HD upgraded videos, original singles and remixes…. Check out https://t.co/hImZ75PRCv now for a full list of iconic Madonna songs and videos that were digitally (re)released over the past few months and create your own year-end playlist! https://t.co/B8JUpu2w0P pic.twitter.com/S2U3xV25wD— Madonna (@Madonna) December 19, 2020
Kylie Minogue thinks it would be "amazing" to record a duet with Madonna.
The 52-year-old pop star has admitted she'd love to work with the 'Frozen' hitmaker, as well as the likes of Dua Lipa, Lady GaGa and Miley Cyrus.
Asked about her collaboration ambitions, she shared: "I'd love to collaborate with more women, because I haven't done much of that. You could say any of the top girls right now: Dua is definitely having a great time. Lady Gaga. I love Miley [Cyrus]. I admire so many of these women.
"There's been talk about Madonna and I doing a duet for, it feels like, 20 years. If that were to happen, that would be amazing. I was dressing up in my bedroom to Madonna, to Whitney Houston, to Cyndi Lauper, and then Fleetwood Mac, ABBA, and Donna Summer."
Kylie released her new album 'Disco' earlier this month, but her mind has already turned towards her next record.
Twenty years ago this month, Madonna released “Don’t Tell Me,” the second single from her triple-platinum, Grammy nominated “Music” album.
The song may be less remembered today than the title track from “Music,” but it arguably holds up even better, thanks not only to its minimalist production and forlorn lyrics, but also its fresh melding of country-and-folk with electronic music production (long before names such as Lil Nas X and Diplo won praise for doing the same in recent years). Co-writer and producer of the song, Mirwais Ahmadzai, has a few ideas as to why “Don’t Tell Me” still resonates with listeners, two decades on.
“I think ‘Don’t Tell Me’ has remained since that time as an iconic song for several reasons,” he says from France, where he is making music at home during the pandemic. “We can call this song the very first ‘Folktronica’ or ‘Cyberfolk’ song. I think Madonna and I invented this style. And the magnificent music video made by Jean Baptiste Mondino helped to crystallize the ‘Electronic Cowboy’ image, which was something totally new at the time,” he adds.
But the French producer thinks the main reason “Don’t Tell Me” has held up so well, is Madonna’s vocal delivery on the single.
“This song is one of the very rare singles Madonna performs with no effects on her vocals, and on this, everyone noticed it,” he says of the tune, which was recorded at London’s Sarm West Studio (minus the strings, which were done at AIR Studios).
The French producer confirms he borrowed heavily from the electronic music world for the drum programming on “Don’t Tell Me,” drawing inspiration from the UK’s jungle music scene, which was booming at the end of the last millennium.
“I loved the jungle programing vibe, this is why I incorporated it on ‘Don’t Tell Me.’ It sounded very ahead of the times with its rolls.”
As for the glitch-y start/stop guitar riff that anchors the song and repeats throughout, the hook comes from Ahmadzai not being able to play what he wanted. “I couldn’t play some parts that I had in mind, so I decided to ‘computerize’ the performance by creating this start/stop effects,” he says. (Ahmadzai recently released a new song, “2016 - My Generation” and premiered a short film collaboration at Amsterdam’s ADE conference last month).
Lyrically, Madonna got her inspiration for “Don’t Tell Me” via her sister Melanie’s husband, veteran singer-songwriter Joe Henry. Melanie sent Madonna Henry’s demo of a song called “Stop,” and she fell hard for the wistful, poetic lyrics.
“My [demo] version was written in about 20 minutes, and I did not revise it - I let it stand for the burst that it was,” says Henry. “I always hear its primary influence to be tango, [and] I was thinking about [Argentine composer] Astor Piazzolla, but Madonna heard its pop sensibility, and sculpted a chorus out of a passing stanza from my original take. That repetition gave it weight, and expanded it, sharpened a hook that I had barely gestured toward. That evidences her gift of taking something fairly obtuse, and translating into something memorable.”
