Madonna - Confessions on a Dancefloor (what a shite title!)

http://s41.yousendit.com/d.aspx?id=3DYDWVWWO1URB16KCRP46WVWUS

http://s41.yousendit.com/d.aspx?id=1N77V7JXMZH4N1VOZAQMIX0U9Q

"BAM!"

It doesn't really. Plus, as I keep telling people, "What You Waiting For" is a rip off of "Travel Girl" by Hitch Hike anyway.

But we haven't talked about the ABBA sample!

JLC's mixes always irk me slightly because I can hear people who are afraid of pop but want to like it with coquettish distance using them as a crutch - "Oh, god, that Gwen Stefani is crap, but MAN that JLC remix owns".

And I think Confessions on a Dancefloor is a GRATE title.

Edward you've said this before but I think it's a bit of a strawman - who are you thinking of when you say this? The only song which I've seen many people claim to hate but love JLC's remix of is "Four To The Floor"... which is, erm, fair enough (it's also indie so it doesn't count!).

I actually don't think JLC offers any distance from pop, his remixes are mostly so blatantly commercial!

"The Viola In Madonna's Life" is all about negating a good time straight through and non-stop," says America's ultimate Dancing Queen, saxophonist Charles Gayle.

That's the point - his remixes are no different as regards commerciality from the source material - except perhaps the Starsailor one - but there are people on this very board who have said statements like the one I'm describing - OH I HATE THIS, EXCEPT THIS REMIX WHICH IS VERY MUCH IN THE SAME VEIN IS K-GREAT.

Exaggeration. FWIW, I don't think any of JLC's remixes improve that much on the source material. I'll take the original versions of WYWF, "Mr Brightside", "Danger High Voltage" any day.

ANYWAY. This new Madonna single is good. Hooray.

Edward you appear to be implying that if they were distinguishing on the basis of commercialism or lack thereof it would be more legitimate... I know I prefer his mixes in pretty much all the mentioned cases except "Danger! High Voltage!" (and even there it's quite good) - but that's not out of Gwen antipathy. "Cool" is one of my top five favourite songs of the year. I like "What You Waitin' For" but I can pretty easily see how people might hate it.

(Me, I reckon JLC will never top the LRD song "Sometimes", but that's just me). Partially, I'm just railing futilely against a bit of a trend. The point is, if I went on a thread about non-commercial non-pop music and made the sort of uninformed statements that get bandied about on the ever-dwindling number of actual pop threads on ILM, I'd be considered a troll.

This frustration, sadly, cause sme to make uninformed, occasionally inaccurate and exaggerated statements. But there's a kernel of truth.

Remember, this is pop, not Hurricane Katrina.

Early recordings of the then up-and-coming "No Wave" drummer in a rare concert appearance with John and the boys in front of an audience which showed its appreciation in its dozen. Includes specially commissioned sleevenotes by Fred Frith.

The first is the opinion that Madonna's latest (or the 30 sec we have anyway) sounds a little like Gwen. It's true that this is in some cases a lazy opinion, but I do think there is some validity in the comparison and doesn't necessarily come out of being uninformed about pop. (This is especially the case when the "sounds-like-Gwen" comment isn't meant as a put-down.)

The second has to do with JLC, and his status as a kind of dance figure that even indie kids can love. I do think the phenomenon exists, but I'm not sure JLC is the best example of such a figure (although he is at least a better example -- ie a little more tolerated by hipsters -- than someone like Junior Vasquez or other housier remixers). If Luomo remixed Jessica Simpson, then you will probably see the trend more clearly.

I see you there... NIK KERSHAW FAN!!

'course I might be wrong on that.

Oh I've been stepped on...

http://images.amazon.com/images/P/B000002BVN.01._SCLZZZZZZZ_.jpg

you'll DO WHAT mate??

http://www.popjustice.co.uk/images/madgesleeve.jpg

From Matt's mouth to your ears:

The entire album was recorded in the home studio of his London flat, including the vocals. He said his studio is as small as the stage he was sitting on -- and a lot warmer.

He apparently has a female neighbor who just cries throughout the day, and that you can actually hear her faintly in the background on some parts of the album.

Madonna knew from the beginning that she wanted to do a high-energy dance album. She said, "It’s gotta start at 120bpm and only go up."

The album’s 12 songs are continuously mixed, by Stuart, like a DJ set.

A full track listing is now available, as well as the cover art, at Madonna.com. But he mentioned the last song, "Like It Or Not," and said it was the perfect way to end the album – it’s a song that basically says, "This is who I am, this is what I do. Take it or leave it."

