Confessions on a Dance Floor - Dark Publications

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Editorial Reviews:

Amazon.com
Apparently there's nothing in Kabbalah that disallows sweaty, head-spinningly good dance music, because here comes a flame-haired Madonna hawking a dozen songs' worth: Confessions on a Dance Floor darts seamlessly from Madge's early days, when she emerged as the genre's enduring darling, through the political, kiddie, and acoustic pap that drove a wedge between her and early adopters of the fingerless glove look. Songs like the pop-leaning "Jump" and first single "Hung Up"--an adrenaline drip on high that, like many of these tracks, will inspire mild shame among those who've thrilled to the much thinner disco-dusted outpourings of younger divas recently--represent both a return to form and an unmistakable march into the future. "Get Together" is a sonic freak-out in the best sense; "Push" traffics in gut-level futuristic trance; and "Forbidden Love" loops in '80s blips and bleeps for a follow-me-into-the-past effect that's both neo and retro. For all the image-affirming innovations here, though, these confessions find Madonna framed in her share of reflective moments too. "Was it all worth it/How did I earn it?" she asks on "How High," a song featuring vocoder. "Nobody's perfect/I guess I deserve it," comes the answer. A later lyrical inquiry is left for the listener to judge: "Does this get any better?" Madonna wants to know. But that opens the door to a dizzying proposition. Few of us would have guessed, after all, that it got this good. --Tammy La Gorce

Album Description
On Confessions of a Dance Floor, Madonna, the most popular and significant female artist in pop music, returns unapologetically to her roots. A stunning blend of musical styles with one foot in early disco and the other pointed toward the future, Confessions On A Dance Floor "is all about having a good time straight through and non-stop," says the Material Mom, who co-wrote and co-produced every track. For Madonna and music fans everywhere, the all-dance, no-ballad Confessions on a Dance Floor is a welcome guilty pleasure.

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5 out of 5 stars

MADONNA brings us her best album since Ray of Light ! November 15, 2005
747 out of 830 found this review helpful

MADONNA is back with her new album Confessions on a Dance Floor and it is an amazing album and one of her best!

HUNG UP - This is the first single off of the new album and is a huge hit in the clubs. The song has a sample from ABBA's song Gimme Gimme Gimme (which I have never heard) and has MADONNA singing about someone she is hung up on. The song has a very great groove and it's definitely the most commercial song on the album. With the chorus line "Every little thing that you say or do I'm HUNG UP, I'm hung up on you." and lines like "Ring , ring, ring goes the telephone, the lights are on but there's no one home" the song gets stuck in your mind and you find yourself singing these catchy lines. No Madonna song has as catchy lines since "INTO THE GROOVE" which had Madonna sing "At night I lock the doors and no one else can see". Very strong single that will keep the dance club crowd on there feet.

GET TOGETHER - This is a great up- beat song (inspired by Stardust - Music Sounds Better With You) with a very laid back trance like feel to it. The song has Madonna singing to a person she really likes asking "Do you believe in love at first sight?" Even if it's an illusion she states she don't care. "Can we get Together? I really, I really want to be with you. Come on check it out with me, I hope you, I hope you feel the same way too." Put some head-phones on and close your eyes and the Great retro dance beat along with the trance feel take you to another world.

SORRY - This is rumored to be one of the new singles from the album. Madonna sings "I don't want to hear, I don't want to know please don't say your SORRY." to someone she is probably never going to forgive. The songs chorus sounds similar to the bass line from The Jackson's' 1981 hit Can You Feel. Sure to be another huge club and commercial hit.

FUTURE LOVERS - This is one of my favorite songs on the album. This song also has a retro vibe to it with another trance like feel. This song has a lot of stuff going on musically and it is inspired by Giorgio Moroder/I feel Love by Donna Summer. The song has some spoken vocals for the first minute and a half, then it breaks out in to this awesome dance song. She sings "In the evidence of it's brilliance" talking about love. This song is going to be HUGE in the clubs.

I LOVE NEW YORK - Great dance song that has MADONNA telling us how much she loves NEW YORK and hinting towards George Bush and his home state. Singing, "If you don't like my attitude then you can just f off. Just go to Texas, isn't that where they golf." Very awesome dance song with a very punk rock feel to it. This is also rumored to be a single off of the new album.

