Madonna's tenth studio album “Confessions on a Dance Floor” was released on November 9, 2005 - a full creative reset after the polarizing “American Life”. Produced almost entirely with Stuart Price, the album blended 1970s disco, 1980s electropop, and 2000s club music into a seamlessly mixed, non-stop listening experience. It debuted at #1 in 40 countries, won the Grammy for Best Dance/Electronic Album, and spawned four singles: "Hung Up," "Sorry," "Get Together," and "Jump."
In this episode, Chris and Chantel Nicole go track by track through “Confessions on a Dance Floor” with special guest Jeff Benjamin - award-winning music journalist and Billboard's renowned K-pop columnist - bringing his global pop expertise to one of Madonna's most celebrated comebacks.Was this Madonna's greatest reinvention? Or her most calculated one? The dance floor doesn't lie.
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- 0:00 - Intro
- 1:40 - “Confessions on a Dance Floor” Album Info
- 2:49 - Album Cover
- 5:12 - “Hung Up”
- 18:14 - “Get Together”
- 27:18 - “Sorry”
- 38:05 - “Future Lovers”
- 43:37 - “I Love New York”
- 51:15 - “Let It Will Be”
- 59:53 - “Forbidden Love”
- 1:09:07 - “Jump”
- 1:16:19 - “How High”
- 1:23:15 - “Isaac”
- 1:33:12 - “Push”
- 1:37:57 - “Like It Or Not”
- 1:43:34 - Does the album stand the test of time?
- 1:47:53 - Cut or Keep
- 1:49:40 - Overall Thoughts & Final Rating
References:
- “Hung Up” MV https://www.youtube.com/watch?v=EDwb9jOVRtU&pp=ygUPbWFkb25uYSBodW5nIHVw
- “Hung Up” Live at the 2005 MTV EMAs https://www.youtube.com/watch?v=fjBw6QaiwoM&pp=ygUPbWFkb25uYSBodW5nIHVw
- “Get Together” US MV https://www.youtube.com/watch?v=ObjtMmTRyrM&pp=ygUUbWFkb25uYSBnZXQgdG9nZXRoZXI%3D
- “Get Together” European MV https://www.youtube.com/watch?v=5zqZnarJQ-E&pp=ygUUbWFkb25uYSBnZXQgdG9nZXRoZXI%3D
- “Get Together” Live at Confessions Tour https://www.youtube.com/watch?v=AMnwF-ffARc&pp=ygUZbWFkb25uYSBnZXQgdG9nZXRoZXIgbGl2ZQ%3D%3D
- “Sorry” MV https://www.youtube.com/watch?v=rdccTOcX7o4&pp=ygUObWFkb25uYSAgc29ycnnSBwkJxQoBhyohjO8%3D
- “Sorry” Live at Confessions Tour https://www.youtube.com/watch?v=pQd2sbpQhFY&pp=ygUObWFkb25uYSAgc29ycnk%3
- “Future Lovers” / “I Feel Love” Live at Confessions Tour https://www.youtube.com/watch?v=n80QXNRIV6c&pp=ygUVbWFkb25uYSBmdXR1cmUgbG92ZXJz
- “I Love New York” Live at Confessions Tour https://www.youtube.com/watch?v=Fp_b3PnsPPs&pp=ygUXbWFkb25uYSBpIGxvdmUgbmV3IHlvcmvSBwkJxQoBhyohjO8%3D
- “Let It Will Be” Live at Confessions Tour https://www.youtube.com/watch?v=PhxTko9IylA&t=11s&pp=ygUWbWFkb25uYSBsZXQgaXQgd2lsbCBiZQ%3D%3D
- “Forbidden Love” Live at Confessions Tour https://www.youtube.com/watch?v=ogCbtabiU_c&pp=ygUWbWFkb25uYSBmb3JiaWRkZW4gbG92ZQ%3D%3D
- “Jump” MV https://www.youtube.com/watch?v=Rx0mYN32Kps&pp=ygUMbWFkb25uYSBqdW1w
- “Jump” Live at Confessions Tour https://www.youtube.com/watch?v=H2QYZor1b1Y&pp=ygUMbWFkb25uYSBqdW1w
- “Isaac” Live at Confessions Tour https://www.youtube.com/watch?v=v9mys-bj4Jk&pp=ygUMbWFkb25uYWlzYWFj
- “Like It Or Not” Live at Confessions Tour https://www.youtube.com/watch?v=rqHqON4oOJI&pp=ygUWbWFkb25uYSBsaWtlIGl0IG9yIG5vdA%3D%3D
00:00:00 --> 00:00:29 I'm hung up. I'm hung up on you. This is CCTV, the nonstop pop show where we provide our unfiltered, honest opinions on global pop music. And it is the 20th anniversary of an iconic album. And there's apparently a part two coming very soon. So we're diving into our most requested artist, Madonna, and her album Confessions on a Dance Floor. And we have a guest today. We have renowned music journalist, Madonna.
00:00:29 --> 00:00:53 Jeff Benjamin. Hey. Hello. Hello. Yes. That's all right. I'm nervous that so many people have requested Madonna because, you know, love Madonna. She's everything to me and everything. But, you know, I just want to put it out there for the record. You know, I'm not a Madonna scholar. So, you know, if we don't know, like, a certain fact or time, you know, please be gentle on us.
00:00:53 --> 00:01:22 Oh, the Madonna fans are, oh, well. Yes. Same for us. Yes. This is my first full-length studio album I've actually ever listened to for Madonna. I know the greatest hits. I've seen her live a few times. Yes, you have, yes. But I've never listened to a full album straight. So this is very much a first-listen reaction. Yes, like literally first reaction for most of us. And me, I grew up, Janet was my pop princess. Britney too, obviously, but like, hello. Yeah.
00:01:22 --> 00:01:44 representation you know so janet was my girl just saying um but anyway guys like we mentioned before madonna is highly requested but we've also done kylie minogue britney spears and of course christina aguilera with jeff with jeff yes so check out those episodes of course so let's get started and talk about confessions on a dance floor
00:01:44 --> 00:02:01 And Confessions is Madonna's 10th studio album released in November 2005. And during the making of this album, producer Stuart Price was also doing DJ sets all over the world and would test the tracks that he and Madonna were working on and share the reactions with her so that they could see what resonated in real time.
00:02:01 --> 00:02:25 The album debuted at number one in 29 countries, including, of course, the U.S. And the album leans into disco, Eurodance, and electronic pop influences, and it won the Grammy for Best Electronic Dance Album. And actually, two versions of the album exist. We have a standard version as well as a nonstop, continuous version where all the songs are seamless and transition into each other like a DJ set.
00:02:25 --> 00:02:46 And the title of the album was inspired by how the album is structured, starting off with more lighthearted songs in the beginning and progressing into darker melodies and introspective lyrics. So we will dive into the production, vocal, visuals, performances of each song, and then drop our individual ratings. But viewer discretion is advised. Your fave will be criticized.
00:02:47 --> 00:03:03 So before we get into the album, let's talk about this album cover. Jeff, what do you think? I mean, I think it's like everything. I'm kind of surprised. I was actually thinking about this today while going through it again. The orange hair.
00:03:03 --> 00:03:20 It's not really seen in any of like the music videos or like any of like the other visuals. So I remember remembering that cover and thinking, oh, she must be having orange hair now or something like that. But she didn't really – I think she was blonde for the whole thing. It was just for the album cover, right? Yeah.
00:03:20 --> 00:03:48 Yeah, he was. I think it's like the colors are like really saturated as well, but not too, too much. But the orange is really striking with that pink. Like love that for sure. It's so good. And like and, you know, I feel like this album was kind of a part to like attribute to her flexibility. Like there's a lot of that, you know, in the visuals and we'll get to that, too. But I don't know. I just think like, you know, Madonna is so timeless in her own way. And this is her.
00:03:48 --> 00:04:10 in one sense, like in a visual way, being like timeless and the idea that like music is timeless, disco is timeless, this is a timeless looking album cover, but also like, heck yeah, I can stretch with the best of these girls or whatever, you know? So I love it. Me too. It's a cool pose. It is. And I like that it's not a straight on one. I like that her face is like kind of back
00:04:10 --> 00:04:39 Yeah. Yeah, it's cool. I think the whole... It's like a dance shot. I was at a dance competition yesterday for one of my dancers. And you always want to have that picture of the dancer caught in midair or something. This is giving Saturday Night Fever. What she did say was an inspiration for this album. And the hair color, I don't know why she went with the orange and didn't commit to it. I really wish she had it because I feel like it's really fiery as well. I love it. And I love how everything is stylized. You have the marquee of her name and the disco ball being...
00:04:39 --> 00:05:05 the o yes um so it just feels like and then even the font itself is like written like a journal so it feels very like personal as well so it's like you are probably gonna get disco but you might get something a little bit more introspective and she was coming from american life so i don't think she was off of that wave um but yeah i think it's a really really pretty um album cover and i think this is the most iconic one that i know even like as a casual listener it's like the one i'm like oh yeah
00:05:06 --> 00:05:34 And purple. And purple, yeah. And orange. All right, let's get into the album. The first track is Hung Up. This was done by Madonna, Stuart Price, and of course, Bjorn and Benny of ABBA are also credited. This was the lead single from the album released in October 2005. And the song is built around a sample of ABBA's 1979 hit, Gimme, Gimme, Gimme, A Man After Midnight. With the ticking clock intro reinforcing the song's core theme,
00:05:34 --> 00:05:56 of anxiety about wasted time in relationships and madonna has spoken about writing a letter to bjorn and benny asking for permission because they do not normally clear samples but they actually agreed after hearing only 30 seconds of the track and hung up is one of madonna's most commercially successful singles ever and was one of the best selling singles worldwide in 2005
00:06:02 --> 00:06:29 I remember watching the video for this song when I was a kid and just, I did not understand it. I didn't get the gag at all. I was like, what is happening? Cause that's all I can remember is the music video with this. I remember her dancing. Um, I do love the references. Um, I was watching a documentary from a fellow YouTube, uh, YouTuber. I think they are a huge Madonna stand, Sergio X Madonna. And they were saying like when she was prepping for all of this, she was supposed to be like, uh,
00:06:29 --> 00:06:52 acting in this andy warhol inspired look she was supposed to be someone called candy darling or something like that and so she kind of had like this whole retro thing going on and some music was made from that so i think she kept that whole like 70s vibe for sure obviously it's disco but then you have saturday night fever you have perfect starring jamie lee curtis i mean you guys seen that
00:06:52 --> 00:07:19 That one scene of Jamie Lyft. I've only seen that scene. So I think overall, visually, I think of the video with the song. The song is good. It's like high energy, that disco electro that we love. And it feels like the dance party that I was expecting on the album. I'm going to be real with you. I know how I analyzed that cover. But I was like, okay, yes. Hung Up is the first of many awesome moments. I will say the late...
00:07:19 --> 00:07:44 back hypnotic vocals definitely aid to the whole like you might be on something while you're dancing in the club like i like the whole way her voice is mixed here and apparently she was using a sure mic um instead of like one expensive like a thousand dollar one she was like a 500 mic so it kind of adds that warmer sound um so i do appreciate how the vocals sound the time goes slowly some time goes by so slowly it's a great hook i think yeah um yeah
00:07:44 --> 00:08:00 And I can't remember anything else from that song except the time goes by. Like I just, for me, I feel like this song definitely has a good way of shaping together emotional stagnation and putting it next to dance ability.
00:08:00 --> 00:08:29 Um, cause yeah, it's like, I'm pretty sure, you know, we all have had a moment where like, what you doing? Like, are we, are we something? Are we not? You know, even with work, I'm like, are you going to hire me or not? But yeah, she does it in such an addictive way, um, that it just feels like really fun. So I think about this song with so many memories of like me dancing to it in recitals. I think about the music video, like it's just, it's pretty iconic. I would say, yeah, it's really iconic. Yeah. I think it is too, just in the sense of like.
00:08:29 --> 00:08:54 It is such an iconic song, first and foremost, what it's based around, right? Give me a man after midnight, ABBA. And a lot of people, like, I think America likes ABBA, like we all know it, but I think the rest of the world really loves ABBA. Like, this is like, I think ABBA is like everything to Europe and whatnot. And, you know, because like even like what their reunion tour, virtual tour thing that happened in Europe, but didn't come here.
00:08:54 --> 00:09:11 It's coming to Vegas. Is it really? Okay. Well, maybe they'll prove me wrong finally. America will prove it's Abelov. But I remember thinking when this came out, like, you know, knowing Madonna, like I was still – I think I was in like middle school at this time.
00:09:11 --> 00:09:37 like being aware that like she was coming back and there was like some you know a lot of things have been happening in her career you know going like back and forth and whatnot but then she came back with this and it was almost like oh this is the only kind of pop star that can do something like this like this is madonna like i i mean i think it's like a perfect song to be honest like i think the way that it took a song that was already great but then upgraded it to like you know
00:09:37 --> 00:09:54 I wouldn't even say it modernized it. It just kind of brought it to a new place. And I think that's what the most brilliant samples do is helps you see the song in a totally new area. I think nowadays there's just so much rehashing of beats and things like that. Yeah.
00:09:54 --> 00:10:23 It actually kind of annoys me. But I love a clever sample. And I think the way that Hung Up is done and even just to the point that it almost doesn't even feel like it's – like, give me a man after midnight. I guess you're kind of connected to the idea of being hung up on someone. But it doesn't even have to be that. It totally stands on its own. So to me, I think – I love this. I remember just being smashed over the head with it when it came out because I was like –
00:10:23 --> 00:10:40 This is brilliant, you know, and again, thinking that the album was going to be this total wash of like disco and intense, you know, amazing kind of dance music in that way. Right. That's valid. Yeah. Super valid. Yeah, obviously. Yes, I agree with you both. The sample and the song are both.
00:10:40 --> 00:10:59 iconic, but I agree with what you're saying. The way he built around the sample, Stuart, is amazing. The bass synths, that really heavy drum pattern, like the hi-hat's super loud. You get a really heavy snare drum as well. And that modernized it, right? Because that was kind of what the sound was at the time. And I also have a note about Madonna's vocal delivery.
