Thanks to Daniel
Thanks to Daniel
The chart, and all rankings dated Nov. 16, will refresh on Billboard.com Tuesday, Nov. 12.
"Crave," which marks Lee's first No. 1 on the ranking, was remixed for clubs by Tracy Young, Benny Benassi and DJLW, among a host of others.
With 49 toppers on Dance Club Songs, which measures reports submitted by a national sample of club DJs and which launched as a national survey in the Billboard issue dated Aug. 28, 1976, Madonna outpaces runner-up Rihanna (33 No. 1s), while Beyoncé and Janet Jackson follow with 22 and 20, respectively.
"Crave" is Madonna's third leader, all this year, from her album Madame X, following "Medellín," with Maluma (June 29), and "I Rise" (Aug. 31). Madonna adds her ninth No. 1 this decade and has earned three each from her last three studio albums, with each triple tallied in a single year. Madonna also scored three No. 1s each from 2015's Rebel Heart ("Living for Love," "Ghosttown" and "B**** I'm Madonna," featuring Nicki Minaj) and 2012's MDNA ("Give Me All Your Luvin'," featuring Nicki Minaj and M.I.A., "Girl Gone Wild" and "Turn Up the Radio").
"Crave" additionally marks Madonna's ninth consecutive Dance Club Songs No. 1, her longest such streak. (Katy Perry holds the record with 18 straight No. 1s in 2009-17.) Twice before, Madonna managed seven straight No. 1s, first with "Causing a Commotion," from the Who's That Girl soundtrack (1987), through "Justify My Love," from her first greatest hits set, The Immaculate Collection (1991), and then with Ray of Light's "Nothing Really Matters" (1999) through Music's "Impressive Instant" (2001). Madonna's current run began with "Luvin' " in 2012.
The demo of Cherish from the day it was written. I hope these posts stop the sale of that cassette at auction. Not cool at all that someone would sell it. Not theirs to sell.
This demo 'Angels With Dirty Faces' and others from Like a Prayer are being auctioned between 7/17-7/22-19. Here it is for free. PL
Madame ❌ is a Professor................. pic.twitter.com/G3ZcNsRADG— Madonna (@Madonna) 16 April 2019
Madame ❌ is a cabaret singer............. pic.twitter.com/cM0lI9P352— Madonna (@Madonna) 16 April 2019
April17, 2019 ❌ pic.twitter.com/hWpYCuyvpi— Madonna (@Madonna) 15 April 2019
M is coming. Find out on Wednesday. pic.twitter.com/Ai3EGQ8KJC— MTV UK (@MTVUK) 15 April 2019
The pop icon unveiled the mysterious Madame X on Instagram and Twitter Saturday (April 13), offering a preview of what's to come.
Leaving fans wanting more, she did not confirm whether Madame X is the title of an upcoming song or album release, or if it's an alter ego.
In March, she gave another sneak peek at what she has up her sleeve, tweeting a cryptic photo of a hand cutting an apple with the caption 'A taste of things to come.'
During recording, from September 1988 to January 1989 at Johnny Yuma studios in LA, Madonna was at the worst point in her marriage to Sean Penn. She had filed for divorce the previous year but was spending time with him trying to work things out. 'I remember some days she wore sunglasses all day in the studio,' recalls her then co-songwriter and co-producer Patrick Leonard. 'She was going through very hard times.' Making the record, however, was her salvation. After the bouncy grooves of 1984’s Like a Virgin and the upbeat celebration of her love for Penn in True Blue (1986), Madonna was in a more introspective mood. Penn had an explosive temper, and as their marriage foundered amid constant fighting, her career hit a stale patch with professional flops Shanghai Surprise, the film she starred in with Penn, and Who’s That Girl, a comedy heist movie with a patchy soundtrack. Madonna found a focus for her divorce madness in the new album.