LET IT WILL BE - this is a song that has a raw feel to it with a funky house groove and a retro 80's feel to it. This song sounds similar to the string opening (played on a synth) from her own song PAPA DON'T PREACH. This song has MADONNA singing lines like "Now I can tell you about success, about fame, about the rise and the fall, of all the stars in the sky, Don't it make you smile? Let it will Be. Just let it be. Won't you let it be?"

FORBIDDEN LOVE - This is one of the slowest dance songs on the album and one of the most beautiful. The song has computer generated, and vocoder style vocals and has another 80's feel to it. The song is the closest thing to a ballad on the album. MADONNA sings "Once upon a time there was a boy and there was a girl. Hearts that intertwined they lived in a different kind of world. Forbidden Love are we supposed to be together? Forbidden Love we seal are destiny forever."

JUMP - This is one of my other favorite tracks on this album. This song has a great beat and classic MADONNA vocals. This is one song that will make the club crowd JUMP and remind anyone of classic MADONNA. Madonna sings " We learned our lesson from the start my sisters and me. The only thing you can depend on is your family. Life's gonna drop you down like the limbs of a tree. It sways, and it swings and it bends until it makes you see. Are you ready to jump? Get ready to jump. Don't ever look back oh baby. Yes I'm ready to jump. Just take my hand, get ready to... are you ready?" This would be a great single and in some countries is expected to be released as a single.

HOW HIGH - This song has a great beat to it and is another song that has computer generated, and vocoder style vocals. This is a song that has lyrics (similar to "Drowned World/Substitute For Love) about Madonna analyzing and evaluating her fame and success. She sings "How HIGH are the stakes? How much fortune can you make? Should I carry on? Will it matter when I'm gone?" Another great song!

ISAAC - This is another beautiful song on the album. Despite the early controversy this song has spawned, this is s song that has a very beautiful Jewish chant with strings and guitars that envelope you and take you on an emotional journey. This has some of the most beautiful lyrics MADONNA has ever wrote. She sings "Wrestle with your darkness. Angels call your name. Can you hear what they are saying? Will You ever be the same?" People may not like this song because of the spiritual vibe, the Jewish chant, and because it is different, since some people don't like things that are different. I love this song!

PUSH ME - This is a great inspirational song that she probably wrote for her husband Guy. Very Uplifting beat that some people say samples a slowed down section from her own hit "LIKE A PRAYER." Madonna sings "You PUSH ME to go the extra mile. You push me when it's difficult to smile. You push me a better version of myself. You push me only you and no one else. You push me see the other pont of view. You push me when there's nothing else to do. You push me when I think I know it all. You push me when I stumble and I fall." This is a great song that reminds us all how much our lovers/partners love us and push us to be better.

LIKE IT OR NOT - This is another great song influenced by her own cover of her hit FEVER. This is for all those people who for what ever reason don't like MADONNA and always put her down. She once again analyzes herself and says, like it or not this is who I am. She sings: "You can call me a sinner, you can call me a saint. This is who I am, You can like it or not, You can love me or leave me, But I'm never going to stop." Awesome song and some great advice from a strong women who just keeps going on her journey no matter what people think of her. Cleverly this last song closes this beautiful future-disco album with an acoustic guitar.

I have to say it's very sad to see some of these reviewers post reviews about how much they hate Madonna or like other artists better. The reviews they write have nothing to do with Madonna's new album and yet they give her 1 star all because they don't like her. After reading the reviews I can tell most of them have not even heard the album because the reviews they wrote are so far from what the songs are about. I guess MADONNA is still a huge threat to them and they have to post such hateful things about someone they don't like all because she is MADONNA. In a MADONNA like fashion I will not get bitter toward them, I will forgive them and ask that God Blesses each and every one of them.

And should any of you good people out there be the target like MADONNA and find yourself the victim of other people's bitterness, ignorance, smallness or insecurities; Remember, things could be worse. You could be one of them!

MADONNA once again leads while the rest will follow. This is the best MADONNA album since RAY of Light!

