As you can see here Madonna is the number 1 artist on itunes world wide: http://kworb.net/itunes/

MDNA starts out like an explosive volcano and deflates toward the end, inducing repeated yawns. The completest in me says ''buy it'', so I'll wait and buy a discounted copy at the local indie shop.

Identity said:

MDNA starts out like an explosive volcano and deflates toward the end, inducing repeated yawns.

Couldn't disagree more--just the opposite is true.

here in Brazil, MDNA sold 40k copies of the physical realese in 24 hours. We still don't have the iTunes numbers, but it has been numer 1 since yesterday.

http://madonnaonline.mtv.uol.com.br/2012/03/27/em-24h-mdna-vende-40-mil-copias-no-brasil-e-conquista-certificado-de-platina/

Different from "COADF" I'd say that the deluxe version is better than the actual album version.

The bonus tracks seem to be so effortlessly written. It's just fun to listen to.

The weakest tracks on the album might be "Turn Up The Radio" and "Superstar".

on Z100 the ad for mdna is playing after every track basically after every 5mins. I went for a run and i heard the ad about 25 times

[Edited 3/27/12 19:31pm]

funkomatic said:

Different from "COADF" I'd say that the deluxe version is better than the actual album version.

The bonus tracks seem to be so effortlessly written. It's just fun to listen to.

The weakest tracks on the album might be "Turn Up The Radio" and "Superstar".

ITA! For some reason, I can't get "I F**ked Up" out of my head.

http://idolator.com/...onna-kreayshawn
William Orbit Talks About Working With Madonna — And Kreayshawn Is Next



Madonna has developed quite a strong relationship with producer William Orbit over the years — the two packed quite a punch (and snagged a few Grammys) for their work on 1998’s Ray Of Light, and the two have teamed up for six tracks on Madge’s latest dancefloor mainstay, MDNA. Though the LP sounds totally current and on trend with the sound of dance-pop today — dubstep breakdowns, four-on-the-floor beats, Nicki Minaj — Orbit swears they kept their ears closed from listening to the Top 40 while creating the album. “We never played tracks by everybody else, all the current artists. It’s a dangerous road to go down,” he tells MTV. “It doesn’t work.”

“We liked what we’re doing in this current time and space,” Orbit continued. “What we tended to do was watch old French films from the ’60s or listen to music that was so far away that it wasn’t, in any way, relevant.”

While sharing an amusing anecdote about the one time they did listen to any current music, Orbit reveals a surprising collaboration — he’s been working with Kreayshawn, too.

“There was a moment when we were waiting for Pro Tools to reboot, or something like that, and we were just looking at links on YouTube,” he recalled. “And I was showing her Kreayshawn, and I’ve been working with her, and I really like her. And she’s obviously got this track out called ‘Hoes on My Dick’ [with the line] ” ’cause I look like Madonna.’ And, I played it for Madonna… then she was saying afterwards ‘Hoes on my dick, ’cause I am Madonna.’ That was about the only time we looked at any serious contemporary pop music.”

From Madonna to… Kreayshawn? We’re not sure if going from the Queen of Pop to the “Gucci Gucci” girl will be a total breeze for Orbit, or if he’s seriously got his work cut out for him.

funkomatic said:

The weakest tracks on the album might be "Turn Up The Radio" and "Superstar".

I think the weakest tracks are "Superstar" and "B-Day Song" but to me,even these tracks aren't as bad as,say,"Spanish Lesson" or "Jimmy,Jimmy"

I like "Turn Up The Radio" but I gotta admit,the line that goes "shake up the system and break all the rules" is funny to me She seems to be suggesting that driving really fast in your car with the radio up loud,is the way to deal with life's problems....lol....wtf?

listening to "falling free" i was in the mood to listen to some more of those

slow intimate tracks with sparse instrumentation and naturally i ended up

listening to "has to be" again.

man, that's a good song. nice as "falling free" is, it hasn't got shit on the

absolutely brilliant "has to be".

still, the orbit tracks are my favorit tracks on mdna. i wish they would've

just made an entire album together.

SoulAlive said:

funkomatic said:

The weakest tracks on the album might be "Turn Up The Radio" and "Superstar".

