Cuando salió I'm breathless me flipó de lo mucho mucho que me gustó, es un homenaje al musical pero nada pesado, muy ligero y pop, pero More es que es horror, y ella berrea como nunca, cada vez que sonaba y ella more more more ufffff
Singles de Madonna que no debieron serlo (TOP 10):
1. Take a bow (1994) 2. You´ll see (1995) 3. One more chance (1996) 4. Love don´t live here anymore (1996) 5. Another suitcase in another hall (1997) 6. What it feels like for a girl (2001) 7. Revolver (2009) 8. Gimme all your luvin´(2012) 9. Girl gone wild (2012) 10. Turn up the radio (2012)
Yo en su época el I´m breathess lo escuchaba a rabiar, me parecía tan innovador que un artista pop en esa época hiciese un album así. Creo que hoy en día, al mirar la vista atrás, es digno de admirar. "He´s a man", "Sooner or later", "What can you loose" "Something to remember" "Now i´m following you" son temas muy buenos, muy bien producidos y sacando lo mejor de Madonna como cantante.
another suitcase es un clasico de evita y ya habia salido dont cry for me. yo de evita habria sacado el vals de eva y el che y ademas es la mejor escena de la peli
La elección de singles de madonna durante los 80 fue acertadísima, no pongo ninguna pega. Pero a partir del 94, la cosa cambia. Para mi, independientemente de si MDNA es de 8 o de 0, la elección de singles me parece nefasta. Lo siento por los fans de Evita, pero no es mi estilo y no me gusta, ni la peli, ni la banda sonora, ni nada que tenga que ver con todo eso.
Hombre, tanto como horrible... no es el tipo de canción con el que identificábamos a Madonna en ese momento e inauguró su etapa más baladil pero es "agradable"
Yo no soy muy de musicales, pero es que Andrew Lloyd Weber en concreto es nauseabundo. Y efectivamente, Don't Cry for me Argentina es pura caspa. You Must Love Me es lo único que se salva y mejora en la versión en directo del Sticky.
Slant publica la lista de las mejores canciones de los 80
Madonna on Slant’s Best Singles of the 80s list
43. Madonna, “Open Your Heart.” David Byrne once sang, “Watch out, with that attitude you might get what you want,” and it feels as if Madonna has made a career of realizing that ambition by any means possible. It’s funny to think that “Open Your Heart” could have ended up with someone other than the Material Girl. Yes, Cyndi Lauper might have spun something altogether more poignant from this unabashedly sincere and playfully metaphoric love song, but the conviction Madonna reveals throughout, as exhaustible as Patrick Leonard’s fluttering rock-dance bassline, finds her in a strikingly confessional light. As in the song’s polar opposite, 1993′s “Bye Bye Baby,” an anti-love song in which she coyly makes the man do the chasing, Madonna was and always will be credible only at her most naked. EG
28. Madonna, “Live to Tell.” Madonna’s first and, arguably, most dramatic reinvention was scored by the spare and haunting ballad “Live to Tell,” which wasn’t just a daringly demure introduction to her third album, but also posed a challenge to pop-radio programmers keen on instant gratification: The song begins with almost a full minute of music before the singer starts to tell her tale, and includes abrupt key changes and a half-minute midsection in which nearly all of the music drops out. Of course, it worked like a charm, and “Live to Tell” launched a fruitful professional relationship between Madge and producer Patrick Leonard that would last for more than two decades, and set the stage for the fearlessly autobiographical material to come. The song features one of Madonna’s richest vocal performances, full of soul, yearning, and hurt, with lyrics that can surely resonate with anyone who’s ever endured a detention of silence—self-imposed or otherwise. SC
26. Madonna, “Into the Groove.” Leave it to Madonna to make the campy, throwaway, opening lines of a B-side into a career-defining mission statement. She’s at her most coy as she speaks, “You can dance, for inspiration,” over the first few bars of “Into the Groove,” the theme from Desperately Seeking Susan and, somewhat inexplicably, the B-side of the considerably less brilliant “Angel.” But who cares that one of Billboard’s technicalities kept the song from charting on the Hot 100: Madonna’s never come up with a more apt assessment of how her music works best. Whenever she’s lost her way artistically, she’s headed back to the dance floor to get her head right. JK
