Revue de "Celebration" par The Poly Post: Célébrer avec Madonna.
Celebrate with Madonna
Justin Park reviews Madonna's latest greatest hits album
By JUSTIN PARK, Staff Writer
Published: Thursday, September 24, 2009
Updated: Saturday, October 10, 2009
Celebration, Madonna's third greatest hits album, was released Sept. 18.
Madonna commemorates three decades of pop supremacy with “Celebration,” a two-disc greatest hits album that documents the highs and lows of her legendary career.
Despite “Celebration” being Madonna’s third compilation, the track list casts a wider, comprehensive net than the constrictive snapshots of the 1990’s “The Immaculate Collection” and 2001’s “GHV2.”
In lieu of recycling previously released material, the collection offers two new songs of dichotomous quality, perfectly summing up her inability to deliver on a consistent level as she once did with relative ease many years ago.
The title track utilizes a Euro-dance groove, similar to that of 2005’s “Confessions on a Dance Floor,” in a manner that would put vapid amateurs like Lady Gaga to shame.
“I guess I just don’t recognize you with your clothes on,” she intones during the song’s breakdown, followed by a snide chuckle.
On the flip side, “Revolver,” a collaboration with Lil Wayne, is the audio equivalent of diarrhea as his love for Auto-Tune eradicates whatever relevance it may have had as a genuine song.
Like Van Halen’s “The Best of Both Worlds,” “Celebration” resembles an inebriated drive into oncoming traffic where the track list appears to have been hastily stitched together from the resulting wreckage.The record commences with 2005’s “Hung Up,” running rampant through 2000’s “Music” and 1990’s “Vogue” before committing more chronological havoc.
Regardless, each decade is represented well, particularly the anodyne hits of the mid-1980s, as fans are served with the opportunity to revisit the good, the bad and the ugly with “Holiday,” “Cherish” and “Borderline.”
However, some tunes are surprisingly absent, such as 1986’s “True Blue,” a love letter to then-husband Sean Penn, which ranks as one of her most optimistic times before the late 1980s, which set the stage for a more incendiary personality.
1989’s “Like A Prayer,” an ode to oral sex cleverly disguised as a pop hymn, attracted the ire of zealots who misgauged and condemned the song as a slight on religion.
The accompanying music video, featuring a Black Christ, stigmata and burning crosses, exposed the public to a pop artist who challenged the status quo and fooled with the insecurities of the sensitive public.
Her controversial antics continued throughout the early 1990s with the unabashed sexuality of “Erotica” and “Justify My Love,” namely its videos, which MTV banned almost immediately upon release.
Although Madonna has since abandoned her lascivious persona, “Celebration” proudly highlights this unique era where she shattered taboos with a few suggestive lyrics and images.
Curiously, “Don’t Cry For Me Argentina” and “You Must Love Me” from 1996’s Evita soundtracks are excluded from the compilation, the latter of which nabbed an Academy Award and a Golden Globe for Best Original Song.
As Madonna meandered into severe midlife crisis, the quality of her output from 1998’s “Ray Of Light” onward suffered dramatically as she developed a shameless reverence for mock spirituality, Pro Tools and faux English accents.
Although nearly 40 singles are omitted due to the constraints of the format, the restriction proves fortunate for newcomers who are spared the agony of songs such as “What It Feels Like For A Girl” and her disastrous rendition of Don McLean’s “American Pie.”
Unfortunately, a slew of grave offenders such as “4 Minutes” and “Die Another Day” remain, reminding fans that modern legends like Madonna refuse to end on a high note and would rather milk every creative outlet dry.
“Celebration” may not be a definitive retrospective, but it should appeal to those seeking a solid, introductory sampler of Madonna’s illustrious career.
Source: The Poly Post.
The Poly Post, October 6, 2009