However, she’s probably not too broken up about that, given that monster pre-sales for MDNA have placed it at the top of the iTunes chart in 50 countries – commercial justification, I presume, for not just jacking it in and leaving Gaga to clean up unchallenged.

Yet, for an album which carries her name so assertively, MDNA plays it reasonably safe around the formulaic but functional live-for-the-moment dance pop vibe of Confessions On A Dancefloor and Hard Candy – fruitful territory for Madonna ever since her definitive Into The Groove – and comes frontloaded with some serious club cuts.

She also reprises her bad girl who tries ever-so-hard-honestly to be good schtick right from the off, with the teasing spoken word intro to throwaway new single Girl Gone Wild, which introduces the theme of quasi-contrition. Later, she has her cake and eats it on the insouciant I’m A Sinner – “I like it that way” she claims over a shimmering Ray Of Light backing before calling on Jesus, Mary and the saints for succour. At least it doesn’t sound like she’s trying too hard here, unlike the charmless electro throb of Gang Bang on which she aspires desperately to B-movie badass credentials, snarling “I’m going straight to hell and I’ve got a lot of friends there.”

She’s on safe ground with the dance pop of Turn Up The Radio and the empty-headed Superstar, in which she vacantly compares her beau to James Dean, Marlon Brando, Bruce Lee, John Travolta and, ahem, Caesar and Abraham Lincoln, declaring “you can have the keys to my car, I’ll play you a song on my guitar”. Better still, why not work a bit on those trite lyrics?

There are modest highlights peppered throughout the mix, such as the cool, hypnotic clarion call of Some Girls and the unexpected banjo intro of Love Spent which cuts through the processed beats. I Don’t Give A has been garnering a lot of attention for its explicit references to her divorce from Guy Ritchie but its bullish demand that “lawyers, suck it up, didn’t have a pre-nup” is hardly the stuff of self-revelation.

After all this clubby muscle-flexing, the closing ballads come as a refreshing tonic. Masterpiece is a little pallid but the tremulous Falling Free is close to Frozen par with its atmospheric, reverberating piano backing.

Interestingly, Madonna squirrels away her most genuine acts of contrition on the bonus disc. I F***ed Up is a sweet, sparely arranged rueful pop song which doesn’t fit with the defiant survivor image of the main album. Likewise, the brooding electro pop of Best Friend is prepared to display some vulnerability.

There’s also time for one final break from the safe haven of the dancefloor. B-Day Song, a hip, skippy cheerleader number with MIA’s DNA all over it, contrasts its innocent, girlish tune with some particularly naughty birthday wishes and packs a personality lacking elsewhere on the album. But what do we expect from pop royalty anyway? Innovation? Individuality? That’s not the way of the monarchy.

Rating: ***

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Guest Xanthium

Does it warrant an F though? The perfect example is Confessions - Madonna's most critically acclaimed work in years, and they gave her 6 despite being relatively positive about the project. They consistently low ball her. Believe me, I know the type of ppl that write for these publications. Elitist doesn't even begin to cover it :lol:

The most hilarious thing was when they were jacking off to Lana Del Rey all over that website and then had such egg on their face when it was revealed she was a creation of a record label. I don't think theyve mentioned her since :lmao: they are all about image on that stupid website. Itd be less aggravating if they weren't treated so credibly.

Yeah, I forgot to mention the grade. It's bizarre. From the review you'd think it'd be a solid 6. Oh well. They have to give her a low grade to keep their "cool" factor. The fact that Pitchfork is even reviewing MDNA in the first place is a testament to Madonna's popularity and cultural importance. They don't need to review her. Her music doesn't fit in on that website at all. I was just perusing their site and they really don't review the divas much. I only found Beyonce's 4 with an 8.0 (which is ridiculously way too high), Rihanna's Talk That Talk with a 6.0 (which is about right), Kelis' Flesh Tone (7.2) and Nicki Minaj's Pink Friday (6.5). The fact that they only review the mainstream black divas proves a point I once made about how they only review mainstream hip hop and rap in order to appear "down/cool" but ignore mainstream pop or rock. They've even reviewed every Ciara album for God's sake. FUCKING CIARA :manson: They don't have reviews for Britney, Katy, Xtina, Mariah, Shakira, Gloria, J. Lo or Ke$ha. They didn't even review Born This Way. That doesn't make them racist but it makes them disingenuous and pretentious. So I guess we should all take it in stride that the most pretentious hipster music website on the internet still reviews Madonna, cause they know that despite their criticisms she is still relevant and cool.

