I'm Not On a Dance Floor, But I Will Confess
I preface this by stating that CONFESSIONS ON A DANCE FLOOR is definitely my current favourite album. Although I may criticize some aspects of certain songs, it’s merely a feeble attempt at finding flaws in an otherwise astounding album!
Hung Up - 9.5
We’re now all-too-familiar with this song, which could cause it to be overshadowed by the novelty of the others. But let’s not forget about the pounding bass at 0:45 that is led up to by the hint of ABBA to come OR the dark club quieting of the music at 3:49 with the two rolling bass-lines grinding against each other OR the Travolta-inspired dance routines that work so well here. Let’s not forget the performances that uncovered the sexy Madonna I never realized I missed. And although at first, the ABBA words came to mind during the sample, I now never think about them. It’s the catchiest bass, the best 80s-style rhythm and best dance floor anthem on the record.
Get Together - 9.5
This song always starts with that BUZZING alarm, but that irritation sinks away when the soothing, sensual vocals and bass join up. It’s dark and with heart-wrenching notes and lyrics like I really, I really want to be with you and If it’s bitter at the start, then it’s sweeter in the end, I’m filled with desire to be in love with someone new again. I feel some hope. Then at 3:38, the jolted synths drive me into the middle of a dance floor, dancing with that someone. Closely. Flirting.
Sorry - 9.0
It could be considered the most commercial song, next to “Hung Up”, boasting such an addictive strum of bass just after singing I don’t wanna know. I love the vocals in the bridge, not to mention good’n’spiteful lyrics like Don’t explain yourself ‘cause talk is cheap. There’s more important things than hearing you speak. Oooh, and there’s that cute li’l clap that comes in just around 3:09! Nice touch with the different languages too or so I’ve heard.
Future Lovers - 7.0
When I hear Give me evidence of its brilliance echo with bass, the beat envelops me in a smoky, drug-filled warehouse floor at 3am with lasers and lights fanned out in the air above my arms. It’s infectious, yet the almost-too-familiar Donna Summer-esque bass line just pushes the vision. Five, maybe even 10 years ago, I’d have loved this to death. Consequently, maybe I’m just a little past the point where I want to dance to a song like this while staring at the light show in hypnotic awe and pretending she and Stuart had designed the music for my drug-induced fervor.
I Love New York - 8.0
As a heavy dub version of a romp through world attitudes, I liked the more guitar-driven documentary version…seemed more melodic too. The hardcore sound on the album leaves out the fresh, cheerful sound with the guitars being surpassed by the bass. Sometimes, I just want to turn off the echo effect and add some screaming, just to amp up the energy. I also miss the lyric I don’t love you, but I love New York in the chorus. Well, maybe it was too hateful? Anywho, it sounds less like the anthem it could have been than a screamer for the clubs. Still, when it’s on, I can imagine the potential and love it.
Let It Will Be - 10
Formerly my favourite track (as was the case with almost every track), the vocals are absolute emotion during the verses. Good things come in abundance: There’s a warm and cozy bass; there are no annoying squeaks or sirens; there’s the violent voice on just watch me burn, especially at 3:17 when the beat pumps back in! It’s a weird twist on grammar, but cool nonetheless. Maybe she was like, “enough with the Beatles references”.
Forbidden Love - 10
It reminds me of my first homo-erotic experiences… naughty, yet hopeful. The melancholic tones cause a certain desolate effect, but contrasts with that naughtiness and hopefulness when title lyrics are sung. Musically, it reminds me of a less-acoustic, more electro “Intervention” for this album…BEAUTIFUL!
Jump - 9.0
Not a track that jumped out at me the first 50 listens. Ha ha. The deep key vocals coupled with a melody lacking in organization seems sonically too low in the opening verse to be remembered, but is easily made up for by those in the chorus. As higher-pitched synths and disco beats blast on about ¾ of the way through, a wave of needed excitement pulses through my chest as it segues into the next track.
How High - 10
In backwards fashion, the verse melody kicks the chorus’ butt. Her lyrics are straight-forward and honest, making them probably my favourite for insight on the album. It’s got a simple yet catchy three-tone bass and beat and always makes me think there’s something incredibly familiar about the opening minute, but in a good way. I love when she sings I did it in the first verse – sounds like a proud, slap in your face comment to everyone who said she doubted her success, but contrasts with the following unexpected, less proud “just about everything to see my name in lights”. Plus, you gotta love the thought put into the order of “Jump” and ”How High”.
Isaac - 7.0
It’s cool enough, but I’ve come to expect a song like this, since RAY OF LIGHT’s “Shanti Ashtangi” and MUSIC’s “Cyberaga”. It’s not that I don’t like or have any particular bone to pick with this style, but its novelty wears off quickly for me. Still, Madonna does sound good, doesn’t she? Her mmm’s have always been so sexy. And doesn’t it somewhat have a “Till Death Do Us Part” feeling—speed and sound-wise?
Push - 9.0
Wicked beat change! After being a dancing madman for the last 9 tracks, the feeling gets happier and light like I’m swaying in the air, holding hands with someone I love. With appreciative lyrics to a full-on, perfectly matching partner and a super-cheery chorus, both melodically and instrumentally, it’s hard not to overlook the R&B undertones. Luckily, there’s a digitized voice at 2:48 for a nice change. “Push” leads into the closer as a break from sweaty darkness.
Like It or Not - 10
I see Madonna with an Erotica-style whip scene. ‘Shut the fuck up and listen to what I have to say.’ Like that. All the key elements—piano, classical guitar, infectious beat, sensual vocals in her perfect range, jazzy instrumentals—to make this my favourite.
I’ll be the garden, you’ll be the snake.
All my fruit is yours to take.
This is who I am.
You can like it or not.
You can love me or leave me, cuz I’m never gonna stop.
These are going to go down in my Madonna quotes box. Classic.
Super Pop - 9.0
Easily my favourite title and some of my favourite lyrics. It’s a bubble gum surface trying to conceal wisdom. Definitely not the catchiest melody in the world and the true-to-era disco beat can be a bit repetitive. Still, Madonna can ooh, ya, ooh ya with the best of them. Plus, any song with a dog sample has got to be cool.
posted by Tyson Seburn @ 10:44 p.m.
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