2017
ufc.com
2017
ufc.com

Madonna continues on. This album; the umpteenth since her 1983 debut; has her playing an alter ego of sorts. You can call her Madame X; a feminist and romanticist version of Malcolm X; though the music still sounds like Madonna.
That’s not a good nor bad thing. She’s far from the music goddess she’s often described as, but sometimes she manages to create something special. Crave is a highlight here. Most of the other songs are aesthetically mundane.
my rating : 3 of 5
2019
2019
2019
2019
2019
2019
2005

Madonna skips church for a more familiar place to make her Confessions. These 12 songs, played in a continuous mix as if they were the setlist at the local disco, are for the Dance Floor. Stuart Price is the DJ and his music is brilliant. The problem is that it outshines the star.
“You can love me or leave me,” she sings under the mirrorball, “I’m never gonna stop.” She should’ve stopped for this album. Her middling melodies do little more than drag the quality down. Confessions would be better as an instrumental, in other words, without Madonna.
Her New York City dedication reads like elementary school poetry. “I like New York,” it goes, “Other places make me feel like a dork.” What better place for such Earth-shattering confessions than the dance floor, where lyrics/vocals take a back step to the rhythm of the beat.
my rating : 3 of 5
2005
1983
2012