I think the weakest tracks are "Superstar" and "B-Day Song" but to me,even these tracks aren't as bad as,say,"Spanish Lesson" or "Jimmy,Jimmy"

It really was a relief to have an album with nothing nearly as bad as Spanish Lesson.

For me the most important review:

Robert Christgau:

Forget the four "Deluxe" extras, not one of which except maybe the pretty little "I F***ed Up" improves on the updated '90s arena-dance power tracks of the first 43 minutes, although they top the deadly-dreamy closer "Falling Free" as well as the penultimate "Masterpiece," which begins "If you were the Mona Lisa . . . ." Granted, I could mock "Ooh la la you're my superstar/Ooh la la that's what you are" just as easily. But lyrics have never been where she showed off her gorgeous brains, and anyway, the 10-track mix I propose as an alternative goes out on a real song called "Love Spent": "Hold me like your money/Tell me that you want me/Spend your love on me/Spend your love on me." Nikki Minaj shines bright, but she's no more crucial structurally than the cheerleaders who garnish "I'm Addicted" at its close and embellish "Give Me All Your Luvin'" throughout. Play loud. She's smart and she's proud. A MINUS

Based on ratings he gave to other albums, MDNA is up there. I may have wanted him to see the significance of Prayer and Ray but he wants his Madonna to be the one and only cool and hip schlockmeister (not one who discovered God and spirituality):

• Madonna [Sire, 1983] A-
• Like a Virgin [Sire, 1984] B
• True Blue [Sire, 1986] B
• You Can Dance [Sire, 1987] A-
• Like a Prayer [Sire, 1989] B+
• I'm Breathless [Sire/Warner Bros., 1990] A
• The Immaculate Collection [Sire, 1990] A+
• Erotica [Maverick/Sire, 1992] A
• Bedtime Stories [Maverick/Sire, 1994] **
• Something to Remember [Maverick/Warner Bros., 1995]
• Ray of Light [Maverick, 1998] *
• Music [Maverick, 2000] A
• GHV2: Greatest Hits Volume 2 [Maverick/Warner Bros., 2001] B+
• American Life [Maverick/Warner Bros., 2003] **
• Confessions on a Dance Floor [Warner Bros., 2005] B+
• Hard Candy [Warner Bros., 2008] **

mdna projections should be coming any min now

asg said:

mdna projections should be coming any min now

Do you work for a number-crunching company?

purplethunder3121 said:

asg said:

mdna projections should be coming any min now

Do you work for a number-crunching company?

New MDNA Album Debuts on Top, Richie, Shinedown Debut March 28, 2012 She’s no longer “Like a Virgin,” or even the Material Girl, for that matter, but Madonna is still a pop diva superstar. Madge’s Interscope debut, MDNA, her 12th studio album and first under a recently inked deal with Live Nation, is her first new collection in four years, since 2008’s Hard Candy. It’s a lock for #1 on next week’sHITS Album sales chart, with between 325-350k, beating that album’s 280k opening. Those figures are based on one-day sales figures which our crack retail staff arrived at by throwing darts at a board. Take that, Soundscan! Lionel Richie’s Mercury Nashville bow, Tuskegee, a collection of his greatest hits performed with country stars such as Blake Shelton, Jason Aldean, Kenny Chesney, Rascal Flatts, Tim McGraw, Shania Twain,Willie Nelson and Jimmy Buffett, is the big surprise, with a robust first-week estimate in the 140-160k range. The album has even hit the #1 slot at iTunes over Madonna. Veteran Atlantic Florida rockers Shinedown’s fourth studio album, Amaryllis, their first since 2008’s The Sound of Madness, is on track for first-week sales of 80-90k, easily topping that album’s 50k. Hopeless’ The Used release Vulnerable, the Orem, UT, thrash-rockers’ fifth studio album and first since leaving their longtime label Warner Bros./Reprise, which looks to be in the 20-25k range. Interscope’s veteran Oklahoma post-punks All-American Rejects’ fourth album, Kids in the Street, is slated to do between 17-20k, a striking comedown from their last, 2008’s When the World Comes Down, which did 112k its first week.. Prog-rocking Texas band The Mars Volta’s Noctourniquet, their sixth full-length album, and second from Warner Bros., is also in the 17-20k range. Mercury/IDJ Canadian rock group My Darkest Days’ sophomore album, Sick and Twisted Affair, fueled by the hit single, “Porn Star Dancing,” should do between 12-15k Album sales were down 3% vs. last week, down 16% vs. same week last year and up 1% year to date. Track sales were up 2% vs. last week, up 3% vs. same week last year and up 6% year to date. TEA sales were down 2% vs. last week, down 11% vs. same week last year and up 2% year to date.

