quote:

Originally posted by Cobalt Oh no, let's not turn this into a favorite Madonna song thread, or I'll really start embarrassing myself.

we all know you're a material girl

quote:

Originally posted by Cobalt Madonna + dance music + eurodisco dance music = gay nightlife going absolutely bonkers

Your equation says it all.
Couldnt have said it any better

It IS a good disc tho

"Hung Up" reminds me distinctly of Mysterious Cities of Gold when the children are doing something great and wonderful, like flying around in the Golden Condor.

Whats the song its supposedly sampling/based on though?

quote:

Originally posted by Fuegan Whats the song its supposedly sampling/based on though?

Abba - gimme gimme gimme

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"I believe that's referred to as intelligent drum & bass, which obviously means there's a genre of stupid drum & bass out there" (John Peel)

Well it really should be "Madonna & Stuart Price" on the cover.

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quote:

Originally posted by SYSTEM-J Well it really should be "Madonna & Stuart Price" on the cover.

i might have to rephrase the awful/famous words of vicky pollard for this one:

yeah, but no, but yeah but no but yeah

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"I believe that's referred to as intelligent drum & bass, which obviously means there's a genre of stupid drum & bass out there" (John Peel)

Frozen(Calderone rmx)

quality tune

quote:

Originally posted by Clyde77 ray of light (derek howell version)

Now we're talking.

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Madonna is a master of taking what the underground is doing, exploiting it, and selling a cheap, plastic pop version of it to the masses for commercial digestion.

1990: Madonna looks at the underground New York gay fashion scene, full of style, excess, posture, and that lovely Italo House with those piano hooks. She rips off the scene and releases Vogue.

1992: Madonna focuses her sights on the emerging club kink/fetish scene, exploits it, and churns out Erotica. (and releases a raunchy book too, perfect for the art-house crowd).

1998: Madonna sees the growing fascination with trance explode everywhere, seeks to exploit it, hires William Orbit to be her Producer, and the end result is Ray of Light.

2000: French house is king in the club circuit, Madonna notices this too, seeks some funky french filter beats on her next album, which becomes Music. The real genius behind this album? Mirwais.

2005: Now electro-house rules the dancefloors. Naturally, Madonna wants to co-opt this and pretend it's something she invented too. So Confessions on a Dancefloor has got the neo-synthpop sound through and through. The smartest thing she did was hire Les Rhythmes Digitales to be the mastermind of it.

For all her staying power, Madonna is really only good at one thing: Surrounding herself with the best people she can find. I think of her more as a clever businessperson, a scenester, a poser, and a fronter all in one. But not really a musician. She's good at what she does, but she's really only a hollow faceplate, a shallow shell of what's actually there.

Last edited by Ishkur on Nov-06-2005 at 23:56

quote:

Originally posted by Ishkur Madonna is a master of taking what the underground is doing, exploiting it, and selling a cheap, plastic pop version of it to the masses for commercial digestion. 1990: Madonna looks at the underground New York gay fashion scene, full of style, excess, posture, and that lovely Italo House with those piano hooks. She rips off the scene and releases Vogue/ 1992: Madonna focuses her sights on the emerging club kink/fetish scene, exploits it, and churns out Erotica. (and releases a raunchy book too, perfect for the art-house crowd). 1998: Madonna sees the growing fascination with trance explode everywhere, seeks to exploit it, hires William Orbit to be her Producer, and the end result is Ray of Light. 2000: French house is king in the club circuit, Madonna notices this too, seeks some funky french filter beats on her next album, which becomes Music. 2005: Now electro-house rules the dancefloors. Naturally, Madonna wants to co-opt this and pretend it's something she invented too. So Confessions on a Dancefloor has got the neo-synthpop sound through and through. The smartest thing she did was hire Les Rhythmes Digitales to be the mastermind of it. For all her staying power, Madonna is really only good at one thing: Surrounding herself with the best people she can find. I think of her more as a clever businessperson, a scenester, a poser, and a fronter all in one. But not really a musician. She's good at what she does, but she's really only a hollow faceplate, a shallow shell of what's actually there.

that's definitely true...and i mean really as a solo artist...i would think more would try to do it, and they do, but perhaps not as successfully as madonna...

quote:

Originally posted by Ishkur Madonna is a master of taking what the underground is doing, exploiting it, and selling a cheap, plastic pop version of it to the masses for commercial digestion. 1990: Madonna looks at the underground New York gay fashion scene, full of style, excess, posture, and that lovely Italo House with those piano hooks. She rips off the scene and releases Vogue/ 1992: Madonna focuses her sights on the emerging club kink/fetish scene, exploits it, and churns out Erotica. (and releases a raunchy book too, perfect for the art-house crowd). 1998: Madonna sees the growing fascination with trance explode everywhere, seeks to exploit it, hires William Orbit to be her Producer, and the end result is Ray of Light. 2000: French house is king in the club circuit, Madonna notices this too, seeks some funky french filter beats on her next album, which becomes Music. 2005: Now electro-house rules the dancefloors. Naturally, Madonna wants to co-opt this and pretend it's something she invented too. So Confessions on a Dancefloor has got the neo-synthpop sound through and through. The smartest thing she did was hire Les Rhythmes Digitales to be the mastermind of it. For all her staying power, Madonna is really only good at one thing: Surrounding herself with the best people she can find. I think of her more as a clever businessperson, a scenester, a poser, and a fronter all in one. But not really a musician. She's good at what she does, but she's really only a hollow faceplate, a shallow shell of what's actually there.

word