00:10:59 --> 00:11:22 very sultry but there is a darkness there there's a sadness there because there is this whole concept of anticipation and feeling kind of stuck but then as you get towards the end of the song she's realizing it's not worth wasting time on yeah as you kind of get that release from there and i think she actually delivers that oh yeah very well so so yeah we talked about the music video yes and
00:11:22 --> 00:11:46 Yeah. Super weird. When I was a kid, I did not, I didn't get it, but my dance teacher from my studio was like, I get it. I get it. So she had us do a dance. Very like, we had, we had like, I'm sorry, keep laughing, but we had black hats on, right? Like little motorcycle hats or whatever. And then there was numbers on each of it. And we were all in a circle, like to make the shape of a clock. And I was number.
00:11:47 --> 00:11:58 So it was like, time goes by. We all dropped our head on a time goes on a word. Oh, clever. It was cute. So we were all on our clock and we're all just kind of like, da, da, da, da, da, da, da, da, da. It was just.
00:11:58 --> 00:12:21 We didn't get it. We didn't get it at all. But I guess my dance teacher saw the music video and was like, I just want to dance. I don't, I just want to move Madonna. She understood. And now I'm looking back on it. I get it. It's like, if you like music, you can hear like a good song. Like you, you know, what's good. You can kind of feel what's good. It makes you want to move even if you can't dance. And I think that video.
00:12:21 --> 00:12:41 encompasses all of that. You have a noodle shop. You have kids in Compton crumping to it. You have her in the studio doing the whole Jamie Lee Curtis vibe. And then eventually she's rehearsing just to go to DDR. Amazing. There's nothing serious about it whatsoever. It's so funny to me because I'm like, how the heck did you guys end up?
00:12:41 --> 00:13:09 at DDR, but it's all like music brings us together no matter what you're going through, no matter what walk of life you're in, you're going to be shaking it to something. You know? Because I can't say they were like doing like crazy choreography. I think the choreographer was Jamie King, if I'm not mistaken. Like he gave them some distinct choreography, but everyone was kind of like here's a camera, here's a moment, own it, and then when the hook comes around, y'all do the little hustle dance. You know? So I love the concept of like music being universal. I love that.
00:13:09 --> 00:13:38 That's an interesting take. Well, what is it different? I took, like, I get, yeah, this, like, message, like, you know, no matter where you are, you can be dancing. But to me, it was almost like, I love the first half of the video where it's, like, it's her and just, like, you know, I mean, her ass looks incredible. Her legs look incredible. And I think she looks so empowered and so, like, powerful just doing it on her own because she really can just control the camera, control the visuals. And...
00:13:38 --> 00:13:53 And even there's some slightly risque moments, I guess you would say. There's some little peeks and bops and whatnot in there, which I love. But then I almost think the second half is – I felt like –
00:13:53 --> 00:14:13 some director was like, well, no, we can't just have Madonna in a studio. Like, we need to have her go to the club and we need to have her, like, do the DDR. And, like, to me that was almost, and that's also, oh, yeah, when they go to the club and she's, like, dancing with people, I almost felt like, oh, no, this is, like, them trying to say, like, no, you need to have some young people. You need to have her, like, you know, you need to be grinding on some people.
00:14:13 --> 00:14:40 You know, to me, it just, I don't know. It just, it's like, it felt like I was trying too hard on those ways. Violet. When I was a kid, felt that way. Yeah. Yeah. No, I understand that. And to me, it's like, I don't even, I honestly didn't, I watched it before this in preparation for, I didn't even remember those club scenes. I mean, I kind of remembered like the DDR when I saw it again, I was like, oh yeah, that did happen. But what do I remember? Her in that Purple League guitar. Yes. Yeah. Doing her own thing. You're correct. And I think like that.
00:14:40 --> 00:14:56 And I actually, to be honest, I think if that video was made today, it would be just Madonna in a studio. But I think back then, 2005, they'd be like, but hold on, we need like the club scene, you know? You're right, because Adela, the girl from Dream Academy.
00:14:56 --> 00:15:22 Sex on the Beat, I think it was. She was just in the studio dancing. You're right. It would have been a little bit different. Okay, that's valid. I think obviously this video does connect to the next single's video as well. So I do think there was also maybe a larger concept. Because I will say for that one, which we'll get to, the dancers there do make a bit more sense. So I think if you were kind of telling this story, I think maybe that's why they kind of brought it into it. But I agree with you that what I do remember is...
00:15:22 --> 00:15:42 is Madonna on her own. But I did like, you know, the diversity of people enjoying the music. No, yeah. I get what you're saying because when I was a kid, I was just like, what's going on? What's that? But I never disliked her dancing. I think it was just everything else happening I didn't like. But yeah, as an adult, I'm just more like, wow, music unites soul. You know what I mean?
00:15:42 --> 00:16:03 I mean, definitely that. Yeah. I mean, it leads more into the performances. Oh, my God. Some great, iconic performances. She opened the EMAs with this. She opened the Grammys with it as well. With the gorillas. Yes, but I love the way this performance was put together. I think Jamie King is her creative director. Maybe he's a choreographer as well, but I think he was her creative director for the performances and the tour. Mm-hmm.
00:16:03 --> 00:16:27 And just the way they had it, like with her coming out of the disco ball for those award shows, the song itself just has such good energy already. But having the way they built the dancers around where you have a ton of different formation changes, it's sometimes two of them, it's three of them. Then they all come together for that kind of like orgy situation for the middle. And then it just turns into a dance party at the end. It's so entertaining.
00:16:27 --> 00:16:43 She is such a good performer. She, oh, that's one thing. I, I've always said this and you can come at me in the comments, whatever. I've always said, like, I felt like I just didn't never, I never understood it. I'm like, I don't get it. I don't get it. I don't get it. But then I watched a couple of performances. I was like, you know, there's something here. I.
00:16:43 --> 00:17:13 wow, there is something here. Like, I wanted to know more. I wanted to see more from her. Even when she did, like, the Dembeau version with Tokisha in 2022, I was like, she's not really doing much except singing, but she was just acting like Tokisha's, like, she acted like she was a feature for Tokisha. And it was so funny because she was just looking at the camera, browless, honey, grilled up, ginger hair, just staring. And I'm like, okay, go off. But there is something about her. Mm-hmm.
00:17:13 --> 00:17:37 She's not the strong, strong vocals, but there is something. So I guess. It's the X factor. Yeah. I guess we'll have to keep digging. Look, that last tour I went to. Oh, yeah. You did. That was her greatest hits one. Yeah. That was maybe one of the best pop shows I've ever been to. Yeah. I wish I had gone. Yeah. All right. So what do we rate this song? Ooh. Okay. Okay. The bar is high for me. I think this song is good. I don't know if it's my favorite. I will give it a 9.5.
00:17:40 --> 00:17:51 I think I have to give it 10. You know, like I think, I really do think it's a perfect pop song. Yeah, I'm with you. I have to give this a 10 as well. You're like, the bar is high for me, 9.5.
00:17:52 --> 00:18:14 I mean, okay, here's the thing. I could give it a 10, right? But I feel like I like a different song a little bit more. That might not even be like, this is a personal taste thing. Yeah. Sometimes I'm like, yeah, I'm going to go pop and be right. You know, but I mean, it does deserve a 10. So I guess like 10 or 10. I just feel like I'd give scores too easily. I feel like every episode I'd give up. But yeah, I have a song I like a little bit more, I think.
00:18:14 --> 00:18:43 Up next is Get Together, and this was done by Madonna, Stuart Price, Anders Baj, and Pierre Astrum. Anders released as the third single from the album due to high download numbers when the album came out. And our patron, Darius, this is his favorite song from the album. So shout out to Darius for this song choice. And shout out to Chris's friend, Danielle, as well, who is a huge Madonna fan and gave us some tidbits that we'll be mentioning throughout. This is also her favorite song. But is it our favorite song?
00:18:48 --> 00:19:17 How do you feel about this one, you know? I think the production on this song is actually very cool. You got these kind of like dragged out synths mixed with this filtered percussion. It makes it feel kind of pensive, which does match the lyrics, right? She isn't sure if this person will actually say yes to this kind of question that she's asking. And she references confusion and illusion, potentially maybe getting in the way of this relationship working. So I think the production is cool. You kind of feel that with this. I will say my one critique,
00:19:17 --> 00:19:41 I do think this one needed some extra background vocals or something just to amp it up a bit. Because I think that chorus is very catchy, but it's not a moment. Like, I think it doesn't, like, build into a moment. It kind of all is kind of more just kind of on the same level, the whole song. And I have two thoughts on top of that, right? Because on one hand, I kind of...
00:19:42 --> 00:20:11 I kind of like respect that it's almost like, um, uh, I just lost the word, like almost kind of like subtle dance music in that sense. It's like, um, it's a little more drawn back. It's like, it doesn't need to be this like sort of thing. Like it's, it's not that which, which I think is cool, especially for like the time and like, cause all like dance music doesn't have to be upbeat, blaring, you know, like in the club. Yeah. Um,
00:20:11 --> 00:20:41 But here's my thing, too, is that it's almost like we move too quickly into like this sort of like downcast, you know, like a little like things are being drawn back. If this is if the concept, as we talked about, you know, if the concept is like a DJ set and it's starting off big, you know, numbers and, you know, whatnot with hung up.
00:20:41 --> 00:21:01 brings more of that energy get together is a little more subtle and is a little like more kind of mature in that way so i would have actually like i would have liked get together at least put down a little bit more but um and i think that's kind of what you're getting at is like and i maybe it was on purpose that she didn't have like all those extra you know background because hung up you know it's
00:21:01 --> 00:21:30 layers and layers of vocals, but it's also a big pop single. You know, get together is not really that. And then then it's the second it's the it's the third single second song in the album. I don't know. To me, it was like I think it's a great track. Don't get me wrong. I really do love it. And I think it's it's very like emotional in that way. But also I think that's what you're getting at is like it's almost like pulling back too quickly. And like, you know, we need still a bit a bit more given where we are, at least in the album, I think.
00:21:30 --> 00:21:57 Oh, that's valid. That's valid. Oh, time to switch scores. I'm joking. I did not give this a 10. I'm going to break it. I think for me, this song, what I noticed, because at first when I heard the album, it was giving like elevator music in a sex club. Like, you know, it's still kind of, it's giving like, oh yeah, uh-huh. Yeah. But also just like, we're still on this elevator, you know? I just didn't, I didn't, what kind of, listen, I'm not going to give this a 10.
00:21:58 --> 00:22:08 You're saying that's a Madonna's most downloaded song, you know, whatever. But then it's also like in the years of iTunes, like it was just the second song on the album. I know. I was thinking about that too. I was like, wait a second.
00:22:11 --> 00:22:33 But yes, I mean, for me, it's like when I hear I'm doing disco, I, my parents are black American, you know what I'm saying? They're Southern. So like my mom grew up with the sister sleds. Like she was legit. Like she knew them. She knew the drama. It was like, I was thinking grooves, funk, but she went for the Euro dance, which is completely fine as well. Considering how she met Stewart and then her other collaborator on this album.
00:22:33 --> 00:22:43 But it's just one of those things where I was like, I was expecting funky, groovy disco. So when I heard it, it took me a second to like really like get into it. But I think the whole...
00:22:44 --> 00:23:14 shimmery kind of like, it just mists a little bit as the song goes on and the connection starts to build. I think lyrically, once it reaches like, we finally connected and like, cause she calls love at first sight an illusion at first, but then later on the lyrics kind of give the idea of like, maybe I do believe in it a little bit. There's something here, it's hypnotic. And there's like an ecstasy that comes with the drop because there's a lot more instrumentation toward the end of the song that made me go, oh, hang on. Yes.
00:23:14 --> 00:23:41 oh this is delicious because at first i was like girl what is this i was like girl get me out of here but then i listened i don't know but then i listened i read the lyrics i watched the music video and i was like okay there is something here again there is something heady about the atmospheric mix and how the the synths are kind of going and if you're rolling in the club you're not trying to feel like your head is throbbing
00:23:41 --> 00:24:09 This is like a nice ease into that. It's that first little kiss that turns into a little bit of heavy petting. And at the end, you're probably just really grinding really hard. And there's symbol crashes at the end of the song too. And I was like, holy crap, it's building somewhere. The waves are crashing here. It's not just like, you know, water, like a lake, like still water here. So I think I appreciate the build up here where Hunk Up was like, it does a better job of building and ebbing and flowing. But this one is more like, I'm gonna sneak up on you.
00:24:09 --> 00:24:28 and then jump! So I- It is euphoric at the end for sure. Yeah, it took a second to get there. Yeah, well you mentioned the music video. There's actually two versions of this music video. We had the American one, which was kind of more like a projection that they show at the clubs, you know? Was it tour footage?
00:24:28 --> 00:24:54 So yes, it was performance footage from London. She did like a club performance there. So yeah, the American one has like the random city skyline and just like the projections. Then the European version is, I personally think, the cooler one. Yeah. Where there's like animation and there's cool effects and there's waves and mountains and they have Madonna kind of placed within it. Yeah. So yeah.
00:24:54 --> 00:25:24 I feel like, obviously, the European version is superior. I just don't understand why every artist that, like, has a song in both territories that have two different videos... I don't get why the director's like, screw all that. We're gonna make you another video. It's gonna suck. No offense. Like, think about it. Like, Cher Lloyd, when she came, you know, I want you back. Like, they changed the music video. I was like, what was the problem with what she did? Or, like, even... Who else did it? Like, Boa, when she came to America. Like, why... Rest in peace, Diane Martel. But I just did not like the moon and the... You know, so why...
00:25:24 --> 00:25:44 I don't know. It was a weird time. It was like, I mean, that was also the time where they're like, we can't, we have to release the album in different territories so they can like promote it, you know. And all of that was just so moot in like retrospect. Yes. The music is the music. Like, you know, the music is going to make its way one way or the other. It doesn't matter if you release it
00:25:44 --> 00:26:14 tomorrow or in two months you know like yeah i yeah i didn't even watch the european visual because i thought oh it's just oh it's much better it's so yeah it's better because i've because it was like a club though i will say though on the confessions tour this song goes off that made me like the song more i think she does do it near the start of the show yes a ton of energy yeah so i much prefer that version because i think the euphoria actually gets amped up much more in that
00:26:14 --> 00:26:37 Fun fact, I feel like Stuart is almost like Kylie's Steve Anderson. Just watching that DeSergio documentary about how intertwined they were in terms of creating sounds and him testing it in different places. And then being like, here's the phone for seven minutes. They love this song. I think that's amazing. So he actually made a lot of the remixes on her previous tour.
