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Review: Madonna's new 'Hard Candy' CD

Glenn Gamboa | DROPS

April 29, 2008

Madonna's her latest CD, "Hard Candy." (AP Photo)

Fear not, Madonna fans. The Material Girl still controls her material on her new album, "Hard Candy" (Warner Bros.)

On her previous 10 studio albums, control was never questioned because Madonna had it. She co-wrote and co-produced everything she did. She always called the shots.

But throughout "Hard Candy" - filled with the work of superstar producer Timbaland and his collaborator, Justin Timberlake, as well as hit-making production team The Neptunes - the issue is front and center. It's no longer a question of whether she can play nice with others, but how much she's willing to compromise to guarantee another hit.

The first single, "4 Minutes," finds Madonna overwhelmed by Timbaland's production and Timberlake's vocals. It's a good song, but it's not really hers. She could be one of any number of singers in Timbaland's stable, from Nelly Furtado on down.

Rest assured, that doesn't happen again. Even on other songs from the Timbaland-Timberlake team - especially "Devil Wouldn't Recognize You," which sounds like a remake of Timberlake's "Cry Me a River," complete with water sound effects, or "Miles Away," which could be "Like I Love You II" - she remains the focus.

Her work with The Neptunes fares far better, as their collaboration seems to push them all to be better. After all, head Neptune Pharrell Williams and Madonna share a love of the stripped-down, freestyle dance vibe that first swept her to the top of the pop charts on a wave of synthesizer banks, black rubber bracelets and mesh shirts.

"Give It 2 Me," both lyrically and musically, could have easily sat next to "Lucky Star" and "Burning Up" on her debut. The same goes for the discofied dance-floor-filler "Beat Goes On," which features verses from Kanye West that still can't wrest the spotlight from Madonna working the groove.

For so much of "Hard Candy," Madonna mines familiar territory expertly, so that by the time she reaches the dramatic closer, "Voices," and asks "Who is the master? Who is the slave?" the answer is clear once again.

She may still have to fight to remain queen of the pop-culture castle, but despite a few bumps, she is still clearly the master of her domain.

HARD CANDY. Madonna indulges in some sweet, radio-friendly dance-pop. In stores Tuesday. Grade: B+.

ESTELLE SHINES. Estelle makes reinvigorating hip-hop look effortless on her sophomore album, "Shine" (Homeschool/Atlantic), rapping and singing over a sophisticated hodgepodge of soul, reggae and pop that hasn't been seen since "The Miseducation of Lauryn Hill."

One spin through the lush "No Substitute Love" or the Fugee-influenced collaboration with Wyclef Jean "So Much Out the Way" makes it clear that Estelle is something special. Yeah, she gets some high-profile help - from Kanye West on the sleek first single, "American Boy," from Cee-Lo on the Motown-channeling delight "Pretty Please (Love Me)," and from producer John Legend on the neo-soul charmer "You Are" - but she holds her own with all of them.

There's no doubt Estelle is the star here, so it makes perfect sense that "Shine" is what she does.

("Shine," in stores today; Grade: A)

ALSO IN STORES. The first album in 10 years from the reunited trip-hop pioneers Portishead on "Third" (Mercury); the much-anticipated eponymous debut from dance-pop's Santogold on Downtown; The Roots' "Rising Down" (Def Jam); Def Leppard's "Songs From the Sparkle Lounge" (Mercury), including Tim McGraw on the single "Nine Lives" (no, you didn't read that wrong); Steve Winwood's "Nine Lives" (Columbia); Tom Petty's pre-Heartbreakers band Mudcrutch's eponymous debut on Warner Bros.; Carly Simon teams up with Jimmy Webb again for "This Kind of Love" (Hear Music); "Idol" finalist Phil Stacey's eponymous debut for Lyric Street, with help from Rascal Flatts; and Sarah McLachlan's "Rarities, B-Sides and Other Stuff, Vol. 2" (Arista).

SONG OF THE WEEK. We the Kings' "Check Yes Juliet" (S-Curve) could very well be this summer's catchy pop-rock anthem, with its infectious "way-ohs" and fun hand claps. It's a lot like Boys Like Girls' great "The Great Escape" - which makes sense, considering it was also co-written by the same production team as that hit, Sam Hollander and Dave Katz - but somehow even more upbeat and lyrically satisfying. That's an addictive combination that will be hard to beat.

Contact Glenn Gamboa at 631-843-3434.