Henry was wowed with Madonna’s take on his tune when he finally heard it, marveling at the juxtapositioning of his at-times dark lyrics (“Tell the bed not to lay/ Like the open mouth of a grave/ Not to stare up at me/ Like a calf down on its knees”) with heartfelt delivery grafted onto a sunny-sounding pop song.
“That verse is dark, but playfully so,” Henry says. “I was watching a lot of Luis Bunuel’s movies at the time, and relishing how darkly comic are many of the films from his so-called ‘Mexican period’ can be,” he adds. “I think as little as possible when i am initially writing [for a song].”
The song took its sweet time climbing the charts, finally peaking at No. 4 on the Billboard Hot 100 in March of 2001, some four months after its release as a single, and six after “Music” was released. Henry went onto release his version of the song (“Stop”) in 2001 on Mammoth Records, and it ended up being used in an episode of “The Sopranos.”
“I was most pleased to hear it appear within an episode of that seminal show,” he says of the sync.
Henry, who released his 15th solo album, “The Gospel According to Water,” last year, remembers the time “Don’t Tell Me” became a worldwide smash fondly, offering up a memory of Madonna playing the tune (which went top 5 in America) live in Southern California.
“Just after ‘Music’ was released, she invited Melanie and I down to see her concert in Anaheim,” he remembers. “It was very soon after 9-11, and I recall the air being very electrically charged, everyone in attendance hungry for a positive experience and for the kind of community that sharing music invariably invites. About midway through the performance, she dismissed the dancers and acrobats, the full band and backing singers, and came to the front of the stage with just her guitar player, Monte [Pittman]. They sat close together on stools and had only acoustic guitars and a beatbox, and I can recall how odd and wonderful it was that the intensely scripted evening stopped for a moment. She was off the grid of a very intricate production, and seemed to relish it. She let out a big breath, looked straight at me in the second row, and said, ‘This is for you’ - and then they launched into ‘Don’t Tell Me,’ and the whole room went up,” Henry recalls.
“I remember it as the most visceral and human moment of the whole show - and seemingly not just for me,” he concludes. “The entire audience seemed to understand that she had taken off the ‘Madonna’ mask - was less a persona and more a person. And at one point, she and Monte stopped playing and the entire arena of 20-some thousand people took over singing it. I don’t have to tell you that I am not the kind of artist that frequently experiences my songs being born aloft by the masses that way. It was incredibly affirming.”
Mirwais Ahmadzaï is trying to sum up his frequent collaborator Madonna. “You know bullfighting?” he begins ominously. “It works because the bull is so powerful that you have to weaken it.” Right. “Look, I’m not comparing Madonna to a bull,” he quickly adds, “but she was so powerful at that time.”
The Parisian, who turns 60 on Friday, peppers our 90-minute phone call with similar flights of fancy, ponderously linking Brexit to Baudrillard and dropping situationist truth bombs. And he has witnessed that power up close. A cult musician in France since the late 70s, and cited as an influence by the likes of Air and Daft Punk, Ahmadzaï was plucked from the sidelines by Madonna in 1999. He helped coax out her most experimental era, bolting his brand of heavily filtered, minimalist electrofunk on to the superstar’s 11m-selling album Music. His sonic fingerprints were all over two singles that immediately slotted into the already heaving Madge canon: the delicious electro-bounce of the title track and thigh-slapping country curio Don’t Tell Me.
Three years later came the politically-minded American Life, a divisive flop, before Ahmadzaï seemed to disappear into the pop wilderness. However, the pair reunited for last year’s album Madame X. How did she coax him back?
“Very simple – she called me,” he says. “It was after Donald Trump’s election and there were so many celebrities who were saying, ‘I’m leaving America [if he wins]’ and none of them left except her,” he says, referring to Madonna’s relocation to Portugal. “That’s why I have to defend her. It’s cool to have the courage of your convictions.”
