I’m posting this on my blog later today with a review of the new Robyn album (which is EXCELLENT) by the way):
For her most recent studio album, Madonna has shifted her musical focus once again, and the results are decidedly mixed. Enlisting the help of producers Timbaland and the Neptunes, Madonna has opted for a hip-hop disco style that sometimes delivers fantastic results and sometimes delivers a mess. Like Madonna sings on the opening title track, the effort is definitely sticky and sweet, but not always in the best ways.
Madonna has always chosen her producers wisely, and they have always worked with her well, never overwhelming her but complimenting her. Hard Candy is the first Madonna album in a very long time where she seems beholden to the producers. Madonna seems less like the Queen of Pop and more like just a singer on many of the tracks here, and her persona seems a little lost in the hip-hop arrangements. With lyrics about seeing her “booty get down”, Madonna seems more like she’s co-opting the hip-hop sound for a lark and doesn’t truly have her heart in the music. She’s appealing to what those kids listen to today instead of doing what she really wants, and sometimes the lyrics sound strange coming from the mouth of a woman about to turn 50.
That’s not to say that the album isn’t enjoyable. Timbaland and the Neptunes have given Madonna a truly disco album in the 1978 sense. “She’s Not Me” is like a lost Donna Summer classic with some early-Prince flourishes. “Give It To Me” is a Studio 54 banger. Many of the R&B;-heavy tracks also fare well, certainly much better than her previous “urban” effort Bedtime Stories. Skittering, desperate beats and video-game synths make “Devil Wouldn’t Recognize You” and “Incredible” two more highlights of the album. “4 Minutes” still rocks, as well.
Still, there is more than a few missteps. “Dance 2night” is an instantly forgettable party-filler. “Spanish Lesson” is a downright embarrassing mess of noise and B-side silliness. “Voices” is a fine song that’s marred by atrocious red-line production on the low-end. “Hard Candy” is mildly enjoyable, but it’s about two minutes too long and not nearly as clever or sexy as is thinks it is.
Even in those cases, the album is a coherent, enjoyable listen as a whole, even if it lacks the personality of American Life, the whimsy of Confessions on a Dance Floor, or the brilliance of Ray of Light. Mid-life crises should all be this entertaining. 6 out of 10.