Our Madame X discography is finally online! Our complete discography has been on hold for a while now due to the release of Madame X. Every item in our discography is scanned / photographed from our private collection, so if it’s not there it’s not in our collection (yet).
So far we have included 11 items. Whenever new items land on the doormat we will upload, so stay tuned.
Check it all out now HERE
Madonna sits down for an interview on The Tonight Show with Jimmy Fallon tonight! Don’t miss it.
Madonna is a Grammy Award-winning singer-songwriter often dubbed the “Queen of Pop.” She has released 14 studio albums since 1983, eight of which topped the Billboard 200 albums chart, and had 38 singles reach the Top 10 of the Billboard Hot 100, including 12 No. 1 hits. Madonna has been nominated for 29 Grammys, winning five. In addition, Madonna has starred in the films Desperately Seeking Susan, Dick Tracy, A League of Their Own and Evita. Her newest album, Madame X, was released on June 14, and she will begin touring on September 12 in Brooklyn, New York.
As we move into the final two days of the June 14-20 tracking period, Madonna’s “Madame X” is the clear frontrunner for #1 on the US album sales and consumption charts.
The latest projection from Hits Daily Double has the album selling 90-100K pure US copies this week. With units from track sales and streams included, “Madame X” should generate 95-105K in total consumption.
Beyond the general enthusiasm one would expect for a new Madonna album, “Madame X” is generating from bundles and direct-to-consumer offers.
Should the projection hold up, “Madame X” will be Madonna’s 9th #1 album in the US — and her first since “MDNA” in 2012.
More at HeadlinePlanet
Madame X is a radical body of work, but perhaps not in the way Madonna intended. She rails against injustice and oppression with the fervor of a preacher, imbuing the album with a righteousness that is palpable. As brave and commendable as that is, the Queen of Pop’s musical missives lack nuance. Rather, it’s her complete defiance of genre that makes Madame X genuinely groundbreaking.
From the promo video that announced the era, we know that Madame X is, among other things, a nun and an equestrian. She can also add sane scientist to her resume. The pop icon concocts a collection of songs that blend reggaeton, dancehall, pop, hip-hop, afrobeat and fado — all without losing sight of her mission. As the living legend knows better than most, music makes the people come together. And she’s determined to forge unity and resistance, one pop-hybrid at a time.
In some ways, Madame X can be divided into two parts. In one column, there are the wildly experimental, often politically-charged anthems produced by Mirwais. In the other, we’re treated to more accessible pop offerings largely crafted by Mike Dean and Billboard. They are both equally compelling, but the former has proven to be more polarizing. Which, I suspect, would please Madonna no end. After all, her track record with Mirwais is as eclectic as it is immaculate. Together, they have created everything from radio hits to electro-pop oddities like “Impressive Instant” and “X-Static Process.”
The collaborators obviously share a passion for stretching the boundaries of pop, and that trend continues on Madame X. Take the album’s lead single. “Medellín,” a dreamy duet with Maluma, was met with mild confusion upon release. (Few expected Madonna to return with a five-minute, bilingual bop about a Colombian city). Amusingly, it turns out to be one of the record’s most accessible cuts. The track’s quirks are offset by a plethora of hooks and an unabashed romanticism that is disarming.
A more daring, equally successful experiment is “God Control.” An instant fan favorite, this might be the only song in existence that addresses gun control and youth unemployment over disco beats. It’s sprawling and perhaps unnecessarily baroque, but it burns with ambitious and anger. And still manages to be pop. A quality that “Dark Ballet” is lacking. Instead, the oddball anthem offers a little Tchaikovsky, heavily-distorted vocals and a scathing sermon on the state of humanity. It’s a little heavy-handed, but nonetheless mesmerizing.
Less successful are cuts like “I Don’t Search I Find” and “Extreme Occident,” which don’t propel Madonna’s moral agenda forward, or work as straightforward pop songs. They do, however, offer a degree of self-reflection, and tell you more about the enduring hitmaker’s relationship with Father Time than that bogus New York Timesprofile. The same can not be said for “Killers Who Are Partying,” which finds our heroine exclaiming platitudes over an admittedly lovely, fado-inspired arrangement. The intention is as admirable as the execution is ham-fisted.