Perhaps Madonna recognised that in Ahmadzaï, too. Twenty years after the release of his breakthrough solo album, Production, he’s back with a new single, 2016 – My Generation, and a forthcoming album, The Retrofuture. A mainly instrumental track, all chunky synths and trademark acid bass, 2016 – My Generation comes with an eye-popping animated video from Oscar-winning director Ludovic Houplain that offers up a panoramic view of modern life, from porn addiction (one section features skyscraping ejaculating phalluses), to the rise of the far right.
To read the rest of the article visit: www.theguardian.com/music
Kylie Minogue has revealed the one thing that needs to happen for her to duet with Madonna.
A collaboration between the two pop queens is at the top of many pop fan’s wish list, and while Kylie is up for it, it all boils down to one important factor.
Speaking about the prospect of teaming up with Madge, Kylie told Metro: “I am as curious as the fans are. It would be amazing.
“The hard part is to get the right song and the right moment. Maybe any moment is the right moment… but the right song? One that’s in people’s imagination, mine included, because don’t forget I was a 14-year-old Madonna maniac. I was that kid.”
And if the duet with Madonna never comes off, there are other pop titans that Kylie would love to get in the studio with.
“Miley [Cyrus] is absolutely smashing it right now,” Kylie said. “I am such a big fan of Gaga. Her talent is phenomenal. She has done some cute things recently by urging people to vote in America. There are so many facets to her. The list would go on and on.”
Kylie is currently gearing up for the release of her fifteenth studio album, Disco, on 7 November.
From The Huffington Post UK
The stars didn’t quite align for David Guetta and Madonna. The music producer has revealed the Queen of Pop nixed an album collaboration after she discovered what his star sign was.
In a new interview, Guetta revealed Madonna left him during a lunch meeting about the album after she discovered he was a Scorpio.
Guetta caught Madonna’s attention when he remixed her song 'Revolver' in 2009, which she loved so much that she “[suggested] that I produced her next album” Guetta recounted to YouTubers McFly and Carlito.
He continued: “I arrive for lunch. We talk about everything, the music, what she wants to do with the album. Super nice. It's just her and me. Very relaxed, very cool. We have lunch."
Although Guetta was convinced things were going “very good” and that it was likely they’d work together on an album, astrology put a pin in their plans.
He said: “She asks me for my astrological sign. I answer her, 'Scorpio'. Suddenly, she makes a face and she says to me, 'I'm sorry, we're not going to be able to work together. It was a pleasure to know you. Goodbye.’”
Madonna was born on August 16, making her a Leo.
Although things didn’t work out with Madonna, Guetta has gone on to work with other performers including Sia, Kid Cudi, Justin Bieber and more - alongside releasing his own music.
From Evening Standard
LEVITATING REMIX W @Blessed_Madonna @MissyElliott @Madonna OUT NOW ON ALL STREAMING SERVICES!! VIDEO OUT TOMORROW!! SET UR ALARMS ✨ 5AM LOS ANGELES / 8AM NEW YORK / 1PM LONDON ✨ https://t.co/qFDOCTu3NI pic.twitter.com/9v7U1UEo2h— DUA LIPA (@DUALIPA) August 13, 2020
Go big or go home, right? And it doesn’t get any bigger than Madonna. Dua Lipa enlisted both the Material Girl and Missy Elliott for her ‘Levitating” remix and it’s everything you expected it to be.
“ ’LEVITATING’ REMIXED BY THE BLESSED MADONNA FEATURING MY IDOLS MADONNA & MISSY ELLIOTT – 14TH OF AUGUST – DREAM COME TRUE LETS GO!!!!!!” said Dua Lipa when announcing the lead single off her Club Future Nostalgia: The Remix Album. Her enthusiasm was warranted because it’s not every day that one gets Missy, 49, and Madonna, 61, on a track remixed by The Blessed Madonna (fka The Black Madonna aka Marea Stamper). In fact, Dua couldn’t wait until the 14th to release the song, and she dropped it half-a-day early. The results, as expected, were pure club magic, with a song that should make everybody’s body move. Is this a late contender for Song of the Summer?
