Madonna
Hard Candy

THE REVIEW

"Hard Candy" marks the return of Madonna to the scene three years after that mishap which was "Confessions On A Dancefloor". This album marks a period of her career, celebrating the queen of pop's 50 years of life, and let's not forget: she has Italian roots. Among more or less successful tracks, she has still managed to give us some masterpieces: "Ray Of Light," the pinnacle of a career of one of the most transformative women of our times, in the company of Bjork and Pj Harvey, and one of the fundamental albums of pop.

"Hard Candy" should therefore be yet another turning point for Veronica Louise Ciccone, but it seems like a flop: instead of leading as she did before, now she follows the trend, as if she now has to keep up with the times by imitating those who are fortunate now. And it's no coincidence that she calls in an arsenal of overly productive producers: Pharrel Williams (unbearable), Timbaland (talented and creative, but too intrusive... by 2023, there won't be a pop singer who hasn't done a track with him), Justin Timberlake, and Kanye West.

The result risks being artificial, all panting dancefloor and with blows of luck...

However, Madonna still knows how to lead the scene well and the first part of the album deceives: "Candy Store" is one of the most creative rhythms ever produced by the popstar (behind it is Timbaland... and you can tell): almost a noise of tablas enlivened by powerful breakdance beats, the chorus is almost feverish, then "4 Minutes", the first single: destined to become a hit, not so much for the duet with Justin Timberlake, but for that not-so-catchy refrain, which nevertheless has the ability to stay in your mind and make you dance, "Give It 2 Me" seems a return to the vocoder of "Mother And Father", from "American Life" and it's pleasantly successful: a gust of pleasant electronics for a catchy chorus. "Heartbeat" has what it takes to become a new single: the chorus is engaging and it turns out to be the piece that Madonna should have written long ago, perfect for the dancefloor, but also worth listening to. "Miles Away" gives up the dancefloor to think of an almost acoustic ballad invaded by gentle Timbaland-style electronics, a love song. "She's Not Me" is perfect: almost club-like initial rhythm, violins that come in almost suddenly, a smashing chorus... "Incredible" is still a piece between a pop ballad and the dancefloor: pleasantly successful, but nothing exceptional.

With the second part of the album, however, it loses some momentum: "Beat Goes On" is very unsuccessful, despite the illustrious duet with Kanye West and doesn't warrant a second listen. "Dance 2night" is pleasant but not as powerful as the initial "Candy Store". "Spanish Lesson" is rubbish: a text idiotic as few ("When You'll finish your homework/ you'll can come on the dancefloor") ... unappealing rhythm, to be discarded. "Devil Wouldn't Recognize You" is a risky ballad in which that egocentric Timberlake appears with his voice for the thousandth time on this album, making one think the album is his and Madonna is simply a featuring. It closes with "Voices": Timberlake yet again introduces the piece, soul rhythm and Madonna enters in a sensual way. Overall excellent.

Not a very successful album, for the fact already mentioned of not anticipating trends, but simply being a copy of the music that Mr. Timbaland is producing at this time. The days of "Ray Of Light" are long gone, but the trauma of "Confessions On A Dancefloor" is overcome.