Madonna ‎– MDNA

Label:
Interscope Records ‎– 0602527968155
Format:
CD, Album
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Tracklist Hide Credits

1 Girl Gone Wild
Edited By, Vocoder – Stephen "The Koz" Kozmeniuk*Mixed By – Demacio "Demo" Castellon*Producer – Alessandro "Alle" Benassi*, Madonna, Marco "Benny" Benassi*Recorded By – Angie Teo, Demacio "Demo" Castellon*, Graham Archer, Philippe WeissWritten-By – Alessandro "Alle" Benassi*, Jenson Vaughan*, Madonna, Marco "Benny" Benassi*
3:43
2 Gang Bang
Drums, Bass – Demacio "Demo" Castellon*Edited By, Keyboards, Synthesizer – Stephen "The Koz" Kozmeniuk*Mixed By [Assistant] – Angie TeoMixed By, Recorded By – Don Juan Demarco "Demo" Casanova*, Stephen "The Koz" Kozmeniuk*Producer – The Demolition Crew*, Madonna, William OrbitSynthesizer [Additional] – Michael TurcoWritten-By – Don Juan Demarco "Demo" Casanova*, Jean-Baptiste*, Keith Harris, MIKA (8), Madonna, Priscilla Hamilton*, Stephen Kozmeniuk, William Orbit
5:26
3 I'm Addicted
Co-producer – The Demolition Crew*Edited By, Programmed By [Additional] – Stephen "The Koz" Kozmeniuk*Engineer [Assistant] – Kenta YonesakaMixed By – Demacio "Demo" Castellon*Producer – Alessandro "Alle" Benassi*, Madonna, Marco "Benny" Benassi*Recorded By – Angie Teo, Demacio "Demo" Castellon*Written-By – Alessandro "Alle" Benassi*, Madonna, Marco "Benny" Benassi*
4:33
4 Turn Up The Radio
Drums, Instruments [All Other] – Martin SolveigEdited By [Additional] – Jason "Metal" Donkersgoed*Mixed By – Demacio "Demo" Castellon*Mixed By [Assistant] – Angie TeoProducer – Madonna, Martin SolveigRecorded By – Demacio "Demo" Castellon*, Graham Archer, Philippe WeissSynthesizer – Martin Solveig, Michael TordjmanVocals – MadonnaWritten-By – Jade Williams, Madonna, Martin Solveig, Michael Tordjman
3:46
5 Give Me All Your Luvin'
Edited By [Additional] – Jason "Metal" Donkersgoed*Featuring – M.I.A. (2), Nicki MinajGuitar – Jean Baptiste Gaudray*Mixed By – Demacio "Demo" Castellon*Mixed By [Assistant] – Angie TeoProducer – Madonna, Martin SolveigRecorded By – Demacio "Demo" Castellon*, Graham Archer, Philippe WeissSynthesizer, Drums, Instruments [All Other] – Martin SolveigVocals – M.I.A. (2), Madonna, Nicki MinajWritten-By – Madonna, Martin Solveig, Maya Arulpragasam, Michael Tordjman, Nicki Minaj
3:22
6 Some Girls
Co-producer – Klas Ahlund*Edited By [Additional] – Angie Teo, Stephen "The Koz" Kozmeniuk*Edited By [Pro Tools] – Ron Taylor (4)Engineer – Andros Rodriguez, Demacio "Demo" Castellon*Engineer [Assistant] – Gloria KabaInstrumentation By – Klas Ahlund*, William OrbitMixed By – Demacio "Demo" Castellon*Mixed By [Assistant] – Angie TeoPerformer [Assistant To William Orbit] – Alan TilstonProducer – Madonna, William OrbitWritten-By – Klas Ahlund*, Madonna, William Orbit
3:53
7 Superstar
Backing Vocals – Lola LeonEdited By – Stephen "The Koz" Kozmeniuk*Mixed By – Demacio "Demo" Castellon*Producer – Hardy "Indigo" Muanza*, Madonna, Michael MalihRecorded By – Angie TeoWritten-By – Hardy "Indiigo" Muanza*, Madonna, Michael Malih
