|12-26-2014, 08:57 AM
Join Date: Nov 2013
So her new songs have been reportedly hacked and are now available somewhere?
Isn't she over-the-hill? I see she has Pharrell collaborating on one. Big whoop.
rebelheart or sleeze?
Last edited by G_Chord; 12-26-2014 at 09:36 AM.
|02-03-2015, 10:57 AM
the worst guy
Join Date: Oct 2011
Location: Miami is the place
This track is the bomb.
|03-09-2015, 02:06 PM
Join Date: Apr 2009
Cover of delux addition of Madonna's new album "Rebel Heart"
Madonna's Grammy's performance 2015
Madonna is about to release her best album in 17 years
Posted Today, 06:24 AM
Madonna's raunchy rebellion
World Exclusive: First review of Madonna’s new Rebel Heart album
By DAN WOOTTON, Head of Showbiz
Not since Ray of Light in 1998 has Madge come up with such a perfect collection of pop belters, while managing to remain at the cutting edge of music trends.
Rebel Heart, her 13th studio album, is deeply personal, exposing her darkest secrets, sexual desires and fears for the future.
It’s provocative, sexy, emotionally raw and self-referential.
But above all else, it features melodies and hooks that should send her back to the top of the charts.
While the 56-year-old has had to deal with almost constant leaks over the past two months, this is the first official review of the album.
If you were one of the few who has listened to the tracks illegally released online, then discount what you’ve heard.
Nine songs are now officially available through Apple’s iTunes store but ten more will be released on March 9.
I’ve had a world exclusive First Listen for Bizarre and am excited to bring you my top ten countdown of the unreleased new songs.
10 INSIDE OUT
Yes, Madonna most definitely still loves sex — or “the purest form of ecstasy” as she describes it on this track.
Eroticism and romance collide here as she stops singing to gasp: “I want to love you from the inside out.” Later she makes it clear the song is actually more about revealing your deepest feelings to your lover.
She sings: “Every scar you try to hide. Every dark corner of your mind. Show me yours and I’ll show you mine.”
9 HOLY WATER
One of four tracks co-produced by KANYE WEST. His influence is immediately evident, with “Yeezus” even getting a nod in the lyrics. The stripped-back instrumentation is very modern. But there’s still a cheeky reference to Vogue when Madge says: “Strike a pose, there’s nothing to it.”
8 BEST NIGHT
Top DJ DIPLO worked with Madonna on this feelgood and chilled-out party song about a one-night stand. A rap from Madonna, where she references the recent phenomenon of sex tapes, is the highlight here.
She seductively whispers: “Surrender to the pleasure when we breathe in together. It’s either now or never. No sex tapes on camera. Just you and me together.”
The most traditional ballad on the album has similarities to Madonna’s brilliant Nineties hit You’ll See. There’s an impressive string section and very little dance production compared to the rest of the album. It’s one of five songs Swedish DJ AVICII has contributed to.
Madonna shows why she was so scornful of Fifty Shades of Grey, with her own X-rated mission statement that puts EL James to shame. Her “lesson in sexology” includes handcuffs, blindfolds, high heels, perfume, fishnets, leather belts, thigh highs, silk scarfs and, er, a bar of soap.
Oh, there’s also audio of a woman, we presume to be Madge, making love . . .
5 HEARTBREAK CITY
This is how you write and perform a break-up ballad. Madonna sounds angry here. Like, you-don’t-want-to-mess-with-me angry.
Her vocals are on point too as she builds to a soaring chorus, singing: “Cut me down the middle. F***ed me up a little. You said I was your queen. I tried to give you everything. And now you want your freedom. You got what you came for — a bit of fame and fortune. And I’m no longer needed.”
4 VENI VEDI VICI
“I came, I saw, I conquered,” Madonna sings as she takes an exhilarating look back on her impressive career.
In a spoken word verse referencing some of her most famous songs of old, she explains how she’s impacted pop culture, saying in part: “I expressed myself, came like a virgin down the aisle. Exposed my naked ass and I did it with a smile. And when it came to sex, I know I walked the borderline. When I struck a pose, all the gay boys lost their mind. I saw a ray of light. Music saved my life.”
The guest appearance from NAS is brilliant too and proof he should be back in the charts in his own right.