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Guest Coked Up Baby Boy

They didn't even review Born This Way.

You sure? i thought they did, i thought they gave it a 7 or something. Maybe i'm thinking of something else.

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Guest Xanthium

You sure? i thought they did, i thought they gave it a 7 or something. Maybe i'm thinking of something else.

Yeah, this is what comes up when you search her name.

http://pitchfork.com/search/?query=lady+gaga

I even tried 'lady gaga born this way' and it came up blank. So bizarre. You'd think they'd review that album out of ALL the divas. But I guess not :D

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i'm gonna die. the album is now a 65 on metacritic! wtf, its no hard candy! they simply refuse to add in those good reviews. what assholes. also monsters are flooding the user reviews too. we need to do something about it! :americanlife:

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Guest LeJazzHot!

They're still missing the Billboard, USA Today, NY Daily News, Newsday reviews all of which were A graded reviews. If they add those in there the score will increase at least into the 70s.

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:clap::thumbsup:

Madonna’s 12th studio album, MDNA was released globally yesterday 26 March 2012 and after a full day’s worth of downloads, several iTunes album charts generated MDNA’s position at NO. 1 !

Based on the chart results, GIRL GONE WILD and GIVE ME ALL YOUR LUVIN’ figure higher than any of the MDNA tracks which supports the idea that they were “arguably” the most single-worthy from the lot. Following behind are GANG BANG, I DON’T GIVE A…, MASTERPIECE and BEAUTIFUL KILLER. Surprisingly, TURN UP THE RADIO never showed up despite it being a fan favourite.

(more) http://mymonumentalicons.blogspot.com/2012/03/madonna-mdna-itunes-album-chart.html

:sassy::bow:

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They're still missing the Billboard, USA Today, NY Daily News, Newsday reviews all of which were A graded reviews. If they add those in there the score will increase at least into the 70s.

And Allmusic.

The good news is that the worst of it is over. All those dreadful reviews from the UK and the constipated Pitchfork brigade have been counted and can no longer bog her down. I expected this kind of reception for Hard Candy, but not for this album. This album is so rich in creativity and hard work, it's gorgeous and grimy and sad and thrilling... it's perfect. Divisive this is not. I haven't seen ANYONE in Madonna's fanbase complain about this album. NOT ONCE. The last time there was this much love over a project by her fans was COADF and that was also reflected in the critical reviews.

I really think the "bad press" (in quotes because WHO CARES about bad press) in relation to her complete abandonment of the UK, Hydrangea-gate, and her dismissal of Lady Gaga turned off a lot of people and now they're hating just to hate. I KNOW that sounds loony-crazy, but it's happened to her in her career before, mind you. Read the negative reviews. With the exception of maybe ONE OR TWO, they spend most of it analyzing Madonna's image and dressing it up with verbose bullshit about how she's THIS AND THAT. And it's always the same group of people doing it: the insufferable hipster collective, frumpy women, overly patriotic dumbasses, and bitter gay men.

Sorry for my facts.

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And Allmusic.

The good news is that the worst of it is over. All those dreadful reviews from the UK and the constipated Pitchfork brigade have been counted and can no longer bog her down. I expected this kind of reception for Hard Candy, but not for this album. This album is so rich in creativity and hard work, it's gorgeous and grimy and sad and thrilling... it's perfect. Divisive this is not. I haven't seen ANYONE in Madonna's fanbase complain about this album. NOT ONCE. The last time there was this much love over a project by her fans was COADF and that was also reflected in the critical reviews. But not this time, HMM...

