Greetings, Glancers! Album 11, eh? We’ve almost caught up to present day. As this is one of her more recent releases I can’t confirm that I have heard any of the songs included. I probably have heard snippets, and I have vague memories of seeing some of the videos, because its hard to erase the image of her unsettling gyrations from your mind once witnessed. In truth she does that sort of thing in most of her videos so it could have been from any of her albums of the last fifteen years. In 2008 I was no longer subjected to the radio choices of others while going to, from, or in work, so my knowledge of what crap was on the radio gratefully plummeted. Apparently the album is pop/dance-pop based, with an R&B vibe. In other words, the sort of music no-one should be subjected to. See what I put myself through for you guys? And where’s my damn parade? The injustice sickens me…
Candy Shop: Beats. Beats and breaths. Vocals. What is Candy Store a metaphor for? Her music? Her thighs? Verse melodies fine, not annoying, not anything special. The chorus places a low pitch/high pitch dynamic on the vocals – it’s about as (un)memorable as the verse. There’s a silly middle section with lots of bleeps and talky vocals which ensures the song reaches four minutes. Just as I think it’s going to end some guy comes in to say various city names for some reason. It’s always the same list. Why is it never ‘Yo. Portavogie. Ormskirk. Schaumburg, I see you. Uh. Humpybong. West Side’. Etc. An unremarkable opening album track, but not bad.
4 Minutes: Loud rappy horns. Some guy doing ‘wicky wick wah’ stuff. This goes on and one. I think this would sound pretty good on the dancefloor, those horns and parps are groovy. Decent verse melodies again, the male stuff is less engaging. Good chorus melodies too, but let down by all the stupid spoken stuff. When will people learn, spoken stuff is rarely better than cringey and almost always dated within 2 months. If it wasn’t for that bollocks this would be good. It’s still good, but that talking crap is distracting and really does make it sound incredibly silly. Like someone standing in front of you making really good arguments, but you keep looking down because his knob is hanging out. And it’s weird looking.
Give It 2 Me: That beat and sound sounds like it has been lifted from a very specific D12 song. Good melodies though, no talking yet. Lots of rave stuff going on too, but it all works. The middle goes off on one with more silly talking stuff – lots of repetitive layering which doesn’t quite work but isn’t as stupid as in the previous song. You get the feeling that someone with half a brain should have been in the studio and saying ‘look, the song is good as it is, you don’t need to add all of the superfluous garbage’.
Heartbeat: Good intro, good melodies, this time it actually feels like something. She’s tapped into something more real and vital here. Again there is a sour taste because some twat is breathing or grunting or shouting nonsense in the background. A perfectly good song on the verge of sabotage. Will she do another tuneless repetitive middle – and before I’ve even finished typing that she went and did it. Sigh. She does follow it with a better second middle before going back to the banging chorus. I have a feeling sabotage is going to be the key word in this album. A pity too that the lyrics are bullshit too – not the words themselves, but the subject matter.
Miles Away: Some acoustic guitars makes this feel familiar to me. More good melodies. One thing which seems to recur is the robotic rhythm of the melodic delivery in the verses – each-verse-seems-to be sung-in-this-static-way like this. It’s another song I quite like though – aside from the plain opening song each one has been good, outside of the middles and the male hollering. I listen to a Madonna album – she’s who I want to hear, not all these other hanger-ons.
She’s Not Me: Clappy beats. Retro funk. More catchy melodies. More dancing. According to the comments this is some veiled attack/rebuttal of Lady Gaga. It’s true, she doesn’t have what you have but unfortunately this smacks more of fear – fear of aging, fear of no longer being relevant, fear of being replaced. I mean, Madonna brazenly copied from Cyndi Lauper. She did ride that bandwagon and then go on to become her own thing – which of course Gaga has done herself. I don’t see why she’s bitter about it, but then I don’t follow celeb feuds. What the hell is this awful screeching singing? Another random just popped in to give his unwarranted two cents. The song fades out for a while, then builds up in good old cliched dance style for a hectic ending.
Incredible: What appears to have been a sweet ballad has been blown up and blown apart. There’s an awful lot of crap going on in here to make the song bombastic. That’s actually not a bad idea sometimes – taking a simple song and making it grandiose – I mean Roman writers did that shit two thousand years ago. It doesn’t quite work for me here, mostly because the little blasts of sound and the fabricated drums sound so dated and juvenile (ha). It’s not the first time I’ve said this about a Madonna song, but I’d like to hear a stripped back version of this without the bullshit to see if it works.
