Track of the Week

"I Keep on Loving You" by Reba from the album Keep on Loving You

Reba described this song, her newest single, as a message to her fans for sticking by her through the years. It was written by her friends Brooks and Dunn but fits her vocals very well. The song is your standard Reba fare: couples have ups and downs but stick it out. The electric guitar bridge near the end is jarring, but Reba's voice is epic.

In the video, Reba plays a relative attending a wedding, and the camera focuses on different couples going through the story of the song. I don't normally consider Reba much of a looker, but she's really pretty in this video in a stately sort of way.

The song won't be as big as Strange or Consider Me Gone, but it's already in the top twenty which is decent, considering Reba's singles for the previous few years haven't done as well. But she said she back to focusing on music now that her sitcom has been done since three years ago. Her tour is extending in the fall, so hopefully she'll grace Chicago with her presence.

I consider her the Oprah of country music, she's on top but it's all business for her in the guise of feel-good.

Sticky & Sweet CD/DVD Review

Madonna’s Sticky & Sweet CD/DVD or BluRay set was released this week to stores worldwide. The packaging is glossy and has a booklet of album credits and fantastic pictures by Esther’s longtime manager/agent Guy Oseary. The CD and DVD follow the same motif of the tour and the Hard Candy parent album.

The DVD is presented in surround sound with a widescreen ratio. The direction is not as choppy as that of the Confession Tour release, and there are more shots of Madonna, but being a Madonna show, the visuals of her background screens and dancers are highlighted, as is the crowd: a 60,000 throng of Argentines, pining in rapture for a glimpse at a rather small woman whose ego is so massive the stadium itself can’t engulf it. The sound is cleaned up, and her vocals are too. This is a real shame, because I love Madonna’s tour voice: it’s really strong. However, just when one thinks the vocals are too cleaned up, we get a familiar off-key, flat, or screaming note. I don’t think they edited the vocals per se, as I remember seeing the tour and my brother commented that her microphone sounded pitched higher.

The CD is the same audio as the DVD and can go with, or without the visual experience. It’s so Madonna to include Spanish Lesson, a universally derided song, on the CD as a defiant stroke to the public. A Madonna show isn’t complete with politics, and her Get Stupid video juxtaposes scenes of violence with hopeful figures, like Oprah. Madonna’s onscreen and onstage persona is larger than life: in one moment she can go from being a bitch, a sex goddess, to the Commander. It is in this last role that she is her most convincing; after gloriously belting out a song she hears the audience chanting her name in adoration, ordering more, she lays down on the catwalk, literally basking in the love. So many moments, whether beating up past incarnations or exposing a vest that has her name on it, are meant to pet her ego. Her dancing is perfectly timed, her singing is on cue, and her looks and banter is rehearsed: through a whirlwind of hits she is imperious. Even video cameos by Britney Spears, Timbaland, Kanye West, JT, and Pharrell, get lost in her midst. Madonna is the star of the show.

The musical arrangements are updated. Like a Prayer becomes a fierce rave backed by fiery screens. Into the Groove is a colorful tribute to her friend Keith Harring. Ray of Light and Hung Up are dance-metal infusions. Songs from Hardy Candy get a second wind, whether the swirling Heartbeat or the thumping Spanish Lesson. Madonna’s vocals shine on You Must Love Me, Don’t Cry for me Argentina, and Miles Away, as she strums a guitar; a rainstorm surrounds her as she belts out Devil astride a piano. The only embarrassing moment is when Madonna humps an amp with her guitar, the distorted frequency matching the cringing of the viewer. But all the while Madonna is beaming, transforming herself into a giddy 16 year old girl living out her wildest fantasy. Lots of jeers and sneers, the occasional smile, and hours of unforgettable hits leave the audience with the message Game Over: the Commander is in charge.

The behind the scenes documentary recalls her Truth or Dare and I’m Going to Tell You a Secret docs, but sadly this one is way too short. I love that smooth voice during the voice overs, telling us her message of unity. I love her diva personality, obsessing over the details. “I’m a gypsy,” Madonna says as her reason for taking back her many vows to quit touring. Madonna takes herself too seriously, but we do too. And that’s where the connection lies.

A+

Shine All Night Tour: Diverse Songs, Impressive Staging

Last night at the Convocation Center in DeKalb, IL, a suburb of Chicago, country rocked the arena, which was about 80% filled. I had paid $10 for a ticket, but there were a few rows open in the lower bowl, so I sneaked down and took a $60 seat. The view was incomparable. The Shine All Night Tour, a co-headlining tour of Martina McBride and Trace Adkins, opened with newcomer Sarah Buxton. Her set was short and unmemorable.

Then Trace Adkins, a country superstar, sung a set that varied between his mournful ballads and his redneck playful songs. Trace's set opened with a funny video that segued into I Got my Game On. Trace commanded the stage, swaggering about, singing in his signature baritone voice. He had moving set pieces and a lot of light and video screens. It surprised me because this was a big budget affair for a country concert. He gave the audience their money's worth by singing his hits, including Songs About Me, Chrome and Hot Mama. Many of his songs celebrate/objectify women and being redneck, and the video screens matched, displaying images of scantily clad redneck women. He showed his depth by thanking his fans for making You're Gonna Miss This the song of the year last year, and sung it with simple grace. One of his favorite songs of mine, Ladies Love Country Boys, switched the objectification from women to men, but switched back at the end of his set with his megahit Honky Tonk Badonkadonk, which made the audience go wild. He finished with an encore of Muddy Water and Higher Ground, displaying the gospel prowess of his voice. Trace was an accomplished preformer, singing superficial songs with bravado, and didn't let the thumping music overpower his voice and stage presence.