3 BODY SHOP
One of the most experimental moments, this track is completely joyful and a strong contender to be a future single. There’s an eastern influence instrumentally and fast-paced verses, fused perfectly with background dance beats. Unlike most of the deep lyrics on the album, Madge has some fun here. “You can polish the headlights. You can start the ignition,” she sings happily.
2 WASH ALL OVER ME
An incredibly powerful and pretty emotionally traumatic song ends the main version of the album, with an intense church-like organ overlaid with modern house beats. Madonna looks at her place in the world, opening with the line: “In a world that’s changing, I’m a stranger in a strange land.” She also talks about “running away from all this madness”.
1 REBEL HEART
Surprisingly, the brilliant title track — my favourite moment of the album — doesn’t find a place on the main tracklisting, instead closing the deluxe version.
The lyrics are autobiographical — and she admits to being a “narcissist” and “provocative”.
The first verse is my favourite lyrically as she sings: “I live my life like a masochist. Hear-ing my father say: ‘I told you so, I told you so. Why can’t you be like the other girls?’ I said: ‘Oh no, that’s no me. And I don’t think it will ever be.’”
Thank God for that.
Madonna - Rebel Heart
by Matthew Harden
Discussing Madonna around a dinner table will likely garner her some ridicule. “Relevant” seems to be the last compliment people want to give her, these days. The typical naysayer will give praise for what she used to be but express disdain for her continued eminence in culture. Reasons for such contempt usually circle her 56 years of age and the belief she’s desperate tostill be doing what she’s already been doing for 30 + years.
Ironically, considering this apparent attitude, there are forces at work,which want Madonna’s new music in the world before she’s quite ready. The release of her 13th studio album Rebel Heart will be remembered for its premature leaks. Even before last year was through, numerous demos seeped onto the internet, prompting Madonna and her team to make six tracks from the LP immediately available on iTunes. An Israeli man was eventually arrested under suspicion for the hack, but the full album, in its completed form, subsequently emerged online earlier this month.
For an artist who has always muscled an iron grip on her career, it seemed, for the first time, Madonna was without considerable control. Interestingly, loss of control is a developed theme on ‘Rebel Heart’. In ‘Wash All Over Me’, she questions, “Who am I to decide what should be done?” There’s a sense Madonna has learnt to lean into seeming unease. “If this is the end then let it come. Let it come, let it rain. Rain all over me” she sings over the song’s majestic pace of marching band percussion. Lyrically, she’s releasing. And, at a point in her career where ageism is tugging at her seams, it’s a needed expression of self-awareness in being a mature icon, in today’s condemnatory pop world.
With letting go, Madonna is also willing to be vulnerable. Exposure runs rampant on ‘Rebel Heart’. Ten years ago, she was making frivolous confessions on a dance floor, now she’s confessing from a deeply honest place. On ‘Joan Of Arc’s’ tuneful chorus, she vents, “I don’t wanna talk about it right now, just hold me while I cry my eyes out.” It’s a tender moment from a woman who’s physicality, at the very least, suggests nothing can break her. ‘Joan Of Arc’ leads us to believe that despite her astonishing resilience, her armour can be shattered by what theysay. Perhaps it’s responsive to claims of her irrelevance and desperation – “Each time they write a hateful word, dragging my soul into the dirt. I wanna die.” It’s an admission from Madonna that feels like a rarity, considering her typically steely persona.
Madonna’s previous album, 2012’s ‘MDNA’, was deemed her divorce piece. Her lyrics often detailed the drama she experienced in leaving ex-husband Guy Ritchie. On ‘Rebel Heart’, Madonna articulates her experience with separation on a greater spectrum. Sentiments travel from anguish to the power found in goodbye. ‘HeartBreakCity’ is a clear cut from her material defined by grief. “Cut me down the middle. ****ed me up a little”, she tremors over a forlorn piano, which is later intensified by another percussive march. Notably, marching is the sound of endurance on ‘Rebel Heart’, and we’re taking Madonna’s steps of survival in listening.
From the strength she finds in moving on, ‘Living For Love’ is manifested, as the album’s lead-single. The Diplo made sequence of house lifts the roof like her titanic benchmarks, ‘Like A Prayer’ and ‘Express Yourself’. There’s also duality within the song’s context of life-after-love. The secondary message is making love the point of life. And, for this reason, one can easily imagine pride seasons around the globe elevating ‘Living For Love’ to a higher anthemic level than where it already stands.