3:55
8 I Don't Give A
Edited By [Additional Vocal Editing] – Ron Taylor (4)Electric Guitar, Drums, Synthesizer – Julien JabreFeaturing – Nicki MinajMixed By – Demacio "Demo" Castellon*Mixed By [Assistant] – Angie TeoPerformer [Outro Music] – Michael TurcoProducer – Madonna, Martin SolveigRecorded By – Demacio "Demo" Castellon*, Graham Archer, Jason "Metal" Donkersgoed*, Philippe WeissSynthesizer [Additional] – Martin Solveig, Romain FaureVocals – Madonna, Nicki MinajWritten-By – Julien Jabre, Madonna, Martin Solveig, Nicki Minaj
4:19
9 I'm A Sinner
Edited By [Additional] – Angie Teo, Stephen "The Koz" Kozmeniuk*Edited By [Pro Tools] – Ron Taylor (4)Engineer – Andros Rodriguez, Demacio "Demo" Castellon*Engineer [Assistant] – Gloria KabaInstrumentation By – William OrbitMixed By – Demacio "Demo" Castellon*Mixed By [Assistant] – Angie TeoPerformer [Assistant To William Orbit], Drums, Percussion – Alan TilstonProducer – Madonna, William OrbitVocals [Additional] – Jean-Baptiste*Written-By – Jean-Baptiste*, Madonna, William Orbit
4:52
10 Love Spent
Co-producer – Free School (2)Edited By [Additional] – Angie Teo, Stephen "The Koz" Kozmeniuk*Edited By [Pro Tools] – Ron Taylor (4)Engineer – Andros Rodriguez, Demacio "Demo" Castellon*Engineer [Assistant] – Gloria Kaba, Rob KatzInstrumentation By – Alain Whyte, Alan Tilston, Ryan Buendia, William OrbitMixed By – Demacio "Demo" Castellon*Mixed By [Assistant] – Angie TeoPerformer [Assistant To William Orbit] – Alan TilstonProducer – Madonna, William OrbitWritten-By – Alain Whyte, Jean-Baptiste*, Madonna, Michael McHenry*, Priscilla Hamilton*, Ryan Buendia, William Orbit
3:45
11 Masterpiece
Edited By [Additional] – Angie Teo, Stephen "The Koz" Kozmeniuk*Edited By [Pro Tools] – Ron Taylor (4)Engineer – Angie Teo, Demacio "Demo" Castellon*, Frank FilipettiMixed By – Demacio "Demo" Castellon*Producer – Madonna, William OrbitProducer [Additional] – Jimmy HarryWritten-By – Jimmy Harry, Julie Frost, Madonna
3:58
12 Falling Free
Acoustic Guitar – MadonnaArranged By [Orchestra Arrangement] – William OrbitBass – Jeff Carney (2)Cello – Diane Barere, Ellen Westermann, Stephanie CumminsClarinet – Jessica PhillipsConcertmaster – Elena BarereConductor – Abel KorzeniowskiContractor – Jill Dell'AbateCopyist – Mark BaechleCor Anglais [English Horn] – Diane LesserEdited By [Additional] – Angie Teo, Stephen "The Koz" Kozmeniuk*Edited By [Pro Tools] – Ron Taylor (4)Engineer – Angie Teo, Demacio "Demo" Castellon*, Frank FilipettiEngineer [Assistant] – Gloria KabaFrench Horn – Barbara Currie, Bob Carlisle, David WakefieldHarp – Stacey ShamesInstruments, Orchestrated By – William OrbitMixed By – Demacio "Demo" Castellon*Producer – Madonna, William OrbitViola – Desiree Elsevier, Dov Scheindlin, Mary Hammann, Vincent LiontiViolin – Ann Lehmann, Avril Brown, David Chan, Karen Karlsrud, Katherine Fong, Sean Carney (2), Sylvia Volpe, Yuri VodovozWritten-By – Joe Henry, Laurie Mayer, Madonna, William Orbit
5:13

Companies, etc.

