I COMPLETELY forgot that she included that in "Girl Gone Wild" too I was totally thinking of "Act Of Contrition." Either way, glad you appreciated the reference!JSparksFan wrote:Lovely timing.
Speaking of prayers, heaven help you if anyone at Pitchfork sees that! He was 1/2 of The White Stripes, and then put out some solo albums.JSparksFan wrote:I can do you one better: I'm not sure who Jack White is.
That's the one Admittedly, as I examine the lyrics in the verses more closely now, there's some pronouns that make the same-sex-love angle fall apart, but that chorus is just TOO fitting:JSparksFan wrote:Akon's "Don't Matter"?
"Nobody wanna see us together
But it don't matter no
'Cause we gonna fight
Oh yes we gonna fight
Believe we gonna fight
Fight for our right to love yeah..."
I'm 150% delighted to hear that!JSparksFan wrote:YES!
Not gonna lie, I'd considered adding TGTBAW to my "superior examples" list...but then realized, like you said, it's pretty much the same situation as LMTWGR Per usual, I'm admittedly doing a BIT of stretching to justify and explain what's primarily an emotional/instinctual response to these songs. When I hear LMTWGR, my head and my heart just say "NEXT!" (even if there really aren't many legitimate bones to pick with the track.)JSparksFan wrote:In a sense, it's like "There's Got to Be a Way" how it offers a very surface-level solution. I think she did a better job tackling the big issues with "Swim", but I think many of these big issues do have remedies that are quite simple. It's just that there are a lot of finer details that make the simple solution improbable.
Ah, that makes PERFECT sense! Shamefully, I've never made a proper visit to NYC (just wandered around for several hours during an exceptionally long layover once, dragging our suitcases through a small chunk of Manhattan.) I've definitely felt what you're describing in other major American cities, so it's easy to believe that it would be amplified in the grandest one of all.JSparksFan wrote:As a champion for diversity, New York represents everything I believe a place should be: people of all races, religions, sexual orientations co-existing with a greater degree of harmony than anywhere else that comes to mind. Visually, it's stunning. You just walk around and marvel at the grandeur of the architecture. There's also an intangible magic, where you just get the sense that if there's anywhere that your wildest dreams can come true, it's New York.
Eh, after some of the true atrocities down below, I'm pretty grateful for a ranking like No. 47.JSparksFan wrote:Ah, I've annihilated another one.
AKA your sister and I need to ramp up our petitioning game ASAP. "'4 MINUTES' FOR NO. 25!" "LAP FOR NO. 1!!"JSparksFan wrote:They are changeable up until the second I press 'Submit'.
**Nod** It's pretty unfathomable in 2017 (even if it were coming from an artist with more current clout than M.)JSparksFan wrote:Even if it's forgotten, I find it impressive that a song like that even went to #1 in the US. It's so...tender and vulnerable.
• That background effect in the chorus of "Words" could've turned into something insufferable, but I actually really like it and think it helps the track stand out (in a good way.) The melody itself is pretty catchy (and SO universal) too. It's up there with "Thief Of Hearts" as one of the strongest single contenders left untouched on that album.
• Speaking of single contenders, I swear I've read somewhere that her label/some powers that be pushed for "Don't Stop" to be the third or fourth BS single - a choice that I can completely understand, but I also understand why M probably pushed for what we got instead. "Don't Stop" is super safe, but super catchy and super fun. Easily the bubbliest moment on the album, and I love it for that.
• Not sure if I read it somewhere (or just assumed), but I've also been under the impression that "Spanish Eyes" was an ode to AIDS victims (and a truly tender one at that.)
• I'm pretty surprised that you're so forgiving of her pitch in "Mother And Father" (SUCH a Minnie Mouse moment until the chorus hits.) I guess the substance really redeems it for you...but that's also pretty surprising, since you weren't very kind to her other tracks specifically about her parents.
• I've griped about "Bad Girl" before, so I won't harsh on it much more here. For an artist with SUCH an ear for melodies, that chorus is just...a chore Your interpretation of her tone shift is quite clever, and something that never crossed my mind, so I really enjoyed reading that (but it's still not enough to make me want to actually play the song any more than before...)
• Like "Celebration", GGW is another example of an M offering that should have me totally hooked on paper, but instead leaves me feeling pretty indifferent. Also like "Celebration", I blame it on the chorus: the "hey-ey-ey's" just aren't catchy enough to serve as its foundation. The song does have some infectious moments: "it must be the Tanqueray, I'm about to go astray, my inhibition's gone away..." Actually, overall, I think the verses are much stronger than (but still not quite enough to salvage the song from) a chorus that just leaves me cold.
• I can definitely appreciate "Waiting" - maybe not so much as to put it at No. 29, but it's probably my second-favorite non-single on Erotica (after "Thief Of Hearts." Well, probably tied with "Words.") So many great lines throughout (especially the part that BodyShop highlighted), and a simple hook that sticks with you. "and you're lead to believe, in your moment of need, that they want what you want, but they don't...."
• "Material Girl" is such a fun escapist/roleplay moment. Although I don't actually aspire to be so shallow, Madonna makes that lifestyle into a really enjoyable ride for 4 minutes or so. A musical caricature at its finest (with some cold hard truth in there about societal values, in the 80's and still very much so today.)
• I'm surprised you didn't drag "Lucky Star" for dragging on the way you did with "Borderline" (especially if we're talking about the album version) - but I obviously don't want to talk you OUT of liking it!
• Massive **round of applause** for highlighting and expertly summarizing the brilliance of "Till Death Do Us Part." I LOVE the contrast of the incredibly dark, bleak (and honest) story with what's basically a bubblegum pop sound. It seems like such a missed single opportunity, but I can imagine how she might not have wanted to do all kinds of promo/performances at the time. Too soon...