5 out of 5 stars

Disco gets a new lease on life November 15, 2005
272 out of 326 found this review helpful

Leave it to the Material Girl to resurrect the glory days of disco. As a huge fan of `70s music, this collection of a dozen dance songs brings back many happy memories, and though disco may not be here to stay, this updated tribute will have you doing the hustle and bus stop for quite a while.

Disco has been popping up here and there, one of the more recent attempts being "Murder on the Dancefloor" by Sophie Ellis-Bextor, but Madonna gives it a new and freshly minted sound.

First single "Hung Up" is one of the most likeable songs in recent history, with its authentic Abba sample and driving beat. The other outstanding track is the "Popcorn"-based "Jump".

Other good tracks are "Get Together", the beginning bars sounding vaguely like Cyndi Lauper's "Time After Time"; "Sorry" and "How High", which are dance floor magnets, and "Like It or Not" with its slightly slower tempo.

"I Love New York" is not a great track lyrically, despite the obvious sentiment, but I guess you could call it a "confession".

"I don't like cities
But I like New York
Other places make me feel like a dork

Los Angels is for people who sleep
Paris and London, baby you can't keep"

A clever mix of disco-fied R&B, Pop, Euro and trance beats, "Confessions" is one of her better albums (though certainly not the best) and a must buy for any Madonna fan or party animal of the `70s and `80s.

Amanda Richards, November 15, 2005

5 out of 5 stars

The Diva, The Dance Floor & Her Wardrobe: Ma-Donna Summer! November 15, 2005
25 out of 28 found this review helpful

It's official: Madonna's fans have received the continuous-mix ear candy they have demanded as a ransom for continued devotion, even if Confessions On A Dance Floor turns out to be anything but superficial. She's sneaky like that. There is a lot going on under that sequin-covered disco cap. I already wrote this on my TypePad blog "boy culture," but why bother surfing the Net when you can find out right here: Overall CD Rating: 9/10

TRACK BY TRACK

"Hung Up"
The album opens with the ticking of a clock, gutsy for a 47-year-old in a field where her rivals are in their teens and twenties. Though she claims that "time goes by so slowly," the exact opposite impression is conveyed, a sense that if you don't seize the moment, it will pass you by. This feeling is helped along by the legendary call to action that is ABBA's bassline from "Gimme! Gimme! Gimme! (A Man After Midnight)," sampled here to the point of saturation. In the original, it was "half past twelve," while in "Hung Up" it's "a quarter to two"-maybe time really does go slowly, since in the 26 years from the original's invention to "Hung Up"'s addictive reinvention, only an hour and 15 minutes have elapsed! The song is an irresistible pop perfect storm with a stop-start quality that manipulates you as easily as the tide toying with driftwood. It's musical crack, and if there is anything to complain about, it's that it's so exactly what the doctor ordered that it's not as surprising as previous lead singles from "Like A Virgin" to "Like A Prayer" to "Music." At one point in "Hung Up," Madonna sings with conviction, "I don't know what to do." It's a lie. She knows. 9/10

"Get Together"
I've never heard a more perfect club song than this euphoric piece, which drips with a sexuality so open it's innocent and begins with a ringing bell that could either be a neat outro providing closure to "Hung Up"'s 60 Minutes intro or a school bell indicating class is in session/let recess begin. Recalling Stardust's "Music Sounds Better With You" (itself known to have had a passionate affair with Madonna's seminal hit "Holiday"), "Get Together" exudes optimism, boiling down club-hopping to love-seeking. The song is a fantastic example of Madonna's songwriting abilities-here, she writes simply but with feeling: "Can we get together?/I really wanna be with you/c'mon check it out with me/I hope you feel the same way, too." This chorus perfectly communicates what we all seek in the darkness of a club-and in life. What else is there? 10/10

"Sorry"
Rumored to be the set's second single, "Sorry" is, ironically, another unapologetic vacation for the mind and draft notice for the feet. Opening with Madonna murmuring "I'm sorry" (or close to it) in several different languages, the song zips along aerobically, as if it were a long-lost Flashdance soundtrack cut. I hear this as a vastly improved take on her admittedly pleasing Erotica tracks "Thief of Hearts" and "Words." Madonna has held out a long time without a classic woman-scorned kiss-off song ("You'll See" came close). If she was waiting for a worthy cut, her patience pays off with an absolutely grade-A entry in the genre. Pet Shop Boys could have written this for Madonna-it's that good. If this isn't a hit, Billboard is no longer worthy of existing and a flamer fatwa should be called on all radio programmers. 10/10