The arena filled up more before Martina's set. They completely changed the stage, which had two ramps added to it and larger screens. I was pleasantly surprised when a thundering dance beat started and she preformed a remix of the inspirational Ride. Much of her set consisted of her inspiration songs, which cross over into the adult contemporary, christian, country, pop, and dance genres. While Trace only had a few sections on their feet, the audience was enthusiastic for Martina, who stole the show. She had a cold, but bravely hit all the high and long notes of her songs, including the powerful Anyways. Each time she struggled but hit the notes, she got a standing ovation. Upbeat songs began her set, with hits Wild Angels and My Baby Loves Me, which celebrates the everyday wife and mother. The only awkward moment was a misplaced cover of Lean On Me that was preceded by such a joyous set of songs that it was as jarring as the shrill piano that accompanied it. She left the stage and came back out on a glowing crescent moon that sailed above the audience, preforming ballads like Concrete Angel, I Have Been Blessed and I'm Trying on the B-Stage. These songs were inspirational but sad at the same time, covering themes of abuse and heartache but also spiritual empowerment. She walked back to the main stage through the audience, belting out This One's for the Girls, a female empowerment anthem that celebrates girls of all ages and their inner beauty. The set ended with songs of escaping abuse, such as A Broken Wing, and then her best song, Independence Day, a soaring anthem of (again) escaping abuse as streamers jettisoned from the ceiling. She covered Summer of 69 for her encore.
This concert was a lot of fun, a blend of upbeat, rollicking songs, and moving ballads. Martina, despite her cold, belted her heart out. My only complaint was that the audience was a little less responsive than I would've liked. But I've heard country shows aren't known for standing and singing along. Poor Trace put on a great show, but only Martina could move people to stand up. I liked how the country hits were inspirational and traditional, but also the artists could step out of the box and be edgier (Trace's videos) or stage a pop concert with visuals, lights, and choreography (Martina) instead of pandering to the sometimes effected morals of the target audience. It was an interesting partnership that worked because of the diversity of their material. The icing on the cake was free Sunny D from the sponsor after the show!

Trace Adkins

1. "I Got My Game On"
2. "Swing"
3. "Songs About Me
4. "I Wanna Feel Something"
5. "All I Ask For Anymore"
6. "Marry for Money"
7. "Chrome"
8. "Rough & Ready"
9. "You're Gonna Miss This"
10. "Hot Mama"
11. "Ladies Love Country Boys"
12. "Honky Tonk Badonkadonk"

Encore

13. "Muddy Water"
14. "Higher Ground"

Martina McBride

1. "Ride"
2. "When God-Fearin' Women Get the Blues"
3. "Happy Girl"
4. "Walk Away"
5. "Wild Angels"
6. "My Baby Loves Me"
7. "Wrong Baby Wrong Baby Wrong"
8. "I Just Call You Mine"
9. "Lean On Me"
10. "Help Me Make It Through the Night"
11. "Anyway"
12. "Concrete Angel"
13. "I'm Trying"
14. "Love's The Only House"/"Blessed"
15. "This One's For The Girls"
16. "Two More Bottles of Wine"
17. "You're Not Leaving Me"
18. "Where Would You Be"
19. "A Broken Wing"
20. "Independence Day"

Encore

21. "Summer of '69"

True Blue: Madonna's Apex

(L to R: True Blue album-#1US, Live to Tell-#1, Papa Don't Preach-#1, True Blue-#3, Open Your Heart-#1, La Isla Bonita-#4).

In 1986 Madonna was the most famous person in the world. With two albums, and a score of hits behind her, she already had a solid base to build upon. Madonna was married to Sean Penn and wanted to explore her joy through her music. She reinvented her image, chosing a chic image that evoked classic Hollywood. Thus she enlisted Stephen Bray, her longtime collaborator, and Patrick Leonard, who would come to define her sound. True Blue was pop through and through, an expression of joy and love, but with a message. This was the 80s, when messages were everywhere. Madonna wrote or co-wrote every song on the album, and shared co-production credits on every song as well.

Papa Don't Preach opens the album with a defiant pro-life message, and uses classical instrumentation coupled with dance beats. Open Your Heart is an emotional power house, with a heavy dance beat and guitar chords. White Heat, Madonna's tribute to classic Hollywood, is a rollicking song that sample movie dialogue. Live To Tell, an aching, mysterious ballad, features raw vocals and profound lyrics, Madonna's best writing. Where's the Party, an anthem of Madonna's carefree persona, is another dance-rock song, but features a chorus of party voices near the end. True Blue, an homage to 50s pop, has a soaring chorus and is a love song for Sean Penn. La Isla Bonita, offered but declined by Michael Jackson, is an ode to Latin America and introduced a character of latin instrumentation and imagery that Madonna would revisit. Jimmy Jimmy, Madonna's tribute to James Dean, is a poppy, upbeat song. Love Makes the World Go Round is a very 80s song because its message of love and empowerment; Madonna wrote and preformed it for Live Aid a year earlier to raise money for Africa and AIDS.

True Blue is a cohesive record in sound and style. Madonna's singing retained the girlish exuberance, but her vocals were less thin. The Guinness Book of World Records called True Blue unprecedented, as it topped the charts in 28 countries, and became one of the best selling albums by a female artist in the world. Madonna couldn't have known Sean Penn would abuse her with a baseball bat when dedicating the album, but the lyrics in Jimmy Jimmy are telling: "why oh why do fools fall in love with fools like you." True Blue is really a triumph for music and Madonna, a true masterpiece, an album of epic proportions.

The videos for True Blue are some of Madonna's best remembered. Live to Tell is a simple video, but Madonna is at her most beautiful and most vulnerable as the camera hovers around her, like a person pressing for the secret of the song. Madonna plays a teenage mother in Papa Don't Preach. In Open Your Heart she explores themes of pedophilia and voyeurism, and celebrates her Italian heritage. True Blue was a simple video that paid tribute to girl groups of the 50s and 60s. La Isla Bonita cast Madonna as a forlorn Latina, praying for her lover and finding an escape in the music of the streets.

