She might like it enough to bother doing a video and releasing it as single. Definitively NEEDS to be performed.Yoshie wrote:I hope that she will perform Love Profusion one day. It's the only song from the album that she hasn't performed live.
The AL video should only have been cancelled in the US imo. The UK wouldn’t have cared and the truth is it’s a bloody brilliant music video.MrLeonix wrote:I hated that the original "American Life" music video was shelved, the one we got on its place was really lame and I wish she had recorded a music video for "Nothing fails" too.
I still liked it that despite her "flopping" she still found a way to be out there and visible for everyone around the time between 2002-2004 ("Die another day", "American life", "Hollywood", "Love profusion", "Me against the music", plus iconic VMAs performance, great tour, lots of interviews and good remixes).
Its like the album didn't get the same success of her predecessors yet she was still everywhere.
Well LP was only ever a single and video made because Warner had licenced it for use in a perfume advert - the video is basically the same as the advert. That bloody dress was horridYoshie wrote:I would've liked music videos for both Nothing Fails and Nobody Knows Me, and a more strongly executed one for Love Profusion; the concept of the video is fantastic, but the finalised result isn't as great as it should have been.
I echo minime's claim about the remixes this era. They're among my favourite of Madonna's career. I love the maxi singles and the reworkings give me so much life.
The selected singles were the most coherent choices. They picked the right singles IMO.BlueScorpion wrote:It's hard to discuss what could be a single or not as to me this album has little commercial appeal.
I'm with you on pretty much all of this. I may rank the songs differently, with Hollywood and Easy Ride as my two favorites, but I love Nothing Fails as well. And I agree about ISS and NKM being the weakest on the album, although I don't think they are terrible. "Stupider than stupid" is a lyric I can do without, but I like the production on that song.LotsOfLove wrote:This is definitely one of her best albums
I love the honesty and minimalism in this album.
Concerning the singles. Hmm difficult question. It’s indeed not the most commercial album she’s done but I would choose these ones :
2. Nothing Fails
3. Die Another Day
4. Easy Ride
Nothing Fails could’ve been the successful song of the era. A pity they never went with that one.
No matter how much I love this album, I’m so Stupd & NKM remain some of her most horrible songs ever. These two really destroy the flow of the album for me.
I agree. Blending the worlds of acoustic and electronic music certainly wasn't the norm when Madonna released American Life. For me, although Confessions on a Dance Floor demonstrated a lot of creativity and inspiration, American Life is the last truly experimental album Madonna recorded.MrLeonix wrote:^ I don't get his comments either, I think Madonna kept experimenting up until this album, it has this acoustic - folktronica sound that was really unique, cool and had this very Madonna / Mirwais touch. The album is pretty interesting and satisfying.
!!!!!!menime123 wrote:I love her vocals here. I really love it when she uses her lower singing register - more often than not she doesn’t warm up her voice for her studio vocals, which results in a higher singing register (Candyshop for example). Which I find odd because she clearly warms up her voice on tour and sings the songs in a lower register anyway.
Madonna has a seriously under appreciated voice anyway.
2005 was a beautiful year in music. But regarding the current discussion I'd say Madonna was brave enough to go against the odds. R&B and Urban music was dominating all charts worldwide and she released a dance album that later set trends and paved the way for dance music.menime123 wrote:I’d argue COADF was Madonna experimenting too. It’s easy to forget what the pop scene looked like in 2005 - and it was bleak. Stuart was all but an unknown producer at the time, but she saw something, which was Madonna experimenting in itself. Madonna was clearly onto something because Stuart Price went on to produce for Kylie, Take That and Robbie Williams.