Madonna: The Discography Rate - COMPLETE | Page 274 | The Popjustice Forum

Madonna: The Discography Rate - COMPLETE

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

  1. RJF




    SCORE: 7.024

    30 - 110 of 210 (7.063)
    HIGHEST SCORE: 10 x 10 (@funkyg @Euphoria @Angeleyes @Remyky22 @Andrew.L @Mjg0806 @Up Down Suite @torontodj @joeee @Filippa)
    LOWEST SCORE: 1 x 1 (@sexercise)
    MY SCORE: 7.5/10

    Well, in what should surprise absolutely no one, "Don't Cry For Me Argentina" is the final song from Evita left in the rate. The tale behind Madonna accessing a whole new section of her voice she never realised she had while training for Evita is well known, but it's another thing to hear it. Not only do these songs challenge her, they are challenges that she surges up to meet. Do I find "You Must Love Me" to be one of the most compelling songs of her discography? No, but I do find it one of the best performed. It's just little things; small pauses, when her voice flickers like a candle, every breath. It's an emotionally articulate performance as much as it technically articulate, and it simply wouldn't sound this way in the hands of anyone else, and that's what makes it something to really pay attention to. Madonna is always able to provide stakes. It's what has made her ballads over the years so affecting. Despite her relentlessly steely persona, she's a deeply emotive singer that puts her leagues ahead of so many others, and why her songs have been able to strike such a chord over the years.

    This is also the second time that Madonna's performance won someone else another Oscar. Despite her best efforts to make lyrical changes after already getting her way with script changes and overhauling the recording process with the soundtrack, Andrew Lloyd Webber and Tim Rice's version of the track remained intact. Madonna had an issue with the lyrics reading as desperate and manipulative and wanted a more sympathetic take, although you also can't help but wonder if the fact she walked away from the 1991 Oscars with nothing for "Sooner Or Later" played on her mind and didn't want it to happen again. I also think she had an issue with the fact that a film set is in service of something bigger than her, and does not exist entirely for her, so not having a hand in every single facet of something she was involved in was maybe a little unnerving to someone who is both a control freak and a perfectionist to her credit and detriment. It must have also maybe stung when the nominations came out and, despite there being buzz around her (and Courtney Love for The People VS Larry Flynt, which scream) being nominated for Best Actress and even having a shot at winning, she got nothing instead.

    However, you can tell she's got a lot of love for the project as a whole, and even a lot of love for this song. Below is the official video, along with some performances. The 1997 Oscars video includes Billy Crystal's quite frankly horrible introduction which must have been infuriating to hear while she was waiting in the wings, and also works as a reminder of her pop culture capital just before Ray Of Light changed everything the next year. Like six years prior, you can hear the nerves in her voice in the first verse, but she shakes them off like a pro and does everything I described in the top paragraph. The second video is of its rendition as part of the Sticky & Sweet Tour setlist, where it's not only a surprisingly tender moment, but also a lovely reminder that she can sing on this tour despite the official release's ironed-flat MIDI ringtone post-production vocals on everything else. I included a pro shot performance from the Lisbon date rather than the official Buenos Aires recording because if anything it's actually an even better representation of that. Enjoy!

    Last edited: Jul 19, 2020
  2. RJF


    The 1997 Oscars in terms of lewks was maybe not as much of a shoot as 1991, but she still looked incredible that night.


  3. Love your write-up for "You Must Love Me" @RJF.
    Music Is Death, Lila, DJHazey and 8 others like this.
  4. RJF


    This week is maybe going to be a little tough for me in terms of keeping to a schedule, just to give y'all a heads up. I foresee interruptions almost every single day, and I'm most likely going to not have the time to do eliminations for a few days. However, I'll try and do four eliminations a day earlier in the week (when I'm less busy) and by Sunday, things should be back to normal, so I'll try and give y'all a bumper day of kicking songs out to make up for it. Things will be back to normal the week after though!