If anyone should listen to a Madonna album, True Blue is it. It's her most successful and the apex of her career. She launched her Who's That Girl Tour on the heels of True Blue and the Who's that Girl soundtrack (whose songs Who's that Girl?, Causin a Commotion, and The Look of Love are sonically identical to True Blue). Madonna toured in stadiums and parks, playing to sold out crowds in the 10s and 100s of thousands. She visited Europe, North America and Japan. In Japan, heavy rain caused the cancellation of a show, which prompted heavy rioting as the fandom reached a fervent pandemonium. At the time, this was the highest grossing tour and Madonna commanded the highest playing fee in the industry.

Breaking News: Dixie Chicks Reunite

I am jubilant that I can post this. The Dixie Chicks have reunited and will hit the road this summer on a stadium tour with The Eagles and Keith Urban. The Chicks were all but broken up after the 2007 Grammys, where they swept the awards. Natalie cut her hair off and retreated to LA, and the sisters Martie and Emily just announced their solo project The Court Yard Hounds. Seems to me Nat got jealous the sisters were making music again and reasserted control of the band from them just as it seemed they didn't need her anymore.

The Dixie Chicks are the best selling female group of all time, even more than The Supremes and Destiny's Child. Their hit albums have sold millions of copies, and they are well known for hit singles "Wide Open Spaces," "Goodbye Earl," and the defiant "Not Ready to Make Nice." After their infamous comments about George Bush, they were hailed as heroes and derided as "Dixie Twits." But the Chicks were resolute, and country's girl power group released their masterpiece "The Long Way Round" a testament to what they endured.

8-Jun *Toronto, ON Rogers Centre
10-Jun East Rutherford, NJ New Meadowlands Stadium
12-Jun Boston, MA Gillette Stadium
14-Jun Philadelphia, PA Citizens Bank Ball Park
15-Jun Washington, DC Nationals Park
19-Jun Chicago, IL Soldier Field
22-Jun *Winnipeg, MB Canada Inns Stadium
24-Jun*St. Louis, MO Busch Stadium

*Keith Urban not appearing.

Like a Virgin: The Triumph of New Wave and the 80s

(L to R: Like a Virgin-#1 US, #1 UK, Like a Virgin single-#1, Material Girl-#2, Angel-#5, Dress You Up-#5, Into the Groove-#1 UK)

Today marks the second installment of Something's Wrong with Esther's Madonna album reviews.

Like a Virgin was released in 1984, and is rightly considered one of the most influential albums and a landmark in music and pop culture. Madonna had recorded a few tracks that were left off of her first album, and the release of a second proper album was delayed by the success of her first. This caused Warner/Sire to release more singles than anticipated from the Madonna album. Warner employed Niles Rodgers, a member of disco group Chic, to produce Like a Virgin. Madonna's image was largely the same as her first album, though more chic and frilly. Rather than continue with the disco sounds of the first album, Like a Virgin uses synthesizers, the guitar, and prominent drums, all the signature instruments of New Wave. Warner allowed Madonna to use some of her own songs, but half of the album was written by songwriters. The album was a massive success, eventually selling 10 million copies in the US alone, but the critics reviled her as a one hit wonder, and (perhaps a just description of her vocal chirps) "Minnie Mouse on Helium." The theme of the album was the many facets of love--sex, flirtation, romance, abandonment, etc--presented with glossy production and simple, though memorable lyrics, and dance beats.

Material Girl starts the album as an ode to the commercial materialism of the 80s. Angel, a softly sung ballad backed with plucky dance beats, is followed by Like a Virgin, a synthesizer heavy track with a signature groove, and very high pitched vocals. Over and Over, an urgent, upbeat track features drums and plucking electronic chirps. Love Don't Live Hear Anymore, a cover of an older song, is a lament of lost love that is song so magnificently Madonna is literally breathless at the end. Dress You Up, a sparkling, drum and dance track, is a perfect expression of Madonna's themes of sex and fashion. Shoo-Bee-Doo, somewhat of a dud, is a simple piano ballad sung in an emotional tone. Pretender has upbeat chiming and mournful lyrics about a deceptive lover. Stay closes the album as an epic, stomping ballad with fierceness not found in such songs normally.

Like a Virgin's songs are largely ballads, but their melodies and backing tracks are soaring, epic, and upbeat. The drums, synthesizers, and guitars blend seamlessly, accompanied in many instances by claps, chimes, and plucky beats. The tone of the album is bubblegum pop, almost like fifties malt-shop pop, but updated to the 80s. The album was a massive success because of its youth, exuberance, and appeal to the young MTV demographic, who could instantly relate to the girlishness of the album, but also the maturity of the lyrical content. Like a Virgin is sleek and solid, and took Madonna from a successful debut artist to an international superstar.

It's videos were heavily featured on MTV. Like a Virgin, drawing from her controversial VMA performance (she gyrated on stage in a wedding dress, it shocked the world), features Madonna dancing around in Venetian canals. Material Girl, an homage to Marilyn Monroe, was expertly choreographed. Angel didn't get a video, but single Dress You Up was released as a live clip from her Virgin Tour. The Virgin Tour was a massive success. Madonna was originally scheduled for theatres in major American and Canadian cities, but the sheer demand for tickets bumped her up to pavilions and arenas. T-shirts sold by the hundreds in minutes. Madonnabes (Madonna Wannabes) dressed up as the star, as she danced energetically and sang her hits. The Virgin Tour was a triumph for Madonna, selling out everywhere she played. Stops in England and Japan were scrapped as Madonna prepped for her next album and preformed at Live Aid.

Into the Groove, Madonna's best dance song, was from the Desperately Seeking Susan soundtrack, but released as the B-Side to Angel in the US, and charted as it's own single everywhere else, becoming Madonna's first UK number one.