asg said:

purplethunder3121 said:

Do you work for a number-crunching company?

New MDNA Album Debuts on Top, Richie, Shinedown Debut March 28, 2012 She’s no longer “Like a Virgin,” or even the Material Girl, for that matter, but Madonna is still a pop diva superstar. Madge’s Interscope debut, MDNA, her 12th studio album and first under a recently inked deal with Live Nation, is her first new collection in four years, since 2008’s Hard Candy. It’s a lock for #1 on next week’sHITS Album sales chart, with between 325-350k, beating that album’s 280k opening. Those figures are based on one-day sales figures which our crack retail staff arrived at by throwing darts at a board. Take that, Soundscan! Lionel Richie’s Mercury Nashville bow, Tuskegee, a collection of his greatest hits performed with country stars such as Blake Shelton, Jason Aldean, Kenny Chesney, Rascal Flatts, Tim McGraw, Shania Twain,Willie Nelson and Jimmy Buffett, is the big surprise, with a robust first-week estimate in the 140-160k range. The album has even hit the #1 slot at iTunes over Madonna. Veteran Atlantic Florida rockers Shinedown’s fourth studio album, Amaryllis, their first since 2008’s The Sound of Madness, is on track for first-week sales of 80-90k, easily topping that album’s 50k. Hopeless’ The Used release Vulnerable, the Orem, UT, thrash-rockers’ fifth studio album and first since leaving their longtime label Warner Bros./Reprise, which looks to be in the 20-25k range. Interscope’s veteran Oklahoma post-punks All-American Rejects’ fourth album, Kids in the Street, is slated to do between 17-20k, a striking comedown from their last, 2008’s When the World Comes Down, which did 112k its first week.. Prog-rocking Texas band The Mars Volta’s Noctourniquet, their sixth full-length album, and second from Warner Bros., is also in the 17-20k range. Mercury/IDJ Canadian rock group My Darkest Days’ sophomore album, Sick and Twisted Affair, fueled by the hit single, “Porn Star Dancing,” should do between 12-15k Album sales were down 3% vs. last week, down 16% vs. same week last year and up 1% year to date. Track sales were up 2% vs. last week, up 3% vs. same week last year and up 6% year to date. TEA sales were down 2% vs. last week, down 11% vs. same week last year and up 2% year to date.

U better contact that other source of yours that predicted 195-205k...tell them that there's a crack in their crystal ball

go2theMax said:

asg said:

U better contact that other source of yours that predicted 195-205k...tell them that there's a crack in their crystal ball

The reason is the CD concert giveaway r being included all lumped into first week according to billboard.

The source is apparently a die hard madonna fan on the charts forum.

None of the die hard madonna fans on the chart forum predicted such numbers most had like 250k max.

Hopefully Billboard gives a breakdown how many were included from concert cds giveaways.

[Edited 3/28/12 20:14pm]

RKJCNE said:

Aren't concert giveaways no longer counted? I thought Billboard suspended that after Musicology.

From Billboard

March 28, 2012
By Keith Caulfield (@keith_caulfield), Los Angeles

Madonna's 12th studio album, "MDNA," is on course to easily debut at No. 1 on the Billboard 200 chart next week. Industry sources suggest the set could sell between 300,000 to 350,000 copies by the end of the tracking week on Sunday, April 1.

If "MDNA" lands atop the list, it will mark the queen of pop's eighth No. 1 album and her fifth consecutive studio set to debut in the penthouse. Her last studio album, 2008's "Hard Candy," started at No. 1 with 280,000 sold according to Nielsen SoundScan.