'We knew she was going through a lot of personal stuff,' recalls Donna De Lory, who, along with Niki Haris, sang backing vocals. 'We were friends, and I knew that she was channelling all that emotion into the music. It was going to be a much more personal record for her.' Madonna had just turned 30 and approached the studio like a confessional. 'She was writing songs that were very truthful,' says her other co-songwriter and co-producer, Stephen Bray. 'She has an interesting relationship with fear in that she compartmentalises it and then it comes out in her ferocity of personality. True Blue was about feeling romantic and wanting to be unabashed about love. Then she changed chapters. ‘Things didn’t work out the way I thought.’ That’s how Madonna processes fear, in Freudian pop writing - free association turned into pop songs.'
To read the rest of the article visit: www.theguardian.com
On Monday (March 18), Madonna tweeted out a cryptic photo of a hand cutting an apple with a knife, saying that fans could be expecting new music coming their way soon. 'A Taste of things to come...............' she captioned her photo. The singer followed up the teaser with another one on Tuesday (March 19), sharing a photo of herself with only an apple emoji as the caption.
Fans took to Twitter to express their curiosity and excitement surrounding the star’s mysterious announcement. Some simply expressed their glee at the thought of new Madonna music, while others attempted to decode her message and determine what it meant.
While in Miami promoting his 11:11 World Tour, Billboard caught up with the singer to talk about his experience of being in the studio with the pop music icon.
'I met Madona during the VMAs in New York,' Maluma says. 'After that, I had the opportunity to spend some time with her in Los Angeles. She was in the studio and I joined her.'
And how was the meeting between Maluma and Madonna? 'We just had a beautiful connection. She is one of my biggest inspirations,' he said.
Maluma really appreciated the time in the studio and he’s honored to say now that Madonna is a friend. The song that they were 'cooking' will be part of Madonna’s next project.
'After all, the best thing I could get is having her lessons,' Maluma concluded.
I know this information is vague, but it is still exciting! But no leaks please!
The first single is expected to drop in May with the album to follow in June.
The 60-year-old Queen of Pop took to Instagram to share a video of Orquestra Batukadeiras PT singing in the studio for an unknown track on her forthcoming 14th studio album.
Alongside the clip, she wrote: 'A prayer at the end of a magical recording session with the @orquestra.batukadeiras.pt So Lucky to have these Amazing Powerful Women on my record. #caboverde #lisbon #music #magic #mirwais @dinodsantiago (sic)'
A prayer at the end of a magical recording session with the Orquestra Batukadeiras 🇨🇻 So Lucky to have these Amazing Powerful Women on my record. ♥️ #caboverde #lisbon #music #magic #mirwais #dinodsantiago pic.twitter.com/Uvv4IcWRNH— Madonna (@Madonna) 29 January 2019
From IOL Entertainment
I wanna talk about Madonna’s elegiac 'What It Feels Like For A Girl.' At this post-Brett Kavanaugh juncture in American life, I think it’s a fine time to appreciate it.
'What It Feels Like For A Girl' was the low-key, musically understated third single from Madonna’s Music album.
Released in 2000, Music followed 1998’s ambitious, resplendent Ray Of Light. For Ray Of Light, Madonna selected William Orbit as a collaborator, which was at that time considered a left-field choice. Orbit was an eccentric, progressive composer and musician who was best-known for his own curious amalgam of classical and electronic music. Interesting stuff, but the dude definitely did not have any hits. Madonna adored his work and commissioned Orbit to produce, which was a nervy move. It paid off with a gorgeous masterpiece that, while not her greatest commercial success, certainly did sell well. Five million copies in the U.S. and 11 million globally.
When it came time to make a follow-up album, Madonna once again zigzagged. She chose yet another collaborative team, headed by French producer Mirwais Ahmadzaï. She didn’t rebuke Orbit—he was invited to participate in a minor, supporting role—but she did not attempt to duplicate the alchemy of Ray Of Light. When you’re a chart-topping artist like Madonna, there is a lot of incentive to play it safe: Last album worked out great! Let’s do that exact same thing again!