The reverse side of Madonna’s loss of love is her undying affinity with romantic idealisation. Such musings gain tremendous momentum on ‘Ghosttown’, where her perspective is starry-eyed, as she narrates a tale of love’s survival in a post apocalyptic world. Adorned with a far-reaching chorus, ‘Ghosttown’ is an electro-ballad with melodies that curve deeply. Despite minor flourishes of auto-tune, Madonna’s voice sounds wholesome and less cartoonish here. Behind all that goes on, sonically, the cinematic embellishments of this tune are lassoed in by a series of humble yet mighty chord progressions, which work to keep everything tightly arranged. Solely written by Madonna, ‘Ghosttown’ feels more concerned with song-craft than trend, making it a rewarding listen.
The delightful ‘Body Shop’ is another rose-tinted vision. Madonna likens her romantic needs to upkeep on a car, which ought to be attended to by her beau in the body shop. “Jumpstart my heart, you know what you gotta do.” The metaphoric discourse is endearing and the song twangs somewhere between India and Middle America. Is it a sitar or banjo playing? Either way, it strums blissfully on the ears. Not dissimilar to ‘Ghosttown’, it’s a track where Madonna doesn’t seem preoccupied with staying current, and the results are actually quite fresh.
Of course, there are ticks on ‘Rebel Heart’, where Madonna’s penchant for appealing to the youth market makes the production overexcited. ‘Bitch I’m Madonna’, featuring Nicki Minaj, swanks a flatulent synth that ambushes the listener with its teenage enthusiasm. With lyrics like – “Yeah, we’ll be drinking and nobody’s gonna stop us”, the song essentially uses the age-appropriate-guidebook as toilet paper. Likewise, on ‘Unapologetic Bitch’, Diplo edges the production with raving alarms, as it’s reggaeton beat struts with brazen confidence. “I’m popping bottles that you can’t even afford. I’m throwing parties and you won’t get in the door”, it’s a brattish ode to validating oneself against the ex. The pressing break-up suggests one she had with a recent boy-toy, perhaps twenty-something Jesus Luz or Brahim Zaibat? Surely Guy Richie could afford expensive champagne.
Even among the party packages, ‘Rebel Heart’ is an album laced with lush guitar and strong song writing. A noteworthy number, which attests to these qualities, is the title track, ‘Rebel Heart’. It’s a mid-tempo ballad so melodically sophisticated, with its sing-along euphony, that the chorus reaches a much higher plane. The instrumentation of heart-tugging strings and percussive punch helps to support a vocal performance from Madonna that echoes wisely from her point of reflection. The song, thematically, is a look back, “So I took the road less travelled by, and I barely made it out alive.”
Unlike the Madonna of previous eras, this one is absorbed in pronouncing all she’s done before. The album explicitly rejoices in her legacy and that’s evident in song titles like ‘Iconic’ and ‘Veni Vidi Vici’. In the latter, Madonna self-references her litany of hits by weaving big names into autobiographic lines like “I expressed myself, came like a virgin down the isle… I opened up my heart. I learnt the power of goodbye. I saw a ray of light. Music saved my life.” In the Natalia Kills assisted ‘Holy Water’, she goes as far as resurrecting the rap from ‘Vogue’ to commemorate her history. And after three decades of prominence in the music industry, she’s earned her privilege to revel in such rich heritage.
No one has matched the endurance of Madonna in pop. No one has had a career of consistency to compare to her achievements. ‘Rebel Heart’ can be enjoyed as a testament to her continuance. Usually, persistent success in one’s career, over a lengthy period, is societally regarded as an achievement worthy of applause. Therefore, it seems contradictory for cynics to drag her for prolonging a career. The alternative perception is to simply appreciate the music, as it so easily is, with ‘Rebel Heart’.
Inarguably it’s her best release in ten years. This is Madonna’s new era. If attention looks beyond the music, perhaps it’s time to notice that what she’s doing, as a 56-year-old female in pop, is shifting the paradigm for what it means to be middle-aged. We’re all living longer lives, let this central part in our life become more abundant. Let’s look to Madonna as an example on how to express freely.
|03-09-2015, 02:10 PM
Join Date: Apr 2009
According to Madonnatribe:
The tracklist of the Clean edition of Madonnas Rebel Heart has been recently added to the Amazon.com page for the digital version of the album.