"Future Lovers"
A dark-horse candidate for my favorite track on Confessions is this fabulous-in both the gay and non-gay ways-concoction, which finally perfects the psychedelic grandiosity Madonna has occasionally toyed with, notably on "Up Down Suite," "Bedtime Story," parts of Ray of Light and the enjoyable but somewhat stunted "Impressive Instant." While "Hung Up" arguably fails to wrestle control of its muscular ABBA sample, "Future Lovers" washes over a soundalike bassline from Giorgio Moroder's "I Feel Love," managing to rekindle the excitement generated by Donna Summer's vocal with a completely different, revelatory narrative. Here, Madonna speak-sings, "I'm gonna tell you about love" (a dozen years after `teaching us how to' you know what on "Erotica") like a sexy HAL-let's agree to call this song's feminine narrator SAL. When Madonna sings "in the evidence of its brilliance" with the shrill, almost tinny urgency first heard on "Mother and Father," the effect is very different-it's not gut-level intimacy, it's the opposite, a proclamation of the connectedness of the cosmos. Like an astral tour guide (or a drug dealer), Madonna flirtatiously asks, "Would you like to try?" Who wouldn't? Andy Warhol said, "In the future, everybody will be world-famous for 15 minutes." Instead, perhaps in the future everybody will be lovers for 15 minutes. 10/10

"I Love New York"
The nearly perfect ride through the first four tracks is interrupted by this detour. Early pro reviews raved about this tribute to the city that never sleeps (hey, if Madonna can use cliches, so can I) while early fan reaction has been more mixed, running from ranking it a ways down the list of fave songs on the CD to being embarrassed for Madonna over this clunky American Life illegitimate child.
The deftly spare lyrical quality that shines on other songs is supplanted here by a clumsy, juvenile approach that gives birth to you'll-never-live-this-one-down lines like, "I don't like cities, but I like New York/other places make me feel like a dork." Dork is a fine enough word, but I think most people who are in love with and in awe of New York would agree that spending a little time here is what makes you feel like a dork, and you feel pretty darn jaded elsewhere. The song is saved from becoming the next "I'm So Stupid" with a killer chorus, an exhilarating demand to "get off my street," Cure-ish guitars and a '60s instrumental wash that evokes images of a beautiful stranger dancing the pony. Is it enough to win you over? Love it or hate it, mad, sad or glad, "I Love New York" definitely stops traffic-and that's no good when the rest of your CD is a runaway train. I don't despise this song, but I still kinda wish it would F off. Though while we're talking about lyrics, why is no one complaining about "my humps, my humps, my humps?" 6.5/10

"Let It Will Be"
This is an odd duck [say it with faux British accent], and not only for the completely unnecessary and (unless I'm missing it) meaningless extra word in the title. Am I insane to be reminded of Iam Siam's "She Went Pop?" It has an arresting opening that mimics "Papa Don't Preach" or even"Dear Jessie" and a vocal with a palpable sense of narrative urgency. "Now I can tell you/about success, about fame," Madonna growls, as if relieved to have the good times of the previous tracks behind her as a synthesized cowbell clangs somewhere in the mix. "The place that I belong/it won't last long/the lights they will turn down" she predicts like a disco Nostradamus. But though she could easily launch into a sermon, she instead preaches to the choir with a prettied up take on a theme stars visit far too often in their work-the dangers of fame, the insubstantial nature of having it all. If this message were broadened to include the kind of success mere mortals are more likely to be inflicted with, maybe. But she's saved by the music and has never sounded more righteous than when she spits, "Just watch me burn!" Our own little Ciccone of Arc, aflame at the stake of criticism. 8.5/10