00:26:37 --> 00:26:56 shoot oh my god i forgot the name of the tour but he did a lot of the remixes like it was just it was him he's like he's like kylie steve it's he does a very good job of making things feel bigger and bolder and full so i like that but yes oh so now i want to know the scores i still like the song yeah i don't think it's as good as hung up though so i'll give it a nine
00:26:58 --> 00:27:27 This is a nine for me too. I'll give it a nine. Oh, wow. I was thinking 8.5. And that's totally fine. Yeah. Maybe just because I'm also thinking about the context of it all. Sure. As you should. See, this is why you're on the show. We're not going to just blindly say, oh my God, we love it. We got to say why. We're like, oh, because track listing matters for sure. For sure. Okay. So let's move on to Sorry, done by Stuart Price and Madonna. This was released as the second single from the album, and it did hit number one in the UK.
00:27:28 --> 00:27:35 Sorry. So, Jeff, what do you think of sorry?
00:27:35 --> 00:28:04 Yeah, I mean, again, I really like the tracks in and of themselves, right? But to me, once again, it like gets too dark too quickly. Like this song is quite dark, actually. And I mean, it's literally about saying, you know, I've heard it all before, you know, and it gets kind of like almost like it's kind of like a little scary, like at the end with like the repeating, you know, and like I heard it all before. That's why I'm laughing. The vocoder. Yeah. Yeah, that's why I'm laughing because it gets really fun.
00:28:04 --> 00:28:21 And here's the thing. Like, I guess the reason and this is something I was thinking about. So I don't even know if either of you know this, but I'm a huge Moby fan. Oh, my God. I love Moby. That's quite random for you. No, I mean, you know, it's not like nobody's out there standing Moby except me.
00:28:22 --> 00:28:50 You know, I really do love him. And also this album actually came out maybe – probably actually a little after this – or rather a little before it became like a Moby stan. But he put out this album in 2008 called Last Night and somewhat similar of the – it was like about a night going out, like a night out. So it starts like really soft, really kind of like you're waking up, you're getting movement, you know, you're starting –
00:28:50 --> 00:29:05 it builds up to like the big club moments. And then like confessions does have, it's like darker, you know, downtrodden, you know, goes to the end of the night or whatever. And to me, the album did a really good job at this. And maybe I'm just comparing it too much, but,
00:29:05 --> 00:29:34 But I don't know, like, to me, it was like, if this was really like what they were saying, like this concept of a DJ set, like, I just feel like you don't, you don't, you don't start saying like, I've heard it all before and don't say I'm sorry, you know, on track on set number three, you know, it's like, because there are lighter songs as we move on in the track list, you know, and I think it's an incredible song. Don't get me wrong. Again, like, I still think jump should have been pushed before this one. But um, and I'm going to keep saying that. But um,
00:29:34 --> 00:29:53 But yeah, I just kind of think, I still think like it's a great song, you know, and very Madonna in that sense of like she tried to make it more worldly. There's different languages being brought in here and things like that. But yeah, I think just given all of that, you know, I still think it is an incredible song.
00:29:53 --> 00:30:14 No, that's totally fair. I think feeling wise, though, it does feel more light. Like if you're not really listening to the lyrics and you're kind of just dancing to it in a club, I can see why it's early in the track list. I guess. And I think there's a campiness to it, like the different languages. Okay. I guess I can see that. Yeah.
00:30:14 --> 00:30:39 And I think the vocoder is actually fun. Like it's the, there's the buildup to it. And of course the chorus is just insanely catchy as well. So yeah, I don't know. I took it as so dark. I was like, this is dark, you know, like little me. It's a little creepy. I'm not going to lie. Cause when I heard all the languages, I was. I heard it all before. Can I tell you the, the sorry's in different languages sent me into orbit. Coming to sight. I was like, girl, don't. Yeah.
00:30:39 --> 00:31:04 Granted, that's like in the middle of the song. But when I heard, I was like, okay. Okay, go on, sister. My favorite lyric is in the second verse. There's more important things than hearing you speak. Yeah. Do you remember that one? I will say the mood does turn colder in terms of lyrics because of the rejection. You're rejecting someone who's hurt you and is trying to come back. I get that. So I get that side. But I also get what you're saying because for me, it was like –
00:31:04 --> 00:31:34 I have a lyric that say, like, you're not half the man you think you are. Save your words because you've gone too far. Like, the lyrics are not uber complicated. Yeah. But the melody is catchy enough for sing-along ability. So that's when I was like, okay, if I was writing a song and I just didn't want people to really, like, just dance mindlessly, it would be something like this. It doesn't mean it's terrible, but it's one of those just, like, perdoname. Miané. How else do you say sorry? Like, do you have another language you can throw in there? Lo siento. Lo siento.
00:31:35 --> 00:31:57 Or isn't that also Spanish? I love the different languages. I think it's funny. It's very campy. It is. That's why I'm laughing. Every time you guys keep bringing it up, I think it's so funny. Because I was like, because let's be right here. When I write my songs, I have random languages in my songs too. Yeah. Yeah. I can't hate. It's just so funny. But yeah, I think for me that Goldman Sachs just sent me into Orbex. That was so funny. But it's still not a bad song.
00:31:57 --> 00:32:19 So this is a music video I mentioned earlier. It is a straight continuation from Sorry. They come out of the club. Which I do appreciate. And I love this video, actually. And almost like, you know, if I'm like going back to my point before about like how the first video could have just been Madonna like in the studio. I almost wonder if it could have been like.
00:32:19 --> 00:32:39 like the last like 20 seconds of hung up could have been her like leaving, you know, dance studio practice, meeting up with her girls and now they're going to the club or whatever, you know? But I do love the fact with sorry that like, she's kind of like the mob boss, like of a dance, you know, or something. I mean, I don't,
00:32:39 --> 00:33:01 She's so unfair. I could be wrong. I don't think they used a body double for her at any point. There's some points where, like, they kind of, like, oh. Yeah, on their face. Yeah, like, you can't see her face. But I actually, I don't think they, because nothing they're doing is so intense that, like, you know, because there's a lot of great dancing. And then she has her moves. She loves that little crotch moment. Oh, yes. Sorry. Sorry.
00:33:01 --> 00:33:19 That was her thing at the time, I feel like. I can't do it right now, but I'm tired. But it was like, I don't know. I love like the van where they're bringing people in. I feel like nowadays people like wouldn't let that, like people would be like, oh my God, this is problematic. They're like picking people off the street. Like this is like, you know. And indie arts would do it.
00:33:19 --> 00:33:34 Yeah. Or like, I feel like nowadays people are too sensitive to be like, no, you can't just like throw people out with their clothes, you know, it's just like so fun and so like good. And I don't know, I just, again, like loving the diversity and different kinds of people they brought in there. Like it was, yeah.
00:33:34 --> 00:34:02 It was so good in that sense. And this one, I like this video more in terms of like all the people in there because I don't feel like she needs to be like I'm grinding with the boys on the club. Like she's like she's just like the boss in control. You know, everyone's around her. They have to impress her or she's dancing like right up with them. I like that a lot more than feeling like Madonna needs to be like hot girl at the club. Val. Oh, yeah. Valor because sometimes she does lean into –
00:34:03 --> 00:34:22 I want to be high girl at the club. Oh, yeah. Okay. And she can be high girl. She can, but she doesn't have to. She's getting men decades younger than her. You know, God bless. I enjoyed the random men kind of just being interchangeable and trying to impress her. I thought that was very fun as a concept. Yes, I love that. Yeah. Wait, would you guys want to get thrown into a van?
00:34:23 --> 00:34:39 For who? For Madonna. Not for her. Oh, who could throw you in? Okay, what artist could throw you in? Moby? Moby for you? Janet for me? Moby? I'm going to have like an intellectual conversation with him or something about veganism.
00:34:39 --> 00:34:53 I mean, Moby, I do love Moby. But yes, no, I mean, to dance. Yeah. I mean, hey, I would go dance in a van with Madonna. I would get thrown into a van with a lot of artists. Come on now. Yes. Maybe not like... Not Moby.
00:34:54 --> 00:35:17 Why not, Moby? I just don't think it'd be as fun as Madonna. Madonna would scare me. I'm intimidated. She intimidates me. She does give Dami-Mami vibes. She's like, you know. I do have to shout out the tour performance of this as well, because they do do the kind of dance battle situation. And then they have Madonna join in the same way she does in the music video. She does do all the stunts, obviously, on tour.
00:35:17 --> 00:35:34 kills it. I was horrified to learn though that she's never sung this song again like since that tour. Oh, that's weird. It's such a huge hit. I mean, I guess she just has so many singles that she doesn't have the room for it, but I think she loved this song. Oh my gosh. Yeah. Oh my God. It's a little I guess if I'm thinking about like
00:35:34 --> 00:35:54 When you think about Madonna hits, this one is a little more subtle and maybe tougher to put. If you have a new album and you're trying to incorporate it into the set list, you do kind of need to have the dance vibe or the club vibe. Yeah, you can't adapt it to a dramatic ballad. Exactly. Please don't say that.
00:35:54 --> 00:36:20 Like you can just hit play on hung up and it'll work no matter where you put it. This one kind of like, it needs a little like warming up. You know? Yeah. That's valid. So that's fair. Oh, okay. So our scores. Okay. I'm going to give this one an eight. Cause I just think I just giggle a little bit too much for it to be like, oh my God, it's my favorite song. See, I thought this was going to be your favorite one. Okay. That's hilarious. It's coming. Maybe I should listen. Maybe I should listen to it again. Oh yeah. No, it's my, it's my eight, maybe 8.5, but like it's in the eighth ring. Okay. Yeah.
00:36:21 --> 00:36:41 How about for you? It's a nine for me. Okay. I will actually go 10. I love sorry. I've always loved sorry. Let me listen to the song again. Cause I don't know what. Get copyrighted. No. Cause I, I, wow. Yeah. This one did not do it for me. Interesting. Well, eight is still pretty good. Yeah, it is. Maybe I need to listen to it again. Girl, let me tell you something. Okay.
00:36:41 --> 00:37:04 I always trust the UK's taste. If it went number one in the UK and America ignored it, usually it's a great song. That's true. My taste align with British people, as you know. Oh, no, this is very true. It's very on-brand for him. Oh, that makes sense. Yeah, I cannot. With that being said, I kind of do – I mean, Chris, we're the same age, so I feel like this album – we knew it was there, but it wasn't like –
00:37:04 --> 00:37:30 this massive man. I remember thinking like, oh, Madonna did a really good, critically acclaimed album, but it wasn't like, it wasn't like music. It wasn't like, oh yeah. Cause the song that the album that followed hard candy with Justin Timberlake and Timbaland and Pharrell, like that was like very much everywhere in America and everywhere. But this one, I, I almost felt like it was like Madonna, like building herself back up in the background. And I was like, oh, she's getting like her respect out.
00:37:30 --> 00:38:00 you know oh yeah yeah like i don't know to me it's almost like of course america like didn't pay attention to sorry you know because and it went number one in the uk it's so weird because i think it is because of that american life situation because like she changed some songs or things like that she just didn't want to get like dixie chicked at the time so she was she even had the yeah it's just it's just really funky even some certain songs that got taken off this album she mentioned like if i was a man i'd be the president like basically i'd be way better if i was a dog i'd be a man if i was a man i'd be you know it was just a lot of like
00:38:00 --> 00:38:20 commentary yeah yeah i mean when does she not have commentary so respect to her for that yeah all right up next is future lovers and this was done by madonna and mirror wise um amadzei oh i did that right i do we are one of the only shows i do shout out the songwriters singer songwriter so if i did pronounce that incorrectly i do apologize tag him
00:38:26 --> 00:38:50 Well, so this one did open the Confessions Tour. Yes, it did. And I thought it was an amazing choice for that, right? That's true. You have the I Feel Love. It's not a true I Feel Love interpolation in the studio version, but in the tour performance, it fully goes into a medley. Yeah. Right? So that I Feel Love synth pulse is really prominent there. And so I think it's a great idea. It's hypnotic.
00:38:50 --> 00:39:06 It builds so much tension. You get this spoken intro, which is super interesting. It's kind of spiritual as well, which of course she also has throughout her discography and something that she is just known to tap into as well. There's also this kind of trance
00:39:07 --> 00:39:35 kind of vibe to it as well, which makes it feel kind of alien. You know, like if you listen to the song, it's like she's an alien that's come down to like teach humans. You know, it's so funny. Yeah. Cause I have some lyrics that I've written down. That's actually really funny. Yeah. But shout out to the tour opener because they made the disco ball even cooler than the award show. She's in this whole equestrian situation and her dancers are, you know, she's controlling them.
00:39:36 --> 00:39:56 Tommy mommy. Okay. I remember watching and I was like, okay, I like a little head gear. Okay, go off. Yes. For me, I feel like I definitely heard the whole, I feel love moment. The production is hypnotic. So the whole trance comparison, I get that. The baseline is very, it's pulsey.
00:39:56 --> 00:40:08 It's not throbby yet. There is something on here that's a little throbby, but this is kind of policy. It keeps the dance floor locked in, which I do appreciate. And again, it's another point in the song where like halfway, it does pick up. I think...
00:40:08 --> 00:40:28 Maybe my brain is a little fried from the shortened versions of music now, but I was just certain songs. I was like, okay, baby girl, why is this five minutes? Why is this five minutes and a half? What is happening? You know, there was moments like this song, at least by two minutes and four seconds, I'm giving you all a specific cause I was looking at, I was like, what's going on? This is like minute one now.
