Madonna : Releases >>

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Confessions on a Dance Floor >>

Apparently there's nothing in Kabbalah that disallows sweaty, head-spinningly good dance music, because here comes a flame-haired Madonna hawking a dozen songs' worth: Confessions on a Dance Floor darts seamlessly from Madge's early days, when she emerged as the genre's enduring darling, through the political, kiddie, and acoustic pap that drove a wedge between her and early adopters of the fingerless glove look. Songs like the pop-leaning "Jump" and first single "Hung Up"--an adrenaline drip on high that, like many of these tracks, will inspire mild shame among those who've thrilled to the much thinner disco-dusted outpourings of younger divas recently--represent both a return to form and an unmistakable march into the future. "Get Together" is a sonic freak-out in the best sense; "Push" traffics in gut-level futuristic trance; and "Forbidden Love" loops in '80s blips and bleeps for a follow-me-into-the-past effect that's both neo and retro. For all the image-affirming innovations here, though, these confessions find Madonna framed in her share of reflective moments too. "Was it all worth it/How did I earn it?" she asks on "How High," a song featuring vocoder. "Nobody's perfect/I guess I deserve it," comes the answer. A later lyrical inquiry is left for the listener to judge: "Does this get any better?" Madonna wants to know. But that opens the door to a dizzying proposition. Few of us would have guessed, after all, that it got this good. --Tammy La Gorce

The Immaculate Collection >>

This is the perfect way to hear Madonna: no album filler, just one hit after another. As a singles artist, she works wonders: quick, danceable tunes that are occasionally "controversial" but never set out to change the world (and don't). The Immaculate Collection begins with her earliest work ("Holiday", "Borderline") and matures from there ("Papa Don't Preach", "Like A Prayer"), ending in 1990. The highlight is the inclusion of "Justify My Love", a track recorded specifically for this compilation. One caveat: since Madonna is a true video artist, it'd be even nicer to "see" these songs. --Rob O'Connor

4 Minutes >>

Ray of Light >>

Never underestimate Madonna's power of persuasion: by nearly all critical accounts, Ray of Light, Madonna's first album of new material since 1994's Bedtime Stories, and her first since motherhood, is her richest, most accomplished record yet. While Ray of Light is being tagged as Madonna's big leap into electronica, it's important to note two things: first, her music has always had close ties to dance culture, and, second, her collaborator William Orbit is no Chemical Brother. Though it has all the latest blips, bleeps, and crackles electronica has to offer, Ray of Light is still largely an adult album, completely within Madonna's realm. Still, Orbit's tasteful sonic constructions provide Madonna with her most adventurous, hippest musical backdrop ever. What's more, the arrangements and production are understated enough to highlight an even bigger development: fresh from singing lessons on the Evita set, Madonna's vocal range, depth, and clarity have never been stronger. But larger pipes don't necessarily make for deeper, truer music. Never a master lyricist, Madonna's words have worked best when they've practically been slogans ("Vogue," "Express Yourself"). This time she goes for more emotional depth, and even tries her hand at ethno-techno-mysticism ("Shanti/Ashtangi"). She largely stumbles, however. The tone conveyed on songs like "Nothing Really Matters" is a self-centred pat on the back that belies her claim to a newly found altruism. It's enough to make you wonder, now that Madonna's given up being our material girl, if maybe she's set her sights on becoming the centre of our spiritual world too. --Roni Sarig

The Confessions Tour 2006 (CD/DVD Combo) >>

The world can't get enough of Madonna, and with CD/DVD sets like The Confessions Tour dropping regularly, it's little wonder why. As a thrower of fantasy dance parties, she is peerless. As a physical role model for the 40-ish women who grew up on her music, she rules. And as an arbiter of what's going to sound shockingly original in any given decade--well, duh. The Confessions Tour rounds up songs from way back--"Ray of Light" and "La Isla Bonita" make the DVD, and "Lucky Star" and "Like a Virgin" are on the CD as well as the DVD--but this concert, filmed in 2006 at London's Wembley Arena, aims its sturdiest spotlight on Confessions on a Dance Floor, Madge's 2005 disco disc. You could argue, then, that unless you're in it for the sheer DVD spectacle (and what a spectacle it is), there's no sense in owning this package. Only you wouldn't be right. Because as any on-the-ball Madonna fan knows, what she's doing musically is telling a story--you may already know the characters, but that doesn't mean she hasn't completely reworked the plot. To that end, "I Love New York" gets its rock on, "Let It Will Be" has a musical temper tantrum, and "Hung Up" goes for the drama queen award. You've heard these songs before, but you've never heard them quite like this, to borrow a bad informercial phrase. As twisted and hopped-up as they've become, they're all worth getting to know again. --Tammy La Gorce

Hung Up (Maxi - Single) >>

True Blue >>

A quintessential 1980s pop artifact, Madonna's third album was a huge musical leap forward and ranks with Like a Prayer and Ray of Light in the top echelon of her works. Only the title track (a bit too obviously a 60s girl-group homage) and the fine-but-nothing-special "Jimmy Jimmy" slightly lower the quality bar. Most of the songs share a jittery dance-pop sound, edgy, distracted, and nerve- jangling but simultaneously invigorating and exhilarating and almost dangerously giddy--a perfect soundtrack for the mid-1980s. Highlights include the hedonist's credo of "Where's the Party", the subtle and pretty Latin pastiche "La Isla Bonita", and, towering above all, three stunning mega-hits. "Papa Don't Preach", with its gorgeous pseudo-classical strings intro, is a sumptuous airwaves banquet, as Madonna wrestles with the have-the-baby-or-give-it-up dilemma (abortion's not in the picture) in newly gritty tones. "Open Your Heart"'s marriage of jitter-pop and wistful melody underscores the singer's yearning but forceful stance ("You better open your heart to me, buster"). And "Live to Tell" is a riveting ballad, lushly melodic yet spare and haunting--a place, as the song says, where beauty lives. --Ken Barnes

Bedtime Stories >>

On this, her seventh album proper, Madonna once again shows that one of her greatest talents is her ability to choose collaborators who bring the best out of her. This time around, the producers and co-writers include Bjork, Nellee Hooper (Massive Attack/Soul II Soul) and swing deities Dallas Austin & Babyface (who, amongst a myriad of credits, were the men behind TLC's CrazySexyCool). Mellower in the most part than her previous work, the album includes the usual handful of hits in "Secret", "Human Nature", the title track, and "Take A Bow", a duet with Babyface which is as beautifully glum as anything she's done. While the period between the Erotica/Sex fiasco and her triumphant return with 1998's Ray Of Light was a comparatively lean period commercially for Madonna, this album is up there with the best of her work. --Ronita Dutta