Madonna, who has done the sadomasochistic shtick much better in the past, delivers such inane drivel about being in control as, “Are you walking the dog, ’cause that dog isn’t new?/Are you out of control? Is that dog walking you?” On the overblown dominatrix ditty “Voices,” Timberlake croons, “Who is the master? Who is the slave?” Better questions would have been, “Who is the puppet? Who is pulling the strings?” Almost as if she’s forgotten the safe word, Madonna is smothered by bombastic orchestration as well as cheesy thunderstorm and church bell sound effects. Madonna portrays herself as a glutton for punishment, but that’s nothing compared to what the listener’s ears have to endure on “Devil Wouldn’t Recognize You,” a blatant rip-off of “Cry Me A River,” by Timbaland and Timberlake no less. In the chorus, Madonna sings, “You don’t have to be rich and famous to be good,” and she’s right. If you can get over the canyon-wide age difference, there’s the small matter that the two exhibitionists exhibit absolutely no chemistry. Timberlake does a little more disturbingly dirty dancing with Madonna on the ’70s disco-throwback “Dance 2night.” Ready to pounce on her prey at any second, the cougar-like Madonna purrs, “I’m fallin’ for your love in the worst way” and she isn’t kidding. Madonna bashes her competition on the Billboard charts and in the bedroom on “She’s Not Me.” When a younger version of her tries to move on Madge’s turf, Madonna chastises, “She started dying her hair and wearing the same perfume as me/She started reading my books and stealing my looks and lingerie.” Britney Spears’ ear must be burning! This song, which craftily meshes choppy, Chic-like guitars, canned beats and symphonic strings, serves as a testament to Madonna’s long-lasting appeal and staying power. Madonna boasts, “Give me the bassline and I’ll shake it/Give me a record and I’ll break it/There’s no beginning and no ending/Give me a chance to go and I’ll take it.” If anyone has a right to shake her assets and flaunt her winning track record, it is certainly Madonna. Madonna finally sounds in her element singing about her insatiable appetite for sex and success on “Give It 2 Me.” One who has never been afraid to express herself, Madonna delivers plenty of self-empowerment mantras over an intoxicating mix of spluttering synths and bouncy, “Super Freak” bass groove. While this slick and polished track is not an embarrassment, it’s not memorable, either. Madonna, who sounds like she’s a guest star on her own record here, plays second fiddle to Timbaland’s blaring brass-heavy production and Timberlake’s Michael Jackson-esque, underwear’s-too-tight delivery.
It’s Madonna and Justin Timberlake against the world on “4 Minutes,” the single that made her Madgesty dethrone the King of Rock ’n’ Roll’s records for Top 10 singles, 37- 36.
#Madoona give it to me series#
Trying to tempt us alongside a groove on thumping trashcan beats, frenetic bass lines and slinky synths, Madonna delivers a series of laughably bad come-on lines as “Sticky and sweet/My sugar is raw,” which is more icky than enticing. Besides the fact that the premise of the aging temptress as an all-you can-eat concession stand will turn most listeners’ stomachs, it doesn’t sound as if her heart’s in it. Not to be confused with 50 Cent’s incredibly lame song of the same name, Madonna’s “Candy Shop” is enough to make one swear off sweets all together.
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