Madonna: The First Album

(L to R: Album-#8 US, #6 UK, Everybody-#3 dance, Burning Up-#3 dance, Holiday-#16 pop, Lucky Star-#4 pop, Borderline-#10 pop)

As it's between albums and I can't think of anything else to write about, I'm going to be starting a new series reviewing Madonna's studio albums.

Madonna (The First Album- UK Title) 1983

The album was recorded in New York under the direction of DJ Mark Kamins, who discovered Madonna in the club Danceteria (where she would sit in the corner reading a book instead of mingling). Her rough demos were hits in his club, and she was signed to Warner/Sire and began recording with Reggie Lucas, who was booted off the project after Madonna was dissatisfied with his productions. She then brought in her boyfriend Jellybean Benitez to remix the tracks, and it was during these last sessions that she recorded her hit Holiday. Madonna wrote every song on the album, except for Holiday and Borderline. Curiously, she is credited as the original writer of Physical Attraction, but Reggie Lucas was later given sole credit.

The sound of the album, disco and dance, was a risky move for its time. Disco was declared dead a few years earlier, yet as always Esther had the foresight to be the first in an era defined by synthpop. Bridging the gap between disco and dance was a departure for Madonna, who had spent her first few years in New York as the guitar player (she didn't play well) and lead singer of the New Wave bands Emmy and the Breakfast Club. Madonna's image--thrift store clothing, crucifixes, and loads of jewelry--was influenced by her friendships with artist Andy Warhol and Keith Harring, as well as her Catholic childhood and personal love of freedom.

Sparkling, cascading synths start out opening track Lucky Star, which contained lyrics based on the classic children's poem Starlight Starbright. It's dance beats were instantaneous and unrelenting. Borderline showcases the urgency of Madonna's vocals and has synthesized xylophone chimes. Burning Up, Madonna's foray into New Wave, has prominent guitars backed by a dance track. I Know It is a buoyant dance track with oscillating synthesized piano chords. Holiday, Madonna's signature song, starts out softly then lifts off into a celebratory, carefree dance track with repetitive, though festive lyrics. Think of Me is more disco than dance, but with electronic pulsating beats. Physical Attraction shares the same synthesized harpsichord-like chiming with Borderline, but has a memorable clapping beat. Everybody closes the album with pulsating electronic noises and spoken word sections that call everybody to the dance floor.

Madonna is successful because of its structure: fireworks of synths and simple, repetitive, and memorable lyrics. Madonna's eponymous first album is one of her best, unparalleled in its effervescence. Madonna's voice is high pitched, almost squeaky. There is a sense of urgency and exuberance, a carefree joie de vivre. She sounds simultaneously in control yet pining at the same time. For me, this is a special album because it's innocent. She's at the beginning of her career, and wasn't pushing a message beyond having fun. Naive but inviting, it's a celebration of fun.

Madonna's first music videos were made during this period. Everybody is a simple video of Madonna dancing in a lighted dance studio. Burning Up was another budget affair, but contained cutting edge effects of the day (Madonna's mouth magically multiplies on a door), and features Madonna on a road begging for her lover. Holiday was deemed too cheap to be released, and thus the embarrassment never surfaced. Lucky Star is one of her best loved videos. Madonna dances in a white room in black clothing. Borderline was the first widely aired Madonna video, and was a hit especially with the teen demographic. Madonna dances around in New York City waiting for her lover to respond.

Brigitte Bardot

While working on my Dakota Fanning post, I realized how many stars were inspired by Brigitte Bardot. Bardot was the sex symbol of the sixties, and came to symbolize the aesthetics of the decade, with her soft blonde hair and heavy eye makeup. Her work with Serge Gainsbourg is best remembered by their hit single Bonnie et Clyde, a spoken word track that epitomizes the intersection of French fashion and experimental music. Several decades, drugs, husbands, and run ins with the law later she looks like an overfed bird.

Country star Faith Hill, pictured on her favorite magazine to cover for, was inspired by Bardot for a photoshoot that preceded the infamous photoshopping one (also on Redbook). It's very Stepford Wives of her.

Aussie superstar Kylie Minogue's entire Body Language project, from the videos, to the album photoshoot, to the concerts, were inspired directly by Bardot. Kylie's song Sensitized uses the backing track of Bonnie et Clyde. Kylie even preformed a medley of Serge Gainsburg's over sexualized song "Je t'aime...moi non plus" to highlight her erotic approach.

And for the inevitable Madonna connection, she was first inspired by Bardot for her iconic black and white Cherish video. Madonna called it one of her more "retarded" songs, but the connection is undeniable.

Later, the inspiration of Bardot was more appropriately used for Madonna's "Sex" multimedia project, from the album art of Erotica, to her makeup in hair in the book Sex and film Body of Evidence (with Julianne Moore).
This isn't your typical "they stole/copied a given person" post, I was merely interested by how much influence this one time French model turned political activist has had.

Track of the Month: Alice

As Alice in Wonderland is our favorite movie of the year, today is a special selection in the track of the week series. This month's track of the month is:

"Alice" by Avril Lavigne, from the album "Almost Alice"

Haunting, powerful, emotive, resonant....

Featured during the end credits sequence (with the growing 3D mushroom), "Alice" is a haunting piano ballad. Sung from Alice's perspective, the lyrics relate how Alice is "trippin out" when she ventures down the rabbit hole. The song relies on Avril's soaring vocal work, and the powerful heavy notes of the piano. "When the world's crashing down...don't you try and stop me," is a really uplifting message of empowerment and triumph over obstacles.

It's most poignant moment is when Avril softly, almost wistfully, sings "I found myself in Wonderland."

The video is like any other movie theme song music video, in that it has Avril playing Alice, and she falls down a rabbit hole and attends the tea party. There are, of course, scenes of the film interspersed, and a mad hatter impersonator spliced together with Johnny Depp's portrayal. There's a particularly scary sequence where Avril's mouth seems to unhinge and get impossibly wide. Avril said she wanted a lot of scenes to feature her playing the piano, to prove that she can.