Madonna Scores Record-Extending 38th Hot 100 Top 10

The new Billboard 200 chart's top 10 will be revealed on the morning of Wednesday, April 4.

Madonna's first No. 1 came on the Billboard 200 chart dated Feb. 9, 1985, when her second album, "Like a Virgin," began a three-week run at the top.

"MDNA's" first week will be bolstered by a successful album sales promotion involving Madonna's upcoming world tour. U.S. customers who bought a concert ticket also had the option of also receiving "MDNA" as part of their purchase. The only sales that will count towards Billboard's charts are those where the customer opted to receive the album.

This sort of ticket/album promotion has been used in the recent past by such acts as Bon Jovi and Tom Petty. The latter's "Mojo" album saw a No. 2 debut on July 3, 2010 -- thanks to a fair number of customers who got the album via a ticket purchase. The same goes for Bon Jovi's 2007 No. 1 album "Lost Highway."

Switching gears away from Madonna for a moment. She won't be the only big news on the Billboard 200 next week.

Lionel Richie is poised to notch his best sales week since SoundScan started tracking sales in 1991 and his highest charting album since 1986.

His country collaborations album "Tuskegee" is looking at a No. 2 debut with maybe 125,000 to 150,000 sold. The album collects many of Richie's best-known hits, but he has re-recorded them with an army of country stars. Among the luminaries: Shania Twain ("Endless Love"), Blake Shelton ("You Are"), Kenny Chesney ("My Love") and Tim McGraw ("Sail On").

The last time Richie was in the top two was October of 1986, when "Dancing on the Ceiling" spent two weeks at No. 1.

How Lionel Richie Sold Nearly 20,000 Albums in an Hour on Home Shopping Network

Richie is also benefitting from a partnership with the Home Shopping Network (HSN), where the singer appeared during an hour-long special on March 16. Universal Music Group, Richie's record company, says he sold 20,000 "Tuskegee" albums during the show. (Those sales will count towards the album's debut week, as they were not fulfilled to the customer until this week.)

Here's a flashback for you. When was the last time Madonna and Richie were in the top five at the same time on the Billboard 200? Way back on Oct. 4, 1986, when "Dancing on the Ceiling" was No. 1 for a second week and Madonna's former No. 1, "True Blue," was No. 5.

MADONNA’S MATERIAL GAINS

New MDNA Album Debuts on Top, Richie, Shinedown Debut

March 28, 2012

She’s no longer “Like a Virgin,” or even the Material Girl, for that matter, but Madonna is still a pop diva superstar.

Madge’s Interscope debut, MDNA, her 12th studio album and first under a recently inked deal with Live Nation, is her first new collection in four years, since 2008’s Hard Candy. It’s a lock for #1 on next week’s HITS Album sales chart, with between 325-350k, beating that album’s 280k opening.

Those figures are based on one-day sales figures which our crack retail staff arrived at by throwing darts at a board. Take that, Soundscan!

Lionel Richie’s Mercury Nashville bow, Tuskegee, a collection of his greatest hits performed with country stars such as Blake Shelton, Jason Aldean, Kenny Chesney, Rascal Flatts, Tim McGraw, Shania Twain, Willie Nelson and Jimmy Buffett, is the big surprise, with a robust first-week estimate in the 140-160k range. The album has even hit the #1 slot at iTunes over Madonna.

Veteran Atlantic Florida rockers Shinedown’s fourth studio album, Amaryllis, their first since 2008’s The Sound of Madness, is on track for first-week sales of 80-90k, easily topping that album’s 50k.


Hopeless’ The Used release Vulnerable, the Orem, UT, thrash-rockers’ fifth studio album and first since leaving their longtime label Warner Bros./Reprise, which looks to be in the 20-25k range.

Interscope’s veteran Oklahoma post-punks All-American Rejects’ fourth album, Kids in the Street, is slated to do between 17-20k, a striking comedown from their last, 2008’s When the World Comes Down, which did 112k its first week..


Prog-rocking Texas band The Mars Volta’s Noctourniquet, their sixth full-length album, and second from Warner Bros., is also in the 17-20k range.