00:40:28 --> 00:40:53 it picks up it's going somewhere it's different synths um i feel like this is one of the albums more like sexier tracks it's like slinky it's electro disco i enjoy that and then the lyrics kind of flirt with like spiritual spirituality and like hedonism simultaneously it's like i'm going to tell you about love let's forget about your life forget about your problems i'm like what are we gonna do and she's like administration bills loans i was like girl hang on i got heavy really that's like the first line so i do appreciate the whole like
00:40:54 --> 00:41:22 If you come into my fold, my folds, plural, maybe I will heal you. You know what I'm saying? I mean, it probably is folds for her. Let's be real here. Madonna is not afraid about her folds, but yeah, come into the fold, you know, come, come, you know, with the hands. Um, so I do like, I do appreciate that she's able to combine commentary with like, you know, continess. So this kind of gives that. And I do like the, the vibes here. I do like it was a little more sexier. Mm.
00:41:22 --> 00:41:50 Yeah, I mean, for me, it's like, so this is the first non-single, right, that you kind of get to on the album. And I think, like, yeah, album or rather tour opener or, like, album track, I think it's perfect as that. To me, this, like, this kind of song really encompasses what I think of, like, as that 90s Madonna or, like, this is just classic Madonna sound to me. Like, it's slightly psychedelic. It's very dancey still. It...
00:41:50 --> 00:42:20 can be serious, it can be sexy, but can also be dancey. You know, so to me, this song is like, it reminded me of like that ray of light, a ray of light moments and things like that. So I think it was good in what it stands for. You know, I don't think it's a bad track in any sense, but I, I feel like this is one of those tracks that definitely is like, this is for the dance album and we are making it for the dance album. And it can, and it really only would work on a dance album, you know, like this can't, this wouldn't have gone on like, you know, hard candy.
00:42:20 --> 00:42:43 or American Life or anything like that. It really had to only work there. And just in my research preparing for this, Mirwai's was the first one that she was really working with for this album. And then I guess the collaborations weren't going exactly how she wanted. So that's when she found Stuart Price and everything. But to me, this song is like...
00:42:43 --> 00:43:02 a good example of like, yeah, great dance music, you know, good stuff, but also like nothing that is going to change the world, you know? Valid. I think it's, and I think it's, don't get me wrong. I think I've rated it pretty high and I, I do think it's, yeah, a good song, but it's just, there's nothing that like is, it's,
00:43:03 --> 00:43:32 Exactly change it. Like future lovers. It even sounds like it should be part of like a futuristic dance, you know, electronic album in that way. Like it works. It very much works for what it is. I legit have a note that says, not gonna lie, this is giving extended interlude, but I'm not mad at that. Sometimes the best tracks on the albums are the interlude. It's true. It was giving extended interlude. Okay. So what do you rate it? Okay. I don't hate it. I actually do like it. I'm going to give it an... I'm going to give it an
00:43:33 --> 00:43:53 I don't know. I like this one. I'm gonna give it 8.5. Okay. I will go eight. I want eight as well. Okay. Yeah. I like this one. Next up is I Love New York done by Madonna and Stuart Price. And Madonna has said that New York is a place where she truly grew up and that song came out of the adrenaline of being escorted through the city by police during tour rehearsals.
00:44:00 --> 00:44:26 And from my understanding also, this is quite a divisive track. I was like looking at fan comments and reactions. And yeah, this one's kind of a love it or hate it, I think. Madonna loves it. She has literally stated for the record, I love this song. She loves this song. And if I'm not mistaken, this was one of the songs that she wrote when she was preparing for her role or her rumored role as Candy Darling in that film that got scrapped. It was this song and I think...
00:44:26 --> 00:44:47 not hung up it was another song but it was definitely new york as well okay um honey if that's the inspiration that she got from it i didn't okay hear me out right like ladies and gentlemen this is the wackest song on the album like hands down like like this is you can be a fan of her and be like you know what
00:44:48 --> 00:45:16 It's not your best work. I don't, you know, like don't like cities, but I like New York. Other places make me feel like a dork. Like these lyrics are so one, two, buckle my shoe, one fish, two fish, red, red fish, blue fish for me. And I was like, get me out of here. But I will say that the production is fire. It has a moment. I think before she did this whole dance situation, she was working on something a little bit more like, I think people were expecting her to do the whole like garage rock thing.
00:45:16 --> 00:45:33 Yes, kind of situation, but she didn't because you can hear there's a little bit of a rock influence on this. Like there's a guitar show that appears every so often that gives the track some oomph. I will say I do like lines like New York is not for little wussies who scream. I have changed the lyrics because I do want the AdSense.
00:45:33 --> 00:46:03 Um, so like golfing, like go do that in Texas. I think that's kind of funny, but these lyrics are not great. I think we all like, it's, it's always, it's giving SNL, it's giving SNL, mad TV skit Madonna, you know, like she loves New York for the energy that it brings, but I'm sorry. Like, it's just not giving New York, even like it's not giving New Yorker really. And honestly, if you didn't take the New York regions, you're not in New York. You live here. I'm going to say now. Sorry. Sorry. Do y'all not come from New York?
00:46:03 --> 00:46:19 I mean, at this point, I've been here, what, 15 years? Okay. Yeah, there. That's a discourse on the internet right now. But yeah, unfortunately, if you don't like my opinion, you can get off my street. Get off my street. Get off. I will say...
00:46:19 --> 00:46:39 The other part of the lyrics that I kind of cringe at is just her dissing all the other cities. Oh, yes. Like, LA and London, like, you can keep it. Like, all this stuff. And it's, like, this tour, like, was filmed in London, I'm pretty sure. That's a good point. She had to go to all those cities. Yeah, like, you have a lot of fans in those cities. I just thought it was...
00:46:39 --> 00:47:08 It's a little odd for me. You can half off, go to Texas. Isn't that where they golf? Yeah, that golfing line cracks me up. I was like, what? The girl, go away. Yeah, I mean, I agree with you on the production, right? I think the electric guitars here, it's a new sound from what we've heard so far on this track list. You get the electric drums, the synths, you get the vocoder coming back on the voice there. So I think the production itself, the track itself, is very, very cool. But yeah, the song, though...
00:47:08 --> 00:47:23 Not for me. I will say, though, the tour version where it's fully rocked out. She brings out the electric guitar and it's a full rocker moment where everyone's jumping up and down and stuff. I was like, okay, this works better. Sorry. Sorry.
00:47:23 --> 00:47:42 Yeah. It's kind of a punk rock kind of like situation. Yeah. So it fits the attitude and like the kind of the stupid lyrics where you're kind of just like, yeah, F off. We're in New York. You like something about a, you know, like it's just, yeah. I don't know why I put the British accent. I'm literally Madonna now. I'm so sorry. Well, and for me, it's like I don't like this song.
00:47:44 --> 00:48:09 And I remember after moving to New York, like for college, right, I remember thinking I randomly like went back to this album, like, I don't know, a couple of years into moving to New York. And I was like, oh, this is going to be my song, I bet. And I listen to it. I'm like, no, this is not good. And like listening to it again, you know, I still don't think it's that great. I almost think this song should be like –
00:48:09 --> 00:48:30 It's shortened and turned into an intro or something. Or maybe it could have started off the album just on a big note. Because again, it almost kind of picks up the energy from where Sorry and Future Lovers takes it. Because it does kind of have this attitude. And it could almost have been like, I don't know, this intro in the sense of like...
00:48:30 --> 00:48:50 I'm like going out in New York. I love New York. And like, here's like where the, you know, dance world is going to take me. And I'm going, you know, a night out. Like, I don't know. I might be building a story. You're building a story. Yeah. Yeah. Like something like that. Cause to me, it's like, how do you, I don't know. At this point, when you've gone from sorry to future lovers, and then you're like,
00:48:50 --> 00:49:18 now i love new york it's like where did this even come from you know like i don't know i just maybe like maybe i'm holding a grudge to her but yeah i just i just don't think the songwriting was was at all strong and i i don't really even really like the production but you guys do so that's the ratings aren't high we're just we're just trying to like you know there's are some redeeming qualities you know yes yes this is not not yeah sorry okay so what do you rate it
00:49:19 --> 00:49:47 I gave it a four. I mean, it's the only one that's even close to that. Yeah, that's fair. Oh, my God. How about for you? I really don't like it. How about you? When you said love it or hate it. Yeah. Hang on. I gave it a four. I mean, I've given a zero before, so don't feel bad. I've gotten dragged for that zero, and I still stand by it. That song was trash. Look in our episodes for that. But, yeah, this one's a five for me.
00:49:48 --> 00:50:13 Okay, I will go six. I don't think it's as horrible because I think there's still like – I think because she knows how kind of silly it is. So I think she's kind of playing into it. All right. You lost my other comments. You don't get the joke. No. But that's the thing. With Madonna, I do take her seriously. I don't know. I'm not getting the playfulness. If it is there, I'm missing it. The golf line wasn't enough?
00:50:13 --> 00:50:30 Well, that's what I'm saying. I was like, was it like, or was that the only lyric she could think of? And don't get me wrong. Like, you know, it is a pop record in the end. And I feel this comes out in the end. Like sometimes pop music isn't going to like...
00:50:30 --> 00:50:56 you know, you do need like the pop songwriting. Right. And that's why like this isn't a Moby album, you know, cause like Moby doesn't need to have like the lyrics and the courses and the, you know, verses and chorus and whatnot. Like, and so I don't know, sometimes I'm just like, Oh, you could have, you could have tried a little more and maybe it's cause I take Madonna so seriously too. Like I, I always do think that she's being on like very serious about things. She takes herself very seriously. Like, let's be honest. Yeah.
00:50:56 --> 00:51:25 Um, you know, I think she's had more fun in recent years, but especially at this point, I, I thought, I always thought we were supposed to take Madonna seriously, you know? So we will kind of moving forward with this album. We will. But again, I get what you're saying. I think she was trying to just bank on that whole, like you're from New York. So represent, but you know, this is not really good, but let's move on to something that's a little bit more stoic and solemn. Let it will be. And this was done by Madonna, Stuart Price in Mirrorwise, Ah, Madazai.
00:51:32 --> 00:51:51 Now, let will, it will, it will, it will be. You know, I was worried. I was worried like where I was like the streaming service I was using had like a typo. I'm going to come back and I'm going to be like, no, it's called let it will be. And there you can be like, no, it's just let it be or it will be or something. It's kind of a confusing song title.
00:51:51 --> 00:52:08 It is. Sorry. I just giggled because literally I was like, let it be what it will be. It's kind of hard. I think we're just naturally inclined to- Well, because it's just grammatically incorrect. That's true. That too. That too. But I mean, for the sake of art, right? Like my brain is like, I wanted to say it like this, but it's part of an album and she
00:52:08 --> 00:52:26 this you know yeah so i think this one is um emotional and dramatic without the with no sorry with like very pounding electric percussion like it's it's it's about regret and destiny and surrender and i think the whole like um let it will be the
00:52:26 --> 00:52:43 It feels kind of like a mantra that maybe she's taking with her. Because I think at this point, she was doing the whole red-string Kabbalah moment. Yes. Right? So I feel like she was kind of... So I feel like she kind of was hitting her introspective back here. So I appreciate it. It's definitely...
00:52:43 --> 00:53:02 one of the most introspective tracks on here um so i do appreciate it i can't say like i remember too much about it yeah um and it's not because it's introspective i just don't think it's as effective as something a little bit later on the album um but it's not a bad track for me i'm just like okay it's it's cool you know
00:53:02 --> 00:53:30 I kind of vibed. Yeah, I will say this is one of the ones that grew on me the most, actually, from listening to the album. Because it didn't really stand out to me at first. But as I started getting into it, I actually think it has a really cool place on the album. I like the build of it. I like the dramatic strings in it. And yeah, I think that kind of spiritual quality does come back. But I like the way it's written. Like, you can tell she's just gone through a lot in her life. And she...
00:53:30 --> 00:53:58 Again, it's kind of advising her people. Yes. Trust the process. Everything will be fine. And then the live version, I feel like the live version is just like trumped this entire album. Like they added this really driving beat. There's all these extra wiry synths and they made it way more intense. That version is really cool. Did they release a live album? There is. Yes, the live album is available. Clearly we need to listen to that. Right, right. Oopsie. That's what I got to get to.
00:53:59 --> 00:54:17 I did so much historian research. I mean, you know I love a tour. Yeah, yeah, yeah. No, it's just true. And I won't lie to you guys. We're already kind of in the halfway point, too. I can't say that this album was something that I was excited to listen to because upon first pass, I was like, get me out of here. Like I said, it was giving sex club at the elevator. I was just not...
00:54:17 --> 00:54:46 I wasn't feeling it. Now I can take that back. I can take that back. But I think this was one of those songs where the album started to get a little bit same samey for me. And I was like, what is happening? Where is the break in terms of Sonic? I need something to break up the monotony of the mundane voice and the introspective lyrics. I was like, get me out of here. I can't lie. It was around this section of the album. I think I've texted you. And I was like, oh my God. Yeah. Please.
00:54:46 --> 00:55:12 I didn't tell you where it was, but it was definitely around here. How did you feel? Like, I feel like, yeah, well, I think I liked it. I think it has good production. I think it's a great song. And to me, again, like the lyrics were kind of lacking with this one, not because of what they're about or like what she's talking about, but just like the songwriting of it all. And again, this is like kind of what I was saying before is like remembering that this is like a mainstream pop album. Right. Like it.
00:55:12 --> 00:55:38 If you want to, like if Madonna wants to have a message about like, you know, letting your life go or letting things lay as they will, you know, you, you do need to find a way. This is not like an experimental, you know, like she's playing with choruses and beats and, you know, all these things. Ultimately, these are pop songs. Right. So she, she does have to find a way to like fit that, you know, sort of ABC style.
00:55:38 --> 00:55:59 which isn't a bad thing, but I do think it sometimes can be limiting, almost in that sense where, like, you kind of do have to, like, force your place, you know, in that. And that's why I almost think, like, hung up is, like, almost, like, so brilliant, because I feel like it just – it does throw away a couple of those rules. Like, there does – there are different sections, you know, that are, like –
00:55:59 --> 00:56:24 thrown in there, you know, that doesn't like on the second verse versus like the first verse. So things like that, I feel like she gets that. And it's strange because like that works so well. But then I, on a song like this, it's like, I see what you were going for. And like, I get the vision, but it's almost like it just doesn't stand up to, you know, other parts of, um, what I kind of know she can do.