Sadly, youtubekeep is down, so watch the video from this link.

Favorite Concerts

Concerts are an amazing experience, connecting for two hours with fans of the same artist and sharing the music.
Britney Spears brought her Circus Tour to Chicago in 2009, thrice. Playing to a sold out audience at the Allstate Arena, the opening act of the Pussycat Dolls was more artistic than Ms. Spears, and that's saying a lot. They belted out live vocals while dancing around on stage, or moving on electronic risers. They connected with the audience, giving shout outs to Chicago, and to "the fellow pussycat dolls" in the crowd. I'm not embarrassed to admit it, but I was smiling during their short set of their hits, ranging from Don't Cha and Buttons, to recent songs When I Grow Up and Hate this Part. Britney was aptly preceded by a freak show, replete with a circus troupe and a midget, who I later found out was once a porn star. Nothing could better introduce the audience to the world of the craziest pop star alive.

After a baby murdering intro of Perez Hilton, Britney came down from the big top, playing a ring leader to her dancers while lip syncing Circus. For Piece of Me, she was trapped in a golden cage and wheeled about on stage. The only other highlight was the Touch of My Hand/Breathe on Me medley, which saw Britney flying around in a picture frame and simulating sensual poses while elevated from the ceiling. There were no live vocals, Britney's dancing wasn't captivating, and there were so many distractions (lights, moving set pieces, dancers, etc) that Britney's own robotic hold on her life was more than apparent. There were parts when she wasn't even visible on stage but a voice pumping from the speakers carried through the arena. Really, she couldn't have been there and the show would've been the same soulless spectacle.

Madonna's Sticky and Sweet Tour visited a sold out United Center in 2008. Madonna is a commanding presence, at times chilling, but she mustered a few smiles during this show. It wasn't dark as previous tours, but a warm explosion of color and 80s dance beats. Songs from Hard Candy that fell flat came alive on tour, and a clap and sing along rendition of Miles Away was moving, considering her recent divorce. The concert was impeccably timed and danced. Classics like Into the Groove and Like a Prayer became thunderous, transcendental house songs that got everyone out of the their seats. House songs in their own right such as Vogue, were reinvented as hip hip numbers, while upbeat songs like Borderline, Hung Up and Ray of Light became rock tracks.

Madonna's most real moment was singing You Must Love Me, a tearful paean to her fans. A highlight was the request song of Dress You Up, preformed just for Chicago for the first time in over a decade. Whether riding a Rolls Royce on stage during Beat Goes On, gyrating on a stripper pole behind Keith Harring graphics, strumming the guitar during La Isla Bonita, or leading the audience in a jump-up-and-down rendition of Give it 2 Me, replete with old school video game screens, Madonna's show was energetic, impeccable, and superior. And what could beat 15,500 people staying in the arena, singing along with Holiday playing after the show ended? Madonna was a star enough that she needed no opener, as was Kylie.
Kylie Minogue's US 2009 Tour stopped at the UIC Pavilion for one night and brought her brand of unabashedly cheesy pop Stateside. Preforming to a sold out crowd of nearly 5000 people, Minogue entered astride a massive silver skull, then strutted around in robotic attire reminiscent of retro scifi films, speeding through electro songs Come into my World and Speakerphone. She preformed a fast paced, energetic, and fun show that was chock full of her hits. Dressed as a sultry bell hop for her New Wave section of Like a Drug and Can't Get You out of My Head, she commanded the stage with her warmth and appeal. Kylie wore an awards night gown for the ballad section, showcasing her soaring vocals in an homage to old Hollywood.

When the sound system failed, Kylie sang an acapella rendition of your Disco Needs You that earned effusive love from the fans, as many of the moments during the concert (which sometimes left the starlet speechless). A parade of confetti fell for the encore, where she got the audience moving to her 80s hit Better the Devil and club favorite Love at First Sight, while colorful shapes flashed across the screens. If Madonna's show was the most impeccable, then Kylie's was assuredly the most fun. It was also a once in a lifetime opportunity to see a megastar in such an intimate venue.

Lady Gaga's Monster Ball stopped at the Rosemont Theatre in early 2010. The show was plagued with problems from the start, from a changing venue, to ticket problems, and really ought to have been moved from a three night residency to a single night at the Allstate Arena. The show opened with pulsating beats that were repeated through each transition between the acts. The ominous Dance in the Dark started the show, with Gaga enveloped by fog, dancing in a glow in the dark suit. The stage was designed like a retro video game grid, and Gaga preformed a string of dance numbers that blended seamlessly into one another.

If fans weren't familiar with the material, then the songs would have been indistinguishable. Her video interludes were so bizarre that they were pointless, and her commands for adoration between songs was as much of a turn off as the product placement for a cellphone company that stalled the show halfway through. Her singing was good, the music was great, but Lady Gaga's show needed some tweaking. There was a self conscious break before the last two songs and hedonistic behavior that was sometimes cringe worthy, other times understandable. Gaga was opened by Jason Derulo and Semi Precious Weapons, both of which I skipped because I was unfamiliar with them.

Coldplay played two shows at the United Center in mid 2008. The look matched the Viva La Vida album, and the stage was simple enough to showcase the band, but contained some laser and light effects that spruced up the show. The setlist was heavy on the new album, but old favorites like Yellow, Fix You, and Clocks popped up, though I attended an early show, before more beloved songs from X&Y were added to the setlist. Coldplay's instrumental skills weren't overwhelmed by the arena, and their songs were big enough that they were every bit arena anthems. Chris Martin's warm stage presence carried the band, and we got to hear Lost! preformed twice for the music video filming.