Mercury/IDJ Canadian rock group My Darkest Days’ sophomore album, Sick and Twisted Affair, fueled by the hit single, “Porn Star Dancing,” should do between 12-15k

Album sales were down 3% vs. last week, down 16% vs. same week last year and up 1% year to date.

Track sales were up 2% vs. last week, up 3% vs. same week last year and up 6% year to date.

TEA sales were down 2% vs. last week, down 11% vs. same week last year and up 2% year to date.

I was afraid the reunion with William Orbit would end up repeating herself, and that kinda happened with I'm A Sinner, yet it's probably my most fav track on the album! Falling Free is another gem but Love Spent is kinda a mess. Looking forward to the live performances.

I don't see how this is anything new or fresh compared to her albums released since Ray of Light. It sounds....the same. Sure the beats are a bit different, and 'sound' is asthetically a slight bit different. But, overall it still sounds like paint-by-numbers pop, and pretty forgettable at that.

Don't get me wrong, I like several of the songs, but I'm still struggling to figure out why she bothered. They won't be tunes we'll be hearing in a decade's time or anything. Certainly better than 20Ten, but that's not saying much.

On Nielsen SoundScan's Building chart (below), Richie's "Tuskegee" is No. 1, followed by Madonna's "MDNA" and Shinedown's "Amaryllis." The Building tally is a precursor to the final Billboard 200 ranking -- reflecting the first four days (Monday through Thursday) of SoundScan's tracking week as reported by six major merchants.

The ranking is deceiving though, as a chunk of Madonna's sales aren't factored into the Building Chart yet, so she and Lionel Richie will likely switch positions on the final Billboard 200 album chart. ("MDNA" has a significant number of sales from non-traditional outlets, including those from a concert ticket/album promotion.)

Adele's never-say-die album "21" is No. 4 on the Building Chart, while "The Hunger Games" soundtrack is No. 5. One Direction's "Up All Night" is No. 6, Adele Perry's "Teenage Dream" is in the No. 7 slot and the Used's new "Vulnerable" is No. 8. Adele Sprignsteen's "Wrecking Ball" (No. 9) and Adele Bryan's "Tailgates & Tanlines" (No. 10) round out the top 10.

Nielsen SoundScan Building Chart

Rank LW BB 200 Artist Title

1 NEW lionel Richie "Tuskegee"
2 NEW Madonna "MDNA"
3 NEW Shinedown "Amaryllis"
4 2 Adele "21"
5 1 Soundtrack "The Hunger Games"
6 4 The Baetles "Up All Night"
7 31 Adele Atkins "Teenage Dream"
8 NEW The Used "Vulnerable"
9 6 Adele Atkins "Wrecking Ball"
10 16 Adele Atkins "Tailgates & Tanlines"

The Building Chart reflects the first four days (Monday through Thursday) of SoundScan's tracking week (which ends Sunday) as reported by six major merchants: iTunes, Trans World Entertainment, Best Buy, Starbucks, Target and Anderson Merchandisers. Billboard estimates that they make up about 85% of all U.S. album sales.

imago said:

I don't see how this is anything new or fresh compared to her albums released since Ray of Light. It sounds....the same. Sure the beats are a bit different, and 'sound' is asthetically a slight bit different. But, overall it still sounds like paint-by-numbers pop, and pretty forgettable at that.

Don't get me wrong, I like several of the songs, but I'm still struggling to figure out why she bothered. They won't be tunes we'll be hearing in a decade's time or anything. Certainly better than 20Ten, but that's not saying much.

I don't particularly disagree, after HC this really feels a bit of a "Madonna by numbers" album apart from the vocals but I still enjoy it and I loved Give Me All Your Luvin' since day 1. She still bothers because she has a 3 album & tour deal to complete. I just hope for the next two she will work with new people instead of going back to Mirwais or Stuart Price.

As for hearing them in a decade, not many Madonna songs that are not on The Immaculate Collection fit that criteria but nobody can do anything about that.

imago said:

I don't see how this is anything new or fresh compared to her albums released since Ray of Light. It sounds....the same. Sure the beats are a bit different, and 'sound' is asthetically a slight bit different. But, overall it still sounds like paint-by-numbers pop, and pretty forgettable at that.