To read the rest of the article visit: www.washingtoncitypaper.com/arts/music/blog
As i wait to finish my new record and think about the future, i can’t help thinking about the past and the amazing humans that came into my life.........♥️ if we knew then what we know now. #history #gratitude #wisdom #hindsight pic.twitter.com/9BLV2kVQTv— Madonna (@Madonna) 29 November 2018
The many faces and sounds of Portugal!! ♥️🇵🇹💃🏾 at tejo bar with #dinodsantiago #vaniaduarte! 🎸 the guitarist behind me is the grandson of the legendary Fado singer Celeste Rodriguez (may she RIP). 🙏🏼 So much talent! #inspiration #lisbonnights #newmusic #mertalas pic.twitter.com/5j34DVP9NY— Madonna (@Madonna) 25 October 2018
Quavo‘s debut album is here and it is lit! The Migos member got assists from some of music’s biggest names as collaborators for the 19 song LP called Quavo Huncho. He raps alongside Offset on the track 'F**k 12' and Takeoff on 'Keep That S**t.' Not only were his Migos band mates there for him, he has the biggest female rapper in the game as well as pop icon joining him on 'Champagne Rose.' Cardi B drops several bars and Madonna sings throughout the tune in a high voice where if her name wasn’t featured as a player listeners might not realize it’s the superstar.
Cardi was so stoked she took to her Instagram to prop it up. 'QUAVO ALBUM ITS OUT NOW !!!!!!!! Who listening ? Make sure ya check me out on CHAMPAGNE Quavo ft Madonna and me !!! ISSA PARTY TONIGHT!!' she excitedly wrote. Since she’s married to Quavo’s bandmate Offset, she was probably happy to help out on a track.
Immediately Quavo’s name jumped near the top of Twitter as fans reacted to it. 'Quavo Huncho I love you,' one fan tweeted while another added 'Quavo’s Lost with Kid Cudi smooth af got me vibing.' 'Not gone this Quavo album is exceeding my expectations,' someone else wrote while another added 'Quavo goin off on his new album.'
The 60-year-old pop icon was promoting the new beauty roller addition to her MDNA Skin lineup, but slyly alluded to the fact that she’s working on more than just skincare.
'I’m finishing my record, which I’m going to release next year,' Madonna told WWD. 'Yep, in between rose mist spray and serums, I’m actually making music. Can’t quit my day job.'
This currently unnamed album will be the Queen of Pop’s 14th LP and her first release since 2015’s Rebel Heart.
Let’s reign it in a bit, though. With all due respect, we’re still waiting for Madonna to release a great album this decade. But the good news is that her 14th LP is on its way, and she’s absolutely got it in her to give us a batch of tunes to be reckoned with. After all, you don’t become the queen without capturing lightning in a bottle multiple times over.
Her unrivaled string of hit releases in the 1980s seemed to all be building toward the golden - actually, make that quadruple-Platinum - Like A Prayer in 1989, an album that would have been an enviable career best for any other artist if they’d simply stopped there. But this is Madonna! She proceeded to triumphantly march forward by eschewing the big, glossy sound that helped make her famous and stripping down - both the music and, um, herself - and giving us 1992’s brilliant, confessional house-pop hybrid Erotica. The Queen of Pop would end the second decade of her reign with her pièce de résistance, 1998's reflective Ray of Light. Her seventh studio album, it saw her pick up a staggering 10 statues between the Grammys and the MTV Video Music Awards alone.
Subsequent years have seen tireless Madge raise her kids, direct films, open schools, launch a chain of gyms and launch clothing and skincare lines. Those cosnistently fantastic full length releases, meanwhile, tapered off after 2005’s Confessions on a Dance Floor, a bumping, peak-hour trek through clubland that earned the singer yet another Grammy. That’s not to say Madonna’s post-Confessions studio albums are all bad by any means - the urban thump of 2008's Hard Candy remains a mostly satisfying experience, thanks to the focus of collaborators Timbaland, Justin Timberlake and Pharrell Williams; while 2015's Rebel Heart, though spotty, contains about seven playlist-worthy tracks throughout.
Looking on the bright side, the best could very well still be to come with Madonna’s 14th studio release. What do we want from it? Nothing short of everything, of course. But we’d settle for any (or all!) of the following.