An impromptu encore of Green Eyes closed the show, after a wistful rendition of Strawberry Swing and the confetti heavy of Lovers in Japan. The setlist could've included more X&Y, but the eagerness of the band and the massiveness of the music made up for it. A solid, though short, show. Opening act Santagold was fun, and I actually downloaded one of their song (Les Artistes) afterwards. There was another opener that I missed, because it didn't matter and I don't remember who they were (Clearwater, or something like that?).

Track of the Week: Papa Don't Preach

It's a dry spell in music, same artists on the charts, nothing new released. I'm bored with the industry at the moment so let's go back in time to 1986.

"Papa Don't Preach" by Madonna, from the album "True Blue"

"Papa Don't Preach" is one of the greatest Madonna songs, songs of the 80s, and pop songs ever. It caused a stir when it was released because of its pro-life message, it's anti-authority lyrical content, and the controversial video where Madonna plays a teen mother. By today's standards the song and video aren't provocative or controversial, but this was the 80s.

The song follows the standard production values of Madonna's 80s material, a dance track with some pop-rock instrumentation, and high pitched vocals. A departure for Madonna, the song features some string instruments, evoking classical music. It reached number one around the world. The video is really as memorable as the song; it is one of Madonna's more iconic music videos. It also introduced a new incarnation for Madonna, with short blonde hair and more of a department store, rather than thrift store, look.

The song was dedicated to the Pope on her Who's That Girl World Tour in 1987. A highlight of Madonna's career was preforming this song to a crowd of nearly 150,000 in Paris. In 1986, Madonna was the most famous woman in the world, and at the top of her game...

Track of the Week: "3 Words"

Can't believe it's already the fourth week! With Track of the Week, we've been trying to highlight some current or forthcoming music. This week we're taking a trip across the pond.

"3 Words" by Cheryl Cole, from the album "3 Words"

A tabloid fixture in her native Britain, and a member of the supergroup "Girls Aloud," Cheryl Cole recently launched her solo career to great acclaim and commercial success. She's astonishingly beautiful, and that can sometimes distract from her work.

"Fight For this Love," was the typical dance pop of Girls Aloud, but for her second single, Cheryl Cole released "3 Words," a laid back, slightly electronic/acoustic song. Will.i.am from the Black Eyed Peas features on the track, but he doesn't detract from the song's appeal. The song slowly builds momentum until it hits the chorus, a quiet confession about someone being "the love of my life."

The video is really more interesting than the song itself, with long tracking shots, kaleidoscope effects, and somewhat of a Dali/Elizabeth Taylor vibe.

Hopefully Cheryl gets back with Girls Aloud, but until then the cool electronica of her solo album is a real treat.

Rant: "No wonder there's panic in the industry"

Britney sung this line in her cold and calculated anthem of not caring what people think about her in “Piece of Me.”

The music industry suffered during the 2000s. The beginning of the decade saw massive success, from artists like Britney and the Backstreet Boys. But toward the middle of the decade, as bubblegum pop became replaced by hiphop and indie, sales lagged. This is indicative of the quality of the latter genres.

Hiphop/R-n-B/rap, whatever you want to call it, is horridly unoriginal. Sure, there are some songs that are passably enjoyable (Jay Sean’s “Down”) but they are so trite that their enjoyment shelf life is relatively short. Hiphop relies on samples (aka blatantly stealing from previous hits) which shows how, in a way, ignorant the listening public is. Classic songs like “You Spin Me Round” are largely (and regrettably) forgotten by the biggest consumer demographic, the young, and incorporated into such rotten songs as Florida’s “Right Round.” Yes, it’s catchy upon a first listen but then the sadness of the sample/stealing sinks in. Who doesn’t enjoy the campy, so-cheap-its-good video, expressive vocal work, and bright dance beats of the original Dead or Alive/Pete Burns classic? Sadly, the answer is not a lot of people these days. Hiphop also relies on auto-tune to make up for the lack of talented vocalists. The robotic effect is awesome sounding, but when Kanye West used it on his latest album, it just about died for me. A rapper cannot sing, and thus must heavily computerize his vocal work.

If I even try to tackle the indie genre, this post would last for years. I’ll just say this much, Billboard said that indie suffered the most in terms of sales in 2009 and that made me very happy.

But what of pop/rock? 2007-2008 was an excellent period of music releases. Britney’s “Blackout” came out in 2007. A combination of dark synthpop and urban dance, it was her least commercially successful album but her best artistic work, and a worthy successor to the excellent “In the Zone.” Kylie Minogue’s comeback after battling cancer, “X” was released in 2007 (2008 in the US). A joyous celebration of life and fun, Kylie’s album was a shameless throwback to the 80s produced pop that made her a megastar. Coldplay released “Viva la Vida, or Death and All his Friends” in 2008. 2005’s “X&Y” was a sonic masterpiece that created its own sound: a fusion of dance and rock. “Viva la Vida” is a masterpiece in its own right: a musical exploration of such lofty themes as life and death. I have so many good memories of seeing them in concert supporting the album that I literally cannot listen to the album anymore. It’s too emotional, as cheesy as that sounds. Madonna released “Hard Candy” in 2008. Every song is excellent and fun on their own, but when placed together, the album paled in comparison to her 2005 album “Confessions on a Dance Floor,” which was one of her best albums ever. Madonna, sadly, fell into the hiphop trap, what crap. It’s a sad thing when the woman who set the trends for the last 20 some odd years begins to follow them. Her relevance in the US market is pretty much lost under the weight of all the Gagas, Katy Perrys, and Mileys of the world.