"Forbidden Love"
This charming electro Romeo & Juliet gives me fever-it could be the promise of "Future Lovers" realized, yet also continues Madonna's more old-fashioned appreciation for a boy and girl in love started in "La Isla Bonita." We enter on an odd horn sound that's both playful and desolate, making it easy to envision a video staged on Mars with kisses bestowed from inside spacesuits. It builds to an aural crescendo that lovingly capitulates Moroder's Metropolis work with Queen. Three minutes in, the beat sounds like "Vogue," fitting for a song that could reasonably be read as an ode to star-crossed gay lovers or, with more effort, chalked up to the gay-marriage debate-either way, it's hard to resist the urge to chant "menergy" as you play it. One Madonna song it sounds nothing like is Madonna's own 1994 tune "Forbidden Love"-I don't count this as self-reflexivity because I'd bet money she simply forgot she was recycling a title. Shimmery and adorable. 10/10

"Jump"
This kinetic construction is single-worthy for being catchy and universal and yet fresh. Longtime fans will be shocked to hear the raspy spoken-word introduction, which sounds like a throwback to "poor is the man whose pleasures depend on the permission of another." This time around, Madonna's saying, "There's only so much you can learn in one place/the more that I wait, the more time that I waste," re-emphasizing an Alice In Wonderland "I'm late, I'm late, for a very important date" theme begun in "Hung Up." Further in, the song becomes a semi-remake of "Keep It Together" with its high praise for family and paraphrasing of Sister Sledge's "We Are Family." Engaging songwriting like "life's gonna drop you down like the limbs of a tree/it sways and it swings and it bends until it makes you see" is brought to life with the most direct vocal on the album. Madonna's pride for her handiwork leaps through. 10/10

"How High"
A natural progression from a song called "Jump," "How High" is infinitely more pensive. Madonna again returns to questioning fame and fortune, wondering "how high?/outer space!/how much fortune can you make?" Of achieving her goal of "wanting to be talked about," Madonna bitterly admits, "I did it/was it all worth it?/and how did I earn it?/nobody's perfect/I guess I deserve it." But while this could be read as Madonna giving herself permission to enjoy her lofty status, it sounds more to me like a very unconvinced "I guess I deserve it." Lyrically smart and musically interesting, the song nevertheless fails to live up to its brilliant bookends and isn't half the song that Music's "Nobody's Perfect" is. 7.5/10

"Isaac"
"Those naughty rabbis" took exception when they heard rumors Madonna had named this poorly titled song after Isaac Luria, a 16th Century mystic, and the media decided that the flap somehow meant the song was "controversial." This gorgeous masterpiece of a song hasn't got a chance to rise above its silly pre-publicity and be accepted on its own, which is a shame because it's a lush Middle Eastern-flavored gem that's the spawn of "Frozen" and Sting's "Desert Rose" with the moaning from "Secret" thrown in for good measure. Going into the third decade of her career, Madonna is still unafraid to seem pretentious, and that's good because otherwise we might never have had this whirling-dervish slice of musical nirvana. Anyone who hates this is probably hating it out of the mistaken belief that liking it would mean being fooled by Kabbalah. Had this song been named something else and failed to attract the attention of a few self-appointed keepers of Judaism (who leaked it to them so far in advance of whoever leaked it to me?), this could have been a brilliant single. Seriously! 10/10

"Push"
Madonna has announced that this is a love song to her special Guy. It reminds me of Like a Prayer's Prince-ly "Love Song" and its challenging "Act of Contrition," complete with backward-sounding music and a consistent feeling of struggle. There is a slave-galley rhythm and both the delivery and content of the lyrics communicate effort. Words fall across one another in a jumble like hikers taking a tumble. (Now I'm writing Madonna's next album.) Progress is made, which is good since the song definitely feels like climbing a mountain in 3:45. Quoting The Police's "Every Breath You Take" and perhaps some Tom Tom Club, the song is certainly not as inaccessible as a mountain aerie. Some hear this as a good single for the American market. I'm still trying to convince myself it's a good album track. 6.5/10