Credits

Notes

Mixed at: MSR Studios, NYC. Except: "I'm Addicted" Mixed at Germano Studios, NYC.
Mastered by: Chris Gehringer Sterling Sound, NYC.

℗ & © 2012 Boy Toy, Inc. Exclusively licensed to Live Nation Worldwide, Inc.
Exclusively licensed to Interscope Records. A division of UMG Recordings Inc.

Made in the EU.

"Give Me All Your Luvin'" is misspelled as "Give Me All Yor Luvin'" in the booklet.

Issued in a regular jewel case.
Parental Advisory logo is printed on the booklet.

Barcode and Other Identifiers

  • Barcode (Scanned): 602527968155
  • Barcode (Text): 6 02527 96815 5
  • Matrix / Runout (Variant 1): [Universal logo x4] 06025 279 681-5 01 + 52908141
  • Matrix / Runout (Mould, Variant 1): MADE IN GERMANY BY EDC A
  • Matrix / Runout (Variant 2): [Universal logo x4] 06025 279 681-5 01 + 52908141
  • Matrix / Runout (Mould, Variant 2): MADE IN GERMANY BY EDC E
  • Matrix / Runout (Variant 3): [Universal logo x4] 06025 279 681-5 02 + 52908141
  • Matrix / Runout (Mould, Variant 3): MADE IN GERMANY BY EDC J
  • Matrix / Runout (Variant 4): [Universal logo x4] 06025 279 681-5 01 + 52908141
  • Matrix / Runout (Mould, Variant 4): MADE IN GERMANY BY EDC F
  • Matrix / Runout (Variant 5): [Universal logo x4] 06025 279 681-5 01 + 52908141
  • Matrix / Runout (Mould, Variant 5): MADE IN GERMANY BY EDC B
  • Matrix / Runout (Variant 6): [4 'UNIVERSAL' logos] 06025 279 681-5 01 + 52908141
  • Matrix / Runout (Mould area, variant 6): MADE IN GERMANY BY EDC G
  • Mastering SID Code (Variants 1 to 6): IFPI LV27
  • Mould SID Code (Variant 1): IFPI 0120
  • Mould SID Code (Variant 2): IFPI 0128
  • Mould SID Code (Variants 3, 5): IFPI 0116
  • Mould SID Code (Variant 4, 6): IFPI 0114
  • Rights Society: BIEM/SDRM
  • Label Code: LC06406

Other Versions (5 of 59) View All

Cat# Artist Title (Format) Label Cat# Country Year
B0016658-02 Madonna MDNA(CD, Album, Exp) Interscope Records B0016658-02 US 2012 Sell This Version
DARCD 3126 Madonna MDNA(2xCD, Album, Dlx) Universal Music DARCD 3126 South Africa 2012 Sell This Version
STARCD 7684 Madonna MDNA(CD, Album) Universal Music STARCD 7684 South Africa 2012 Sell This Version
3243 Madonna MDNA(CD, Album, Unofficial) Vigma 3243 Belarus 2012 Sell This Version
none Madonna MDNA(12xFile, MP3, Album, 320) Universal Music Russia none Russia 2012

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IanPhillips1979

IanPhillips1979

November 28, 2016
edited over 2 years ago

No one can deny Madonna's enormous impact on pop culture and very few can claim to be as consistently successful as the reigning Queen of Pop. Unfortunately, ageism and sexism runs rife, especially in the entertainment industry. Ten years ago, Madonna was still at the top of her game after over twenty years in the business. Suddenly, though, Madonna found herself being disregarded by some major commercial radio stations, with even one DJ at BBC's Radio One declaring that she is "no longer relevant and we've all moved on from Madonna" and went on to speculate that the only people interested in her are those over 35-years of age and "desperately clinging to their youth". Hmmmm.....well, it may be partially true in a way but after reading that article I felt like a middle-aged man at 37! To say she's no longer relevant is fairly ludicrous considering her influence is everywhere. While her younger pretenders have moved centre stage and Madonna is pushed into the background, she still manages to surprise with each and every release. She's never complacent!