“It’s just such a mind-blowing experience,” Dua told Zane Lowe on Apple Music about the process, including writing alongside Missy Elliott. “Being a fan of Missy’s for so long and then having her to be like, ‘Yeah, I love the song. I love the remix. I love the track. I feel inspired by it. I want to jump on it.’ I’m like, ‘Oh my God, this is so crazy.’ Just like what you said, I jumped on the phone with her and we had a little talk and she really just does stuff that she really believes in, so that I felt it was such a massive compliment for me, for her to be so inspired by the remix and the track, and to want to be a part of it and be a part of this mix tape. And it really is a dream come true. I still find it, just talking about it, I’m like, it doesn’t make sense.”
As for the iconic Madge? “Madonna has been an artist that I’ve listened to my whole life,” Dua told Zane. “And I think just, I guess her career trajectory as well has been something so inspirational and the momentum that she’s kept and the way that she’s grown with her music. And I’ve always found that really, really inspiring and to get to work with the diva herself.”
Fans may get a chance to see Dua perform this remixed single at the MTV Video Music Awards. She’s one of the artists rumored to perform at the Aug. 30 event (which is now no longer taking place indoors at Brooklyn’s Barclays Center, but across NYC at audience-less outdoor performances.) Dua is up for four MTV VMAs, with her “Don’t Start Now” being nominated for Best Direction. Her “Physical” video also nabbed three nods –for Best Art Direction, Best Choreography, and Best Visual Effects.
From Hollywood Life
Dua Lipa has said working with Madonna and Missy Elliott on the remix of her track Levitate was 'unbelievable'.
The 24-year-old singer, who is set to release the deluxe remix edition of her second studio album Future Nostalgia on August 21, said she still can't believe the collaboration went ahead.
Speaking during an appearance on the Ash London LIVE podcast, she said: 'It's always been a massive dream of mine to get to work with both Madonna and Missy Elliott, and to have been able to put both of them together in a song, and for them both to really be into a song, and for them both to want to jump on a track, is so crazy. Even as I say it, knowing full well that it's gonna come out soon, it still feels unbelievable to me. Like, unbelievable.'
The upcoming remix album was put together by DJ and producer The Blessed Madonna, and Lipa admits she wasn't expecting to get either of the iconic musicians to star on the track.
'It's mind blowing. It was mainly ... it began as a collaboration with me and The Blessed Madonna, who is a DJ and a producer, and we thought we'd create a fun club remix of the track, and it was really a conversation with my manager and I was like 'You know, if I don't say it, I don't get it, so I feel I just need to go and put it out there.'
'I'm a firm believer in that. I just say things, and I hope that they manifest.'
From RTE News
Madonna is reportedly set to sign an eight-figure deal to return to Warner Records.
The Queen of Pop - who inked her first-ever record deal on Sire Records in 1982 - is poised to rejoin the label which helped launch her career after releasing three albums via Interscope, including 2019's 'Madame X', since 2011.
An insider told The Sun newspaper's Bizarre column: 'Madonna is still a force to be reckoned with. The fact is, she sells records, people around the world adore her and every label would love to have her on their books. Now that her deal with Interscope has come to an end, she is a free agent and can choose where to go next - and Warner feels like the best place given their history. But Madonna comes at a hefty price. She can command big money and wants to make sure whatever deal she signs is the best thing for her and her music.'
At Warner, the 61-year-old music icon will become label mates with Dua Lipa and Missy Elliott.
The 'Vogue' hitmaker has teamed up with the 24-year-old pop star and 49-year-old hip-hop legend on an upcoming remix of Dua's hit 'Levitating' by The Blessed Madonna, which arrives on August 14.
Dua Lipa has announced her track Levitating is being remixed by The Blessed Madonna and the reworking will feature Missy Elliott and Madonna.
Dua Lipa has been been a busy bee during lockdown having released her second album, Future Nostalgia.
And now Lipa has announced what could be the track of the year, a reworking of her song Levitating that will feature not one, but two music icons, Madonna and Missy Elliott. Plus another Madonna, The Blessed Madonna, is producing the dance tune.
