Madonna still brings heat, beats on ‘MDNA’
Madonna, “MDNA” (Interscope Records/Live Nation)
Madonna says it best on the opening track of her twelfth album: “No one can put out my fire.” At 53, she’s still got it going on.
And thankfully so.
Her newest release, “MDNA” — her first apart from her longtime label, Warner Bros. — is full of upbeat dance jams and simmering slow grooves, and it delivers for the most part. True, it’s not nearly as top-notch as past records from the pop icon; the songs on “MDNA,” despite some risqué language, are much safer and tread familiar ground. Still, there are some standouts.
“Girl Gone Wild,” produced by Benny and Alle Benassi (Chris Brown’s “Beautiful People”), starts things off nicely with its European flavor and addictive hook. Then there’s “I Don’t Give A,” the second track on the album to feature Nicki Minaj, and the better one (first single “Give Me All Your Luvin”’ sounds like a Gwen Stefani demo circa 2004, and that’s not a compliment).
The album’s best song is “Love Spent,” with its Bollywood beat. It finds Madonna calling out a lover with lyrics like: “You had all of me, you wanted more, would you have married me if I were poor?” It’s worth noting that the album is Madonna’s first collection of new songs since she divorced director Guy Ritchie in 2008. Bitter much?
The dance sound dominates most of the 12-track set, but Madonna sometimes trips over on her own disco ball. “Gang Bang” is a complete mess, “I’m Addicted” sounds overproduced and “I’m a Sinner” is mediocre.
She shines brightest when she brings down the pace. “Falling Free” is soothing, the Golden Globe-winning “Masterpiece” from her film “W.E.” is soft and classic, and “I (Expletive) Up” sounds like a raw and honest apology to an ex (perhaps another ode to Ritchie).
On “MDNA,” Madonna has a wide array of helpers: Singer Priscilla Renea, who has written for Rihanna and Selena Gomez, cowrote two tracks; Alain Whyte, the main songwriting partner to Morrissey, cowrote a song; and Klas Ahlund, the producer behind Swedish dance singer Robyn, coproduced a tune. The CD also has assists from producer Jean-Baptiste (Chris Brown, Black Eyed Peas, Kelis); British singer-songwriter Mika; and French DJ-producer Martin Solveig. Then there’s usual suspect William Orbit, who produced Madonna’s “Ray of Light.”
It’s a bit of a mash-up, and may be the reason why “MDNA” is good, but not great.
Check out this track: Both Minaj and Madonna bring the swagger on the enjoyable “I Don’t Give A.”
Lionel Richie, “Tuskegee” (Mercury Nashville)
Lionel Richie named his new album “Tuskegee” for his Alabama hometown, a subtle reference to his southern roots. By remaking his hits with such country stars as Tim McGraw, Willie Nelson, and Shania Twain, he makes those ties explicit.
“Tuskegee” may play on a well-worn concept — a legendary singer pairing with younger artists on classic tunes. But, with few exceptions, these recordings come off as carefully considered, with fresh arrangements that highlight the strengths of the material and the talents involved.
Richie’s voice sounds as smooth and rich as ever, adding new wrinkles to his phrasing. Of the guests, those rising to the occasion include Sugarland’s Jennifer Nettles, who performs a dramatically beautiful “Hello”; country rocker Jason Aldean, who shows he’s a fine balladeer on “Say You, Say Me;” and Kenny Chesney, whose intimate tones work well on the romantic “My Love.” Only a couple of songs don’t work: Jimmy Buffett, for one, turns “All Night Long” into a steel-drum workout that sounds stiff instead of joyous.
All in all, Richie proves his middle-of-the-road pop has more in common these days with contemporary country than with modern pop. The album also underscores that country music, or any genre, benefits from strong melodies and powerful performances.
Check out this track: “Deep River Woman,” a song Richie wrote and recorded with country group Alabama, sounds even better when paired with the prettier, and more complex, harmonies of Nashville vocal group Little Big Town.