Mirwais and Madonna truly excel, however, when they are showcasing another aspect of Madame X. Namely, that she is a student and world traveller. “Batuka” is a plea for change that (successfully) combines a choir, African instruments and a Portuguese drum collective. It’s dynamic and utterly compelling. That description also applies to bonus tracks “Ciao Bella” and “Funana.” The former finds Madonna at her most playful and fun, while the latter is a rush of pure energy. There are a couple of frivolous, world music-inspired bops on Madame X. Unfortunately, they are hidden on Disc 2 of the deluxe edition.
The rest of the album is less experimental, which isn’t necessarily a bad thing. “Crave” stood out as the best buzz track from Madame Xand it still ranks as the only cut that really caters for radio. The production, courtesy of Mike Dean and Billboard, is on-trend and Swae Lee adds a hip-hop sensibility that makes it accessible to an even wider audience. The producers work similar magic on “Faz Gostoso” featuring Anitta. It’s actually a cover of a 2017 hit by BLAYA, but there’s nothing dated about this explosion of dance beats and sexy lyrics.
Another highlight is “Come Alive.” Co-written by Starrah (one of seven songs she contributed to the album), the hip-hop-tinged bop boasts one the most instant choruses on Madame X. The involvement of Jeff Bhasker (Beyonce’s 4) is strongly felt on the lush, horns-filled production. He also had a hand in the excellent “Looking For Mercy.” It’s not a coincidence that Madonna introduced Rebel Heartwith a song called “Living For Love.” This is a bookend of sorts. Instead of the outward search for companionship, the hitmaker is now focussed on her relationship with God. Wisdom is in short supply in pop music, but this is brimming with it.
While there’s an urban sheen to many of the songs not produced by Mirwais, world music is still very much front and center. Take the Latin-pop fusion that is “Crazy.” In another artist’s hands this would be surefire radio fodder, but Madame X makes it a culture-bridging banger. And then, there’s the hilarious “Bitch I’m Loca,” which is best described as a (low-brow) sequel to “Medellín.” I also recommend hunting down “Back That Up To The Beat.” It’s yet another gem tucked away on Disc 2 that mashes everything from euro-dance to ’90s R&B. Pharrell really stepped outside his comfort zone on this one.
Again, this half of Madame X falters ever so slightly when it becomes political. Album-closer “I Rise” is well-intentioned, but it didn’t need a children’s choir to bludgeon the point home. “Future,” a dancehall-lite collaboration with Quavo, is no less subtle in its messaging or execution. The latter also highlight’s Madonna’s heavy use of autotune, which begins to feel a little overdone as the record enters the home stretch. It should be noted that while the Queen of Pop addresses the bigger picture like never before on Madame X, she also looks inward.
In many ways, Madame X is Madonna’s most personal album to date. She’s speaking her truth, while revealing more of herself than ever. It might not be the collection of bangers you want, but it’s what we, as a society, need. The fact that she can stoke the flames of rebellion in a way that is original, vulnerable and inclusive (in the truest sense of the word) is a pop miracle. But, then again, Madonna has been rewriting the rule book since 1982. And she isn’t going to stop any time soon.
Marking the release of her new album, Madame X, the pop icon sits down for a chat with Andrew in London. This wide-ranging, funny, thoughtful conversation touches on: the Madame X persona and what it means to her; the move to Lisbon and the musical inspiration it provided; her memories of the first time she went to a gay club; motherhood, her six children and the surprising places they have taken her; why Catholic iconography continues to draw her in; what she would say to the Pope if they met; and her makeover tips for Andrew, one of which defines her whole career: “Be daring”.
On-air Contest: For the Win MADONNA Tickets with K&K contest, be the 14th caller at 617-931-1234 when solicited between the hours of 6:00am (ET) and 10:00am (ET) on Tuesday June 25, 2019 and Wednesday June 26, 2019 during Karson and Kennedy’s show for a chance to win two (2) tickets to see Madonna on December 1, 2019 at The Boch Center Wang Theatre located at 270 Tremont St, Boston, MA 02116. Upon verification, there will be up to two (2) winners selected during this contest period. The prize is valued at $300, and courtesy of Live Nation. Otherwise, WWBX’s general contest rules apply and are available by clicking HERE.