Sharing the news with her 49.3 million fans on Instagram Lipa said: 'Levitating remixed by The Blessed Madonna featuring my idols Madonna and Missy Elliott - 14th of August - Dream Come True Lets Go!!!!!!'
With this line-up of superstars, we're expecting a stomper when it is released on August 14.
From RTE News
Billboard staff have chosen the 20 Greatest Final Hot 100 No. 1 Hits of All-Time.
Madonna landed at Number 6 with her Global smash 'MUSIC' from 2001
Madonna landed at Number 6 with her Global smash 'MUSIC' from 2001
'Her Madgesty started off the 2000s still sounding like the absolute future of pop, with the sleek electro-funk of the Mirwais co-produced "Music." A compulsory floor-filler about the power of music to unite "the bourgeoisie and the rebel" - depends on the tone and subject of the music, perhaps - "Music" was one of Madonna's most successful reinventions yet, and showed that the defining female artist of MTV's first two decades was still nowhere near losing her touch.'
From Billboard.com - thanks to Micheal
At the start of the '90s, Madonna had seven Billboard Hot 100 No. 1s under her boy-toy belt and could pretty readily make the case she was the defining female pop star of the '80s. The only thing arguably working against her was the embarrassment-of-riches issue of figuring out how to follow-up a career-defining smash such as 1989's "Like a Prayer."
She solved that problem by dropping another world-shifting pop hit. "Vogue," which became her eighth Hot 100 No. 1 30 years ago today (May 19, 1990), topped the chart for three consecutive weeks and remains one of her most enduring hits. Over the course of this lush, gradual ascent into thumping house-disco bliss aided by co-writer and co-producer Shep Pettibone, Madonna lays out yet another masterful manifesto about ecstatic liberation on the dancefloor.
Inspired by the visually dramatic dance style of voguing that grew out of Harlem ballroom culture (as depicted in the classic 1990 documentary Paris Is Burning), Madonna tapped dancers/choreographers Jose Gutierez Xtravaganza and Luis Xtravaganza from that world to show America how it was done. While Madonna hardly invented the iconic moves, her global reach propelled voguing into the mainstream, a double-edged sword that season 2 of FX's Pose thoughtfully dealt with in 2019 (on one hand, it gave scene players an industry launch pad, but some queer people of color felt their culture had been appropriated, then discarded, after the craze went out of, well, vogue).
Thirty years after "Vogue" topped the chart, it's truly difficult to think about something related to the song that isn't iconic: There's the irresistible choreography; David Fincher's black-and-white art deco music video; her Marie Antoinette-styled VMAs performance of the song; the movie-star roll call near the end; and also every damn lyric. Really, the only thing "Vogue"-adjacent that isn't a clear victory is the album it first called home: I'm Breathless: Music From and Inspired By the Film Dick Tracy. It was a hit, certainly, peaking at No. 2 on the Billboard 200, but remains one of the more neglected titles in her otherwise essential catalog, in no small part because its biggest single shares almost nothing in common with the rest of the LP other than an affection for Golden Era Hollywood.
It probably wouldn't surprise anyone to learn "Vogue" wasn't even intended for that collection of Sondheim numbers and Jazz Age throwbacks. According to Pettibone, it was given a budget of $5,000 and slated as a b-side for "Keep It Together," but when execs heard it, the plan changed. "The attitude was like, ‘This isn't gonna be a b-side. How can we get this out there?’” Pettibone recalled to Billboard in 2015 of the decision to tack it on to the Dick Tracy companion album.
Regardless, three decades later, its power remains undiminished. When Madame X trotted out "Vogue" at Pride Island 2019 during New York City's 50th anniversary of Stonewall World Pride celebration, the response was deafening, with the crowd surging like a tsunami. But even then, it was so much deeper and deeper than just bumping and grinding: It was a magical, life's-a-ball moment of transcendence few dance songs dare to reach.