While she's not exactly setting trends anymore, nor is her music as universal as it once was back in her pop-dance heyday of the 80s and 90s, she still retains an infinite edge over her younger contemporaries and I admire how she keeps throwing herself in the game. Some accuse her of trying too hard and appearing somewhat desperate, but I love how she throws all conventions out the window, continually breaks new boundaries and she certainly shows no sign of slowing down. And, why should she! Her continued success as a recording artist and as a performing artist is still vital enough for her to continue.

In 2012 Madonna returned with her twelfth studio album, and her first in four years following the R&B-dance project Hard Candy in 2008. Entitled MDNA, this was notable in also being her first on Interscope Records after her departure from Warner Bros/Sire. As was mostly the case with all her albums of the twenty-first century, she collaborated with multiple producers, laying all the ingredients for a solid, diverse body of work. The entire project was actually produced by the Queen of Pop herself, while other production credits include Alle Benassi, William Orbit, Indiigo, Michael Malih, Demolition Crew, Free School, Benny Benassi and Martin Solveig.

Lyrically, the project's themes include partying, the use of the drug MDMA, love for music, heartbreak, infatuation, revenge and separation. Singing about a drug may seem a tacky idea, but it is successful in its execution. Madonna once explained that the title is a triple entendre, representing both her name and her DNA! Much of the music flowing through the project is aimed at club-goers and once again Madonna proves herself most astute at intertwining underground musical styles into the mainstream, although there are a few tracks that make it seem a little disjointed at points. However, this proves to be a minor shortcoming, as all in all, this is another solid entry in the Queen of Pop's catalogue.

Now the choice of first single was a bit of an odd one as it is arguably one of the weaker tracks of the album. Titled 'Give Me All Your Luvin'', it's undoubtedly catchy enough but I personally wish she hadn't chosen to collaborate with rapper Nicki Minaj as I don't really think it does anything to enhance the overall production. With marching drums, lots of bouncing synthesisers and a cheer-leading team, it echoes Madonna's familiar 80s style of pop entwined with elements of new wave and disco, while Minaj's rap contribution kicks in during the dubstep breakdown. Madonna sings in a high, engaging pitch throughout and the chorus has a definite hook yet it's also one of the least representative tracks of MDNA.

Its chorus was also praised by critics as a highlight, but generally the reception it received was rather mixed, some noting that this was inferior to her previous singles. NME magazine would say the song "seems to soar effortlessly" and that "what Madonna's doing in this song is so much more impossibly fun than we could have imagined." That same critic would also state that it was a progression than the sound of her Hard Candy album back in 2008. Less favourable was the review in The Guardian: "Musically, it's a pretty joyful four minutes, featuring bouncing beats, acoustic beats and Gwen Stefani-style cheerleader chants, but there's something a bit flat about Madonna's delivery. Given all the love she's demanding, you'd think she'd be more excited." Billboard were less kind and less than impressed with the contributions of Nicki Minaj and M.I.A. as guest artists, noting that "it's a subpar effort from all parties, particularly Madonna, who hasn't sounded this robotic since the more tweaked-out moments of Hard Candy." Rolling Stone described both the lyrics and composition as "dashed off" and "in the doldrums". While the single hit the top ten in some countries, it barley dented the UK Top 40 in which she'd been a consistently big-seller, while in the US it went no further than #24 although it would go on to top Billboard's dance chart.

The second single would have probably made the ideal first. 'Girl Gone Wild' is a shuffling, mid-tempo electropop affair, largely influenced by four-on-the-floor. Opening up with Madonna's recital of a prayer, backed by electronic music elements. Lean and sleek, this electro-stomper is also the album's first track and really sets the tone and mood of the project as a whole. Distorted synthesisers and razor-sharp beats, this does also have an air of familiarity about it and with lyrics like "Girls, they just wanna have some fun" it's not the most original Madonna track but it still has an urgency about it and is extremely contagious.