Let Madonna Sing
You know what needs to be hung up? Auto-Tune. At least in the Queen of Pop's case. This is Madonna, and she’s amassed a loyal army of fans, sold hundreds of millions of records and inspired countless Gwens, Britneys, Katys and Gagas by simply being herself.
Cuts from the last decade like 'Ghosttown' and 'Messiah' off Rebel Heart, MDNA’s 'Masterpiece' and Hard Candy single 'Miles Away' seem, for the most part, to be devoid of too much technical wizardry affecting her voice. And she sounds great on each one! Alas, for every one of those, there’s been a 'Bitch I’m Madonna,' 'Girl Gone Wild' or 'Give It 2 Me' - performances that find the singer coming off like she downed a vocoder smoothie before stepping to the mic.
Madonna, voice included, is a national treasure. Also, she kicked ass performing live at the Met Gala in New York three months ago. Just give it to us plain and simple going forward.
To read the other four things visit: www.billboard.com/articles
Ariana Grande just answered pop fans’ prayers, dropping the music video for her sexy, empowering new single 'God Is a Woman' - which includes a surprise monologue from her pal Madonna.
Throughout the epic video, Grande serves cosmic vibes, bathing in a pool of paint, sitting atop a globe and weathering an onslaught of insults ('bitch,' 'fake,' 'annoying,' 'slut,' 'hoe,' 'stupid') from men.
Then, at the 2:24 mark, Madge - or rather, her voice! - appears, like manna from heaven.
The queen of pop portrays the voice of God, reciting scripture from Ezekiel 25:17: 'And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my sisters. And you will know my name is the Lord when I lay my vengeance upon you.'
A follow-up to 'No Tears Left to Cry,' 'God Is a Woman' is the second single off Grande’s upcoming fourth studio album, Sweetener, due Aug. 17.
Grande posted a picture Wednesday (July 11) with Madonna, someone Grande has consistently cited as an inspiration and mentor. The caption on the photo read 'thank you @madonna... u know why,' with a heart emoji and an emoji of the Golden Gate Bridge - an emoji Grande has used often when posting about her new music. This is not the first time the two hitmakers have met, as Grande joined Madonna onstage in Miami during her Rebel Heart Tour and also performed at Madonna's 2016 charity event at Art Basel in Miami.
The picture excited Grande's fans and also sparked curiosity as to why the picture was posted now, and whether the pic is from a prior event or was taken recently. Grande has been finishing up her upcoming studio album Sweetener (due Aug. 17), and fans were quick to hope and wish - just like a prayer - that a Madonna collaboration will be on the album.
With no release date in sight, fans have been given their first glimpse of the new album - which is still untitled - through the leaked details. A source close to Madonna’s camp has spilled the beans, revealing the titles of a number of songs and details about some of the lyrics.
Those titles include Risky Places - which, it’s claimed, lists off the places where Madonna would like to have sex (which apparently includes Kendrick Lamar’s bathroom) - Dos Hermano (which is partly sung in Spanish) and Turn Back Time. Two other tracks - Smartgun, which tells the story of a black boy who is shot by police, and Persistence - have also been brought to light in the leak.
‘Madonna is desperate to make her 14th album her most cutting edge yet,’ the insider told The Sun newspaper. ‘She is going to be furious that her early work is already being leaked when the whole point is for it to have a shock impact.’ Metro.co.uk has contacted Madonna’s reps for comment.
Lucas, who produced the bulk of Madonna's eponymous debut album, died in New York on Saturday at the age of 65. His daughter, Lisa Lucas, told the Associated Press her father died from complications with his heart.
Madonna shared a picture of Lucas on her social media pages and wrote: 'Sad to hear that Reggie Lucas is Gone. An important part of my musical past! RIP #gratitude #luckystar'
Lucas was also known for playing with legendary jazz trumpeter Miles Davis in the 1970s, before beginning a musical partnership with percussionist James Mtume.