"Like It Or Not"
It's brand new and yet I feel this song is already underrated. Sure, Madonna has dished out cheek before-mission statements you can dance to like "Human Nature" have been a large part of her work. But the genius of this song is that while knowing it's coming from Madonna gives it a kick, it is not specific to Madonna's singular experience. It's a wonderful anthem for those who live their lives with no regard for the small minds around them, and for those who wish to God they could. A flash of "Die Another Day" at the beginning winds down into an almost exact regurgitation of the opening of "Frozen" (again with the "Frozen!") before completely about-facing into a giddy declaration of independence set to a clapping percussive beat-if you can close your eyes and picture Madonna snapping her fingers to this and dancing like a Shark or a Jet, you might agree with me when I say I can only believe this song was inspired by her abortive work on the shrugged-off Texas Guinan movie musical Hello, Suckers! The song already role-calls femmes fatales Cleopatra and Mata Hari (Evita is there in spirit), so Tex would fit right in. Regrettably, a lazy lyric like "sticks and stones will break my bones" detracts from a juicy one like "I'll be the garden/you'll be the snake/all of my fruit is yours to take/better the devil that you know/your love for me will grow." Madonna's vocal is reminiscent of "He's A Man," especially on that line, and the galloping bassline is a '70s Amii Stewart lark-you better knock, knock, knock on wood, Madonna, that our love for you will grow. But so far, so good. 9/10

5 out of 5 stars

what the world press is saying and it's looking good November 19, 2005
25 out of 28 found this review helpful

The Sun
New album is Madge-ic
9.5 out of 10 (average)

NME (UK)
"Confessions..." is a monster, no ballads, no gaps between songs, just one relentless, thumping assault on the senses
9 out of 10

BILLBOARD Magazine
"Confessions" is a welcome return to form for the Queen of Pop.
9 out of 10

IGN.com
The patron saint of pop stars pays homage to her influences - and herself - with a spectacular set of dancefloor anthems
8.2 out of 10

MSN
They'll be playing it in gay clubs for years
7 out of 10

LAUNCH UK a.k.a. DOTMUSIC
"Confessions On A Dancefloor" is simultaneously stylish, fun, hip and camp; all things a Madonna record should be.
7 out of 10

FOX NEWS
Head for a nightclub. It's just good fun.
A-

E! Online
The singer returns with the joyful "I Love the '80s"-style disc fans have been yearning for
A-

DALLAS MORNING NEWS
Madonna gets into the groove and proves she can still pack a dance floor.
B

FORT WORTH STAR TELEGRAM
The songs are stylish and sexy, with hauntingly erotic choruses, repeated phrases and gently thumping pulses
B

ENTERTAINMENT WEEKLY
She hasn't made an album this consistently beat-driven since 1992's Erotica
B+

GROOVEVOLT.com
Confessions on a Dance Floor manages to transition successfully the underground sound to the mainstream
B+

CLEVELAND PLAIN DEALER
At 47, she's out to prove she still can get into the groove. She largely succeeds, too.
B+

THE ORANGE COUNTY REGISTER
This is another winner to include in her post-"Erotica" run, and her most sheerly enjoyable album in a long time.
B+

THESOP.org (The Student Operated Press)
Confessions on a Dance floor is, simply put, delightful. It is a sigh of relief and a breath of fresh air in a time when great artists of the past, have slowly become a thing of the past.
5 Stars (out of 5)

BOYZ magazine (UK)
5 Stars (out of 5)

DAILY MAIL (UK)
It's a non-stop, rhythm-driven tour de force that ranks alongside anything she made in her chart-conquering heyday.
5 Stars (out of 5)

HEAT Magazine (UK)
This is one big, fantastically sparkly party album that will have everyone shimmying around in their snazziest outfit from the moment someone press the play button.
5 Stars (out of 5)

GIGWISE.com (UK)
`Confessions...' is a magnificent kick to the nether regions of modern dance music
4.5 Stars (out of 5)

Toronto EYE WEEKLY
Confessions on a Dance Floor is a dizzily dense, breathless set of subsonic psychedelia
4 Stars (out of 4)

THE ELECTRIC NEW PAPER (Singapore)
When I heard Confessions On A Dance Floor for the first time, I got a strong sense of deja vu...I had goosebumps and a shot of nervous energy
4 Stars (out of 4)

ROLLING STONE
This is an album designed for maximum volume. It's all motion, action, speed.
3.5 Stars (out of 4)

MOJO magazine
Her Madgesty's career saving eleventh album proves it's never too late to get back into the groove
4 Stars (out of 5)