Unlike many of Madonna's previous singles, this also drew a mixed critical response. Rolling Stone magazine described it as "buoyant and warm-rinse soothing. It's the sound of a woman who hits the dance floor for restoration more than craziness." Attitude magazine commented that they thought it should have been released as the first single as the track "screams" early 90s Madonna, while the same magazine, at an MDNA pre-release screening, wrote: "The production might sound like she's been listening to a fair bit of Rihanna, but who's counting. Madonna brings her own authority, creating the kind of anthemic party song that she does best, the kind where everyone from your three-year-old niece to your 60-year-old mother gets up on the dancefloor." However, some of the critics felt that the Queen of Pop should perhaps start making more "age-appropriate" material, and drew comparisons with her mega-classic 'Music' before concluding that "Madonna was twelve-years younger at that time and thus perhaps a more convincing "bad girl", so too was our culture...maybe it's time for her to try something totally different?"

Even less favourable were reviews in The Guardian, deeming it as "clumsy rave-pop", and New York saying it's "a paint-by-numbers 808- and Tanqueray-referencing dance track that falls even flatter when compared to its source material. The single faltered at #73 in the UK - an embarrassingly low position for a lady who has been so consistently successful - while barely denting the US top forty (although it would hit the top of Billboard's dance chart).

If the first two singles could be accused of Madonna trying to jump on the bandwagon to remain relevant, the third single was a total contrast, returning to a more traditional sound which echoed her 90s work. 'Masterpiece' was composed by herself along with the assistance of Julie Harry and Jimmy Harry, while production credit went to William Orbit, who had worked his magic on one of her most acclaimed and accomplished albums, Ray Of Light (1998). A beautiful composition, it's a flowing mid-tempo pop ballad and reminds us all why Madonna has outlived so many other female artists. While it does sound at odds with much of 'MDNA' it's an irresistible  track and definitely what you'd call "Classic Madonna". Here, she sings about the downfalls of being in love with someone who is a great work of art, with lyrics including "If you were the Mona Lisa, You'd be hanging in the Louvre, Everyone would come to see you, You'd be impossible to move." Madonna would state at the time that the song described American socialite Wallis Simpson, further saying, "it's about a woman who has fallen in love with this untouchable thing, this man that was raised to be king. One of the lines of the song 'it must be so hard to always be the chosen one'. At the end of the day nothing is indestructible, no matter how high you might rise in the world if you are still a human being." The production itself is simple and moody with a smartly executed vocal from Madge.

Thankfully, 'Masterpiece' was critically-praised by the majority with MTV writing that "with its poetic lyrics and gorgeous orchestration, Masterpiece is an instant classic addition to Madonna's back catalogue of stellar balladry." Sadly, it endured only marginal success, stalling at a measly #68 in the UK. The lack of success with the singles was undoubtedly due to a lack of promotion which William Orbit later said was due to Madonna's busy schedule at the time. Such a shame as this is a real gem of a track and belongs in the list of all-time greats by the Queen of Pop.

Moving onto the fourth single, 'Turn Up The Radio', I personally think this would have made the perfect debut single from the album; it is certainly far superior to the rather clunky 'Give Me All Your Luvin''. Written by Madonna, Martin Solveig, Michael Tordjman and Jade Williams, 'Turn Up The Radio' is instantly infectious, a high-energy dance-pop song with plenty of memorable hooks. The song asks the listener to escape the realities of life and get lost in music. Many critics declared this to be one of the most outstanding tracks on MDNA, some noting that this would have made a far better and more credible choice as the first single. It seemed the album's momentum had weakened considerably by the time this was released, and despite being Madonna's 43rd number one hit on the Billboard Dance Chart, it served as a huge commercial disappointment and failed to even embrace the UK Top 100. A crying shame.

