''Music'' is the eighth studio album by Madonna, released on September 19, 2000. Worldwide, the album has sold 11 million units.Just when we've put Madonna in another box - one labeled "Introspective Celebrity Mom Who Doesn't Want to Be an Icon Anymore but Can't Help Herself" - she reverts to pleasure girl on the punk-funk dance floor, partying with the break dancers, the queers, the addicts and insomniacs. With "Music'' she looks back at early-Eighties era, when the only freaks who could program electro beats for the street were Germans, B boys or near-transvestites. "Music makes the people come together," she cries, as if her life and ours still depended on it.
''Music'' embodies that moment when destiny shoots us into the unknown. You thought Madonna was calculating, but here she's never been more instinctive. "This guy was meant for me," she prays in the ballad "I Deserve It", dropping her guard, clearly portraying Guy Ritchie, her newborn's father. She isn't painting a fairy-tale romance: "Amazing" palpitates with passionate ambivalence, while "Nobody's Perfect" admits and aurally embodies major fuck-ups. But she's still devoted to love. ''Music'' is Madonna's sadly beautiful country-gothic-dance record. Her marriage may not have lasted but the sad music on ''Music'' does - and that's a beautiful thing.
The acoustic ballad ''I Deserve It'' now takes its title almost mockingly, as if Madge and Guy really weren't meant for each other - this is why the ballad is so sad with teardrops on her guitar - Madonna feels is if she is crying and there's nothing that she can do. This theme continues and the next two ballads ''Nobody's Perfect'' and ''Don't Tell Me'', two of the saddest ballads Madonna has ever recorded.
The acoustic ballad ''I Deserve It'' now takes its title almost mockingly, as if Madge and Guy really weren't meant for each other - this is why the ballad is so sad with teardrops on her guitar - Madonna feels is if she is crying and there's nothing that she can do. This theme continues and the next two ballads ''Nobody's Perfect'' and ''Don't Tell Me'', two of the saddest ballads Madonna has ever recorded.
''Music'' does all this with Madonna's most radical sonics yet. William Orbit makes "Amazing" live up to its title by conjuring an even sassier spin on the gurgling grooviness of "Beautiful Stranger." And the six cuts co-produced with French synth weirdo Mirwais madly reference the past while achieving intimate, futurist pop. Her closely miked voice, recorded with minimal sweetening, abandons her recent Evita-schooled operatics for a spontaneous yelp that circles back to her club-belter beginnings. "What It Feels Like for a Girl" clinches it with a feminist anthem that's as musically gentle as it is lyrically barbed. "When you're trying hard to be your best," she croons as the voice of social authority, "could you be a little less?" The inability to do just that is what makes her matter yet again; there's still more to Madonna.
''Paradise (Not for Me)'' is a chilling chanson about her mother that seethes with apocalyptic chill as she cries: "Into your eyes/My face remains" with heartwrenching Ciccone sadness-the definitive Madonna statement. Finally there is the fight-club rebel ambience of ''Gone'', in which Madonna angrily replies "Selling out is not my thing... I won't be broken again... I'll be gone before it happens!" with such Ciccone forvor, it's palpable to admire her fighting spirit, of which ''Music'' has in beautiful melodies. Ultimately, ''Music'' is Madonna's rebel heart record, one that I'll certainly remember until I die - Madonna, Queen of my musical heart - forever and always.
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