The Clean version is based on the 14 track Standard edition and shares its same artwork with the Parental Advisory logo missing and a few interesting choices about which songs needed the cleaning treatment, and leaving us wonder how the edited versions will sound like.
01. Living For Love
02 Devil Pray
04. Unapologetic B**** [Clean]
06. B**** Im Madonna [feat. Nicki Minaj] [Clean]
07. Hold Tight
08. Joan Of Arc
09. Iconic [feat. Chance The Rapper]
10. HeartBreakCity [Clean]
11. Body Shop [Clean]
12. Holy Water [Clean]
13. Inside Out
14. Wash All Over Me
Madonna Makes Music Chart History As New Song Explodes At Pop Radio
Even at 56, Madonna is still breaking records. Her latest single “Living for Love” has topped Billboard‘s Dance Club Songs chart, making it her 44th No. 1 song on the Dance charts. Billboard describes the Queen of Pop‘s latest achievement.
There is more good news for the former material girl. Her single “Living for Love” is finally exploding at pop radio. It is currently No. 37 and is gaining more than a million listener impressions a day. Many thought that Madonna’s new single was gaining airplay because of a radio pay deal, but it has been confirmed that radio stations are playing it out of their own will — that means Ms. Ciccone is getting a lot of requests and great call-out research.
Madonna has yet to debut on the Billboard Hot 100, but that should change now that “Living for Love” is getting a lot of exposure. The success of “Living for Love” will help Madonna’s next single “Ghosttown,” which probably won’t have to be released for a long time now that “Living for Love” is here for the long term. The folks at American radio obviously still care about the Queen of Pop. However, there have been rumors that theBBC’s Radio 1 has banned Madonna from their playlist because she is “too old.” The Inquisitr spoke to Radio 1, who denied the claims.
Perhaps Radio 1 will see how successful Madonna has been in the United States with her new single and add it to their playlist. Madonna is scheduled to perform at the Brit Awardsnext week. Madonna will release Rebel Heart on March 10. Around that time, dates for her upcoming tour should be announced as well. The year 2015 is going to be a great year for Madonna fans.
|03-09-2015, 02:12 PM
Join Date: Apr 2009
Q Magazine’s Review of Madonna’s “Rebel Heart” album
February 22nd 2015
“The lady protests too much on volatile 13th album”
You have to wait until the final track of Madonna’s 13th album, the grand, spiritual "Wash All Over Me", to get a clear summary of its modus operandi: “There’s a contradiction and I’m stuck here in-between.” The title of Rebel Heart splits down the middle. On one side, Madonna has said there’s the “romantic” who still believes in love despite numerous setbacks; on the other, the “renegade” with a compulsive need to transgress and provoke. The spotlight darts between the two.
It’s a neat concept but an unnecessary one because we know Madonna can fold those contradictions into a single song. On signature hits such as Like A Virgin, Like A Prayer and Justify My Love, the headline-grabbing stuff stemmed naturally from relationships. Similarly, her brilliant 2005 album Confessions On A Dance Floor collapsed the distance between the club and the confession booth. By insisting on an artificial divide, Rebel Heart intensifies the polarisation that made 2012’s MDNA such a bumpy ride. Again, it’s the romantic who delivers the goods.
In recent interviews, Madonna has challenged the popular image of her as calculating and imperious – an image, let’s be honest, that she has done much to construct. Ever since she was a tenacious club-scene striver, Madonna has emphasized unstoppability and control. But Rebel Heart often strikes a more tentative note. “If this is the end then let it come / Let it flow, let it wash all over me,” she sings, ceding control for once. With similar finality, the wonderful post-apocalyptic ballad "Ghosttown" proposes, “This world has turned to dust / All We’ve got left is love.” On the album’s most beautiful song, "Joan Of Arc", Madonna admits to being reduced to tears by the cruelty that comes with celebrity: “I can’t be your superhero right now / Even hearts made out of steel can break down.”