Together they wrote hits such as Roberta Flack and Donny Hathaway's The Closer I Get To You and Stephanie Mills's Never Knew Love Like This Before, which won the duo a Grammy for best R&B song.
Lucas went on to produce the majority of Madonna's 1983 debut album, which sold more than five million copies and included the hits Borderline and Lucky Star.
His daughter Lisa said on Facebook: 'After a long and arduous struggle with his physical heart (his emotional one was perfect) he was called home. I wish he'd had more time, I wish we'd all had more time with him, but he left this world absolutely covered in love, with his hands held and his family beside him. I'm glad he's at peace now.'
From RTE News
The singer has also released what appears to be accompanying artwork for the song via her social media platforms.
The picture features Madonna wearing a crown of thorns under the words Beautiful Game.
In a caption alongside the photo the singer wrote: 'That I never Learned … Coming Soon! #music #magic #mirwais'
In the message Madonna appears to be alluding to the lyrics of the song, which she performed live at the Met Gala.
During her performance on May 8 she sang: 'It’s a beautiful plan, but I’m not concerned, it’s a beautiful game, that I never learned, you have taught me to shut my mouth, that I not get burned, keep your beautiful lies, ‘cause I’m not concerned.'
Madonna also performed her 1989 number one single Like A Prayer during her appearance on stage at the Metropolitan Museum of Art in New York.
On the night she again wore a crown of thorns and was flanked by a choir dressed in monk’s robes.
Announcing her new music Madonna, 59, also mentioned the producer Mirwais (full name Mirwais Ahmadzai) who she has been collaborating with on her new record.
Mirwais previously worked on her albums Music and American Life.
Madonna has been working on what will be her 14th studio album for some time and has been posting regular studio updates on social media.
Madonna’s last album was 2015’s Rebel Heart which peaked at number two in the US and on the Official Albums Chart in the UK.
From The Irish Times
After all, the 59-year-old singer - who carried the namesake of Mary, mother of Jesus, from her own mother - has long used Catholic imagery in her music videos and stage shows. Most notably? 1989’s 'Like a Prayer,' its music video featuring burning crosses, stigmata and Madonna kissing a black saint.
Still, Madonna’s performance at the Costume Institute benefit came as a surprise for attendees. Though the annual affair has had musical performances by stars like Bruno Mars and Katy Perry in the past, Madonna’s turn on Monday night was completely unannounced.
Among the songs in her set was a reimagined version of 'Like a Prayer' - performed with singers dressed as monks, naturally - and a cover of Leonard Cohen’s 1984 song 'Hallelujah,' sung sitting on the Met’s stairs.
She also appeared to premiere a new song off her upcoming album called 'Beautiful Game' with the lyrics, 'It’s a beautiful plan, but I’m not concerned / It’s a beautiful game, that I never learned / You have taught me to shut my mouth, so I don’t get burned / Keep your beautiful lies, ‘cause I’m not concerned.'
Videos of her songs were shared by Vogue as well as various attendees, who quickly spread them on social media.
As for her costume, Madonna began her performance in a monk robe before stripping it off in exchange for a flowing white ensemble.
On the red carpet, she wore a Jean Paul Gaultier black ball gown that featured a fitted bodice, a sheer cross cutout, and a full ball skirt. Stylist Eyob Yohannes accessorized the look with a black veil, cross-adorned crown and a black flower which she carried in her hand.
Yohannes described her look in three words: 'Immaculate Goth Queen.'
The strong lyrical perspective is complemented by the cohesive musical vision. Madonna worked with one producer, French electronic savant Mirwais Ahmadzaï, for the entire album - although there was additional production by Mark 'Spike' Spent on 'I’m So Stupid' and 'Nothing Fails' - and they expanded on the folktronica experimentation they did on 2000’s Music. Indeed, if there is one Music song that served as the biggest touchstone for American Life, it's 'Don’t Tell Me,' with its twangy trip-hop. Madonna and Mirwais - who are back in the studio working on new music together in 2018—also co-wrote all but three of 11 songs together. With such a tight team, not one of the songs feels out of place (although the dramatic “Die Another Day” from the James Bond film of the same name feels like it should have been sequenced earlier in the record).
