Discussion in 'Pop & Justice' started by debord, Jan 14, 2009.
Everybody remains a perfect, effervescent post-disco masterpiece
Everybody is a cute girl standing next to the rest of her monumental 80s singles discography. There's a reason why it wasn't included on the Immaculate Collection.
She might as well have chucked I Know It on Celebration seeing as practically rest of that album is on it.
It is her most overused iconic B-side so its place wouldn't necessarily be unwarranted.
I'm going through a 1982-1987 Madonna phase right now. Watched Who's That Girl? again and I don't care what anyone says, I love that film.
The songs bop; the film bops.
I think Madonna's first album just gets better and better with time. I remember back in '84/'85, I thought her first album got overshadowed by Like a Virgin and the one-two-three punch of Into the Groove-Crazy for You-Gambler. And then True Blue.
I'm glad Madonna/The First Album is being recognized for the masterpiece it is.
Fuck ya'll with this basic ass Everybody slander.
Damn wall flowers up in this bitch drinking club soda and shit.
da fuck outta here.
Watching the new Tales of the City on Netflix and this amazing cover was featured in the first episode! What an underrated bop.
Oh I so agree, it's the one I play most from the 80s, it's timeless really. I love that album so much.
God, I love I Know It so much, such a gorgeous album track.
I love the film and whole era too. I am tempted to buy this:
Maybe I could attract my soul mate?
Is this irony? I assume so, since Everybody is the definition of basic.
Suddenly the Alanis Morissette is me
Such perfect Madonna taste you have there.
The Orbit heartbreak quadrilogy of Frozen / Power of Goodbye / Be Careful / Time Stood Still still awes me, like what a particular mood.
Mature, thoughtful but still devastating. All with stunning, sumptuous production.
I understand not using him as a producer, but was there a particular reason she didn't write with Patrick Leonard again after Ray of Light?
She worked with him for the musical she was writing in 2004.
Ah yes I forgot about that. Bringing back Mirwais after a long absence is proof anything is possible!
Patrick said that they’re in different places in terms of how they approach working now (very similar to William Orbit’s “issue” with her), and it doesn’t seem like they are in contact at all these days based on his recent comments. I think it’s just another case of a chapter naturally closing.
That's true but I think he was probably referring to the new style of songwriting camps and back and forth demo production styles Madonna has employed over her three albums prior to Madame X which even she has stated she loathes. Maybe her return to a more old fashioned way of composing could change the temperature. I imagine he would be much more excited to work on something as creative as Madame X. The results of going back have worked wonders for this record and her head space it would seem. I don't crave it per se but the landscape has changed again.
He went into detail in an Instagram comment, and it just sounded like they don’t have any connection like they used to:
I’ve said before I think the main reason Madonna and Mirwais worked so well this time around is because they never really reached any sort of peak when working together last time. It was an unfulfilled collaboration because M brought it to a halt following American Life to work with Stuart while Mirwais was almost pushed to the side because she couldn’t handle how challenging he was with her and that he pushed her into a specific space mentally and creatively, which she’s noted then and now. She went back to him because she knew he brought something out that nobody else could as it was necessary for this record, but she said she had to test the waters to see if they would work now because it had been so long, and thankfully it did and they started right where they left off. Sounds like she already went through that with Patrick a while back, and unfortunately it didn’t work out.
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