I really think the "bad press" (in quotes because WHO CARES about bad press) in relation to her complete abandonment of the UK, Hydrangea-gate, and her dismissal of Lady Gaga turned off a lot of people and now they're hating just to hate. I KNOW that sounds loony-crazy, but it's happened to her in her career before, mind you. Read the negative reviews. With the exception of maybe ONE OR TWO, they spend most of it analyzing Madonna's image and dressing it up with verbose bullshit about how she's THIS AND THAT. And it's always the same group of people doing it: the insufferable hipster collective, frumpy women, overly patriotic dumbasses, and bitter gay men.

Sorry for my facts.

:clap:

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Guest missy bi_tch

After thirty years, reviewers still write stuff like "you don't look to Madge for lyrical poetry." Gosh, granted M does not wax lyrical all the time, the times she did, she does well and on MDNA, there are some of these moments. If it were Springsteen, Bono or Sting, crap they write will turn to critical moments.

MDNA is no her best, but very much enjoyable and better than Hard Candy. Several songs, especially the downtempo ones, like Masterpiece, Falling Free and Love Spent are gorgeous.

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And Allmusic.

The good news is that the worst of it is over. All those dreadful reviews from the UK and the constipated Pitchfork brigade have been counted and can no longer bog her down. I expected this kind of reception for Hard Candy, but not for this album. This album is so rich in creativity and hard work, it's gorgeous and grimy and sad and thrilling... it's perfect. Divisive this is not. I haven't seen ANYONE in Madonna's fanbase complain about this album. NOT ONCE. The last time there was this much love over a project by her fans was COADF and that was also reflected in the critical reviews.

I really think the "bad press" (in quotes because WHO CARES about bad press) in relation to her complete abandonment of the UK, Hydrangea-gate, and her dismissal of Lady Gaga turned off a lot of people and now they're hating just to hate. I KNOW that sounds loony-crazy, but it's happened to her in her career before, mind you. Read the negative reviews. With the exception of maybe ONE OR TWO, they spend most of it analyzing Madonna's image and dressing it up with verbose bullshit about how she's THIS AND THAT. And it's always the same group of people doing it: the insufferable hipster collective, frumpy women, overly patriotic dumbasses, and bitter gay men.

Sorry for my facts.

I don't think it sound that way, i think it's true. The truth is: a lot of people HATE Madonna's personality and judge her work with that in mind, doesn't matter if it's critics or regular people. I CAN'T tell how many freaking times i saw someone said: "i don't like Madonna because she's a diva and a bitch" :doh:

And of course with the fact that Gaga became a critic and media darling, Madonna attracted strong hate from the whole "reductive" thing. A lot of people who at least respected her before and were open to the idea of buying MDNA turned against her.

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Guest groovyguy

http://www.mtv.com/news/articles/1681808/madonna-mdna-fans.jhtml

Madonna Fans Weigh In On MDNA

One fan says her latest album 'proves once again that Madonna is still the Queen of Pop,' while others prefer her previous works.

By Kara Klenk

Over the past couple of months, fans have devoured any and all clips, stills and teases available during the lead-up to the Queen of Pop's latest creation, and now, Madonna worshipers can finally get their hands on MDNA in its entirety. And seeing as it's already the #1 album on iTunes, it seems that Madonna has done it again.

Most seem generally pleased with Madge's latest effort, deeming it "pop perfection." For anyone who thinks that Madonna's in danger abdicating her throne, @MDNABornQUEEN assured the Twittersphere that, "MDNA proves once again that Madonna is still the Queen of Pop." In terms of her competition, @zahidkatycat maintained that the album is "better than Lady Gaga's Born This Way!" MDNA seems to be further proof that the 53-year-old mother of four has no plans to slow down, and fans have taken note. @LydiaT2 called her "ageless and an absolute DIVA."

