Discussion in 'Pop & Justice' started by mindtrappa, Sep 2, 2017.
Yes! They were amazing!
Seriously. What kind of alternate timeline?
Love his Bedtime Story remixes also...
There’s nothing wrong in admitting that Confessions is an album that places more emphasis on production than songwriting, melody, and even singing. It’s foolish to think the majority of that record wouldn’t fall apart as soon as you stripped it back. It was only meant to work on one level, and that’s completely fine. It doesn’t mean it’s a bad album. She achieved exactly what she wanted with it.
I was agreeing with @man.tis.shrimp...
I can't with this shitting on "Confessions". It was stellar in every way, and the last time her music sounded competently done. No one-take-horribly-mastered-done-on-the-go messes we endured for the past decade. I think that's what people are mostly missing, a certain sense of professionalism in it all.
@Sanctuary get your ass OUT of this thread.
I think we all want Madonna to get back to the polish and professionalism of Confessions, but that doesn't mean we have to praise everything about that record. As immaculately produced it is, it's not really that big on melody for a Madonna album. That's all that's being argued. Rebel Heart is way shoddier technically, but it's also way more tuneful.
And also, I don't even think a lack of emphasis on melody is a bad thing. Erotica is one of her least melodic records and also one of her very best.
Can you point me to a song you think is melodically weak on Confessions? I'm all for praising Rebel Heart, dreck and all, but we don't have to drag down a bonafide classic like Confessions to do it.
Confessions is so perfect sonically that it starts to feel like a couch with one of those plastic covers one.
Reading this has made my day! Sounds brilliant!!!
Chocolate Pie sounds like it could be a new gay anthem.
The melodies on Confessions wipe the floor with Rebel Heart. They're all so rich. Rebel Heart isn't even remotely in the same league.
Whatever the songwriting approach was, there are just too many songs that make no impact. Hold Tight, Holy Water, Inside Out, Iconic, Illuminati - nothing memorable there at all. And that's just the standard edition.
I honestly think Jump and Get Together are the only songs that have a particularly strong tune. But the biggest examples of songs that need the production to work are Hung Up, Sorry, Let It Will Be.
I'm not arguing that the melodies are bad tho (except for Push). I think there's a difference between a bad melody and one that's just not particularly tuneful.
I'm also not trying to drag down Confessions. I'm just telling like I see it. No record is sacred. And like I said, Erotica is one of her least melodic and is still her third best in my eyes, so it's not like I think the lack of emphasis on tunefulness is a deal breaker.
@Someboy lock this fucking thread.
I mean, we're all entitled to our opinions, but I think we must have a different idea of what melodic means. Every time I see videos of Confessions songs played on the piano, they don't work well. I think there's a reason for that.
But the definition of melodic is not "does it pass the played on piano test". At least to me... For instance, the verse/middle 8 melodies on Jump are kind of dark and sprawling and wouldn't lend themselves well to piano at all. But they're still incredibly tight, well constructed melodies which make much more impact than any of the Rebel Heart songs I mentioned above, all of which have very basic melodies. And it's true of basically the whole of Confessions - there's just an effortlessness to the songcraft and how it all hangs together which has been missing of late. Most of the Rebel Heart tracks sound quite laboured and/or disjointed.
Madonna wanted to do a big pop album after American Life got (unfairly) dragged and her public standing took a nosedive as a result. I'd say that Confessions did that very, very well. Its flawless from Hung Up up to an including Issac. The only two songs I don't connect with as much as the final two.
What is this word "songcraft" and why is it here, suddenly in our lives?
I'm not sure what 'tunefulness' is. The way I judge a melody is whether it's tight, well crafted and instantly memorable and Confessions has that in abundance.
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