In retrospect, American Life - the last truly ambitious album that Madonna has made - also marked the end of a very important phase of her career. Having achieved new artistic depth with 1998’s Ray of Light and continued that creative spirit with Music, she was very much still in risk-taking mode on American Life. You might say those three albums - starting from an electronica base but veering in different directions - amounted to her Berlin Trilogy. On an aesthetic level, this period was Madonna at her Bowie-est.
'Love Profusion,' 'Nobody Knows Me' and 'Nothing Fails' make for a thrilling three-song sequence that displays varied moods and styles. While glowing with its sweet strumminess, 'Love Profusion' faces some troubling uncertainties: 'There are too many questions/There is not one solution/There is no resurrection/There is so much confusion.' The zig-zagging 'Nobody Knows Me' packs a rock thump and a sense of disillusionment: 'This world is not so kind/People trap your mind/It’s so hard to find/Someone to admire.' And 'Nothing Fails' - the glorious, gospel-infused centerpiece of American Life - is nothing short of a latter-day 'Like a Prayer.'
Elsewhere, 'X-Static Process' - co-written by Stuart Price, who Madonna would go on to work with for much of Confessions on a Dance Floor - is a beautiful ballad rich in harmony and emotional directness. You can almost hear echoes of R.E.M. on that and the previous track, 'Intervention.' Meanwhile, the solemn, string-laden 'Easy Ride' may be one of the best album closers of Madonna’s career. The lyric nods to her notorious work ethic: 'I want the good life/But I don’t want an easy ride/What I want is to work for it/Feel the blood and sweat on my fingertips/That’s what I want for me.'
American Life - which still sounds very modern and, in some ways, seems eerily prescient of Trump-era despair - feels more like the Madonna album for now than her recent efforts. It’s not a perfect album - 'I’m So Stupid' is still irritating - but it’s the sound of Madonna challenging herself, and us.
'No This is NOT my new music. But I'm having fun in the studio in between takes! #music #mirwais #magic,' the singer wrote in the caption of the video.
The 'Ghosttown' singer confirmed in early 2018 that she has been in the studio working on her 14th record. She's remained cryptic about who she's working with, but by tagging the French record producer and songwriter, many fans are convinced that he's involved. 'Is this a hint Mirwais is back in the mix???' one tweeted. 'Are you working with #Mirwais again??? Yay!' another wrote.
Madonna and Mirwais previously worked together on three of her albums, including her 2000 record Music, which was nominated for three Grammy Awards and whose title track hit No. 1 on the Billboard Hot 100. They also collaborated for 2003's American Life and Confessions on a Dance Floor in 2005.
Billboard has reached out to Madonna's rep for confirmation that she's reuniting with Mirwais but hasn't heard back as of press time.
'Love this woman. Love this album. One day she will hopefully do a tour for this album. It deserves to be performed from start to finish... respect to [music producer, William Orbit] for his brilliant work on this album... also two groundbreaking videos [‘Frozen’] by Chris Cunningham and [title track, ‘Ray Of Light’] by my dear friend [Jonas Akerlund]. Those were really fun times.'
Two days later, Madonna shared some comments on the post, which revealed things weren’t going so well behind the scenes of her latest musical offering.
Apparently comparing her current work with the making of ‘Ray Of Light’, she fumed: 'Remember when I made records with other artists from beginning to end and I was allowed to be a visionary and not have to go to song writing camps where no one can sit still for more than 15 minutes....'
She also joked to her manager: 'Can you help me now please!!'
Throughout her career, Madonna has notably worked with only one or two producers on each of her albums, such as Stuart Price on ‘Confessions On A Dance Floor’, William Orbit on ‘Ray Of Light’ and, more recently, ‘MDNA’ or Patrick Leonard on ‘Like A Prayer’.
Her most recent collection, ‘Rebel Heart’, featured a much more eclectic mix of collaborators, though the majority of tracks saw either Diplo or Avicii listed as co-producers, among several others.