More at Mix1041
“Freedom,” sings Madonna, “is what you choose to do with what’s been done to you.” This lyric from the artist’s new song “I Rise,” off her 14th studio album Madame X, is a tribute to the resilience of the human spirit. A new video inspired by the song, created by Madonna and TIME Studios, weaves together footage of the survivors of the Parkland shooting, supporters of LGBTQ equality, Olympic gymnast Aly Raisman’s powerful testimony about sexual abuse, first responders to natural disasters and other social justice movements. The video, directed by Peter Matkiwsky, tells the story of a global population fighting for rights, recognition and survival. TIME Studios recently released its first feature film, “Amazing Grace.”
More at TIME
The Day I Was There series of books proudly presents the next title in their series :MADONNA – THE DAY I WAS THERE
We are inviting all Madonna fans from around the world to share their own fan experiences of seeing Madonna live and be part of this book made by and for all Madonna fans, which will be published in June 2020.
Did you attend The Virgin Tour in the US in 1985 or were you one of the 120,000 fans to see Madonna live for the first time in Parc de Sceaux in Paris during The Who’s That Girl World Tour?
Where ever you saw Madonna we want to hear from you and include your story in the book.
Were you at special Madonna occasions like TV shows, showcases, premieres, signing sessions, meet & greets or presentations and was that your ultimate Madonna experience ?
Send in your story, anecdotes, your secrets and your memories including a photo of yourself from the period you saw a show to madonnathedayiwasthere@
MADONNA – THE DAY I WAS THERE will be the first book on Madonna, filled with hundreds of her fan’s experiences and you could be part of it.
Previous books in the series include: David Bowie, Bob Dylan, Jimi Hendrix, Led Zeppelin and Bruce Springsteen amongst others.
DISTRIBUTED BY MUSIC SALES LTD.
Madonna has never shied away from getting political. Whether in her music videos for songs like “Like a Prayer,” or in her outward actions like fighting against the AIDS crisis, Madge has always made it a goal to express her politics openly whenever she gets the chance. Now, the star is taking on yet another issue in hopes of inspiring change — gun violence.
On Tuesday (June 18), Madonna released a teaser for her upcoming “God Control” music video. The clip starts off with the star talking to the camera, saying that writing songs about “the downfall of humanity” can get her down, so she has to find a positive release. “Where does a girl go? She goes to the disco,” she says.
The clip then shows behind-the-scenes footage of Madonna, clad in a fully-sequined outfit and a blonde bob, dancing and shaking at a disco club for the video, as she speaks about how the joy of disco clubs in the 1970s helped her feel welcome in New York. But the video takes a dark turn as Madonna and her fellow dancers are suddenly shown on the floor of the club, with blood staining their hands and clothes.
“I tried to bring the world of disco and freedom, and having that joy silenced by a small thing made of metal that can end someone’s life,” Madonna says over a clip of a man with a shotgun firing rounds in the club. “Guns need to be made illegal.” Fans have begun speculating that the clip is a reference to the tragic Pulse nightclub shooting of 2016, where 49 men and women were killed in the Orlando gay club.
The content of “God Control,” off of the singer’s new album Madame X, point to the specific subject of the video; the song begins as an emotional ballad, but culminates into a classic disco-style track, while Madonna admonishes America’s lack of gun safety through her lyrics. “People think that I’m insane/ The only gun is in my brain,” she sings.
Check out the new clip for Madonna’s “God Control” video below.
Andrew Denton got straight to the heart of the matter with Madonna on Seven’s Interview on Tuesday night: “I have to start with the eye patch.”
It’s a question the world has asked for months.
Madonna, sitting in Interview’s blue chair (taken to London for the chat) in a green floral dress, black leather gloves and the now-ubiquitous black eye patch with silver X, laughed.
“Of course. The eye sore,” she said breezily.
It didn’t satisfy Denton, who had been gifted Champagne by Madonna and told, “This is a dress that looks good standing up or laying down. We can lay down and talk.”
He went back to the unusual accessory, which Madonna has worn relentlessly since the April release of Medellin, her first single from her album Madame X, which dropped on June 14.
“How did you get to the eye patch?” Denton, 59, asked again.
Turns out, it came naturally once Madonna, 60, “wrote the Madame X manifesto and all the different things she did”.
Denton’s expression remained admirably Easter Island statue as the singer explained her latest alter ego is a “dancer, professor, head of state, a housekeeper, an equestrian, a prisoner, a student, a mother”.