16. Madonna, “Express Yourself.” It was David Fincher’s music video for this smash from Like a Prayer that introduced us to Shep Pettibone’s remix, which, aside from the lethargic come-and-git-it cowbell that intermittently takes Madonna from the church steeple and straight onto the prairie, matches in its uptempo the soulful fervor of the singer’s call to arms. But MTV doesn’t play music videos anymore, and when I’m listening to this song on my iTunes, it’s the original album version I prefer, as it evokes something altogether more subversive: Fritz Lang’s robot Maria hanging out inside a Detroit dance hall, forcing men to their knees as the big-band sound rocks the house. He has it coming in both versions, but in Stephen Bray’s original Madonna comes fearlessly out of nowhere. EG
7. Madonna, “Like a Prayer.” With an atypical structure in which the drums drop out completely during each verse and the chorus is all but abandoned halfway through the song in favor of ad libs, what’s now considered a perfect pop song seemed more fit for a church than Top 40 radio at the time. Though she’d evoked religion before, most notably with heaps of rosary beads dangling between her décolleté, it was, perhaps, inevitable that with a name like Madonna, the so-called Material Girl would more seriously explore the faith with which she was so strictly raised. But while there have been about as many interpretations of the song’s lyrics as there are remixes (she’s singing about God, she’s singing about giving a blowjob, she’s singing about giving God a blowjob), “Like a Prayer” begs for a more refined reading than a brainy conflation of spiritual and sexual ecstasy: It’s a song about love. SC
Evita, para los que nos gustan los musicales, es una maravilla, eso si, 20 minutos menos hubiera sido mejor. En cuanto a su actuación, una vez leí una critica que decía que se te olvidaba que Madonna estaba allí, y por eso funcionaba. You must love me es GRANDE. En la versión del disco y por supuesto en los Oscars... Donde, por cierto, demostró ser una profesional si lo comparamos con lo que hizo Barbra.
SuperSI a las dos canciones, especialmente a X-Static Process, que tiene una letra cojonuda y una base de guitarra muy Leonard Cohen en su primera época, a lo The Partisan.
yo quiero que me cante asi, live to tell, o drowned world o nothing really matters... anda que no tiene cosas intimas pa cantar antes que x-tatic coñazus
A parte de que en la puta vida lo va a hacer, que eso es mucho trabajo te ven cuatro gatos y no sacas pasta gansa.
Ya ha terminado el survivor de UK Mix. Estaba mogollón de acuerdo con lo que estaba siendo el resultado, pero al final ha ganado Girl Gone Wild, que buffff
01 GIRL GONE WILD 02 GANG BANG 03 LOVE SPENT 04 I'M ADDICTED 05 MASTERPIECE 06 FALLING FREE 07 TURN UP THE RADIO 08 I DON'T GIVE A (FT. NICKI MINAJ) 09 GIVE ME ALL YOUR LUVIN' 10 BEAUTIFUL KILLER 11 SOME GIRLS 12 I'M A SINNER 13 BEST FRIEND 14 I F***ED UP 15 SUPERSTAR 16 B'DAY SONG (FT. M.I.A)
¿Se supone que GGW es la mejor canción de MDNA? ¿Estamos locos?? Para mí es de las peores. Gana en la gira por el numerito de la catedral, la emoción de ver aparecer a Madonna al principio del concierto y el montón de bailarines en semipelotas, pero por sí sola como canción es bastante meh. Mis preferidas en estos momentos serían:
Gang Bang I'm addicted Masterpiece Some Girls Love Spent Turn up the radio
Comentarios
1. Take a bow (1994)
2. You´ll see (1995)
3. One more chance (1996)
4. Love don´t live here anymore (1996)
5. Another suitcase in another hall (1997)
6. What it feels like for a girl (2001)
7. Revolver (2009)
8. Gimme all your luvin´(2012)
9. Girl gone wild (2012)
10. Turn up the radio (2012)
eso si como disco de madonna diva pop es un suicidio
Lo siento por los fans de Evita, pero no es mi estilo y no me gusta, ni la peli, ni la banda sonora, ni nada que tenga que ver con todo eso.