00:56:24 --> 00:56:43 And, you know, you guys know, if you've seen the episode, my favorite Christina Aguilera, you know, she's a message kind of girl in that way, too. She definitely is. And sometimes I feel the same way. It's like, oh, she really wanted to say, like, this is a song about, like...
00:56:43 --> 00:57:04 You know, talking to the haters, but, you know, it has to, it, but it had to fit in like the pop thing or whatever, you know? And almost like, I kind of like almost want to tell these, like, I'm going to tell all of them to be like, like, let go of that. You know, like it's, I know why they're doing it and I'm sure there's like some label aspects to it. Yeah, that's what I was going to say too. There's pressure from the label to keep it commercial.
00:57:04 --> 00:57:34 They were on her. Warner had bought her out of Maverick. So they were kind of giving her a hard time with this one. So, yeah. I bet. Yeah. And, you know, who knows? Like, let's see. Okay. So this one's interesting because it's Moise and Stuart Price working on this one. So it's the two kind of, like, main guys, the guy she kind of left and the guy she kind of went with for the production. Yeah. So that's kind of interesting that it's actually those two, like, worlds coming together. And, yeah, it's – I don't know. Like –
00:57:34 --> 00:57:58 I do think it's a good song. Like I gave it a seven because like I think it's, you know, it's good, but there's parts of it that are lacking. So I think it's, you know, I think seven is like average or 7.5 maybe is more fair. And you gave it a seven as well. I match, yeah. Because this is where I kind of like started to kind of glaze over in my eyes. Sure. And my brain was like, okay. Yeah. Okay. But the production I think is kind of like the –
00:57:59 --> 00:58:25 yeah so i had it at seven as well but i actually changed it this morning to an eight wow this one has grown on me the most i think out of this album yeah i think it's a great song i just think like yeah like in overall like maybe it's because like i hold me down to that high standard you know it becomes average as a result it's tough because like i said some lyrics on this album like overall i don't think it's like her best so i think this is one of those like moments where it's just like oh there it goes yeah yeah
00:58:26 --> 00:58:46 All right, so we are at the halfway point. So if you're enjoying the episode so far, you can follow us everywhere at CCTV Pops. And if you want to hang out with us unfiltered, you can join the CCTV crew for exclusive live sessions and the ability to help pick future episode topics at patreon.com slash CCTV Pops. And of course, as you can see, we are here.
00:58:46 --> 00:59:02 at a beautiful podcast content creation studio. It's a big shout out to Vizcast. If you are looking for a video production studio here in Midtown, New York City, definitely check out vizcast.com. Yay! And Jeff, anything you want to plug right now?
00:59:03 --> 00:59:27 Um, yeah, you can follow me anywhere at Jeff underscore Benjamin or I'm everywhere. But also, yeah, I somewhat recently launched my newsletter website, The Crossover. It's been a really exciting kind of journey and trying more things, you know, independently. And it's been fun. I don't know, like I just wrote something about...
00:59:27 --> 00:59:49 this crazy producer who's taking advantage of your favorite k-pop artist spotify profiles and posting ai um tracks on there and it's um it was very scary and i i felt like you know it's a little something that i looked into was a story that meant a lot to me and a lot of fans so yeah just trying to do like more more of my own but big projects coming this year too
00:59:49 --> 01:00:09 Excited. I love the branding for X. Oh, it's XO. I love it. I love it. All right, let's move on to Forbidden Love done by Madonna and Stuart Price. And fun fact, Madonna had previously released a completely different song, also titled Forbidden Love on her 1994 album, Bedtime Stories.
01:00:13 --> 01:00:40 She's even forbidden love. Interesting show. I mean, not even like forbidden love, you know, L.U.V. or forbidden love part two. I kind of wish she did a full sample of her old song. Yeah. Well, she gave some interview I was reading. She's like, oh, yeah, I sampled myself. But it's not. It's just the title. Yeah. It's not the sound. It's not a sample. I guess it's a reference, but it would have been cool to do that. I think the lyrics kind of supposedly connect, right?
01:00:40 --> 01:01:05 I mean, it's literally the same song title. So I would think, you know, topic wise. Different kind of forbidden love. But also, you know, I didn't think of this at the time, but in the streaming world, like that, it's almost, it's kind of problematic. Oh, yeah. Like nowadays, because like you have to literally type in song titles. And I wonder if it, I mean, I'm, I guess not, but like, I'm, I wonder if it caused issues when like, you're like.
01:01:05 --> 01:01:29 having to upload forbidden love and forbidden love, you know? So it's a different ISRC code. Yes. However, search purposes, it does mess people up. Yeah. So Kylie actually has another song called Love at First Sight as well, like on one of her first 90s albums. And that one does have a high number of streams purely for that reason. I think, yeah. It's interesting. It matters. Yeah. All right. So what do we think of this one?
01:01:30 --> 01:01:50 writing here was understated and melancholy. I mean, it's not understated, but it's kind of sad. But it contrasts with the upbeat production. And I love that. Classic disco technique for sure. The whole sad lyrics in Euphoria, crying in the club moment. And I love crying in the club. Like I don't, it will never catch me crying in no damn club.
01:01:50 --> 01:02:07 Make that very clear. But the whole vibe of being like, forget you. I don't need you. Or like, we can't be together. Shake, shake, shake. You know? I mean, also, that's why I like Steps, too. We do so many Steps episodes. Yes. That's why I love it. And Kylie, too. Oh, yeah. Kylie's good at Kylie. She's great at it. Yeah.
01:02:07 --> 01:02:33 I do enjoy it. This song reminds me of that Romeo plus Juliet, the Leo Claire Danes version. Like think about the song, right? If it was like this crazy, like throbbing beat, put some strings in there. It's them looking at each other in the fish tank. Through the fish tank, yes. Just one look. Yes, exactly. Ah, that's pretty good. Hunt, what's... I'm just saying. As someone who was a paramour,
01:02:34 --> 01:02:54 not fun. The whole Forbidden Love thing is not cute. She makes it real cute. She makes it give a danceability. Like, oh my god, we're not supposed to be together. But it's not cute. Being on the other end of that, being a Juliet was not fun. 10 out of 10, do not recommend. Zero stars. But I do enjoy this song because it also reminds me of her relationship with Tupac.
01:02:56 --> 01:03:12 Okay, hear me out. Hear me out. Hear me out. You have two pop. Do you guys know about the relationship? Yes. Yeah, so they were together, but like secretly, right? Because like he's a gangster rapper, you know what I'm saying? But like she's this white girl talking about, I feel like I'm supposed to tame all the rappers and athletes. And he's like, sis, what?
01:03:12 --> 01:03:39 So while he was in jail, he wrote her a letter and he was like, I'm not trying to be a bad guy here. Like you're a good person, but like, I heard what you said. It was kind of strange. I have good feelings for you, blah, blah, blah, blah, blah. Like, listen, if y'all want me to read the letter, like just a full reading in a Tupac voice, I will totally do. I love Tupac, but like, look out for that short for real on our socials, on their Patreon. Only if you subscribe to their Patreon. You should be Madonna. Jeff, you can be my Madonna.
01:03:42 --> 01:04:11 Can someone open the door? I'm literally burning. There's a great... I don't know. That was terrible. But so was her accent. So we're not going to sit there and clock your tea. Anyway, but I feel like that song... The song just reminds me of so many layers. It's just being like a pair more. And I think about the love. And the boat colder moment reminds me of Daft Punk. I love it. I wish it would have been a little bit more of like a... What are those... What is that French duo doing? I wish there would have been a little bit more on this album. But that's just me being a Daft Punk fan. But aside from that...
01:04:11 --> 01:04:14 It's beautiful and dreamy, and I feel like it's often overlooked because...
01:04:15 --> 01:04:45 Well, if you like this song, you'd like Moby. Because this song, to me, is very Moby. Really? Moby has a lot of styles, don't get me wrong. But to me, it kind of plays off that classic Moby vibe. And to be honest, Moby, I always wondered why he didn't do more pop moments. Because he actually did. Actually, it was released. So he did a song on, if you remember, Britney Spears' In The Zone album. He did Early Morning. Yes. Oh, shake him up.
01:04:45 --> 01:05:02 you know and it does have like that little like trancey disco-y sort of like you know dark electro pop kind of sound so and you know he had like gwen stefani on his album you know he's it's not like he's hasn't done mainstream moments i always wondered why moby didn't do more of them but
01:05:03 --> 01:05:29 Anyway, this song to me feels very Moby in that sense of he always kind of, yeah, use those like, you know, vocal orders, those kind of like dark pop disco-y sounds. Like to me, like, and what Moby is really good at is kind of like a build. Like he knows how to like kind of start soft and like create something and kind of like go back down. And that's kind of what the whole Last Night album is like we were talking about.
01:05:29 --> 01:05:44 Um, and, and to me, I think this song is very well placed in terms of like where it is. And, you know, we're kind of like, we're really in the midst of everything. Like now we can let our emotions get a little bit, you know, feel how we want to feel and sort of things. So.
01:05:44 --> 01:06:10 Yeah, I like this track. And if even just for the fact that it reminds me very much of Moby. But now that you mentioned the Daft Punk of it all, I think that – I mean, I think she said that was a reference point too for this. Oh, nice. But yeah, I totally hear it in all of that. And so I'm just telling everyone, including Kristen Chan, to check out Moby's albums. I feel like I know a Moby song, at least one. You definitely know. I mean, he had –
01:06:10 --> 01:06:38 South, here we go to the South side with Gwen Stefani. Eh. I mean, he. And then, of course, in the zone track that you referenced, we know. In the zone track. Also, Moby, that one album in the 90s had every song placed on a commercial. Yes. Porcelain. He's set for life. No, he really is. There's no such thing as selling out. Thanks to Moby. You know, it's like. This is true. Moby fans, follow me. I really do. Like, I really do love him.
01:06:39 --> 01:07:06 All right, back to Forbidden Love. Yes. Very serious song. Very introspective. Yeah. And I actually love this one. I think it stands out on this album in the best way. I love how ambient it is. I love, again, the kind of alien feel with the blips and the bloops in the production. And I think the lyrics are really well written here, actually. You really do feel that tension between desire and doubt. And then the performance on tour,
01:07:07 --> 01:07:33 She did not make it about a romantic love. It was two dancers with the Israel and Turkey flags on their bodies. And they're dancing together. And then there are images of, like, human cells in the video. And she's climbing on a cross that she had hung on in the song previous. So she turned it into a song about...
01:07:33 --> 01:08:03 connection between different cultures and different countries and oh my god very political i love that were turkey and israel in a thing back then i don't even yeah really girl right now girl it's still i mean israel is anyway the performance made me appreciate the song a lot more i thought it was beautifully done but yeah i think this is one of my favorites of the album tracks actually so i give this one an 8.5 oh okay as much as i liked it okay oh
01:08:04 --> 01:08:26 I was so excited. I was like, yeah, me too. 8.5. Mine is a 9.5. I like this song. It's not a 10. I think Hung Up is the 10. But you didn't give it a 10. I meant to. I guess. I changed my mind after seeing what you guys were saying. And then I thought about how the bridge is in the second verse. And then the. Sure. Okay. Yeah. I made a mistake. What do you score for Bid and Love?
01:08:26 --> 01:08:42 I mean, I gave it an eight, you know, not, not again, I'm trying to be a little more, you know, be okay with my score, but we love it. Yeah. I'd say this one's solid eight. Okay. Hang on. You give him some mercy on his score, but you said can't change mine.
01:08:43 --> 01:09:00 I'm not changing anything. Yeah, he's literally talking about the song we're talking about. I know, but I'm just saying, okay, I just had a change of heart because I realized I was wrong. Oh, by the way, guys, in the comments section, I was wrong. Do not drag me. Watch the full episode. Was this the track that you were going to give the highest score to?
01:09:00 --> 01:09:18 Yeah. Ah, okay, okay. So I switched my scores. This one and Hung Up are your top two. Yeah. Nice. Nice. Well, spoiler alert for the rest of the review, but we'll keep going. Up next, we have Jump. And this was done by Madonna, Stuart Price, and Joe Henry, her brother-in-law. Yay!
01:09:20 --> 01:09:45 And this was the fourth and final single released from the album. And the track was inspired by her move to NYC in 1978. Wait, where was she from originally? Michigan, right? Yeah, she's Midwestern. Yeah. It's like really random. She's another Midwestern princess like Chapel. Yeah. Like us two. Like you guys. Yes, Midwestern princesses. Yes. Well, not me. I'm from New York. Oh, my. Year. Not the city, though. Year.
01:09:50 --> 01:10:08 All right, Jeff, what do you think of Jump? I mean, I've said this five million times at this point, but, you know, I think this should have been earlier in the album. But I guess it's kind of a nice boost. I think it is a beat, right? Like, it's like, you ready to jump? Like, jumping is a high-energy action.
01:10:08 --> 01:10:28 And it totally makes sense as like a single. Like I do love that it was a single. I remember listening to this as well, like before getting the full album. And I really like it. I think, yeah, I mean, it's – if I remember correctly, it kind of almost – it starts very subtly. Like it starts –
01:10:28 --> 01:10:54 Something I sometimes don't really like with dance music is like when it feels like a beat, it's just like a beat, like playing. Like, I don't feel like there's a real start to it. I don't know what it is. I don't know if that's like anyone else has that kind of hang up, but it kind of starts like, you know, it's like, it's just, it doesn't really call me. Like, it doesn't pull me in anyway, but it is because I do think it's this very swelling track. It grows in like a really big way.
01:10:54 --> 01:11:21 I do like that about that. And again, I think if anything, my only hang up about it is just that, yeah, I think it should have been earlier in the album. But just given, again, what she said was the set list of it all, you know. And I mean, actually, you know, like, and I guess if I'm being like maybe a little more fair or like being a little more open minded about that concept, like you do when you do have a DJ set or like a dance set, you do kind of eventually need to get everyone back.