He chose the Jacques Lu Cont moniker for DJ and production work because it sounds like lump, and he just wanted to hear someone on BBC get all tripped up while saying it, which apparently happens frequently.

Even after winning a Grammy earlier this year for his remix of No Doubt’s “It’s My Life,” working on two tours with Madonna (as Musical Director of Reinvention and keyboardist for both it and Drowned World), he still lives in the same flat in London.

He says Confessions is “where pop meets dance” and blurs the line between the two. But it is also very soulful as opposed to techno or minimalist.

Madonna’s publicist, Liz Rosenberg, was also in the audience. Even though she helped bring Stuart to the Summit, she said she had a few questions of her own. She started out by saying, “I thought I knew everything about Madonna, but…” She and Stuart basically talked about how Madonna has a DJ’s ear and “she knew what she wanted to dance to,” so it really was the perfect record for her to make."

http://s13.yousendit.com/d.aspx?id=0UYPK8Y7R08V12BGMSE2I7R6BP

"I Love New York" would be great if all Madonna sang was the title. Generally Lex OTM about

And no-one told me this album ended with a schaffel bandwagon leap!

I guess, though, that I can categorically rule out the possibility of Madonna's persona ever entrancing me on a new record ever again. :-(

the only points at which i'm really down with madonna's persona on the album are 'hung up' and that incredible "JUST WATCH ME BURN" on 'let it will be', maybe 'jump' as well - but at least she's safely ignorable for most of the rest.

the production on 'push' is ridiculously great - where did jlc get those ideas from? and who will pick up on them?

Ha ha no wonder I like it so much. Madonna is fairly useless on it admittedly.

Also there's that gratuitous reference to the SOS Band's "Take Your Time (Do It Right)".

I wd like a difft, more sensitive vocalist over the the 'get together' dub tho

Does anyone have any clue as to what remix this was? Or was this some chopped-up concoction of the DJ at the club I was in?

Funny though - before this song played, a fuse had blown in the DJ booth, sending the whole club into darkness. Everyone was getting rowdy and confused (was the place closing or wasn't it?) - it was looking kind of disastrous. But then the lights came back on, things began powering up, and there came that ticking, and then those repeating, accumulating vocals: "time goes by.... so slowly slowly..."

It took a split second for everyone to work out what was being played, after which the dance floor was packed in an instant.

Later however, the DJ claimed to have "no Madonna" when I made a request for 'Sorry'. I have a feeling that this mix may have been stored in a glass case, labelled "In Case of Emergency, Break Glass and Put On Decks".

Anyone have any ideas?

The last Madonna album I was this aggressively ambivalent towards (ie, I have no desire to hear it) was Music.

A:She really loves them as well. Because they worked with Bobby Orlando in New York really early on, and I'm guessing she would've been around there at that same period. So I think there's a huge kind of cross-over there.

_____________

still astonishing that bit, i dunno why.

New single:

http://i18.tinypic.com/4xq3ddg.png
http://youtube.com/watch?v=x8x2FjpLpFI

WEAK. What is this, 2003?

uh oh, THANKS - it better be better than fucking HEY YOU

Yeah, it's better than that POS. It's pretty catchy, it just sounds old and tired and kind of pathetic..

I can't get through the first minute and it's all Pharrell's fault and his lazy production. Why didn't she just stick with Stuart?

what's the title?

and what's with the old thread?

new thread please!

It's not bad. It certainly doesn't evoke the same levels of excitement that the Confessions on a Dancefloor singles did, but it's not terrible.

When Madonna singles generate no excitement, there's something wrong.

Link here. It's awful.

This hold up well 2 and a half years on, don'tuthink?

1 Madonna Sorry Mar 2006

DOES ANYONE REMEMBER THIS (happening) ?

Yes. It kept Corinne Bailey Rae off the top, so it wasn't all in vain.

yup, agreed it does.
which is why i just picked up the Juliet album that Stuart P. produced.

ooh. juliet?

work hell means that i have been unable to actually listen to the Juliet album yet. however, this thread :
So... that Juliet album leaked...
seems to be pretty spot on, especially the Garbage connection.

Hilariously, it does still sound good.

Well you know what? I think this might actually be her best album.

As an album, yes it is

Yes! Her strongest singles are elsewhere, but this one works in ways no other album of her does (I’m assuming because it’s all conceptualized as some sort of continuos disco house dj mix).

Erotica functions the same way.

Oh yeah you’re right! Erotica sort of does this too. That one is my second favorite of hers.