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In fact, the party seems over: “No ferris wheel / no party steal / no laughter in the dark / no one-night stand / no far-off land / no fire that I can spark.” It’s a bloodletting, but it marks one of Madonna’s finest accomplishments as a songwriter. “Sanctuary” from was that Madonna let her producers take over, but that’s exactly the genius of “Sanctuary.” Though Madonna’s ethereal vocal serves the song well, it’s producer Dallas Austin’s heavenly soundscape that steals the show. “Oh Father” from was a critical triumph for other reasons, “Oh Father” stands as its quintessential moment of confessional wisdom.Its dredged-up childhood traumas serve as the flipside to “Dear Jessie’s” childlike optimism, and Madonna gives one of her most searing vocal performances to date. “Dress You Up” from “Physical Attraction” is six minutes and 40 seconds of romantic chemistry, poppy hooks, and one tremendous idea: “Maybe we were meant to be together / even though we’ve never met before.” 36.“I Know It” from It’s still so cool to listen to Madonna’s first album and here the bossy, bratty, vulnerable, steely conviction that will act as a through-line in her gigantic career.“I Know It” is whiny power pop, and its girl-group bravado is delicious. (A Man After Midnight),” because its galloping beat fuels the salacious “Hung Up” like an endless caffeine barrage. “Love Tried to Welcome Me” from Bedtime Stories Madonna contemplates sin, guilt, lust, and vulnerability in this seeming farewell to love.
It’s kitschy and fun, but it’s also the one Madonna tune no one ever has to hear again. Credit must be paid to producer Mirwais, who makes this bouncy soundscape almost incessantly colorful. “Bad Girl” from Several memorable things here: 1) The video, in which a ravishing Madonna plays chess with the eternally studly Goran Visnjic, 2) the earth-mother vocals, and 3) some of the best lyrics of Madonna’s career. “Ain’t No Big Deal” from is a bundle of gay weirdness, “Nobody’s Perfect” sticks out as exceptionally bizarre. ” from Though it’s a minor moment of jubilance on an album chockablock with joy, “Where’s the Party” is such a fun-loving, twinkly bit of girly urgency.
I do, however, like her as Breathless Mahoney – particularly when she’s owning the nightclub intimacy of Stephen Sondheim’s Oscar-winning “Sooner or Later.” It’s satisfying to believe a singer who coos, “Baby, you’re mine on a platter.” 52.
“This Used to Be My Playground” from What begins as an elementary complaint about verbal abuse (“I don’t want to hear your words”) evolves into beat poetry about the importance of articulation.
Madonna’s delivery of “I know you think I’m the foolish one” is confrontational and almost defeated, and it’s one of the great endearing moments in her early career. “Hung Up” from Thank ABBA for penning the fabulous “Gimme! It’s the heart of the album, and perhaps the most intimate song in Madonna’s catalog. “Impressive Instant” from Our girl registers as a space cowboy in this trippy aeronautical blitz.
Once she starts squeaking that she “likes to sing-y, sing-y, sing-y” and “rumba-rumba-rumba,” we’re too blissed out on rocket fuel and glitter to question her. “Thief of Hearts” from It does not get sweeter than this. “Your Honesty” from Madonna’s most successful single to date is a melancholic evisceration of a lover’s artifice, and its hopeless plain-spokenness makes it one of the finest examples of ‘90s balladry. “Ray of Light” from The song that renewed Madonna’s MTV credibility and earned her the Video Music Award for Video of the Year is an electrified, soaring sensation, and its lyrics are effing great: What could be a more exuberant statement than “And I feel – like I just got home”? “Don’t Tell Me” from , except this time Madonna’s a lonesome troubadour defending her very being while invoking some tried-and-true country music imagery.