Some fans say MDNA is her best album yet. ‏@fermares tweeted that it's "somewhere in between the genius of Ray of Light and the innovation of Confessions. " @robnmozangeles raved about the album and especially liked "the way she used multiple producer to create a cohesive narrative of sound & emotion. Still the Queen!"

Check out a track-by-track review of MDNA

Others were supportive of the album but weren't sure it was her best work. @MDNAMonster tweeted, "It's amazing! But compared to her previous albums (Hard Candy excluded) it's kinda weak" and @iamjimmey wrote, "I love MDNA! But I think she can do better!"

Many fans truly believe Madonna is offering up something new and different with this album, but they all have their favorite, and least favorite, tracks. @tim__fitzgerald called "I'm Addicted" and "Gang Bang" his favorites, while @clau_dinha08 wrote, "I really love Girl Gone Wild right now, because that's such a good beat!" @kakadre had trouble pinpointing one because "it's all perfect" but listed "Gang Bang" and "Love Spent" as two tracks that stand out. @GimmeNick commented, "Her most vulnerable album, so innovative and the ultimate definition of art, every track is a 10/10- only low point is 'B-Day Song'."

While MDNA has been plagued by leaks for months now, one fan, @whoneedsit, put it best by tweeting, "If you're a true #MDNAFAN you get your ass out and buy it."

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Guest groovyguy

http://www.belfasttelegraph.co.uk/woman/life/as-madonnas-new-album-goes-on-sale-we-ask-women-for-their-fave-track-from-the-queen-of-pop-16136689.html

As Madonna's new album goes on sale we ask women for their fave track from the Queen of Pop

By Jane Hardy and Laura McGarrity

Tuesday Mar 27 2012

Madonna’s twelfth studio album, MDNA, has just reached the shops, downloads and reviewers. Well, does MDNA rank right up there with the greats, such as Like A Virgin and Ray of Light? The answer is a qualified Yes.

We’d already had a taste of the music on offer in singles Give Me All Your Luvin’, which became Madonna’s 38th top 10 hit, and Girl Gone Wild, featuring English singer M.I.A and American rapper Nicki Minaj.

While the music has characteristic Madonna pop energy, the lyrics are interesting too, and theories are circulating about whether this could be a revenge album, with lines about Madge’s mistake being not signing a pre-nup with ex-husband Guy Ritchie providing clues.

We’ll be feeling her pain and dancing to it. The sign of a truly great singer is that their music provides a handy soundtrack to the memorable moments in your life — the romances, the getting together, the breaking up ... essentially the whole damn thing.

Read More

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New York Times:

http://www.nytimes.com/2012/03/27/arts/music/mdna-madonnas-12th-studio-album.html?scp=2&sq=madonna&st=cse

Critic’s Notebook

Introspection for a Pop Star: Just Remember Her Name

By JON PARELES

Published: March 26, 2012

“I’m gonna be O.K./I don’t care what people say,” Madonna sings on her new album, “MDNA.” That may be the least necessary assurance in pop-music history.

For nearly 30 years it has been a fact of popular culture that Madonna perseveres, calculates, reconfigures, strives and endures. Her gift for writing catchy tunes that suit her unvirtuosic voice, matched to lyrics that often straddle the clichéd and the universal, has been strong enough to carry her through hits and flops, artistic moments and easy gimmicks. Four years after her last album, Madonna, at 53, remains superstar enough to have been handed this year’s Super Bowl halftime show. That high-tech, hollow performance started the promotional cycle for her latest release.

Now that thumping dance beats are all over Top 40 radio, Madonna’s timing is good for “MDNA” (Interscope), her 12th studio album. It’s a bipolar collection that pumps out effervescent electronic pop before making way for a contentious personal agenda. Along the way Madonna strikes some favorite poses: lapsing Roman Catholic, club hottie, woman in love and — especially — the wounded tough gal. The poses matter less than the panache she brings to them.