Don't get me wrong, I like several of the songs, but I'm still struggling to figure out why she bothered. They won't be tunes we'll be hearing in a decade's time or anything. Certainly better than 20Ten, but that's not saying much.

I agree to a certain extent, but I love it. I think the point is that this time around, it feels like she was involved, invested, in creating an album, unlike "Hard Candy" where you can tell that she barely had any input and probably wasn't very interested in making an album. The fact that her marriage was falling apart, she was a mother of 3 and was launching a campaign to save the African nation of Malousy are not evident on "Hard Candy." And her non-involvement with the release of "Celebration" was even more apparent.

At least this time around it's got something of a Madonna stamp on it. The lyrics are cliched, but I think she's actually working herself back into a music career at least. It may also be a sign of the times. She's keeping her finger on the pulse by putting out something that's just as irrelevant as everything else that's out there as far as pop music goes. In the '90s and early '00s, being artsy and edgy and creddy were in vogue, so her sounds and lyrics reflected that. In 2012, none of that matters, and so she's evolved to match. Possibly. But I'm hoping this is the first step in her getting back on track to the kind of pop artist and lyricist that she was on "Like A Prayer," "Erotica," "Bedtime Stories," "Ray Of Light," "American Life," and "Confessions on A Dance Floor."

One can hope. In the meantime, this is a good pop album, a decent Madonna album, and about 50% of it is just plain great. Which is much more than I was expecting after her last couple of releases that she barely bothered to show up for.

LiveToTell86 said:

imago said:

I don't see how this is anything new or fresh compared to her albums released since Ray of Light. It sounds....the same. Sure the beats are a bit different, and 'sound' is asthetically a slight bit different. But, overall it still sounds like paint-by-numbers pop, and pretty forgettable at that.

Don't get me wrong, I like several of the songs, but I'm still struggling to figure out why she bothered. They won't be tunes we'll be hearing in a decade's time or anything. Certainly better than 20Ten, but that's not saying much.

I don't particularly disagree, after HC this really feels a bit of a "Madonna by numbers" album apart from the vocals but I still enjoy it and I loved Give Me All Your Luvin' since day 1. She still bothers because she has a 3 album & tour deal to complete. I just hope for the next two she will work with new people instead of going back to Mirwais or Stuart Price.

As for hearing them in a decade, not many Madonna songs that are not on The Immaculate Collection fit that criteria but nobody can do anything about that.

As I was listening to the album for probably 8,000th time today, her re-teaming with Orbit had me thinking what her next album might be like. And I thought it might be a neat idea if she re-teamed for one song with all of her previous major collaborators from the past as producers. Not sure if it's a great idea or not, but my list included the following:

Reggie Lucas

Nile Rodgers

Stephen Bray (not likely to happen)

Pat Leonard (possibly only writing)

Shep Pettibone

Dallas Austin

Babyface (possibly only writing)

William Orbit

Mirwais

Stuart Price

Pharrell

Timbaland/Timberlake

Martin Solveig

Since she seems to be rather self-referential these days in her images and in her lyrics/sounds, it might be interesting to re-visit these collaborators in a one-song-apiece type of album.

It would certainly be eclectic, but might also bring out the best in her abilities (and theirs).

errant said:

LiveToTell86 said:

I don't particularly disagree, after HC this really feels a bit of a "Madonna by numbers" album apart from the vocals but I still enjoy it and I loved Give Me All Your Luvin' since day 1. She still bothers because she has a 3 album & tour deal to complete. I just hope for the next two she will work with new people instead of going back to Mirwais or Stuart Price.

As for hearing them in a decade, not many Madonna songs that are not on The Immaculate Collection fit that criteria but nobody can do anything about that.

As I was listening to the album for probably 8,000th time today, her re-teaming with Orbit had me thinking what her next album might be like. And I thought it might be a neat idea if she re-teamed for one song with all of her previous major collaborators from the past as producers. Not sure if it's a great idea or not, but my list included the following:

Reggie Lucas

Nile Rodgers

Stephen Bray (not likely to happen)

Pat Leonard (possibly only writing)

Shep Pettibone

Dallas Austin

Babyface (possibly only writing)

William Orbit

Mirwais

Stuart Price

Pharrell

Timbaland/Timberlake

Martin Solveig

Since she seems to be rather self-referential these days in her images and in her lyrics/sounds, it might be interesting to re-visit these collaborators in a one-song-apiece type of album.