Then came 2009. Lady Gaga was really the only good thing that came out of that year. Notice I didn’t say great. She stands out from all the other music, but in her own way, she also neatly fits into it all. As stated in an earlier post, she has time to develop a unique place in the musical landscape. Katy Perry’s “Hot N Cold” was so poppy and upbeat, but songs like “I Kissed a Girl” and “Thinking of You” are the most rotten things you’ll hear in a while. She doesn’t sing very well, has a weird fruit fetish, and tries way to hard to be that “weird sexy rock chick.” Miley Cyrus managed to cross over from the tween market to the mainstream, but “Party in the USA” is no masterpiece. Britney released her album “Circus” in late 2008. The album, aside from its singles and standout track “Unusual You,” was boring, dull, and bland. I listened to it once. A single from her greatest hits album, “3” was really one of the only good songs of the year, because of its unabashed rave sound. The Black Eyed Peas ruled the charts with monster hits “Boom Boom Pow” and “I Gotta Feeling,” both so overplayed and manufactured that their success mystifies me.

2009 was also the year of Taylor Swift, and if I tried to relate my feelings about this talenteless girl, whose grateful persona is getting so old, then I'd waste my whole life ranting.

2010 has started off on the wrong foot. Newcomer Ke$ha’s song “Tik Tok,” which obviously steals its entire backing track from Kylie’s far superior “Love at First Sight,” was fun for the first two listens, but after discovering its thievery, its trashy party-all-night-and-get-drunk message makes me cringe. But there is hope yet. Madonna, Kylie, and Britney have albums due out this year, and Lady Gaga may release her third sometime near Christmas. I’m not saying the whole music industry relies on their success, nor that everyone will enjoy what they put out, but they’re all well established and for the most part, consistent.

But then again, for every Kylie, Madonna and Britney, we also are promised with a release by Justin Beiber, the inevitable tween crazy Twilight soundtrack, and a new Katy Perry album…like we need any of those.

Imperfection is Sometimes Perfect

"I'm Going to Tell You a Secret's" cover image is beautiful, showing the artist alone in the light.

Live albums sometimes eclipse their studio counterparts. Live albums capture the electricity and power of a live concert, that extra magic and wonder, that special "moment," that makes concerts so great: that connection between thousands of fans in one room, at one time, united by the music. Studio albums are perfect, controlled pieces of music. Live albums capture the idiosyncrasies of a live performance, when perhaps not every note is hit just right, or the arrangement of the song differs from the studio version. These make the live recording special and unique.

Madonna released "I'm Going to Tell You a Secret" in 2006, on the heels of her highly successful "Confessions" project. The documentary, an inside look at her life behind the scenes of her Re-Invention Tour, and the highs and lows of being a star, is an excellent testament to her message. The accompanying CD, is sadly overlooked. Perhaps its because the parent album "American Life" was one of her most excellent works yet, or because it was her first proper live album, but it deserves a five star rating.

Madonna's voice is what makes this album so great. It's not the soft vocals of her albums, but a raspy, sometimes flat voice, at times strained, whose secret to success is its strength. She is a powerhouse on this album, belting out with all her might. We are rarely treated to such a performance by Ms. Ciccone.

"The Beast Within," a reworking of her sexual magnum opus "Justify my Love," sees Madonna reciting bible passages from the Book of Revelations, this segues into "Vogue," which is mimed in concert from a recording but still thunders. "Nobody Knows Me," a pounding electro song about her rejecting the material world (yeah, right) is followed by a rock and roll version of "American Life," replete with bomb effects and the infamous rap, herein screamed in a strained voice. An Eastern-influenced electronic remix of "Hollywood" segues into the robotic orchestra of "Die Another Day." "Lament," a resounding ballad from "Evita," is one of the high points of the album. She really belts it out on this track. Things continue soaring upward with a thundering rendition of the always powerful "Like a Prayer." The autobiographical song "Mother and Father" is touching and sung in the same high pitch as its studio version. A surprisingly touching rendition of John Lennon's "Imagine" features Madonna leading the audience in the arena in a singalong. The result is powerful. Ominous Scottish bagpipes and drums reverberate as a fusion of Celtic, dance and hiphop rhythms collide in a memorable version of "Into the Groove." "Music" is reinvented as a fierce, bubbling dance song sung by Madonna in an alternatingly deep and high voice. "Holiday" features tribal drums and powerful, throaty vocals that end the concert in a celebratory manner. A bonus track, the original rock version of "I Love New York" is a vast improvement on the released version. Madonna's singing is sweet (as in endearing) and the lyrics don't seem so silly.

Madonna's voice is excellent and carries the record, imperfections and all. It must be said though, that people who aren't fans may easily dismiss the album because of they could perceive the singing as downright awful. The CD segues seamlessly, though perhaps a proper double album of all the songs would have been better. But this under appreciated album deserves more love.

Madonna's strained but strong rendition of "Like a Prayer"

Lady Gaga: A Review and Conclusions

"We're Plastic but we Still have Fun": Gaga After and Before

I didn’t like Lady Gaga at all the first I heard of her. Her songs would blare out of the stadium near my abode during football games and so I associated her with drunk sports fans. I had heard of her early on because ads for “Just Dance” would show up on the internet. Then she became really huge. “Just Dance” flew to number one and then she released “Poker Face.” It was that song that thawed Gaga for me. “Poker Face” is one of those timeless, eternal dance-pop songs with huge, international appeal. It went to number one everywhere.

The first time I listened to her debut album “The Fame” I wasn’t wholly impressed. But listening to the songs, they really grew on me to the point that not a day goes by I don't listen. While she owes most of her signature sound to producer RedOne, the songs have catchy dance beats with admittedly silly lyrics. But those lyrics get stuck on repeat in your head! “LoveGame” was released and I exhausted it by overplaying it. Then came “Paparazzi”: it’s a dance song but a ballad and has a great melody. It’s still powerful. Album tracks “I Like it Rough,” “Boys Boys Boys,” “Money Honey,” “Paper Gangsta” and “Starstruck” share identical throwbacks to 80s, dark, urban-synthpop. “Beautiful Dirty Rich,” and the “Fame” are rock tracks with a dance vibe to them. The only song worth skipping is “Brown Eyes.” “Eh Eh” and “Summerboy” have Caribbean vibes and take repeated listens to grow on you.