On her 2008 album, “Hard Candy,” Madonna worked with the hip-hop and R&B producers who dominated Top 40 at the time. But since then Lady Gaga arrived, out-Madonna-ing Madonna for the sheer rate of fashion churn and bringing the four-on-the-floor beat and electronic pulse of dance-pop to the Top 10, while other rock, pop and R&B acts also embraced four-on-the-floor.

“MDNA” doesn’t deign to grapple much with the competition. Occasionally it fights insecurity with self-advertising: placing Madonna’s name in the chorus of “Give Me All Your Luvin’,” which she performed at the Super Bowl (and one of the album’s weakest tracks), or enlisting Nicki Minaj in “I Don’t Give A” to declare that “there’s only one queen, and that’s Madonna.” But mostly it’s just Madonna resuming her longtime habit of collaborating with dance-pop producers.

Madonna shares nearly all of “MDNA” with three producers: the Italian electro expert Benny Benassi, the French pop-dance D.J. and producer Martin Solveig (whose tracks often have a glimmer of new-wave rock) and, in a welcome return, William Orbit, who was Madonna’s inventive partner on “Ray of Light.” Each of them worked on both shallow, effective club fodder — with blippy stereo-hopping synthesizers and generic titles like “Girl Gone Wild” and “Turn Up the Radio” — and songs that venture toward the personal. That very much includes the scars of Madonna’s 2008 divorce from Guy Ritchie, which cost her at least $76 million.

“MDNA” places most of the dance-club songs up front, mingled with the ominous “Gang Bang,” which mixes gunshots with its ticking electro-pop as Madonna boasts about murder. “I’m Addicted” (“to your love,” of course) has her singing “MDMA” — the abbreviation for the chemical in the club drug Ecstasy — as one rhythmic element amid Mr. Benassi’s zinging electronics. Madonna now works her good girl/bad girl contrasts as the shtick they have become; the buoyant “I’m a Sinner,” with a hint of “Material Girl” in its beat, proclaims “I’m a sinner/ I like it that way, Ah-whoo-hoo!”; then she switches to singing about saints, assigning them tasks as if they’re the kitchen staff.

The tone darkens after the dance tunes. “I’m gonna be O.K.” starts the chorus of “I Don’t Give A,” a surprisingly specific song about the life of a divorced multitasking superstar: “Lawyers suck it up/ Didn’t have a prenup/ Make a film, write a song/ Gotta get my stockings on.” Chorus to the contrary, she’s not exactly nonchalant; “I Don’t Give A,” produced with Mr. Solveig, works up to a Sturm-und-Drang passage for chorus and orchestra that echoes Carl Orff’s “Carmina Burana.”

A collaboration with Mr. Orbit, “Love Spent,” starts with the unexpected — minor-key banjo picking — before it marches toward mournful accusations: “If I was your treasury/ You’d have found the time to treasure me.” (Despite the song’s bitterness, pop reigns; a recurring little synthesizer arpeggio refers back to Madonna’s huge 2005 hit “Hung Up.”)

On the whole “MDNA” stays less arty and more determinedly poppy than Madonna’s 2005 album “Confessions on a Dance Floor,” the last time she looked inward at length. It does turn away from clubland in a pair of tuneful collaborations with Mr. Orbit: “Masterpiece” — folk-pop with a mechanized beat, from the soundtrack to Madonna’s new feature film, “W.E.” — and the orchestral, drumless “Falling Free,” an enigmatic song about love and exaltation.

Among the four additional songs on the deluxe version of the album, Madonna admits to mistakes and second thoughts: “Your picture’s off my wall/ But I’m still waitin’ for your call,” she sings in “Best Friend.”

Still, don’t expect vulnerability. The lyrics insist there are no regrets, while nearly all the songs perk along to the unvarying, superhuman pulse of electronic dance music. Madonna’s voice is usually computer-precise and neatly inexpressive, with a few exceptions for petulance (as in “Gang Bang”).