Q MAGAZINE
Confessions... is her strongest album since Ray of Light
4 Stars (out of 5)

HERALD SUN
Confessions on a Dance Floor is her most dancetastic album since her 1983
4 Stars (out of 5)

SLANT MAGAZINE
Madonna has succeeded at creating a dance-pop odyssey with an emotional, if not necessarily narrative, arc.
4 Stars (out of 5)

The Guardian
Dancing queens of every variety should be delighted.
4 Stars (out of 5)

UNCUT Magazine
The turbo-charged Confessions On A Dancefloor, thrusts Madge back where she's most comfortable, burning up disco heat beneath the mirrorball.
4 Stars (out of 5)

ABOUT.com
Confessions On a Dancefloor is a solid achievement and well worth hearing
4 Stars (out of 5)

TORONTO SUN
The diva has finally, fully returned to her '80s electronic-dance-pop roots
4 Stars (out of 5)

MEGASTAR (UK)
Confessions On A Dancefloor is absolute pop perfection, taking the listener on a journey of highs and lows while engulfing them into a camp disco inferno
4 Stars (out of 5)

ALL MUSIC GUIDE (allmusic.com)
This is shimmering music falling just short of sexy, yet it's alluring enough on the surface to make for a perfect soundtrack for pitch-black nights
3.5 Stars (out of 5)

EDMONTON SUN (Canada)
MADONNA'S NEW DANCE ALBUM SHOWS BOTH DEPTH AND SILLY RHYMES
3.5 Stars (out of 5)

WINNIPEG SUN
There's no denying Confessions is The Material Mom's grooviest set in nearly a decade
3.5 Stars (out of 5)

METRO TORONTO
Madonna spares no expense in simulating a club experience
3.5 Stars (out of 5)

PLAYLOUDER
There can be little doubt that most of this will soundtrack most of the next year for a heftily going-out section of the country in a manner rather more satisfying than initial impressions might indicate
3.5 Stars (out of 5)

THE DES MOINES REGISTER
Madonna ... rules supreme as the grand dame dance-pop diva
3.5 Stars (out of 5)

PEOPLE Magazine
Madonna justifies our love once again
3.5 Stars (out of 4)

BOSTON HERALD
This is the workout disc of the year.
3.5 Stars (out of 4)

USA TODAY
The music is passed off as "future disco," but it really is a vibrant flashback spiked with the contemporary precision-tooled wizardry
3.5 Stars (out of 4)

Globe and Mail (Canada)
This is a club record from start to finish
3 Stars (out of 5)

DAILY MIRROR (UK)
This is Madonna's get down and party album
3 Stars (out of 5)

LOS ANGELES TIMES
"Confessions on a Dance Floor" (due in stores Tuesday) is disco with a vengeance, a whomping, unapologetically airheaded engine of stroboscopic beats and succulent textures that exhumes dance music's time-honored values of celebration and affirmation.
3 Stars (out of 4)

New York Post
Funky, pure, and powerful
3 Stars (out of 4)

PHILADELPHIA INQUIRER
Confessions puts on its boogie shoes and never lets up
2.5 Stars (out of 4)

CHICAGO SUN-TIMES
"Confessions on a Dance Floor" is a fun ride, zipping by with a guilty pleasure sugar rush of hummable hooks and husky-voiced cooing
2.5 Stars (out of 4)

AMAZON.com
Sweaty, head-spinningly good dance music

ARKANSAS TRAVELER (University of Arkansas)
The album, overall, is cohesive and fluid - seamlessly integrating each style into the future disco collective.

ATTITUDE Magazine (UK)
Confessions is a beast of a dance album

BBC
This is the most commercial album Madonna has made in 15 years and it's magic.

BLOOMBERG.com
She leaves you exhausted in the acoustic finale

BOSTON GLOBE
Decadent and remote, pulsing with excellent technology

CHART ATTACK (Canada)
Madge embraces her pop past and looks to the future of disco to create 12 addictive, energetic dance tracks that don't let you stop to catch your breath

CHICAGO TRIBUNE
The fans will be out on the dance floor, begging the deejay to pump up the volume.

CLOSER magazine (UK)
This is the must-have album of 2005!