Vulnerability is Madonna’s underused secret weapon and it gives Rebel Heart compelling emotional urgency. Range, too. On "Living For Love", a kind of gospel-EDM I Will Survive, the “not gonna stop” defiance has real pain behind it. The tense, vengeful break-up song "HeartBreak City" is followed by the irresistible "Body Shop", a sweet eccentric garageland romance, beautifully produced by DJ Dahi and Blood Diamonds. You feel as if you’re zooming in on a complicated human being rather than an enduring megabrand.
For all these reasons, when Rebel Heart is bad, it’s truly baffling. It’s almost worth opening an official inquiry into the decisions that led to "B*tch I’m Madonna", where Diplo and Sophie’s ADHD production, Nicki Minaj’s say-nothing rap and Madonna’s naff, “I’m a bad bitch” declaration converge in a three-lane pile-up. "Unapologetic Bitch" is a cartoon dancehall jam. "Holy Water’s" thrillingly harsh Kanye beat is wasted on dumb lyrics like “Bitch, get off my pole.” Perhaps it’s down to genre mismatch. While house and disco liberate Madonna to be anything she wants, hip-hop boxes her into a persona that’s metallic, one-dimensional and, worse, boring.
Not all of the agressive tracks misfire – "Illuminati" has fun with the conspiracy theories attached to pop stars in the barmier corners of the internet; "Iconic" boshes together a Mike Tyson speech, a Chance The Rapper verse and a Nero-like dubstep drop – but the harder she rams home her point the less persuasive it is. In fact, paradoxically, the queen-bee declarations make her sound insecure. Madonna should not have to tell us she’s Madonna, nor what that means.
When you hit the bonus tracks, it’s worth skipping past the pointless ("Veni Vidi Vici", on which Nas raps about Nas) and the joyless ("S.E.X." is as blunt and flat as its title) to get to the movingly autobiographical title track, where Madonna reflects at length on her career, her motivation, and “all the things I did just to be seen”. It makes you wonder what she thinks she has to prove in 2015 with a song like "Bitch I’m Madonna" when she proved it all and we’ve been paying attention for years.
She sounds far more confidant and fully realized on the songs that favour uncertainty and fallibility, inviting the listener to lean in. After 33 years, the “renegade” does exactly what you’d expect. It’s when Madonna is opening her heart that she really rebels against expectations.
3 out of 5 stars
|03-09-2015, 02:14 PM
Join Date: Apr 2009
Madonna debuts on Pop Songs at No. 36 with "Living for Love," aided by concentrated on plays on several iHeartMedia-owned stations; for instance, WHTZ New York played it 19 times in the week ending Feb. 22, according to Nielsen Music, and KIIS Los Angeles spun it 16 times. She makes her 29th visit (dating to the chart's October 1992 launch) and first since 2012, when "Give Me All Your Luvin'," featuring Nicki Minaj and M.I.A., and "Girl Gone Wild" reached Nos. 24 and 38, respectively (sparked by notable plays at iHeartMedia; "Luvin' " aired hourly for nearly three days at the chain leading up to her Super Bowl halftime appearance that year).
Madonna returns to the cover of Rolling Stone in our latest issue (on stands Friday) giving her most revealing, introspective and fiery interview in years. In the in-depth Q&A with senior writer Brian Hiatt, Madonna discusses her real feelings about Lady Gaga, her marriage to Guy Ritchie, her relationship with Judaism, her assessment of Kanye West, her love for Whiplash and much more.
"I don't think she wants my crown," Madonna says, referring to Gaga. "We live in a world where people like to pit women against each other. And this is why I love the idea of embracing other females who are doing what I'm doing. . .The only time I ever criticized Lady Gaga was when I felt like she blatantly ripped off one of my songs. It's got nothing to do with 'she's taking my crown' or 'she's in some space of mine.' She has her thing. I do think she's a very talented singer and songwriter. It was just that one issue. And everybody's obviously running with it and turned it into a huge feud, which I think is really boring, quite frankly. And you know what? I don't care anymore. Here's the thing: one day everyone's going to shut up about it. You'll see! I have a plan. "
But Madonna, who will release her new album Rebel Heart on March 6th (read our review of the album here), reserves her most passionate and eloquent remarks for the topic of ageism, in pop writing and in society. "It's still the one area where you can totally discriminate against somebody," she says, "and talk ****. Because of their age. Only females, though. Not males. So in that respect we still live in a very sexist society."
