by James W. Coates

Created on: July 03, 2009   Last Updated: July 04, 2009

After a career that has spanned 25 years, multiple sound directions, Grammy's, films and an induction into the Rock and Roll Hall of Fame, Madonna delivers "Hard Candy", her 11th studio album.

Where in the past she has strived to re-invent herself, creating new trends and catapulting young producers into the limelight along the way, on this album Madonna treads a safer, more US radio-friendly route.

Devil Wouldn't Recognize You

After the brainier acoustic-electronica on American Life and the continuous disco romp of Confessions on a Dancefloor failed to set American radio ablaze, Madonna had a choice to make: cease ignore pop culture and truly push the limits or bow to the hip-hop scene and rule the charts in the US once again.

On Hard Candy, she succeeds at doing both, to some degree.

"4 Minutes" lead the world to believe that Madonna was another has-been trying to establish herself among the young set that pop music caters to. The hip hop influence worked - the track went top 3 in the US and number 1 in the UK.

But this track does not necessarily set the tone for the rest of the album. Hard Candy has sugary layers of hip hop covering a pure dance-oriented core, somewhat like a jawbreaker.

She's Not Me

"My sugar is raw / Sticky and sweet" she belts on opening track "Candy Shop"; unfortunately some of the candy has an early expiry date. She teams up with Timbaland, Justin Timberlake, Nate 'Danja' Hills and Pharrell Williams who rule the charts today much like Madonna did back in her 80's heydays. Together they seem like a match made in heaven, but like most start studded collaborations, the results often sound sour.

The contrived "Dance 2night" filled with Timbaland's familiar pseudo funk and a bored Justin Timberlake as well as lead single "4 Minutes" contain far too much producer and too little Madonna. Kanye West guests on the disposable "Beat Goes On" sounding as coy as ever with a rhyme about his favorite subject, himself.

And after years of churning out cherished faux-Latin tracks on her own (Who's That Girl, La Isla Bonita) Madonna could have dispensed with Williams' interference on "Spanish Lesson"; it sounds like it was written by a grade-schooler.

Incredible Beat Goes On

"Give It 2 Me", the best melange of dance and hip hop featuring heavy beats and strange floating synths has Madonna chanting "I can go on and on". No one will ever deny her that.

The true heart of this record hovers around dance tracks such as the fun "Incredible" and the mirror ball danceathon "Heartbeat". Both cuts stand out as Madonna anthems along the lines of "Vogue" and "Holiday".

While rare, Madonna has at times poured her story into her music. Like A Prayer and Ray of Light, two of her most beloved albums, were also her most intimate. "Miles Away" the most intimate track on this album, details her long-distance relationship with her husband, "You always love me more when you're miles away / I guess we're at our best when we're miles away".

"Voices" closes the candy shop with one of the most haunting pieces of music Madonna has produced since working with William Orbit. Swooping strings over a dark drum, Madonna longs to hear an answer. "Are you walking that dog...is that dog walking you" she confronts the confused lover. A perfect ending to an imperfect album.

The iTunes deluxe version also contains two remixes of "4 Minutes" and an incredible HYPERLINK "http://dancetechnomusic.suite101.com/article.cfm/oa kenfold_greatest_hits_remixes"HYPERLINK "http://dancetechnomusic.suite101.com/article.cfm/oa kenfold_greatest_hits_remixes"Paul Oakenfold remix of "Give it 2 Me" as well as a bonus Japan only extra "Ring My Bell"

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