DAILY EXPRESS (UK)
This is a thumping dance record that doesn't let up the pace from the first moment until the last.

Daily Mail (UK)
Madonna has delivered a classic club record

DETROIT FREE PRESS
Everything about "Confessions" says BIG BIG BIG!

DOSE (Canada)
In moving backward, Madonna still manages to face forward.

Gay Times (UK)
Madge is reclaiming the dancefloor as her own

HARTFORD COURANT
The record throbs with a dark, sweaty and slightly euphoric rhythm that pounds through your body like a sonic jackhammer

MONTREAL GAZETTE
It's an easy, fun listen that captures house music's ability to be both festive and introspective. Party on.

MUSIC WEEK (UK)
Madonna delivers her best album since Ray Of Light

NEW YORK DAILY NEWS
Madonna delivers such beat-crazed bliss, we can forgive her (almost) anything.

RICHMOND TIMES DISPATCH
A relentless sonic whir that, just when you're being lulled by its monotonous beat, explodes with an arena-ready chorus.

TALON MARKS (Cerritos College)
Energetic, fun filled CD...just pure 70s inspired music brought into the 21st century

THE BADGER HERALD (The University of Wisconsin-Madison)
Listeners will definitely get the urge to get up and dance to the tracks on this CD

THE DAILY CARDINAL (University of Wisconsin)
Glorious head rush of dance club pop that will make any young thing keep dancing long into the night.

THE FLAT HAT (The College of William & Mary)
Madonna has assembled possibly her greatest album yet.

THE NEW YORK TIMES
Thoroughly Modern Madonna Gets Retro

THE OBSERVER (UK)
Confessions is a solid success.

The Tartan (Radford University)
Madonna has once again shown that she can keep pushing the limit for what a pop artist can do

The Times London
On Confessions on a Dance Floor the whoosh! factor is high

TIME MAGAZINE
Confessions on a Dance Floor is 56 minutes of energetic moments. It will leave you feeling silly for all the right reasons.

Times London
The album that will restore Madonna to the top ten

WASHINGTON D.C. METRO WEEKLY
The music is just so fantastic

WASHINGTON POST
Madonna's best album at least since 1998's "Ray of Light" -- and possibly since 1989's "Like a Prayer."

WASHINGTON TIMES
It's a return to the booty-shaking form that helped her morph from her bubble-gum daze of the late 1980s into the ever-changing diva we continue to see.

5 out of 5 stars

A swirl of incredible activity, feats and velocity! November 15, 2005
24 out of 27 found this review helpful

Madonna's CD will be a warm welcome home to you if you liked her roots: that disco and pop type of music that made her famous to begin with. The music on all the songs here is very well done and arranged by Madonna herself and her team; and the lyrics are cool, too! In the song entitled "I Love New York," Madonna rhymes "New York" with dork." That sassiness ain't bad, ain't bad at all.

Yes, the songs are put together as if a DJ had mixed them on the dance floor. Each song seems to flow into the next. I especially liked the songs "Hung Up" and "Isaac," with its acoustic guitar and lyrics in Hebrew! Very different and creative for sure! Some will say that the flow of the songs makes them blur together so that none of them stand out in particular; but I for one really liked the album and it fits together as an album somewhat better than her other album, "American Life," ever did.

Madonna also deserves a good deal of credit for co-writing and co-producing every song on this CD. She was ably helped out Stuart Price, better known professionally as Les Rhythmes Digitales! This is also a CD allowing her to express herself rather personally since Madonna always loved to dance. Her love of dance is also accentuated by the themes of empowerment and independence. For example, Madonna sings the line "I can take care of myself," in her song entitled "Sorry," and she echoes this sentiment again in the song called "Jump" with the confidently self-sufficient words "I can make it alone." Powerful stuff!

In short, Madonna succeeds rather well in creating for us all an album in which she goes back to her roots while yet making references to her present and future by means of her Hebraic chanting and her references to independence. She uses the scene of her dancing on a dance floor as a backdrop that allows her to express her true feelings while dancing. She's not a kid anymore; but she STILL knows how to party hard and she can stay up late moving the crowd on that dance floor anytime she pleases. A highly recommended CD for Madonna fans (naturally), and fans of this type of rock and pop!

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