Review Summary: Madonna's tenth studio album is good, with a few tracks that could have been left out of it.1 of 6 thought this review was well written
Madonna's tenth studio album, Confessions on a Dance Floor, was a commercial success around the world, reaching the top position on several charts, and placing at number one as Billboard's Hot Dance/Club Play album of the 2000's. Five singles were released from it, and all of them were pretty good. But there are a few tracks that could have been left out.
The album opens with "Hung Up", a house and disco influenced song that was only successful due to its catchy sample, taken from ABBA
's hit single "Gimme! Gimme! Gimme! (A Man After Midnight)", and it's followed by "Get Together", an electronic song that speaks about how someone can find love on a dance floor. I don't know how that is possible... Anyway.
"Sorry", the third track from Confessions on a Dance Floor, opens with Madonna saying the name of the song (that's right, Sorry) in several languages, such as French, Italian, Hindi, Japanese and Spanish. Now you can say to your friends you've learned new dialects just listening to a Madonna song. Jokes apart, "Sorry" is a great uptempo track about self empowerment. Give it a try.
"I Love New York" is about Madonna's love for (again, you guessed!) New York city, while "Let It Will Be" features an harmonic mix of orchestral violins with house electronic beats. "Push" was composed as a sequel to Madonna's 1984 hit "Borderline", and "Jump" is a sequel to the singer's 1990 song "Keep It Together". "How High" refers to two songs from Madonna's Music, "Nobody's Perfect" and "I Deserve It".
There are a few tracks, however, that just don't fit in the dance floor vibe of the album, like "Future Lovers" and "Forbidden Love". The latter is an electronic ballad different from the similar titled song from Madonna's Bedtime Stories. "Isaac" is also a huge mess, and words can not even describe how this song doesn't fit the album.
Most songs of Confessions on a Dance Floor are really similar to "Nothing Really Matters" from Ray of Light (1998), and are good club-banging hits. When talking about the whole album, however, we see that Madonna's creativity does not works well every time.