But by 1998, Madonna had awoken again. On 'Sky Fits Heaven,' the seventh track from the enlightened electro-rock masterpiece 'Ray of Light,' she repeated a familiar phrase - except here it ended on an upbeat: 'Traveling, traveling / Watching the signs as I go.' This time, pop music’s doyenne of reinvention was anything but unconscious.
Her footpath from the 'Bedtime Story' era to 'Ray of Light,' which turns 20 on Feb. 22, places Madonna at the nexus of celebrity culture circa 1997 (when she spent five months writing and recording the album) and early 1998 (when she released and promoted the album, which went on to win three Grammys and six MTV Video Music Awards). Nearing 40 and competing with a fresh generation of A&R-packaged teenyboppers, Madonna had risked aging out of mainstream stardom, one of the many sectors of society that isn’t kind to mature women. Instead, the ambient fizzes and mystical flurries on 'Ray of Light' formed a cutting-edge benediction that rehabilitated Madonna’s image - a coup few legacy acts could hope for today. She was a new mother, animated by Kabbalah and Ashtanga yoga, but uninterested in maternity leave.
Madonna’s late ’90s eminence can be further distilled through one morsel about the creation of 'Ray of Light,' her seventh studio disc: On July 15, 1997, the day she recorded the gritty meditation 'Swim,' Donatella Versace called Madonna to report that her brother Gianni had been shot outside his Miami mansion.
William Orbit, the English producer who helped shape 'Ray of Light,' has related this anecdote at least twice. The first time was in 1998, during an interview with Music Week.
'The day she [recorded ‘Swim’] she got a call on the way to the studio that her next-door neighbor Versace had been murdered,' he said. 'Lyrically it was written before that, but it is topical.'
To read the rest of the article visit: huffingtonpost.co.uk/madonna-ray-of-light
Release Date: TBA
Now living outside Lisbon, Portugal, the shape-shifting superstar hinted that she'd be returning to the pop world when she dropped by Live with Kelly and Ryan in December. '2017 was soccer mom in Portugal - 2018, I'm coming back, baby,' she told fellow guest Anderson Cooper, who asked about her tour plans. 'I'm traveling the world right now and listening to lots of different music,' she told Entertainment Weekly in September. 'I'm getting inspired by people and I'm just soaking things up right now. ... It's time for me to take a different approach and really get back down to the beauty and simplicity of music and lyrics and intimacy.'
The Grammy winner, 59, shared a cover of Elliott Smith‘s 'Between the Bars' on her Twitter page, where she’s softly singing and playing guitar during a late-night music session.
'Strumming my favorite song when everyone else is asleep,' she captioned the black and white video posted early Thursday, adding the hashtags #prayer #lullaby and #love.
This isn’t the first time Madonna has expressed her love for the track off Smith’s 1997 album Either/Or. In a 2006 interview with Q magazine, she named 'Between the Bars' as the song from the last 20 years she wished she’d written.
She also covered the tune at a 2013 screening of the short film #SecretProjectRevolution. The singer was dragged into the room by men dressed as prison guards. Halfway through the performance, she was accompanied by a masked dancer dressed head-to-toe in black—who just happened to be her son Rocco.
But between Bedtime Stories and Evita, Madonna experienced her first real career dip. After several years of hypersexual imagery and songwriting (from the 'Justify My Love' video to the Sex book) and some family-unfriendly public appearances (her 1994 Letterman interview in particular), a portion of the American public was exhausted with her by 1995. Puritanical pop listeners might be OK with a heartfelt plea for keeping a baby, but leather and whips is just too much.
While she soon got back on track with a prestige motion picture (Evita) and an elegant ballad collection (Something to Remember), there was one unfortunate musical casualty of her brief lull: 'Human Nature.'
One of the few hip-hop-inflected singles in her discography (it samples a song from Main Source, the same rap group that gave Nas his first on-wax appearance), 'Human Nature' has a deeply funk foundation while maintaining the spacious, thin production common to many '90s R&B hits.
To read the rest of the article visit: http://www.billboard.com/articles