A sale promotion in the iTunes Store lifted a number of older albums to sales increases, and fans took notice. It might be the year 2020, but if you glanced at the U.S. iTunes Store’s Top Albums tally this past week, it’d be hard to tell what decade you were in.
Thanks to sale pricing and fan promotion, a trio of older albums by Mariah Carey, Madonna and Janet Jackson all jumped into the iTunes Store's always-updating Top Albums tally. On April 27 and 28, Carey’s 2008 album E=MC2 was No. 1 on the iTunes Store’s Top Albums tally, while Madonna’s 1994 set Bedtime Stories visited No. 1 on April 30. Meanwhile, Jackson’s 1986 album Control also visited the top 10 during the week -- and at one point, all three albums were together in the top 10.
According to initial sales reports to Nielsen Music/MRC Data, E=MC2 sold about 2,000 copies total across all retailers in the U.S. in the week ending April 30. About half of that sum was driven by digital sales on April 27, the day the album topped the iTunes tally. Traditionally, the album sells a negligible figure on a daily basis.
As for Bedtime Stories, it shifted a little over 1,000 copies for the week, while Control sold just under 1,000. Again, the bulk of each album’s sales were driven by digital sales - nearly 1,000 for Bedtime Stories on April 30 (the day it was No. 1 in the iTunes Store) and a little under, 1,000 for Control across three days (April 28-30). Like with E=MC2, both Bedtime Stories and Control generally sell a negligible figure on any normal day.
It doesn’t necessarily take a large number of sales to reach No. 1 on the iTunes Store’s Top Albums ranking, especially considering album sales have been on the decline for years, and it was a particularly soft week for new releases on April 24. The trio of albums were part of an iTunes Store promotion where more than 100 pop albums were discounted to $4.99 and advertised in a banner ad that appears at the top of the front page of the Store, directing consumers to “$4.99 Pop Albums at a Great Price.”
As generally happens with deeply discounted albums (most new titles sell for at least $9.99), they start to rise up the iTunes Store Top Albums list, since it reacts in real time to customers’ purchases. After that, fans of the divas took notice of the albums dotting the iTunes Store Top Albums list and began awareness campaigns on social media to drive attention to the albums. That promotion then helped engineer more sales for the albums, which brought them to the top 10 of the store. At that point, the albums got much wider attention, since the top 10 of the Top Albums list is visible on the front of the iTunes Store, and casual music fans likely saw the albums in the top 10 - perhaps encouraging even more sales.
E=MC2 debuted at No. 1 on the Billboard 200 albums chart dated May 3, 2008. Bedtime Stories debuted and peaked at No. 3 (Nov. 12, 1994), and Control hit No. 1 on July 5, 1986. None of the albums are expected to re-enter next week’s Billboard 200 chart, despite their surge on the iTunes Store.
The “Bedtime Stories” album is currently #1 on iTunes U.S! Thank you to all my fans who got it there!! #stayhome musical companion! #bedtimestories #madonnafans #togetherapart pic.twitter.com/CUxkznqLl7— Madonna (@Madonna) April 30, 2020
With its striking music video, empowering lyrics and a middle eight section name-checking some of the biggest stars to ever grace the silver screen, Madonna’s song Vogue had all the makings of an instant hit.
It’s now been 30 years since she released the track, which reached number one in more than 30 countries and gave the Queen of Pop a brand new signature tune.
But despite being a song that’s now recognised all over the world - and still has everyone recreating those famous moves - there’s a lot you probably don’t know about Vogue.
To read the 30 things you may not know about Vogue visit: uk.style.yahoo.com/madonna-vogue-music-video
Happy 30th Anniversary to Madonna’s Vogue single! Something to do while being #togetherapart in your homes/ turn up the volume and “let your body move to the music”! #vogue30 #strikeapose #becreative https://t.co/bwMLoUlAql pic.twitter.com/OsxyJkuZH6— Madonna (@Madonna) March 27, 2020
Tracy Young has made herstory as the first woman nominated in the category of Best Remixed Recording, Non-Classical at the Grammy Awards.