01:11:21 --> 01:11:44 to start jumping again or bring them back. It doesn't need to be just about going lower and slower. You know, like there's no come down. You do need those break up moments, not break up, break out moments in that way. So I'm actually like now I'm like, I'm actually okay. You talked yourself out of your opinion as well. See, see, see. Look how you can change your mind.
01:11:44 --> 01:12:08 It's just not Moby's Last Night, which of course everyone knows goes from one style to another. Yeah, I mean, I do think the reason it does kind of work here in this album is the production itself. It has all those extended strings in there. It's kind of these low synths. And though it has an energetic beat, it doesn't bring you all the way up to the energy that Sorry and Hung Up and stuff has.
01:12:08 --> 01:12:38 So I kind of see it's not like a full rise back up. True, true. It is a bump up for sure. Because even the way she says, are you ready to jump? It's not like she's like, are you ready to jump? Yeah. It does stay quite subtle. Yeah. Yeah, yeah. I actually do like the lyrics though. Like this kind of idea of jumping into the unknown and kind of just going for it. Yeah. You know, it is easy to get complacent in life, you know? So you got to make a change sometimes. So yeah, I like this one. Yeah.
01:12:38 --> 01:13:06 I think I would have been curious to see if they did release one of the more introspective songs as a single, though, just to kind of show the whole breadth of the album. I wonder if that would have done anything. But yeah. Oh, food for thought. I mean, yeah, I like the whole risk it for the biscuit lyrics. I enjoy that because, you know, the lyrics about like, was it life is going to drop you down like the limbs of a tree? That line kind of cracks me up because it's true. Like you can sit there and be like on the highest peak of life and then suddenly you're going...
01:13:06 --> 01:13:34 trials and tribulations and how you come out from the other side of it really matters and then i think the way the song does swell as opposed to explode is really important toward the whole trajectory of the album so to your point and to your point it does make a lot of sense and i think this is probably one of the albums like more like accessible pop song because like hung up does have a random bridge in the middle of the second verse no problem and then it falls away and comes back in the mistake that i forgot
01:13:35 --> 01:13:51 the mistake I made earlier. I get it. But our point is, um, I forgot to acknowledge that earlier. Um, but yeah, I think this one's probably a little bit more accessible. It's kind of just like by the numbers pop. And then the video itself, it's also just kind of like in Tokyo. Yeah.
01:13:51 --> 01:14:21 yes it is in tokyo but she's she's she's not in tokyo yeah i think she was okay she did it well on tour maybe maybe well she's only in one yes that's the studio yeah i can't say i love that part but the parkour though that was really cool she was she is so on trend because i think at that time parkour was like becoming like a huge thing like she had the two co-founders in the music video so that's super awesome i remember i bought a video game called mira's edge because parkour
01:14:21 --> 01:14:49 crap made me so nauseous. But like, yeah. But the whole point is she understood jump. She was working with, what was that director that did? The director that did Fifth Element. Luke something. But the director of Fifth Element worked on a film about parkour. Got connected with Madonna because of the film that they were supposed to work on. The one that, you know, just didn't happen.
01:14:50 --> 01:15:19 he does, they do the connection between parkour and Madonna and the video. So she's very much like tapping into resources from yesteryear or like yesterperson and then bringing on like Stewart, like what you were saying earlier, the guy from before came into the full. So I think it's really interesting how she's able to take things that she, somebody she met like a year ago and being like, oh my God, I need you. I need you for something. Someone she met like 10 years ago, I need you for something. So I love the video for that.
01:15:19 --> 01:15:28 and the relevance of the parkour being super cool at the time. Her look was also inspired by Mello from Death Note. Stop, really?
01:15:28 --> 01:15:57 According to my research. You guys have to check that out for me. Please. That's amazing. Because Mello is the one that kind of like ended everything. Also, the tour performance, the parkour happens on stage. Oh, really? That's cool. This giant steel structure comes down and her dancers are just like doing these crazy tricks all over, which is insane. I think I saw that. I remember seeing like – there definitely like there's like press photos of that or something. Yeah. They look cool. Super cool. But yeah, I like this one. It's not my favorite on the album, but I think it's fun. I give it an eight.
01:15:58 --> 01:16:21 validate um oh i'll give it a 7.5 because i don't like hate it it's kind of just like really safe-ish sure as well it's not outstanding so 7.5 for me i originally had 8.5 now that i've you know embraced it a bit more maybe it's a nine now or maybe an 8.75 but we don't do that here okay 8.5 it is i guess
01:16:22 --> 01:16:31 All right, let's move on to How High. And this was done by Madonna, Henrik, Jean Back, and Bloodshy and Avant. So we got some new producers here now. All right.
01:16:35 --> 01:17:00 yes yeah i i was kind of i didn't know that they worked on this yeah because this was actually this was right after toxic i mean i don't know timing wise exactly like if toxic had been really because what in the zone came out end of 2013 yeah 2003 and um so i who knows like where things were like in terms of all that but i thought was fascinating that they're part of this
01:17:00 --> 01:17:26 Yeah, she said that she wanted to work with them because, in her words, they had just done music for, you know, songs that I liked. And they were like, she was, you know, Kylie, Britney Spears. Something like Toxic. She said something. She didn't say the names. But I was like, it's okay. Y'all are all pop girlies. You can use the same producers. You know how it was back in the day, though. Yeah, you're right. They couldn't, any mention of each other, people would turn into rivalry, right? They are so right. But yeah, no, she wanted to work with them for sure, especially after that Grammy. Yeah.
01:17:26 --> 01:17:54 I do wonder if they put jump in the back of the album purely so you get jump how high For the sequence interesting That's amazing. Can you imagine? Oh my god. I do love seeing bloodshy and Avant here They've done some great stuff as we know and they do have kind of signature Production things you get this kind of stabbing staccato strings. It's all quite intense You know, they do a great job with that
01:17:54 --> 01:18:14 I will say I think the lyrics are maybe the most interesting part of this song. Like she's reflecting on her own fame and success. And like you have all these questions, these existential questions like was it all worth it? Does anything matter? So I find that interesting. But I will say I don't love the melodies. You know? Yeah. That was my note.
01:18:15 --> 01:18:41 I mean, more or less the same. I think it's a super interesting track, you know, in terms of commentary. But for some reason I, and maybe it could be unfair to like holding Bloodshy and Yvonne to like such a high standard. But yeah, I feel like it didn't go there as far as like I wanted it to go there or, or just like maybe they weren't bringing their best or maybe again, like again, trying to like crunch something like a commentary on fame into like an accessible pop track again. Like yeah.
01:18:41 --> 01:19:11 It just, I don't know, it didn't totally come together to me. For me, the most interesting thing, yes, is like the commentaries on fame and just kind of like even realizing like Madonna, who I think, yeah, like probably most powerful woman in music, you know, especially at that time. But being like, how high do I have to go? How far do I have to go? You know, when when is enough enough? And I do think like it's a it's a valid question. You know, a lot of people do, especially like when you become superstars.
01:19:11 --> 01:19:34 And she's someone who hasn't ever been like, I'm going to just rest, you know, and chill out. Like, you know, how long did this come out after American life? Like two or three years? Like not even, you know, like she's never like she started taking longer breaks eventually, kind of maybe in the next decade. But she really like, you know.
01:19:34 --> 01:19:51 It almost this was kind of like a way for her to come back, you know, and she did get a great comeback out of it. But it's right. Like, when will enough be enough, you know, and it's like, she's certainly she certainly has done more than enough, you know, but and this is also why I love her, though, because she never does, you know.
01:19:51 --> 01:20:21 Wait, I mean, that's why I love Beyonce as well. Like it's never about just resting on your laurels and saying, I've done enough. You know, it's always about how to keep going and pushing it to the next. So, you know, mixed bag of emotions. That's valid. I think when you guys put that stuff into perspective is really interesting. Cause like, yeah, it was like the early 2000s. Like I'm used to hearing like artists being like, well, I don't have to be here. I'm only here so I don't get fined type things. You know what I'm saying? Like, like I'm only here. Who says that? No, it was actually an athlete. Oh, okay.
01:20:21 --> 01:20:47 He was at a press conference and he was like, I'm here so I don't get fined. It's a lot of the artists now. I mean, look at Chapel. When she's going to dinner, she's like, people are filming me. I thought you guys should know that I'm not being rude. And people gave her a hard time. This is the life you chose. Yeah. But if she said stop off camera and people are going to make stories about her, like how they did with Dojo, even though that was true. What she did. But point is, I can just imagine like at this point you've had like what, decades. Right.
01:20:48 --> 01:21:11 of just relevance. You've, you've been the one at the cutting edge. You've been the one that's setting the trends. Like people cite you as a reference. Yeah. It is a lot. It is huge. And even like on a, like a normal regular basis, like I go to a dance studio and I teach competition dance. It's like the parents are just happy to see their kids dance, but to hear they placed is like, Oh my gosh. Yes.
01:21:11 --> 01:21:30 But I've never been like that, like super competitive. So I think it's kind of interesting, like just personally speaking. Like I'm not a competitive person. Like how much do I want? You know what I'm saying? I think if you want to survive in the music industry, the entertainment industry, you do have to fight for it. Kind of have that dog. Yeah. You got to have that dog in you. And to Madonna's, you know, credit, you know.
01:21:30 --> 01:21:56 a lot of people did detract, like try to detract from her very early on. You know, I'll never forget like seeing those like magazines, you know, that said like granny's shaking it, you know, when she was like in her thirties, you know, like, and, and to be honest, again, it was a different time, but like Mariah Carey or other artists who would kind of like say like, you know, Oh, I haven't listened to Madonna since she was popular. Oh, right. And Madonna, yeah,
01:21:56 --> 01:22:23 you know, truly does, I think, continues to stand the test of time. And I almost kind of wish she would remember that sometimes because I'm like, Madonna, you don't need to be doing all this. You are Madonna. You know, like I had a call with my mom. My mom's like, oh, why is Madonna trying to like, you know, look like this or whatever? I'm like, well, she's Madonna. She could do whatever she wants. But at the same time, I do imagine there is sort of that pressure and, you know, things like that. And to be honest, like,
01:22:23 --> 01:22:45 she has proven them wrong for so long. Like, why wouldn't she? So I, I see a lot of it and it's kind of nice to almost have this moment of being like, okay, how far do I really need to go? You know? And it's like, you wouldn't really think like Madonna would do that. And she made it very accessible too. So I don't know. I really love the commentary on the song, even if the song itself might not be my favorite.
01:22:45 --> 01:23:04 Yes, and that was my note. I think at this point, I'm just like, my ears are getting a little bit numb to the monotone-ish thing. But she's never been like a huge belter, falsetto, melisma. She's not that kind of person. But I just think, comparing to like Freaking Die Another Day, like the vocal chops there, I'm missing some of that here. Sure. Yeah.
01:23:04 --> 01:23:20 But, yeah, I think at this point the whole, like, vibey singing thing and the production being cool isn't enough for me to give it a high score. It is sitting kind of somewhere around, like, a 7, 7.5, maybe an 8. But, yeah, it's 7.5. That's still very high. I was going to say. Yeah. I'm going 7.
01:23:20 --> 01:23:40 I mean, again, I wrote this all while I was in the depths of it. I gave it a 6.5. I think, yeah, the commentary is the most interesting part, but it doesn't lift enough for me to want to give it more. And, yeah, I don't know. I don't know. Maybe I was just expecting too much from Bloodshy and Avant.
01:23:40 --> 01:23:56 but you're right. Cause not yet. There's also bloodside Avant like that. Come on. I'm dropping it six. Sorry. You know? Yeah. No. Cause I think this is also around that section. I, I, I was losing it. Yeah. I was in my brain a little bit. Yeah. Yeah. But yes.
01:23:56 --> 01:24:23 Up next, we have an interesting song and it is Isaac. And it was done by Stuart Price in Madonna and features vocals from singer Yitzhak Sinwani, who sings portions of a Yemenite Hebrew poem. And before the song was even released, some Israeli rabbis accused her of blasphemy, mistakenly believing that the song referenced Kabbalist scholar Yitzhak Luria, Luria, sorry. But she literally only called it Isaac after her friend that sang on it.
01:24:28 --> 01:24:51 And in an interview, Madonna mentioned she considered calling the song Fear of Flying instead. But that was changed because the song is about going outside of your comfort zone. That would have been an interesting title. I mean, if I'm not mistaken, like in the earlier stages of this album, it was supposed to be called Defying Gravity. And it's like, okay, so it's a terminology within the Kabbalic, if that's the right word, in the Kabbalic.
01:24:52 --> 01:25:21 It's a Kabbalah faith. Yes. Thank you. The Kabbalah. I won't say Kabbalah. Cause I don't know if that's real. I'm trying to like, you know, Kabbalah I think is right. Okay. It feels right. You know, but I think it's, I think if I'm not mistaken, based on the research, it was a concept of like reaching a higher state, defying gravity. But of course around the same time, you know, Wicked was hitting the scene and just, it's hard to kind of like not make that comparison, but she ended up going with confessions. So I think it's interesting how all of this kind of combines. And also fun fact, but,
01:25:21 --> 01:25:41 She was working on this song while she was doing her documentary. And during that documentary, I forgot what the documentary was. Like the live tour documentary situation. You know, she kind of like has like real life situations tied into the whole concert. For this part of the concert documentary, she was talking about her pilgrimage and her new spiritual journey.
01:25:41 --> 01:26:04 lessons and things like that so this song was made around that time and the connection that she made with the gentleman um her friend um isaac so a lot of lore behind this song um but i i i'm interested to hear what you guys have to say about the song i don't dislike it i think rhythmically it's interesting yeah it's a little strange but she already said go on the side and perdoname earlier
01:26:06 --> 01:26:22 But how do you feel? Yeah. I mean, I think it's cool because I think, again, this is something that like I think is very – like only Madonna can kind of do something like this and it's not so like mind-blowing or so unexpected in that sense. Yeah.
01:26:22 --> 01:26:46 I like it in the sense that it doesn't feel like she just took a random reference or like, you know, random languages and put it together. Like, I do get where she came from. And again, going back to what we were kind of saying with, what is it? Oh, yeah. Future Lovers. And like, you know, it's slightly psychedelic. It kind of borrows from like this Eastern, you know, sort of vibe in that sense.