Her survival instinct is her pop instinct, the one that hones catchiness above all, and it gets her through “MDNA” with hook after hook. Yes, she’ll be O.K.

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Guest groovyguy

Mad Madonna still a ray of light

By ISAAC GUZMAN

★★★★

Hell hath no fury like Madonna scorned.

In the four years since she recorded her last studio album, Madonna blew up her marriage to Guy Ritchie, made a tedious film about two supposedly glamorous Nazi sympathizers and allowed herself to be upstaged by M.I.A.’s middle finger in front of 111 million people. Distracted by ventures into clothing lines, fitness centers and international adoption, she drifted from her roots as a pop diva with a knack for popularizing cutting-edge electronic music.

Rage, however, seems to have focused the Material Girl on what she does best. With “MDNA,” she’s made her best record since 1998’s “Ray of Light.” It’s a collection of club tracks and confessionals that drops white-hot disco bombs with laser-guided precision.

Working with “Ray of Light” producer William Orbit, Italian electro producer Benny Benassi and French DJ Martin Solveig, she serves up a succession of intoxicating grooves that stand up to anything Lady Gaga and Beyoncé have sent up the charts.

Where Madge manages, at 53, to actually outpace her far younger peers is her willingness to lay bare the raw, jarring emotions of the past few years. Her break with Ritchie has inspired surprisingly catchy observations of hearts imploding — Sean Penn and Warren Beatty never worked her into such a lather.

“I Don’t Give A” and “I F – - ked Up” (available as a bonus track on the deluxe edition) capture two facets of the horror of being newly divorced. The first rails against the process — “You were so mad at me, who’s got custody? The lawyers suck it up, didn’t have a prenup” — but pledges that she’ll survive and move on. The second expresses the guilt and remorse of a woman who accepts her own role in the split: “I f — ked up, I made a mistake. Nobody does it better than myself.”

Yet even at her darkest, Madonna keeps intact her legendary instincts for a killer hook. “Gang Bang” is a straight-up hater’s anthem. “I thought it was you, and I loved you the most,” she chants, “but I was just keeping my enemies close.” As the Orbit-produced bass track grinds through the mix like a tank tread, she merrily pronounces herself a proud assassin: “Bang bang, shot you dead, shot my lover in the head.” It’s an exquisite kiss-off that’s equal parts meditation on spite and rump-busting dance-floor workout.

While most of the album wades through the debris field of her failed marriage, there are glimpses of brighter times. “Girl Gone Wild” leans on Benassi’s thumping house production for a party track that could have easily been a single from her 2000 album “Music.” Then there are the breath-like keyboards on LMFAO’s remix of “Give Me All Your Luvin’ ” (another deluxe-edition cut) that sound like they were lifted straight from one of the Material Girl’s “Express Yourself” sessions.

Managing to find substance in fury and freedom in tears, “MDNA” is an uplifting testament to resilience. Better still, it’s evidence that Madonna has finally returned from her sojourn as a would-be Renaissance woman and to deliver an album with the guts and groove of her finest work.

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Guest Xanthium

LOVE THIS REVIEW FROM AMAZON CUSTOMER:

A dark masterpiece of an album. It is a VERY dark album of awesome pop music......a horror album even.

:lol:

SLASHERDONNA!

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Guest Xanthium

And of course with the fact that Gaga became a critic and media darling, Madonna attracted strong hate from the whole "reductive" thing. A lot of people who at least respected her before and were open to the idea of buying MDNA turned against her.

I've noticed this a bit here and there. I don't know why some people get so personally involved in what Madonna or Lady Gaga say. Why would you stop being a fan or stop listening to their music because of what either may have said? That's just ridiculous. It's not like they're coming out and saying their NAZIS. I mean yeah Madonna was being a bit shady to Lady Gaga with the reductive comment but she was just stating her (harmless) opinion. She thought BTW was reductive and sounded like EY. If ANYONE is allowed to have an opinion on the matter, it's Madonna. EY is her fucking song.

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