I eagerly awaited the release of her second album, “The Fame Monster.” “Bad Romance” was an epic first single, almost bigger than “Poker Face.” Almost. It’s still on heavy rotation on my mp3 player. “Telephone,” the next single, fizzled out fast for me and isn’t that good. Skip “Speechless” and “Teeth.” The former is boring and sung terribly, and the latter sounds like a leftover from a Christina Aguilera album. But “Alejandro,” an homage to ABBA and Madonna, is buoyant and bubbly. “Monster” is the best song on the album. Its eerie, dark, industrial beats and captivating robotic cry of “he ate my heart” makes it standout from the rest. “Dance in the Dark” is purely magnificent. It starts off like a machine slowly gaining momentum then bursts into full speed. The rap is a complete rip off of Madonna’s “Vogue” but the quality of the track forgives the thievery. “So Happy I Could Die” contains subject matter I don’t find appealing (do we really need to know Gaga touches herself while drinking red wine?), but the melody and lounge atmosphere of the track redeems it.

Gaga’s aesthetic didn’t make sense at all to me until I saw her “Monster Ball Tour.” A blend of old-school video game graphics, glow in the dark lighting, bone-like costumes, and odd videos, the “Monster Ball” was just pure fun. She’s contrived, manufactured, and weird-for-the-sake-of-weird but she likes it that way. “We’re plastic but we still have fun” she sings in “Paparazzi.”

But is she the next Madonna? I am hesitant to make the comparison. She doesn’t really address religious issues in her music. Madonna’s whole message is a blend of the sexual and the spiritual. Gaga’s is more of a pretentious attempt at “performance art” with a heavy dose of sex. Whereas Madonna’s sexual explorations were intelligent (perhaps even coldly calculated), Gaga’s sexual persona is smutty and seamy. In layman’s terms, Madonna would be in an art museum, Gaga in the local adult movie store. But then again, they’d probably like that.

Madonna is still active, so it’s not a good idea to dismiss her or dethrone her. If anyone, Britney Spears will enjoy the longevity and solid success that Madonna has. She continues to move to a new audience while keeping her old one. Britney is an icon in her own right. Beyonce and Rihanna are ubiquitous, but they are not all pop. While they have crossover appeal, their music appeals primarily to the urban community. After their prime passes, it is there that they will continue to enjoy success.

Is Lady Gaga good? Certainly. Her songs are catchy and fun. And I can't remember being this obsessed with an artist in a very long time. I listen to her music incessantly. I follow her every move. Is she the next Queen of Pop? She has a lot of time to develop as an artist, so let’s not make hasty pronouncements. “Eh, eh, there’s nothing else I can say.”

Update: Found this on Youtube. Gaga preforms Paparazzi whilst in the snare of a 40 foot Tentacle Monster on the second leg of the "Monster Ball Tour." What could be better? Perhaps simulated tentacle rape on stage, and I don't so that because I like it but because it would extremely hilarious. But what does this even mean? If it's a metaphor for "paparazzi being monsters who destroy lives" that's not very original. The monster is kinda kawaii!

Pillow Face

Pillow Face. No, that's not a killer (even though Hedorah is right, it would make an awesome murderer name). Pillow face is a treatment that's all the rage for the over 50s in Hollywood right now. It involves injections underneath the skin of the face to plump up, rather than pull back like a face lift, the skin. Nicole Kidman has had it. And so has Madonna. Madonna's arms are frightening, as are her gnarled Palpatine-esque hands. Exhibit A:

But her face is still really beautiful. (Left: 1986. R: 2009). Her job relies on her image. If she isn't sexually desirable, or beautiful, then her records won't sell. Celebrities are products that are bought and sold based on image. Lady Gaga is not spectacular in the looks department, but she uses her assets to her advantage (ie, covering up her face with weird head pieces). Fergie is known more for her "lady lumps" than her amphibian face. And Madonna, more than any of these singers, knows how to manipulate her image. So, while plastic surgery may be obvious in her case, the results speak for themselves. She can look in the mirror at night and admire at her beauty (I'm sure she does already). Her male fans from the eighties, that still like her that is, can admire her beauty. And her looks will sell a few more albums and a few more concert tickets until her time is up.

Track of the Week: Revolver

So this may be the start of a new feature of the blog, track of the week...nor will they all be Madonna songs.

"Revolver" by Madonna, from the album "Celebration."

"Revolver" was issued as a single using this One Love remix. It is short but assuredly sweet. The album version is horrendous: it sounds like the most trite Top 40 American music you'd ever hear. An obligatory Lil' Wayne cameo, Madonna's cheap attempt at getting radio play and sales, marred the track. Loud, crashing music overpower Madonna's voice. I even detected some auto-tune, that over-used bane of music. The album version sounded a lot like Britney's "Radar" and was unlistenable. Fortunately, Warner had its screws tightened right when it decided to issue its last Madonna single. Remixed by David Guetta (producer of the Black Eyed Peas), the One Love remix of "Revolver" takes dust and turns it into a diamond. Madonna's voice is clear, not drowned out as on the album version. Her singing on the choruses harkens back to the high pitched vocals of her youth. The choruses are catchy and will easily get stuck in your head. The song ends with Madonna showing off her singing talents by holding her note on the melismatic glory of "I line them up and watch them fall." The lyrics expertly and intelligently compare love to a murder weapon, while the music is electronic and pop at its most current best (the song very much has the sound of '09). I'm glad David Guetta rescued this song, it turned out to be solid gold, without the Lil' Wayne rap, and by highlighting what Madonna had always done best: singing catchy lyrics over a dance track.

As of this post, "Revolver" is at 5 on the Dance Charts, and will probably be her umpteenth number one. Esther can't really climb up to the top of the real chart anymore...

(I stole this video from YouTube and couldn't find a version without the Lil Wayne rap, I apologize to your ears in advance).