es su mejor actuacion pero yo no recomiendo verla a nadie que no sea fan del musical original
si tuvo el relativo exito que tuvo es por ella
aun asi me gusta pero como dijo shirley mclaine es agotadora
Madonna on Slant’s Best Singles of the 80s list
43. Madonna, “Open Your Heart.”
David Byrne once sang, “Watch out, with that attitude you might get what you want,” and it feels as if Madonna has made a career of realizing that ambition by any means possible. It’s funny to think that “Open Your Heart” could have ended up with someone other than the Material Girl. Yes, Cyndi Lauper might have spun something altogether more poignant from this unabashedly sincere and playfully metaphoric love song, but the conviction Madonna reveals throughout, as exhaustible as Patrick Leonard’s fluttering rock-dance bassline, finds her in a strikingly confessional light. As in the song’s polar opposite, 1993′s “Bye Bye Baby,” an anti-love song in which she coyly makes the man do the chasing, Madonna was and always will be credible only at her most naked. EG
28. Madonna, “Live to Tell.”
Madonna’s first and, arguably, most dramatic reinvention was scored by the spare and haunting ballad “Live to Tell,” which wasn’t just a daringly demure introduction to her third album, but also posed a challenge to pop-radio programmers keen on instant gratification: The song begins with almost a full minute of music before the singer starts to tell her tale, and includes abrupt key changes and a half-minute midsection in which nearly all of the music drops out. Of course, it worked like a charm, and “Live to Tell” launched a fruitful professional relationship between Madge and producer Patrick Leonard that would last for more than two decades, and set the stage for the fearlessly autobiographical material to come. The song features one of Madonna’s richest vocal performances, full of soul, yearning, and hurt, with lyrics that can surely resonate with anyone who’s ever endured a detention of silence—self-imposed or otherwise. SC
26. Madonna, “Into the Groove.”
Leave it to Madonna to make the campy, throwaway, opening lines of a B-side into a career-defining mission statement. She’s at her most coy as she speaks, “You can dance, for inspiration,” over the first few bars of “Into the Groove,” the theme from Desperately Seeking Susan and, somewhat inexplicably, the B-side of the considerably less brilliant “Angel.” But who cares that one of Billboard’s technicalities kept the song from charting on the Hot 100: Madonna’s never come up with a more apt assessment of how her music works best. Whenever she’s lost her way artistically, she’s headed back to the dance floor to get her head right. JK
16. Madonna, “Express Yourself.”
It was David Fincher’s music video for this smash from Like a Prayer that introduced us to Shep Pettibone’s remix, which, aside from the lethargic come-and-git-it cowbell that intermittently takes Madonna from the church steeple and straight onto the prairie, matches in its uptempo the soulful fervor of the singer’s call to arms. But MTV doesn’t play music videos anymore, and when I’m listening to this song on my iTunes, it’s the original album version I prefer, as it evokes something altogether more subversive: Fritz Lang’s robot Maria hanging out inside a Detroit dance hall, forcing men to their knees as the big-band sound rocks the house. He has it coming in both versions, but in Stephen Bray’s original Madonna comes fearlessly out of nowhere. EG
7. Madonna, “Like a Prayer.”
With an atypical structure in which the drums drop out completely during each verse and the chorus is all but abandoned halfway through the song in favor of ad libs, what’s now considered a perfect pop song seemed more fit for a church than Top 40 radio at the time. Though she’d evoked religion before, most notably with heaps of rosary beads dangling between her décolleté, it was, perhaps, inevitable that with a name like Madonna, the so-called Material Girl would more seriously explore the faith with which she was so strictly raised. But while there have been about as many interpretations of the song’s lyrics as there are remixes (she’s singing about God, she’s singing about giving a blowjob, she’s singing about giving God a blowjob), “Like a Prayer” begs for a more refined reading than a brainy conflation of spiritual and sexual ecstasy: It’s a song about love. SC
You must love me es GRANDE. En la versión del disco y por supuesto en los Oscars... Donde, por cierto, demostró ser una profesional si lo comparamos con lo que hizo Barbra.
Los demás? que se me x-plotan, graseas
A parte de que en la puta vida lo va a hacer, que eso es mucho trabajo te ven cuatro gatos y no sacas pasta gansa.
01 GIRL GONE WILD
02 GANG BANG
03 LOVE SPENT
04 I'M ADDICTED
05 MASTERPIECE
06 FALLING FREE
07 TURN UP THE RADIO
08 I DON'T GIVE A (FT. NICKI MINAJ)
09 GIVE ME ALL YOUR LUVIN'
10 BEAUTIFUL KILLER
11 SOME GIRLS
12 I'M A SINNER
13 BEST FRIEND
14 I F***ED UP
15 SUPERSTAR
16 B'DAY SONG (FT. M.I.A)
i'm addicted
love spent
masterpiece
gang band
turn up the radio
Gang Bang
I'm addicted
Masterpiece
Some Girls
Love Spent
Turn up the radio
Mis 5 favoritas serian:
1. Love Spent
2. Gang Bang
3. Girl Gone Wild
4. I¨m Addicted
5. Masterpiece