01:26:46 --> 01:27:09 And also, like, it was, you know, more or less true to her experiences as being, you know, she was a Kabbalah follower at the time. And I did, I do think it's interesting that, yeah, there was kind of this whole, like, fake outrage from, like, these rabbis or whatever. Because, like, I don't know. Like, I think one thing about Judaism, so I am Jewish. I'm Jewish. Yeah.
01:27:09 --> 01:27:28 Reformed Judaism. But I do really love Kabbalah and we like learned about it, you know, in temple and things like that. And Kabbalah's whole thing is like, it's almost like the mysticism mixed with Judaism. So there is this kind of like, you know, spellbinding, interesting, you know, like sort of...
01:27:28 --> 01:27:58 I don't know, a cosmic idea of it all. So I think that really gets captured in a nice way here. And then also, you know, at the same time, too, a big thing in Judaism is like not barring like people from, you know, exploring their Judaism or things like that. So to me, it was kind of surprising to hear like rabbis, you know, being like, this is blasphemous, you know, when like Madonna, like a Madonna record has a big chance to like reach a lot of people and like make a lot of people learn about it.
01:27:58 --> 01:28:16 potential Judaism or learn about, you know, this, this scholar that they apparently thought was, you know, was the song was actually about, but it's about Yitzhak who, you know, that's Isaac in English, but Yitzhak, I guess in Hebrew. I didn't, I didn't actually know that until looking into this song.
01:28:16 --> 01:28:39 But I think there's a really nice message ultimately. And, you know, the lyrics go that the gates of heaven are always open and there's this God of the sky and the angels, how they sit, you know, in front of the light. And this idea kind of like that the way you are on earth, like even if people are rejecting you, I think there's like lines about like if you get rejected on earth and, you know, but you're still a good person, like heaven will see you or, you know.
01:28:39 --> 01:29:00 Heaven and hell isn't really a big – or hell isn't a thing in Judaism. But there's this idea that like even if you get rejected from everywhere, it's still worth it to like believe and be a good person because in the end like heaven and the lights will see you in that way. So I don't know. I liked the themes of the song as I looked into it maybe more than I –
01:29:00 --> 01:29:30 actually like the song itself. I appreciate it. I rated it an 8 ultimately because it's a good song for me. Again, it's not like something that pulls me in entirely in that way, but I do like ultimately what it all stands for. Yeah, I do think the production itself is quite beautiful. You get the plucking strings, the guitars. I think the way they used the hymn is kind of a loop sample I thought was really well done. And again, you get that kind of hypnotic
01:29:31 --> 01:29:46 with it too. I also think it's interesting lyrically being right after How High where she's kind of questioning some of the things she went through and whether they were worth it. But then this song, you know, goes even deeper, right? She experienced a lot of darkness but there is...
01:29:46 --> 01:30:15 a hope in it all. Like she emerged successfully from it. And she did actually have Yitzhak join her on tour. Oh. So they actually performed the song live and she had all this like bird imagery behind her during it and she had a dancer in a giant cage that was dancing as well. So yeah, I think I appreciate the song's concept. I agree with you though that as an actual song that's
01:30:15 --> 01:30:44 It's not my favorite. Yeah, it's valid. Yeah, I give it a seven. Oh, okay. I am not going to lie. My ears are dímelo. I was like, oh, dímelo. Okay, let's go to Spanish. It was not. Okay, now that we're doing research, obviously. But I was like, okay, give it to me. I like a little vocal chop or whatever. The Hebrew sounds like dímelo. Yeah, dímelo. Oh, I see. I'm so sorry. My bad. When you only know a couple of languages, you kind of just mentally tap into whatever you hear, you know?
01:30:44 --> 01:31:00 uh sorry but yeah you kind of tap on what you hear um but yeah i think the transcendentalness of it all is really important not just for her spiritualness but like i think for a lot of people especially if you are coming from like marginalized communities like the lgbtq
01:31:01 --> 01:31:30 it's like, where can you go to find your people? Right? Even if it is like before you hit the lights, where can you find it here? And a lot of people go to the clubs, they're dancing, they're feeling, cause you find each other. Cause I'm like, let's be real. And I was like, oh, let's go to the cafe and like just grab a coffee. Not a lot of young people are like, let's grab coffee. Like we're going out. Like, you know what I'm saying? And they want to dance and you're stressed from the week or whatever. So I got that kind of like cathartic club moment from this. I'm because I think the song is- I'm getting chills. I love that.
01:31:32 --> 01:31:51 So I think I appreciate it because of that. The mystical thing is so true. But like the dance floor becomes that spiritual experience. I mean, how many of us like look at someone across the floor and you're like, you're getting it. You're connecting. I don't know you. I'm not going to talk to you after this, but I feel so good right now. Like that moment there is like so cool. So I do appreciate that and the atmosphere around it.
01:31:51 --> 01:32:07 So I think that for me, the meaning means a lot. And then the beat, you kind of just like vibe, you close your eyes. You kind of just like, you know, doing a little pump with your arm. You're not getting a full eight count, but it's cute. So I also give it an eight because this one grew on me because at first I was like, girl.
01:32:07 --> 01:32:29 Girl. But then, dímelo. I heard some stuff. I think it's beautiful. And you make a great point, too, about religion is, so many people do use religion or church or whatever it is to find community, to connect with people. And using that idea with dance and finding a way to connect with people, it's a very beautiful concept in that way.
01:32:29 --> 01:32:56 way and some people do almost call that like the dance floor is my church you know yeah there we go I mean it makes totals and especially like what you mentioned like marginalized communities or like you know thinking about like the ball scene or like you know things like that or like yeah gay clubs like it is where you can really be yourself going back to that idea that yeah if everything's rejecting you like on earth you know like you will still find you know that heaven in that way.
01:32:56 --> 01:33:25 What's up? Come on, Oasis. Okay, Madonna. Come on, Yitzhak. Let's go. Thank you. I was like, how do you feel? I had a teacher named Yitzhak in high school. I don't even remember his last name. I only remember his first name now. But I didn't realize. I thought it was just a strictly Hebrew name. And now I'm like, oh, Isaac. Oh, yeah, yeah. That makes sense. Yeah. All right. Let's move on to Push, done by Madonna and Stuart Price. You push me. Oh, man. I was like, who's going to sing it first?
01:33:30 --> 01:34:00 Can I start off by saying, I think if there was a fifth single, this would have been it. Really? I do. Because I think it's almost like, and I'm not saying it because I think it's the great, like the fifth best song on the album. I only stretch the imagination. But I think this was a song to me that read a bit more of like a universal love song or like a universal theme. Like kind of being, again, put into like more of those like pop elements in that way.
01:34:00 --> 01:34:27 And it's strange because I actually think like a lot of these singles weren't necessarily like conceived in that way. But I feel like push was like a song where they're like, let's wrap it up with something that like, you know, it can be about your husband or, you know, be about a lover or something like that. And like, it has this really nice theme and, and I like it. I, I actually think the chorus is melody is a bit strange, but kind of satisfying in that way. Like kind of like that, like, it's like,
01:34:27 --> 01:34:47 Anywhere I live, anywhere I know it's because you push me. It's literally every breath you take. He said, stay, come get your royalty. I wasn't sure if it was exactly like that, but that makes sense. It is a very clear reference. To me, it wasn't as clear. Every breath you take, every step you make, you pushed me.
01:34:47 --> 01:35:14 He said, come get your royalty, Sting. But I like that. I don't know. Maybe it's just because like I just I think that's great when you have like a lover or a partner or a friend or anyone who really can push you like that. Oh, are you getting pushed? Am I getting pushed? I think we should all push each other. You guys push me to do better, you know. Oh, that's awesome. I'm not getting pushed. I push him to be on time. Oh, see? Chris pushes me to be better with my money. What do I push you to do?
01:35:15 --> 01:35:37 Wait, what do I push you to do? Anyway. So what do you think of the song? Well, hopefully, like, hopefully we do teach you or help you in other ways, you know? Even though I do think Chris is a good influence on us is much more obvious than maybe where we are. I'm a good influence on you, right? We entertain him. Make a break. No, you're a great reference. Okay, thank you. Thank you.
01:35:37 --> 01:35:53 I take you to shows. As I cackle, you gotta edit little horns on me. It's hilarious. You know, this song, I love the gratitude. I also think it's about her fans as well, because I can imagine after how many years you push me. No, no, no, no, no, no. You push me.
01:35:53 --> 01:36:14 When she wants to lose it all or whatever she says. Right. Give it up or something. Right. It also could be spiritual. It could be. Yes. Ah. So many connections. I also think it's a great song for pushing on a baby. You push me. Oh my. It's great. It's a good push song. I think it's fast enough. It's a good push song. Depends on the contractions. But I think.
01:36:14 --> 01:36:44 she dilated you push me i'm like shut up give me your hand grabs it really tightly but this song just reminds me of like pushing a baby because she says push so often i'm like oh it's giving like baby giving birth um but yeah i think this one is okay it's not her best lyrically and i think that is my problem is that again it starts to become like this one fish two fish red fish blue fish and it's just not good it's not strong lyricism yeah i'm not asking for a bunch of metaphors but i'm also just not asking for you to say you push me
01:36:44 --> 01:37:11 yeah you push me yeah it oh definitely does it's giving spiritual song yeah i'm thinking about it sounds like a oh she should have a choir on this honey it just makes sense given the last two songs i think right she should have had a choir um yeah i do think the production on this is interesting you get this kind of whomping bass synth you get these kind of metallic kind of twinkly yeah noises in the back as very moby as well yeah wait isn't this the works up last movie reference this melody does nothing for me
01:37:11 --> 01:37:30 you push me manana you push and then the every breath you take chorus i'm like okay okay um so yeah this is my least favorite on this album spoiler alert okay i have it as a five it's a seven for me
01:37:31 --> 01:37:58 I like the different opinions. I think it's just like a fine pop song, average pop song. I wasn't expecting that. That is so funny. Is this the one that sounds like, um, uh, the gold fraps on by the way? No, it's like it or not. Yeah. Oh my bad. Okay. Sorry, my bad. Okay. See, um, if I can't remember it that well, but that's so funny. Um, sevens, I'll give it a six. Okay. It's not terrible to me. And I kind of, the baby pushing thing kind of helps me get through it, but like, it's not great.
01:37:59 --> 01:38:11 That's actually really funny. All right. Moving on to the last and final song of the album, Like It or Not. This was done by Madonna, Henrik Johnback, and Bloodshy and Avant.
01:38:16 --> 01:38:44 Okay. This song sounds like Goldfrapp's lovely single, Strict Machine from the Bittersweet album that was released two years prior to this. So it's not a bad thing ever because Goldfrapp kind of ate up what they did with what they did on that album. Excuse me. I could not say what I had to say. But yeah, I think this song is interesting because it's like the final...
01:38:45 --> 01:39:11 realization throughout this album because there's nowhere else to really go. There are songs that were removed like Super Pop and History, which I think would have been great on this, but because she didn't want Warner again. Warner again. Who she's back with now, right? Didn't she go back to Warner for this part too? I think I remember reading that. Let me know if I'm wrong though. Right, right. Please fans. But yeah, I think this one's interesting because –
01:39:11 --> 01:39:34 Not that it sounds like the whole goldfrap thing, but it also has like this Americana electro vibe because of the guitar. It just feels kind of like Americana. But then the electro, it just, it zaps and hums and whatnot. But there's something in it that feels like maybe would have been okay on American Life. Like maybe, maybe because I mean, Die Another Day was on American Life. So maybe, maybe.
01:39:34 --> 01:39:54 maybe um it's not bad it's not like an amazing song for me it was okay i do like the the metaphors and the analogies and stuff like the garden i'm your snake you know yeah take things from me whatnot i do like the verses a little bit more than the chorus i would say um maybe because of all of the references to like
01:39:55 --> 01:40:13 uh giving and receiving taking and giving and such i kind of like that because she is kind of like this is this is what i am this is who i am is who i'm going to be like this album's freaking solid so take it or leave it like that kind of vibe so i do appreciate it but i can't say that i'm like oh my god
01:40:15 --> 01:40:44 it's not terrible it's not like oh my god i mean i will say ending a dance album with this type of song is interesting and especially it ends with like this acoustic guitar solo moment as well so i think it's a creative choice like to take you on a sonic journey i'm not mad at that it is an understated way to end a dance album though for sure um yeah you could even say that about the producers because you know none of the main producers and the album which i think is kind of like
01:40:44 --> 01:41:02 You know, it's like it's not like the statement piece that it should be, but maybe that's OK. I don't know. I thought because, yeah, this is one of two songs that Bloodshiny Vaughn did. And it's like you didn't end it kind of on the way that it was mostly conceptualized. You ended it with something that something someone else did, you know.
01:41:02 --> 01:41:32 I mean Stewart was the executive producer so he still had a hand in the overall concept which is leading me to believe those other songs getting cut off even though too much like American Life is too political I feel like they were a little bit stronger especially Super Pop it was just like in your face kind of like cool I mean lyrically I think this song makes sense like you were saying right she's always done such a good job throughout her career of kind of standing her ground you know emphasizing self acceptance
01:41:32 --> 01:41:50 facing all the public judgment and criticism that she had so i get it conceptually but yeah i can see why it's divisive as the last song i will say she did she did like a solo chair dance oh okay for this song which was quite fun to watch i love it i will say but yeah not my favorite on this
01:41:50 --> 01:42:07 Yeah, I mean, it's another, it's a message song that kind of ends. And, you know, it's a song that reminds me once again, like, this is like a mainstream pop album, like it is meant to be that. So, you know, like, you're gonna get those songs that
01:42:07 --> 01:42:36 kind of, you know, you want to get a message in, but it does need to play to like those pop formulas. Like this could have been maybe like if she was really wanted to go experimental or really wanted to go in some kind of new area, like this could have been like a manifesto and gone all over the place or things like that. But ultimately, like it does, it ultimately is packaged like a pop song. So it kind of reads like that. And, you know, I don't know. It's like it, the message is good. Like these kind of things.
