AXM Magazine乐评：Madonna和Mariah音乐大战，E=MC2四星，Hard Candy三星居次
Two albums by two of the world’s biggest divas in the space of a month can only mean one thing: war.
Let’s assess the differences. At one end, Madonna presents herself in the usual guise of aggressor and sexual predator, here in threatening boxing gear. Mariah, as always is a submissive, petulant plaything- which is as equally terrifying.
On both lead singles their personalities are prominent. Madge’s offering is a life-saving march that takes you from the dancefloor to doomsday in exactly 4 Minutes, inspired we assume by her urge for us all to ‘go green’ and save the planet.
Mazza couldn’t care less about world issues, instead she coos Touch My Body, which almost sounds like an ode-to-domestic violence with the lyrics ‘Put me on the floor/wrestle around/play with me some more/Throw me on the bed.’ It’s sickly submissive. It’s this kind of ‘fluff’ that has always sidelined Carey, whereas Madonna’s provocative song-making has appeared much more earnest and well-intentioned.
But isn’t Madge’s message slightly hypocritical when her world tours make up for one big shoe-ful of a carbon footprint? The line ‘Sometimes I feel like a UN intervention’ also sounds confusing when sang next to gas-guzzling guest Justin Timberlake. What exactly is she want to do at her intervention? Reverse the aging process? Mariah’s appeal to have her voluptuous curves and cartoon-breasts felt up is frankly much more appealing.
Musically, Mariah can handle her hip-hop more convincingly than Madonna too, and on her album, it’s ghetto business as usual. The star has always flirted coquettishly with gansta rappers on syrupy r’n'b tracks. She’s clearly no Einstein, but E=MC2 sticks to her winning formula. Tracks like Migrate and That Chick are danceable no-brainers, effortlessly catchy and destined to be hits.
Madonna starts Hard Candy with the Pharell-produced Candy Shop, eerily proclaiming ‘Come in to my store, I got candy galore’ and sounding like an old maid dishing out free sweets. Call us ageist, but the repeated line ’sticky and sweet’ sounds wrong from a person nearing-50. She redeems herself on Miles Away, a sonically mature and stronger effort that leaves off the curious hip-hop production she badly craves throughout. Hard Candy is the first time Madge has followed a trend rather than starting one herself. Borrowing musically ideas from Gwen, Nelly Furtado and even Britney makes for a rather superfluous album.
Mariah, on the other hand, has never tasted sweeter.
Ratings: Hard Candy- 3/5 / E=MC2- 4/5
Source: AXM Magazine
Two albums by two of the world’s biggest divas in the space of a month can only mean one thing: war.
Let’s assess the differences. At one end, Madonna presents herself in the usual guise of aggressor and sexual predator, here in threatening boxing gear. Mariah, as always is a submissive, petulant plaything- which is as equally terrifying.
On both lead singles their personalities are prominent. Madge’s offering is a life-saving march that takes you from the dancefloor to doomsday in exactly 4 Minutes, inspired we assume by her urge for us all to ‘go green’ and save the planet.
Mazza couldn’t care less about world issues, instead she coos Touch My Body, which almost sounds like an ode-to-domestic violence with the lyrics ‘Put me on the floor/wrestle around/play with me some more/Throw me on the bed.’ It’s sickly submissive. It’s this kind of ‘fluff’ that has always sidelined Carey, whereas Madonna’s provocative song-making has appeared much more earnest and well-intentioned.
But isn’t Madge’s message slightly hypocritical when her world tours make up for one big shoe-ful of a carbon footprint? The line ‘Sometimes I feel like a UN intervention’ also sounds confusing when sang next to gas-guzzling guest Justin Timberlake. What exactly is she want to do at her intervention? Reverse the aging process? Mariah’s appeal to have her voluptuous curves and cartoon-breasts felt up is frankly much more appealing.
Musically, Mariah can handle her hip-hop more convincingly than Madonna too, and on her album, it’s ghetto business as usual. The star has always flirted coquettishly with gansta rappers on syrupy r’n'b tracks. She’s clearly no Einstein, but E=MC2 sticks to her winning formula. Tracks like Migrate and That Chick are danceable no-brainers, effortlessly catchy and destined to be hits.
Madonna starts Hard Candy with the Pharell-produced Candy Shop, eerily proclaiming ‘Come in to my store, I got candy galore’ and sounding like an old maid dishing out free sweets. Call us ageist, but the repeated line ’sticky and sweet’ sounds wrong from a person nearing-50. She redeems herself on Miles Away, a sonically mature and stronger effort that leaves off the curious hip-hop production she badly craves throughout. Hard Candy is the first time Madge has followed a trend rather than starting one herself. Borrowing musically ideas from Gwen, Nelly Furtado and even Britney makes for a rather superfluous album.
Mariah, on the other hand, has never tasted sweeter.
Ratings: Hard Candy- 3/5 / E=MC2- 4/5
Source: AXM Magazine