Madonna confided those are “things I’ve done”, and she is paying homage to women from prostitutes to nuns.
The nuns sparked Denton’s interest.
“I’ve lived the life of a nun minus the habit,” Madonna said.
“The chastity. Everybody goes through periods of time when they’re not having sex.”
Full article HERE
Win your way into our exclusive iHeartRadio ICONS With Madonna: In Celebration of Madame X
Enter below for your chance to win!
Rejoice, Madonna fans: She’s still blazing trails. By titling a song “Extreme Occidental,” she’s become the first pop behemoth to use this anachronistic descriptor for a Westerner.
And it’s not a bad song either! One of the many reassurances Madame X offers is that, for all the ways she’s taught us how the pop song can vaporize our received ideas about sex, Catholicism, and motherhood, Madonna remains a dork. She’s the big sister who stumbles on interesting words and figures out how to write songs around them. A syncretic talent till the death, Madonna shares travel notes, invites Swae Lee, Quavo, and Maluma along for a car ride to Lisbon, and proffers theories about gun control along the way. Her 14th studio album is her most satisfying since 2005’s long-ago-and-far-away Confessions on a Dance Floor. Thank her curiosity.
On first listen this wouldn’t seem so. The so-called traditional songs—the on-brand title “I Don’t Search I Find,” the bathos of “Looking for Mercy,” the stu-stu-stuttered Portuguese on “Crazy”—are strong enough that she could’ve kept things simple and gotten a high five from critics for Getting Back to Basics. Return to that Quavo track, “Future,” which unfurls as listeners might expect, or “Crave,” whose fado-indebted melody allows Swae to float on a trap beat away from an on-the-prowl Madonna. These are OK to pretty good songs, recorded, no doubt, because she’s canny enough to know how Spotify (to use a gruesome verb) maximizes streams across artist platforms. But she also no doubt wanted to know how her fascination with non-American musical textures and her impatient lustrous melancholy mesh with younger talents.
Similarly, check those production credits. Diplo you know, and Mike Dean (Travis Scott, 2 Chainz), fine, especially after the frantic attempts to contemporize herself on MDNA (2012) and the better Rebel Heart (2015). But Music’s Mirwais Ahmandzai? Yet he assembled Madame X’s most intricate exoskeletons. Teasing us with piano and one of her more ruminative recent sets of lyrics, “God Control” shifts into “Disco Inferno” turf complete with slap bass and a bubble-headed rap that makes “the double shot-tee” of “soy latte” bit in “American Life” sound like Rakim. The strings go psycho while Madonna, who has struggled with how to mechanize her post-Evita vocal control so that she doesn’t sound like she’s squeezing her larynx with tweezers, shouts, “It’s a new kind of democracy/God and pornography”—damn, girl, express yourself. All this, and the Tiffin Children’s Choir too. And we’re only on the third track.
Fascinated with textures that resonate beyond her Manhattan dance origins yet rarely ossify into occidental (thanks, Maddie!) tourism, Madonna schlocks up experiments with batuque (“Batuka”) and a cover of “Faz Gostoso” (joined by Annita) as if they’re weathered, sturdy branches in her musical tree. “Dark Ballet,” the most successful of these experiments in Fourth World possible musics, applies the chirruped vocal approach familiar to “Don’t Tell Me” aficionados to the album’s most batshit synthesis: rippling piano trills indebted to Michael Nyman, recitative vaguely calling shit on the Supreme Court, and a synth bass that would knock Donald Trump’s smartphone out of his hands. In a welcome callback to her days as an MTV semiotician, the video starring Mykkie Blanco as Joan of Arc would make Carl Dreyer blush.
If MDNA and 2008’s crusty Justin-and-Timbo-riding Hard Candy represented flailing attempts to grapple with a shifting marketplace, Madame X occupies its own space. No way in hell will radio play her—although with Lil Nas X’s “Old Town Road” and Billie Eilish’s “Bad Guy” weirding things up, why not? Ambitious in its muddle, versatile by design, a product of an incubation both fruitful and debilitating for a pop polymath, Madame X is deluxe semi-pop: the Madonna equivalent of early-’00s Pearl Jam. Not giving a fuck has liberated her as it did them—would someone who did come up with an English-allergic title like “Killers Who Are Partying”? If she keeps recording streaming experiences like this, she might turn into the world’s biggest cult artist.
More at CityPages