    140. You Must Love Me - 7.024
    141. Goodbye To Innocence - 7.009
    142. Gang Bang - 6.939
    143. Holy Water - 6.915
    144. Gambler - 6.912
    145. Think Of Me - 6.906
    146. Beat Goes On (Feat. Kanye West) - 6.894
    147. Beautiful Killer - 6.884
    148. Hold Tight - 6.873
    149. The Look Of Love - 6.824
    150. Future (Feat. Quavo) - 6.8
    151. Batuka - 6.791
    152. Voices - 6.785
    153. Best Night - 6.755
    154. Veni Vidi Vici (Feat. Nas) - 6.752
    154. Broken (I'm Sorry) - 6.752
    156. Shanti / Ashtangi - 6.73
    157. Addicted - 6.712
    158. Iconic (Feat. Chance The Rapper & Mike Tyson) - 6.702
    158. Ciao Bella - 6.702
    160. Spotlight - 6.694
    161. I Love New York - 6.652
    162. Messiah - 6.639
    163. Love Song - 6.621
    163. I'd Rather Be Your Lover - 6.621
    165. Supernatural - 6.615
    166. Candy Shop - 6.588
    167. Wash All Over Me - 6.561
    168. HeartBreakCity - 6.558
    169. Bitch I'm Loca (Feat. Maluma) - 6.548
    170. Your Honesty - 6.524
    171. Beautiful Scars - 6.461
    172. Something To Remember - 6.458
    173. Love Don't Live Here Anymore - 6.448
    174. Over And Over - 6.433
    175. Another Suitcase In Another Hall - 6.409
    176. Stay - 6.367
    177. Don't Stop - 6.339
    178. Girl Gone Wild - 6.324
    179. I Know It - 6.267
    180. Act Of Contrition - 6.245
    181. Fighting Spirit - 6.227
    182. I Don't Give A (Feat. Nicki Minaj) - 6.203
    183. It's So Cool - 6.191
    184. Illuminati - 6.167
    185. Funana - 6.161
    186. Dance 2Night - 6.152
    187. Borrowed Time - 6.118
    187. History - 6.118
    189. Sooner Or Later - 6.109
    189. One More Chance - 6.109
    191. Back That Up To The Beat - 6.076
    192. Let Down Your Guard - 6.036
    193. Killers Who Are Partying - 6.015
    194. I'm A Sinner - 6.012
    195. I Fucked Up - 5.964
    196 - Some Girls - 5.933
    197. He's A Man - 5.924
    198. Give Me All Your Luvin' (Feat. Nicki Minaj & M.I.A.) - 5.921
    199. Buenos Aires - 5.894
    200. Super Pop - 5.848
    201. Revolver (Feat. Lil Wayne) - 5.827
    202. Can't Stop - 5.776
    203. Ain't No Big Deal - 5.736
    204. Turn Up The Radio - 5.727
    205. Best Friend - 5.721
    206. Graffiti Heart - 5.697
    207. Hanky Panky - 5.691
    208. Love Makes The World Go Round - 5.679
    209. Back In Business - 5.67
    210. Pretender - 5.661
    211. Lament - 5.615
    212. Cyber-Raga - 5.603
    213. Incredible - 5.545
    214. Jimmy Jimmy - 5.521
    215. Now I'm Following You - 5.497
    216. Ring My Bell - 5.424
    217. S.E.X. - 5.373
    218. Spanish Lesson - 4.997
    219. Shoo-Bee-Doo - 4.948
    220. More - 4.852
    221. What Can You Lose - 4.436
    222. Superstar - 4.391
    223. Auto-Tune Baby - 4.121
    224. Cry Baby - 3.367
    225. I'm Going Bananas - 3.327
    226. B-Day Song (Feat. M.I.A.) - 3.000
    227. Hey You - 2.976
  5. Her performance on Sticky and Sweet is really strong. It's much better than I remember when listening to the recording.

    I can totally see Madonna trying to change the lyrics to make Eva more sympathetic (and get writing credit). It goes with her performance which is a more sympathetic take on Eva. I had expected a more cunning and manipulative Eva but Madonna's interpretation was more sympathetic and vulnerable, which kind of mirrored how the public was seeing her at the time.
  6. I've always loved the dual meaning of the title: "You have to love me" vs. "I guess you really do love me." It embodies that tug-of-war between the strong-willed and the vulnerable that's so inherent to both the character and her actress.
  7. You Must Love Me is so tender, and it's rare to hear that from Madonna in the 90's I find.
    It was written specifically for the film's chance of getting a Best Original Song Statue, and added into the official book for the stage show after, I really enjoy it
    (It was up against Because You Loved Me at the Oscars, and it's hard for me to decide which one I love me)
  8. Goodbye to Irrelevance.
    2014 likes this.
  9. Beautiful write-up for You Must Love Me, @RJF - a song that other fans might shrug at but really is stunning in all its fragile, crystalline glory.

    I also didn’t know half of those Goodbye to Innocence tidbits! Thanks all - this is why I love this rate.
    Music Is Death, evilsin, Lila and 8 others like this.
  10. RJF


    The real question here is what on earth @sexercise - who has been biting into a rag and sobbing to every Taylor Swift softboi ballad out there - was playing at with that 1/10. We want ANSWERS.
  11. [​IMG]

    Honestly my score was maybe biT dramatic but I can't say my revised score would be much higher either. Maybe its association with Evita just had me flooring it because I don't love these kind of "made for a musical" ballads. The lyrics are cute but the production/arrangement just doesn't do it for me. The closest thing that Taylor has that would be in this vein would probably be Beautiful Ghosts which... I don't really use either. Coincidently, that is ALSO another Andrew Lloyd Weber atrocity.
  12. RJF


    The most iconic thing about "Beautiful Ghosts" was when @Laura Vanderbooben and I forgot to put into the BPG 2019 ballot and, when it was finally pointed out, no one cared.
  13. Did you really forget or did we use our brain zappers to try to minimize the impact that Cats had?

    Still thinking about how some of those reviews were like "Cats is a literal atrocity that violates the Geneva conventions but Taylor was good actually!". Her power scares me.
  14. Goodbye to Innocence and You Must Love Me are out before Body Shop...
    JMRGBY and Maki like this.
  15. RJF


    Maybe you shouldn't have given it an 8/10!
  16. It’s not bad. It’s not. It’s the type of song when I listen to it I realise I’m being dramatic but it should have left a while ago for me, and definitely before You Must Love Me and Goodbye to Innocence.
    Xanax, Maki and RJF like this.
  17. @RJF’s writeup for You Must Love Me perfectly captures why I feel M’s take on Evita is so powerful and frankly far better to me than Patti LuPone steamrolling her way through every damn song ff
  18. I have no clue of what's the final and what's the demo for "Goodbye to Innocence" but I just live for it and the line "You believe in what you wanna believe \ I pray to keep my sense of humor" feels so... iconic. It's very on the nose but also so Madonna.

    Erotica her power.
  19. You Must Love Me is stunning to my ears! What a shame it couldn’t go a little further...

    Exquisite write-up indeed @RJF
    Music Is Death, RJF and Maki like this.
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