01:42:36 --> 01:43:01 I don't know. I don't think it's a bad song either. Like I do like the message. And again, you know, it's like very much. I don't know. I think these kind of songs are definitely the kind of songs that I think inspired like that next generation of girls. So like really like, you know, always have those empowerment themes of empowerment and, you know, whatnot. So to me, it's like, oh, yeah, you have to go deeper to get those messages. But it's always there.
01:43:01 --> 01:43:28 you know and and i and i i think it's a good message to end on even if it's not my favorite album i mean favorite song okay so what do we rate this is that a 40 and slip i'm joking i will i will give it an eight because i don't hate it maybe you're 7.5 but it's somewhere sitting in that little sweet spot because i don't dislike it i like the production i just wish the album had ended there but even if it if it hadn't i think it's an okay song so maybe an eight
01:43:28 --> 01:43:54 I'm at my eight. I'll say a good one. Okay. I'll go 7.5. Yeah. I was either 7.5 or eight. Okay. So I'm right there with you guys. It's kind of hard to like. All right. Well, that's the end of the standard version of the album. It is. Can I ask you guys a question though? Yes. Because Alan Light from Rolling Stone in his review of this album declared, you know, it was a positive review, but he said, confessions on the dance floor won't stand the test of time. Like her early club hits.
01:43:54 --> 01:44:08 but that approves its points and Madonna can still like move a crowd. I'm curious if you guys think it has stood the test of time, the music itself. Okay. I will say, um,
01:44:09 --> 01:44:31 It depends. If you think about like the Zeitgeist moment, no one's sitting there singing Hung Up, really? Like some fans, yeah, sure. But like what other album track is like, oh, that's a good question. But like what other album track are people like citing Madonna? Like when they're wearing clothes and doing tributes or dressing up as Madonna, it's the eighties. It's even human nature sometimes. I mean, that's a little controversial, but you know,
01:44:31 --> 01:44:50 It's something that's like striking. I haven't seen a lot of people do the whole pink leotard. So it was like the, in terms of like visuals, like guys, no one's really latching on. Hung up was super good. We'll never take that from her. But I think even for me, like I can't, I don't look back on this and go like, oh my God, I missed out. It's more like, oh, this is, this is not a bad album.
01:44:50 --> 01:45:18 Like coming from American life where people are kind of like saying a lot of crap about you. This is not bad for like the quote unquote comeback album in my opinion. So I get what the guy was saying. Like it's not like if people are doing tributes, they might just do hung up. They might do jump, but hung up is going to be that one. It was just so strong. And I don't think there's anything else up here that rivals it in terms of its like impact.
01:45:19 --> 01:45:28 It's sonic impact. It's visual impact. I don't think it's anything like that. I mean, I do think it does have a place in, like, the pop kind of pantheon, right? Because...
01:45:29 --> 01:45:54 A lot of people will cite this as an influence. Like a lot of the pop girls will cite this as an influence. And we did have that kind of disco revival a few years ago where I feel like this idea did have kind of, it kind of did come back in that way. I think for me, I don't know that much like the ins and outs of Madonna's discography. So I'm actually curious what the fans would say, like if they look at her whole discography
01:45:55 --> 01:46:23 how high they would place this. I think commercially it was up there. Right. For her. And I think it was the, the comeback she needed. Yeah. And again, like with America or in America, rather, I feel like we knew it, you know, hung up kind of did what it did in its own way, but it seemed like the rest of the world really liked this. They understood it. And then she had the really successful tour around it. And you know, that kind of set up the, you know, just for her basically to continue being Madonna, but, and, and,
01:46:23 --> 01:46:44 ultimately make a really mainstream, you know, commercial, uh, come back in that way as well. So, um, yeah, but I, I, I personally do think it stands the test of time. I think it's, you know, there, sometimes I almost like built it up more in my head as like a greater, you know, album that it might be mostly just because of, I love New York, but, um,
01:46:45 --> 01:46:59 just ruins everything for me no just kidding um but uh but other than that you know it's like it's i don't know i think i think it's really like it's such a moment like compared to especially like later albums with madonna
01:47:00 --> 01:47:18 I feel like she always was really good at like making strong concepts. And this one, like you can even just look at the album cover and you like know what the sound and the vibe and, you know, the whatever it is. You know, you can't say that so much so with some of the other records. Yeah. Oh, that's valid. I feel like this is like her emancipation of Mimi. Like I love that song now.
01:47:18 --> 01:47:37 I mean, I love that album down, but are people like, oh my God, this is the me, me album. This is the Mariah Carey album. I think for me, that's kind of like what's happening with this. Cause Emancipation, I think was like, oh God, breath of life. I love, I will never let go of them chickens or ash in them lotion. Granted, she has better lyrics on that album, obviously, but like.
01:47:38 --> 01:48:02 I don't know who is like, again, citing that. No one covers songs for that, unfortunately. It's freaking weird when I do tributes. I'm just thinking of like, again, maybe it's like a European-American thing. I feel like our European listeners might like be into it. I am curious to know what you guys are going to cut though. So don't be like, oh my God, I love this song. You can cut a song. Yes. So we're going to get into the cut and keep. Yes. Okay. If we had to cut a song on this album, what would it be and why?
01:48:04 --> 01:48:21 I love New York. We knew that. That's pretty obvious. I would go Push. The Push song? The Push Baby song? Sorry, I find that melody very great. The fifth single is crazy. In America, I would choose a different single for Europe. No, yeah. Let me see.
01:48:21 --> 01:48:51 Oh, that's a good question. I mean, I love New York. Is it I love New York? Yeah. I love New York. It just sounds so funny because like the TV show, I love New York. New York is like the best TV villain. I'm trying to think. Let me see. I mean, you can choose that one too. Yeah. Yeah. Yeah. Yeah. Yeah. Maybe that one. And then maybe, maybe, maybe. Which one that I was like, I couldn't even freaking remember the song. Give me a second. Because I can't remember the song. I got to go. I'm serious. I can't remember. I think it was How High. It's not strong. Oh, yeah. Okay. And I feel like with history –
01:48:51 --> 01:49:14 stronger yeah again she was dealing with a lot of pushback and also maybe she just wasn't feeling it and i get the message of how high but like it doesn't do anything for the album yeah not personally all right so aside from the singles because i feel like all of us would likely choose just hung up probably that's just like the main highlight of this album album track wise if you had to only keep one song what would it be
01:49:15 --> 01:49:35 Oh, mine's my The Office. I like Forbidden Love. I mean. Yeah, ratings-wise Forbidden Love is also my highest of the album tracks. I just think this would have been like an interesting kind of. Maybe this one should have been a single. I'm joking. But maybe not. Maybe I'm not joking. But I do like the song. And I feel like maybe Darker would have been more fun for her. Mm-hmm.
01:49:35 --> 01:49:53 I guess Isaac or Future Lovers. Okay. Okay. Nice. Yeah. Yeah. Okay. So part two. Ooh. We all know it's coming. Yes. Right. So reflecting back, what do you think of this album? This is kind of part one. And what would you give as a final rating for this album?
01:49:53 --> 01:50:09 Oh, yes. So even though I said what I said, I know people are gonna be upset. Anyway, I feel like the album isn't bad. I don't think the album is bad. I think there are some. We just spent all this time. She's like, I feel like it's not bad.
01:50:09 --> 01:50:33 No, I'm serious. I think because a lot of people think because I'm being critical that I just hate something. But people can say they don't like something without being completely nasty. It's not coming from a place of nastiness. Coming from a place of understanding the full concept and understanding that the confessions part is almost like a diary. So for her being introspective makes sense. For her to be like a disco, you know, it just everything makes sense as a project.
01:50:33 --> 01:51:03 Sonically, it was not bad. It was super cohesive. Hearing all that stuff happen seamlessly was really fun. So like before Renaissance, there was a confessions. It's fun to hear that. It's fun to kind of, again, she's ahead of her time in terms of so many visual aspects, conceptual aspects. Like this was good. I think for me though, lyrically, there are some, like I said, Dr. Seussie moments that you cannot sit there and pretend that are good. And the melodies weren't strong enough for me to be like, oh my God,
01:51:03 --> 01:51:22 Like, this is like, I need to copy this. Like, if I don't feel like that as a songwriter, like, I wish I would have wrote this, then it's just, for me, this is not there. So there's too many moments of that on the song for me to be like, oh my God, this was amazing. Production-wise, they're like, Stewart is, he kind of was like the, how do you say, like the heavy lifter for me.
01:51:22 --> 01:51:51 um for this album so i it was it's sitting at like an eight it's not like a nine or a ten but it's definitely an eight but i need to listen to her full like discography and listen to heart candy again because i didn't like four minutes to save the world couldn't stand it but i know the song top to bottom you know what i'm saying just because it's catchy doesn't mean it's good so i think for me revisiting it i think it's an eight maybe an 8.5 but just not like 9 10 yeah okay yeah like i said i would probably go lower actually i'd probably go a 7.5 for the whole album i think the singles
01:51:51 --> 01:52:09 are super strong, actually. And Hung Up deserves a place, like, as one of the best pop songs, I think. Yes, in hindsight, yes, my bad. And I'm excited to see what she's going to do next, because you mentioned kind of maybe there was some push, some constraints that were put on. But I hope...
01:52:09 --> 01:52:34 that those constraints are lifted. She has nothing left to prove. Go experiment. Go, yeah, innovate here with this kind of idea. I think that'd be cool. But yeah, I think I appreciate the overall concept more than the actual sonics of it all. I think the nonstop mix is very, very cool. I like the structure of starting a bit lighter and kind of going more introspective. I think that's cool. Mm-hmm.
01:52:34 --> 01:52:52 But yeah, it did start to kind of blend together, especially towards the end for me and start to lose me a little bit. So yeah, I'd go 7.5. Okay, it's like right underneath. Yeah. Ooh, what are you? Because you're giving it the mmm, mmm, mmm sound. Yeah. I mean, I think, I don't know, I guess like...
01:52:52 --> 01:53:09 when you like break it down so much, it's like so easy to like find like, you know, the negatives and whatnot. But I do think like overall as a project, like it's very, very strong. And I think, you know, it's just like such a vision compared to a lot of albums. And I feel like, especially like in the two thousands and beyond, like they're,
01:53:09 --> 01:53:30 It wasn't a lot of these, you know, kind of projects, like actual cohesive, you know, projects in that way. So to me, I don't know. I have to give it respect for that. But, I mean, I don't know. I think probably, like, I think I'd actually give it, like, an 8 or 9. Or maybe I should just go in the middle at 8.5. Or maybe I should just jump up to a 9. Do you want to give it a 10? No.
01:53:32 --> 01:53:55 perfect right but yeah but it's like um yeah I do love what it stands for I guess you know and I think and I give a lot of respect for like what it is and where she was and how she navigated it all like I think it's a perfect like example of like an artist who kind of knew that they might have not been on the most solid ground you know and was like how can I innovate but
01:53:55 --> 01:54:22 Not like, you know, not so much where like people aren't going to believe it and things like that. Like I think it was just really well done. And so I don't know. I think like, yeah, just the way she did it. Like she really, for lack of a better way of saying it, she really was Madonna. Yeah. She did it. She's like, bitch, I am Madonna. You know? Yeah. She did what she had to do in a way that I think only Madonna could do. If that makes sense, you know? Yeah. Yeah. Yeah. So yeah.
01:54:22 --> 01:54:49 that's where I will, I will ultimately land things. Cause I do think, I do think she had, and again, I almost just wish like she went more with it. Like it just went deeper or like went, you know, that's why we're getting a part two. I guess so. Hopefully we do get like the full vision and, you know, granted it's 20 plus years later, but you know, it's hopefully maybe, maybe we will get like, yeah, it won't be so constrained by, you know, label pressure or whatever or things like that. And,
01:54:49 --> 01:55:15 Yeah, I just hope it's nothing like, I like hyper pop. I'm hoping it's not too PC music kind of-esque. I was thinking about this because like dance music has kind of changed, you know, in the last 20 years. So I wonder what even will she kind of embrace in terms of dance music? Is it going to be like, because I saw some people describing this album as EDM and EDM as we know it today isn't really that. Interesting. Will she go like...
01:55:15 --> 01:55:34 that kind of club or will it be like the hyper pop of it all or will it be i don't know there's so many ways you could even think about dance music today yeah you know i hope she doesn't try to be too on trend and that's what i'm saying yeah that's my worry because like oh because because the grills and the in the eyebrow listen i hope that i hope that madonna doesn't pop out for confessions part two yeah
01:55:36 --> 01:55:55 great lately she's she has been looking more herself okay no more grills i don't know at least the last thing i saw the dolce gabbana campaign okay there was none of that so i will say that i will be i'm interested in listening to more madonna as we go further further into our deep dives for sure it's a great album
01:55:55 --> 01:56:14 Yeah, you know, you know, I think she I heard about her because I was taking an art class and you heard about Madonna. I heard no, I heard about Heart Candy and the artwork for it because of the we'll talk about it. But yes, I heard about because of an artist. So I was like, this is this album. I was young. Yeah. Okay. Yeah.
01:56:15 --> 01:56:35 All right, well, thank you, Jeff, for joining us. Thanks for having me. We'll definitely have you back. We still have to do more Christina. Yes. Please. As well. So, Madonna fans, what do you all think of Confessions on a dance floor? Are you excited for part two? Let us know what you think it's going to sound like. And also let us know in the comments what other artists and albums you want us to review next.
01:56:35 --> 01:57:05 A huge shout out to our CCTV crew on Patreon. We have Hillary, Lily, Emily, Darius, Phoenix, Ren, George, Julianne, Jonathan, Janelle, Luke, Ivana, and our newest members, Wyatt and Ryan. Thank you all so much. We couldn't do this without you. You can follow us everywhere at CCTV Pops. And if you're watching on YouTube, don't forget to like, subscribe, and turn on notifications. If you're listening on a podcast app, please follow and give us a rating and share the episode with your friends. Until next time, that's Chantel.
01:57:05 --> 01:57:17 That's Chris. And that's Jeff. And we're signing off from CCTV, the nonstop pop show. Get us a 10K, y'all. 10K, 10K, subscribe.