"No one would dare to say a degrading remark about being black or dare to say a degrading remark on Instagram about someone being gay," Madonna continues. "But my age – anybody and everybody would say something degrading to me. And I always think to myself, why is that accepted? What's the difference between that and racism, or any discrimination? They're judging me by my age. I don't understand. I'm trying to get my head around it. Because women, generally, when they reach a certain age, have accepted that they're not allowed to behave a certain way. But I don't follow the rules. I never did, and I'm not going to start."
And if you're wondering if there was a message behind showing off her bare butt on the Grammys' red carpet: "This is what a 56-year-old ass looks like, mother****ers!" she says. And to the suggestion that her awe-inspiring physique isn't exactly average, she retorts, "You know what? It could be the average some day! That's the thing."
"When I did my sex book, it wasn't the average," Madonna says. "When I performed 'Like a Virgin' on the MTV Awards and my dress went up and my ass was showing, it was considered a total scandal. It was never the average, and now it's the average. When I did Truth or Dare and the cameras followed me around, it was not the average. So if I have to be the person who opens the door for women to believe and understand and embrace the idea that they can be sexual and look good and be as relevant in their fifties or their sixties or whatever as they were in their twenties, then so be it."
Look for the issue on stands and in the iTunes App Store this Friday, February 27th.
|03-09-2015, 02:17 PM
Join Date: Apr 2009
Rolling Stone review of 'Rebel Heart'
Boy Toy/Live Nation/Interscope
BY CARYN GANZ February 25, 2015
Madonna gets down with Kanye, Avicii and more on a supercatchy, sexed-up album
For many years, Madonna avoided the Internet like gluten. But in December, the Internet decided to stop waiting for Madonna, and everything went wrong: Her music was stolen and leaked; her hasty, emotional responses on Instagram used terms like "rape" and "terrorism," provoking (you guessed it) Internet outrage. Her swift solution was to put six songs online immediately, with a promise that 13 more would follow in March. But some of those 13 new songs have turned what might have been a modern-day pop treasure into a diamond struggling to escape the rough.
Rebel Heart is a long, passionate, self-referential meditation on losing love and finding purpose in chilling times. It's also a chance for the Queen of Pop to floss a bit and reflect on how she painstakingly carved a path others have happily twerked down in the years since her 1983 debut. The über-fit 56-year-old star gleefully enunciates "bitch" on the refreshing, reggae-tinged "Unapologetic Bitch" and the frenetic, Nicki Minaj-assisted "Bitch I'm Madonna," both featuring Diplo's ear-tingling airhorn blasts. She quotes herself on three songs, calling back to iconic passages from "Vogue" and "Justify My Love" before whisper-rapping about her past hits in "Veni Vidi Vici."
The album opens with another kind of flashback — the classic-sounding house jam "Living for Love," a buoyant song about moving on after a breakup. The stellar "HeartBreakCity," meanwhile, is a dramatic plunge into post-relationship hell. The singer grappled with her divorce from Guy Ritchie on her past two albums, but now that she's back on the market, there are new fools to smack down.
Her co-pilots this time aren't the electro mavens who assisted on 2012's glossy MDNA nor the pop titans who lent a hand on 2008's dancier Hard Candy — they're trendier talents like Blood Diamonds and established hitmakers like Kanye West. Sometimes these collaborations gel perfectly, like on "Illuminati," West's grimy take on the Internet's favorite conspiracy theory, and "Devil Pray," where Avicii helps Madonna revive the strums-and-beats vibe of 2000's Music. And Minaj's verse on "Bitch I'm Madonna" is pure fire.
Unfortunately, cameos from Nas, Chance the Rapper and Mike Tyson don't elevate their respective songs. And Madonna lets her own appetite for over-the-top sex songs run wild on a handful of cringy tracks like "Holy Water" (an ode to oral sex featuring the unfortunate line "Yeezus loves my pussy best") and "S.E.X.," which spells out an unconventional list of bedroom aids including "chopsticks, underwear, bar of soap, dental chair."
The album is at its strongest when Madonna shoves everyone to the side and just tells it to us straight. So it's fitting that she wraps up the deluxe edition with the title track, recalling how she went from weird kid to narcissist to spiritual thinker over Avicii's bright, orchestrated production. Deep down, Madonna does have a rebel heart — and you can't fault her for reminding us that pop music is all the better for it.