Madonna: The Discography Rate - COMPLETE | Page 183 | The Popjustice Forum

Madonna: The Discography Rate - COMPLETE

Discussion in 'Charts, rates etc' started by RJF, Apr 19, 2020.

  1. This has always annoyed me. Same thing with Donna Summer and Last Dance from Thank God It's Friday. She made that song the classic it is. And like Madonna, she wrote or co-wrote most of her material. Most people remember Last Dance and Donna more than the movie.

    Into the Groove not being nominated is a pop injustice. Same with Live to Tell but maybe there was a technicality like there was with Masterpiece.
  2. R27


    I actually prefer Buenos Aires to nearly all the Evita singles. Oh well.
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  3. You will never see another writing credit on a Sondheim song because he writes everything himself. Early in his career he was always forced to only write lyrics. That gave us a couple of stone cold classics however he swore to himself that his work from then on out would be his and his alone. The one time he went against that it was as a favor and it was a crushing disappointment. Since then (1970 onwards) it has been just him.

    In his book on lyric writing he talks about the Dick Tracy experience. He never says he was brought in to "save" the project and he does not mince words. While he does not say anything about Madonna's songs in particular he had nothing but complimentary things to say about Madonna and how she interpreted his songs.
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  4. RJF



  5. For better or worse that's not how musical theater works and honestly Webber should have too becuase he only writes with other people.
  6. Buenos Aires is tuneless to me.
  7. Considering Madonna taught the girls how to Change A Word and Take A Third, I can imagine her trying it with Sondheim in the studio and being given nooch was galling. I imagine her fondness for her own involvement in the film and being Dickmatized by Beatty were the only things keeping her wrath in check. This is the woman who knew to milk Ain't No Big Deal and I Know It for all they're worth - she knew the importance of a credit.
    Last edited: Jun 26, 2020
  8. So, what's out next?

    "Dance 2Night"...
    "I Fucked Up"...
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  9. Revolver getting the boot has restored my faith in this rate a little.
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  10. I Fucked Up and Funana are great bonus tracks, whimsical in their own ways.

    Dance 2night though...
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  11. RJF




    SCORE: 5.921

    2015 PLACEMENT: 175 of 210 (5.868)
    HIGHEST SCORE: 10 x 2 (@Butterfly @DJHazey)
    LOWEST SCORE: 0 x 2 (@letuinmybackdoor @Mister_G)
    MY SCORE: 6/10

    Well, it was never going to go that far, was it? Only just managing to avoid the dishonour of dropping out before the Top 200, this is our first lead single to fall! Leaking to the fairly horrified ears of Madonna fans everywhere in late 2011 without its eventual rap features, it was... well, it was. It wouldn't actually be released until February 2012 despite leaking two months prior (can Gaga come up with any of her own ideas?) because in that time period, Madonna enlisted Nicki Minaj and M.I.A. to pen twin verses in place of the middle-eight we had heard in the leaked version, along with the fact that it was going to be released in tandem with her Super Bowl halftime show. Also, the person who leaked it? Is in fucking jail now, after also being proven responsible for the deluge of leaks we got during Rebel Heart. Don't fuck with the queen indeed. If only all the pop girls would take a leaf from mum's book and jail their wretched fanbases. Although I suppose if Charli XCX jailed all her awful fans, no one would be left to buy tickets for her tour.

    As the first bit of music we had heard from Madonna's work with Martin Solveig, who had produced a couple of pretty great pop smashes in the span of the previous year, I remember thinking it just felt a little... slight to be a lead single to a Madonna project. I think after a lot of soul searching over the years, a 6/10 is fair. It's technically sound on all levels; the cheerleader chant is rousing and an effective hook, the verses are fun, and generally the whole thing is quite propulsive and silly and a slight riot. It just doesn't hold a candle to... well, anything else that filled the same job it had in previous album campaigns. Heavy is the crown that a lead single wears. It is also Madonna's last single to chart in the Top 10 of the Hot 100 TO DATE, because you just know she's not done. I would also maybe argue it that, despite that accolade, it set ablaze to any remaining chart power she had in Europe. I rarely blame the song in terms of chart performance, but it just didn't land over here with a big enough bang to survive without promo she was never going to give it, because her attention went swiftly back to promoting W.E. Sad!

    Since this was a lead single, we actually have a fairly populated round up in terms of visuals and live performances for a change! The video, directed by Megaforce (a depressingly one-and-done collaborator), is fucking brilliant. Seriously, the song isn't up to much but the video can stand proudly with some of her best. It's just so stupid and delightful and well done and full of great, stylised setups, and has such a lovely colour palette too. Mum also looks phenomenal. It also received an outing during the iconic 2012 Super Bowl halftime show, where Madonna had an entire stadium of football fans bopping to "Vogue" while M.I.A. gave the finger to over one hundred million Americans, and it received... something resembling a performance during MDNA but it's so chopped and screwed that you kinda wonder if even she had no love for it by then. I've also included the demo for those who have never heard it and are curious. I think we can all agree that getting someone else to come in to do the cheer made it far more effective.

    This makes "Girl Gone Wild"... the best MDNA single according to Popjustice. Chew on that, while I refuse to put it anywhere near my mouth.

  12. Absolutely not you BEAST!
  13. RJF


    Yes, folks. This is the same @Butterfly who tried to come for "Like A Prayer" at the start of eliminations.

    I would highlight @DJHazey but we all know he's a depraved lost cause.
  14. This is exactly how I feel, nothing technically is bad about it (except maybe the lazy chorus lyrics) but it just doesn't have that capital 'C' c*nt that a Madonna campaign should begin with.
  15. Luvin' is a weird song, and I feel like Madonna is the weakest part of it. On paper it's a great idea, but it doesn't deliver what it should. I still absolutely bop, though.

    I mean, facts are facts.
  16. RJF


    Also, I really can't stress enough how brilliant a pop music video "Give Me All Your Luvin'" got. It's clear Megaforce basically just got "can you involve football somehow?" as a direction and flew to the seventh dimension with it. There are so many great details like more cheerleaders being in the taxi that gets torn in half, and great special effects that look to be just the work of really ingenious camera work. It's a really satisfying video to watch and probably up there with "God Control" and "Medellín" as some of her best videos in the last decade.

    I also remember the stupid rumour going around that the baby at the end that she nurses and swiftly throws off screen was meant to be shade at Gaga. Groan.
  17. That extra bridge in the demo though.

    "M! A! D! - Don't make me!"

  18. I'm definitely biased towards Give Me All Your Luvin' since it was really my introduction to Madonna, but I continue to think far too much is done on it. It's just... a great pop song? The only thing that comes close to letting it down is the brevity of Nicki & M.I.A.'s verses but once you come to accept that it's all good.

    The video is one of her all time best.
  19. How snatched does she look on that single cover though.
  20. Living For Love has to be her worst ‘first single from a new album’ ever so why Give Me All Your Luvin’ is out before it........I just don’t know.

    Last edited: Jun 26, 2020
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