Beat Goes On: The start of this sounds like one of those awful 5 second Youtube ads – they all have some tinkling jingle which is just short and long enough to piss you off every time it plays. Good verse melody here but the chorus and other moments feel uninspired. An oddly average mid album track which covers ground she’d done better two decades earlier. And again more stupid crap from Pharrell or whatever other binlid is yelping in the background. We do get a full rap section, at least it’s an actual rap not the momentary shouts we’ve had before. The lyrics are nonsense and may as well be ‘uh, hey girl, I got a Wispa and a Twirl; lets watch some shit unfurl, from the sphincter of a rat, or a cat, hey I got my money back, from a fish in a hedge who I found up on a ledge of a house owned by some dude called Brian who I know cos I know that he knows I’m lyin’ that the Earth ain’t round it’s flat like a cat whose shat, unfurled, from a sphincter just like that’. And behold, that is the single greatest rap lyric ever written.
Dance 2Night: So it comes to this – most of the songs have been about dancing, or going out to the club at night and dancing – you know, the most meaningless subject possible, but just to drive the point home we have a song called Dance 2Night. And of course it panders to the masses with its ‘you don’t have to be rich or pretty to do it’ message, which is another way of saying ‘ we know most people are ugly/fat/average/stupid/desperate/poor but if we make a song they think is about them they’ll give us their money. Success! It’s funky enough – sub Thriller stuff with that obvious 80s vibe, the lyrics are insipid, the melodies are too shrouded in over-produced gloss that any feeling is ripped from it. There’s a C+ grade song somewhere here.
Spanish Lesson: Ah yes, the requisite Spanish song. For 12 seconds it’s not bad, but then the idiots get their mitts on it. Lyrically, it’s literally a Spanish lesson. Musically, it’s literally a lesson on how to write a shit song. Is this also a song about fucking your teacher? Like statutory rape? There’s another dancefloor reference. Why doesn’t she just make an album where the lyrics are entirely ‘dancefloor, get up, can’t stop, don’t stop, dance, dancing, yeah, baby, dance, enough, dance, heartbeat, tonight, club, dance’? Oh right, she’s already done that. On every single album.
Devil Wouldn’t Recognise You: A little more maturity in this one. But it’s too plain and melodically boring. This sort of song is fine for covering in production smoke and mirrors because the core is so mundane. Even with all the excess, it’s tepid. She finally brings her brains to the table but misses out with the heart and soul.
Voices: The closing song, can it bring things up again? Good verse melodies – at least that has been consistent. This is much closer to the merging of heart, soul, and brain. The static-laden beat works, the lyrics are better, and there isn’t a trace of any male interference. Yet. Nice orchestral ending. See what you can do when you don’t have a man trying to piggyback on your success. Forget about Gaga and worry about the real problem.
It’s a frustrating album. One one hand it’s much better than I was expecting – then again it’s Madonna so I’m not sure why I keep expecting failure. On the other hand, it’s not as good as it should have been. Many of the songs are top grade tiers brought down by stupid decisions and interventions. To continue the dubious educational metaphor, it’s like someone has completed an exam paper to the best of their abilities and is heading for a good overall score, but with 15 minutes remaining on the clock they glance around and see that others have written different answers so they panic and begin scribbling additional answers which take away from the good groundwork they already had and thus they end up with a lower overall score. The groundwork for many of the songs on Hard Candy is sound – melody, beat, vocals, all the basics, but then some plank comes in a craps all over it because that’s what the suits have said is selling at the moment. At this point in her career, I had more than aged and matured out of her target audience, so all of the sickly garnishing I’m referring to probably satisfied the people it was meant for. The more discerning fan should be shaking their head and saying ‘Madonna, it was good, but you ruined it’. The second half doesn’t have the punch of the first and while she’s experimenting with new people, if not new sounds, there’s nothing really new or exciting here – a by-product of working with today’s idea-less superstars. There are plenty of songs I’ll gladly give a second listen but plenty I’ll avoid.
Let us know what you think of Hard Candy in the comments!
Nightman’s Playlist Picks: Heartbeat. Give It 2 Me.