For Young - who has spent more than 25 years in the music industry, and who was recognized for her Pride radio remix of Madonna's "I Rise" - the nomination is "overwhelming."
"First of all just to be recognized, I feel like I won already," she told The Advocate in a recent interview. "If I do win, that would just be a bonus."
A win for Young would also be a major victory for women and LGBTQ people. For Young's entire career in the music industry, the lesbian DJ has worked in a field dominated by mostly straight men - particularly in music production and remixing.
This lack of representation reflects itself in her category. Since the Grammys first launched Best Remixed Recording, Non-Classical in 1998 (that year, the trophy went to Frankie Knuckles, the "Godfather of House Music"), not a single woman has received a nod - a span of over 20 years.
"It's just hard for women to break through in this industry," Young said. "It's just very male-dominated and I think always been that way."
Young's commitment to her craft is one of the reasons she was able to have a breakthrough. She has worked to create remixes of hits by over 100 top artists, including Lady Gaga, Cher, Celine Dion, Britney Spears, Mariah Carey, and Madonna, with whom she has 14 collaborations. Over 50 of her tracks have reached the number 1 spot on the Billboard Club Chart Hits.
"Music for me is not an option. That's the only thing I know how to do. So it has to work for me," Young said.
To read the rest of the article visit: www.advocate.com/music
The clear vinyl versions of Madonna's first four albums are now available in the UK, these were spotted in the Covent Garden branch of Fopp. The albums are also available via online sellers such as Amazon.
Thanks to Daniel
Madonna earns her record-extending 49th No. 1 on Billboard's Dance Club Songs chart, as "Crave," with Swae Lee, ascends 2-1 on the Nov. 16-dated list.
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.
Patrick Leonard has published three demos from the Like A Prayer album on YouTube in an attempt to thwart the sale of demo tapes at an online auction:
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
Only two days to wait now!
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
Madonna is greeting the weekend with an introduction to what seems to be a new project, or persona, named Madame X.
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.'
March 1989, I open a large record envelope and a waft of patchouli oil hits my nostrils. Inside is the new Madonna album. The cover art features hippy beads and her crotch in jeans. This image is a nod to her mother, a devout Catholic of French-Canadian stock, who covered up their Sacred Heart statue when a woman came round the house wearing zip-up jeans. 'In Catholicism you are born a sinner … the sin is within you the whole time,' Madonna said at the time. Dedicated to the memory of her mother, Like a Prayer explores the impact of her Catholic girlhood, disappointment in love and transformation of self. Compared to the sugar-sweet True Blue, this is a startling reinvention.
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
The art of teasing new music is one that many pop stars deal with on a regular basis - do you offer up a clip of a song, do you send out some new cover art, or do you just announce you have new projects on the way?
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.
Meeting Madonna is something on many music fans' wish list. But to be able to record a song with the superstar is beyond anything Maluma could have imagined.
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.
Sources in US radio are saying they have heard three tracks from Madonna's new album, and are quoted as saying the tracks are 'very Madonna, portuguese/international influence....she's back!'
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.
Rumours are also starting about a single release in May and the album release in June!
Madonna has recorded an all-female orchestra from Portugal for her new album.
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
Chad Clark of Washington City Paper published this re-appreciation of Madonna's 'What It Feels Like For A Girl':
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
How I get @therealmikedean to Work! 😂 #incentive #moschino #music #magic
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 just released his first solo album and the Migos member got some major stars to collaborate. Listen to his song along with Cardi B and Madonna, as well as collabs with Travis Scott and Drake.
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.'
In an interview with WWD published Monday Madonna revealed that her next album is in the works for a 2019 release.
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.
Hark! Celestial trumpets are sounding from the clouds hovering near the heavens! It can only mean one thing: Her Madgesty, the Queen Of Pop, has new material on the way.
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.
It looks like Ariana Grande might have had some tears left to cry during this special moment.
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.
Madonna has been dancing with the Batukadera’s of Cabo Verde along with musician Dino d’Santiago as she posted on her Instagram page.