The rest of the album shifts in tone occasionally, some even echoing her heralded work on Ray Of Light and while not being quite as accomplished as that album, MDNA is still a solid piece of work and a highly enjoyable one at that. Kicking off with 'Girl Gone Wild', this segues into the brooding 'Gang Bang', (don't be misled by the title as it's NOT about a brutal sex romp) and never before has Madge sounded so vengeful and twisted. In an attempt to distinguish itself from the eternal sixties pop classic 'Bang, Bang', Madonna does actually borrow the central idea of murdering her ex-lover (yes, everyone wondered if she was referring to her divorce from film director Guy Ritchie) and includes lines such as "Bang, bang, shot you dead, shot my lover in the head". Not quite as banal as you might think; it's dark, edgy and atmospheric in its sparse production with a pulled back electro-beat and lots of low, echoey vocals. Following sudden outbursts of sub-bass, the song builds into an endearing techno groove and Madonna pronouncing how she'll see her lover in hell and there she will shoot him in the head again. Quite. But despite being the oddest track of the project, it's also the most compelling. I hated this on my first listen but it really does grow on you!

'I'm Addicted' is aimed, like the album, squarely at her club-going audience and this is one that needs to be played at full blast in a club and one in which builds in tension before lurching into a full-on club stomper. Synth sequences tower into murky swells and stabs, awash with bleeping and swooshing throughout. Basically the song compares the feeling of being in love to being high on narcotics. Not the most challenging of lyrics but it's highly effective in its immediacy as a club tune. Ethereal and trippy, this is definitely another highlight of the album for me.

Following 'Turn Up The Radio' and 'Give Me All Your Luvin'', we head to another highlight with 'Some Girls', another track to evoke the feelings of being on drugs. It's no surprise that William Orbit was behind this as it's as top-notch as always, the lyrics being as bold and brash as ever. With razor-sharp synths and a chunky electro bass line, Madonna's voice is alternately echoed, intimate, quite tinny to seductive, all making for a compelling affair.

Having less immediacy is 'Superstar' where Madonna namechecks several male legends from Marlon Brando, James Dean, Bruce Lee and even Al Capone. The melody is strictly in pop vein, the chorus very sing-along but it's easily one of the most forgettable tracks here. Much can be said for 'I Don't Give A F***', a Martin Solveig production. Although having a certain flair, it's ruined (for me) by the rap interlude by Nicki Minaj which some claim is the highlight of the track. I beg to differ, but of course it's all personal preference. Madonna's certainly delivering an ode to her ex-husband Guy Ritchie here with lyrics such as "I tried to be a good girl / I tried to be your wife / I diminished myself / And I swallowed my light / I tried to become all / That you expect of me / And if I was a failure / I don’t give a …”. Some critics even hailed this as a significant highlight of the project but again I think this is overstating it somewhat. Personally, I prefer our Queen of Pop to remain centre stage and here she almost sounds like she's reduced to a guest vocalist on her own track.

Things quickly get back on track with 'I'm A Sinner', which finds William Orbit back at the creative helm and is all the better for it. In fact this does sound like a clever re-make of her 1999 classic 'Beautiful Stranger' and is almost just as catchy, Madonna declaring how she likes to be sinner and doesn't want to be saved just yet! Good fun with sixties-sounding keyboards pulsing along the chugging arrangement. Love Spent is just as memorable, speaking of love and money (nothing unusual there for the material girl) with elegant electro patterns woven into the mix and a throbbing chorus.

Following 'Masterpiece', is the beautifully orchestrated 'Falling Free', with a hint of classical elements creeping into the striking production. Featuring a gorgeous vocal, which is supple, dreamy and emotive all at once, this sounds at odds with the rest of the techno-pop tone of MDNA yet it re-affirms what a great ballads singer Madonna can be and it's a fitting finale to the album, even suggesting that there is certainly many more things she wants to explore beyond this, both musically and emotionally.

A thumbs up from me, and was generally well-received by both critics and fans although there was some divided opinion, some claiming Madonna was trying too hard. While this can be said about a certain few tracks here, it is, on the whole, without a doubt, another stellar, classic Madonna album and one that deserved to be recognised as such even if it didn't quite scale the heights of commercial success it so richly deserved. On saying that, though, it still topped the charts around several parts of the world so it proves Madonna's far from done yet!

4/5

IAN PHILLIPS
PMRudy

PMRudy

January 19, 2015
Mastering SID Code should be IFPI LV27, you can see it on the pictures. And Mould SID Code should be IFPI 0116 also you can see it on the picture. On my cd stand IFPI 0114. So I don't know.