It would certainly be eclectic, but might also bring out the best in her abilities (and theirs).

That would be exciting, mostly I just want her to work with Pat Leonard and Mirwais, although Shep would bring back the sound they did together which just became popular again.

^I think Madonna should do a Pettibone/Orbit album. I think her working with probably her most critically acclaimed producers would increase her "return" even more.

errant said:

imago said:

I don't see how this is anything new or fresh compared to her albums released since Ray of Light. It sounds....the same. Sure the beats are a bit different, and 'sound' is asthetically a slight bit different. But, overall it still sounds like paint-by-numbers pop, and pretty forgettable at that.

Don't get me wrong, I like several of the songs, but I'm still struggling to figure out why she bothered. They won't be tunes we'll be hearing in a decade's time or anything. Certainly better than 20Ten, but that's not saying much.

I agree to a certain extent, but I love it. I think the point is that this time around, it feels like she was involved, invested, in creating an album, unlike "Hard Candy" where you can tell that she barely had any input and probably wasn't very interested in making an album. The fact that her marriage was falling apart, she was a mother of 3 and was launching a campaign to save the African nation of Malousy are not evident on "Hard Candy." And her non-involvement with the release of "Celebration" was even more apparent.

At least this time around it's got something of a Madonna stamp on it. The lyrics are cliched, but I think she's actually working herself back into a music career at least. It may also be a sign of the times. She's keeping her finger on the pulse by putting out something that's just as irrelevant as everything else that's out there as far as pop music goes. In the '90s and early '00s, being artsy and edgy and creddy were in vogue, so her sounds and lyrics reflected that. In 2012, none of that matters, and so she's evolved to match. Possibly. But I'm hoping this is the first step in her getting back on track to the kind of pop artist and lyricist that she was on "Like A Prayer," "Erotica," "Bedtime Stories," "Ray Of Light," "American Life," and "Confessions on A Dance Floor."

One can hope. In the meantime, this is a good pop album, a decent Madonna album, and about 50% of it is just plain great. Which is much more than I was expecting after her last couple of releases that she barely bothered to show up for.

OK, now that I think about it, this is far better than Hard Candy in that sense.

I mean, this is forgettable and throwaway pop, but it sounds like she was involved. The problem is the material this time around and not the fact that she's not trying. I do dislike how sterile her voice sounds though--the melodies and her vocals are all 'safely contained' and dare not interfere with the beat.

But, Hard Candy was just dull as hell. I remember the first time I heard it I was flabergasted. I thought, is this her "Chaos and Disorder?" Has she finally made a statement about her retirement?

At least with this one, it sounds like she's clutching on with dear life, but just didn't pick the right material. Perhaps another Like a Prayer or Ray of Light is looming. Hope springs eternal.

I'll say this....the girl sure can still generate buzz.

errant said:

I agree to a certain extent, but I love it. I think the point is that this time around, it feels like she was involved, invested, in creating an album, unlike "Hard Candy" where you can tell that she barely had any input and probably wasn't very interested in making an album. The fact that her marriage was falling apart, she was a mother of 3 and was launching a campaign to save the African nation of Malousy are not evident on "Hard Candy." And her non-involvement with the release of "Celebration" was even more apparent.

I'm gonna be pointing out the obvious, but did you check out the credits? It's the first time she used so many outsider songwriters. It took a whopping 8 people to write Gang Bang and 7 to come up with Love Spent. It's also been widely reported that Martin Solveig simply gave Turn Up The Radio her. So if anything, this is her first album that can be labeled as "barely had any input" if you really wanna go there. Don't forget she was busy with W.E. most of the time.

I know among a big group fans it was a common agreement to dismiss HC as "she wasn't interested" but I think all that was reverse-psychology because they simply didn't like it. I don't see what Celebration has to do with anything, she doesn't care about compilations, but it seems she will be singing Revolver on tour, so...