Madonna

Ray Of Light

Madonna shines in her Ray of Light

Review Score:

(10/10)
Madonna's deepest, darkest and most innovative album, Ray of Light stands out as the turning point in Madonna's career. When the album hit stores in 1998, after the birth of her daughter and a four-year absence from the music scene (except for the mild success of featured tracks from Evita), it was obvious Madonna had been changed in a profound way. The song Bedtime Stories included on the like-titled 1994 album gave listeners a hint of what was to come with Ray of Light: electronic dance music filled with lush backing tracks and syncopated rhythms.

Ray of Light is arguably the foundation album for the pop/electronic/dance genre of music that hit the radio mainstream. With a string of huge hits including the title track, Frozen, and The Power of Good-bye (which was featured on the WB show Felicity), Ray of Light is an album unlike any of Madonna's previous works, and is a must-have for all of her fans, young and old. However, if you crave bubbly tracks like Cherish and Like A Virgin, beware: you won't find any here. This collection of songs is far more mature than any of Madonna's earlier work.

As beautiful as it is emotional, the opening number Drowned World/Substitute For Love is one of Madonna's more personal songs in which she touches on the similarities of fame and love. Vocally, Madonna sounds superb in this song. Her growth as a singer and a songwriter is obvious almost immediately when listening to this track. Her voice, with no hint of rasp, is mellow and haunting. The chords throughout the song are divine.

The second track, Swim, is an inspiring tune that will have you tapping your foot and bobbing your head. Though it's not as moving as the previous number, Swim is just as memorable with its catchy guitars and underwater echoes. A steady beat carries throughout the tune without much variation; the song feels like a lazy day lounging tune. As with Drowned World, there's a spooky quality to this song that I can't describe.

The dance anthem of the summer of 1998, Ray of Light pounds in as the third track. The delicate balance of building chords, harsh drum beats, spiraling trance bleeps and electric guitars is mastered in this song. Madonna sings with a louder and brighter tone, ultimately balancing the strange but fantastic arrangement of instruments. One of Madonna's most memorable songs, this track alone makes the album worth having. More than six years after its original release, this is still one of my all-time favorite songs by any artist.

The fourth track will remind older fans of some of Madonna's previous work. Titled Candy Perfume Girl, this is predominantly a drumbeat and percussion tune, with various electronic sparkles and electric guitar included. The bridge portion of the song sounds like a lullaby segment or a music box; it's a wonderful change of style, if for only four measures. Then the harsh beats and loud guitars hit suddenly, and we're back in the spacey trance of a fun and sexy song.

Skin, the fifth track, took some time to grow on me. In the end, it's a very repetitive and often confusing song; it sounds as if there's no organization to it. However, it's got many great chords and the lyrics are thought provoking. A busy tune with samples of hand drum loops, chimes, bells and many overlapping drum kits; the song has a hint of Middle Eastern flavor. I saw a segment on Entertainment Tonight shortly before the release of Ray of Light, in which Madonna was in the studio recording vocals for Skin, and I was blown away by the emotion she portrayed. Listening to the song, her conviction is every bit as impressive as it was watching her.

With a touch of jazz and a danceable beat, the sixth track Nothing Really Matters is an amazing arrangement. The piano solo in the bridge portion of the song is fantastic. Vocally Madonna sounds fragile and innocent; a switch from her often-aggressive nature. This song was released as a single, which included some great remixes.

The sleeper hit of the album, Sky Fits Heaven is the seventh track. The lyrics are a little fuzzy and the music is very syncopated and strange, but regardless; this song is one of the best on the album. The music is fabulous with trance echoes, spooky oo's and ahh's, a tender and sparkling piano arrangement and the now familiar house beats. This song is wonderfully produced and mixed, and is great for a long drive.

The enchanting and progressive song Shanti/Ashtangi is the eighth track. More of a chant and a declaration, this song is simple but polished. It's a spiritual tune sung in another language, stressing the importance of peace and balance in life. A big change from anything Madonna has tried in the past (including previous tracks on this album), it takes some time to enjoy this song. It's repetitive and very raw of instruments, but the beat is infectious.

The most soulful and intriguing song on the album, Frozen seduces as the ninth track. This may be the most beautiful and warm ballad Madonna has ever produced. Classical strings are the featured instrument in this song, accompanied by light drums and soft trance echoes. Madonna's vocals are smooth and tender as she sings in desperation. The string arrangement is timeless, with its slides and volume variations. I am reminded of This Used To Be My Playground when I hear Frozen.

The tenth track The Power of Good-bye sounds as if it could be a sequel to Frozen. There's an honest quality in this song that is very charming and likable. The chimes and trance pulses are soothing as Madonna sings with bitter emotion. Strings are once again an obvious instrument; in particular, the bridge is memorable. Acoustic guitars add to the honesty and sensitivity of this song.

Relaxing and stylish, the eleventh track To Have and Not To Hold is a sad song. It's very quiet, mellow and altogether gorgeous. At first listen, there's nothing special about this track. But after several listens, the romance in this song becomes obvious. It's not a love song however, but the style both musically and vocally make this tune easy to dance to; you almost want to light candles. With a bossa nova feel and airy vocals, you'll be enchanted.

A very cute and sparkly tune, Little Star is the twelfth track, and one of my favorites. A song for her daughter, Madonna puts a new twist in the typical lullaby. Though the usual soothing sounds of trance pulses, echoes and electric pianos are included, jazzy drumbeats and a lazy bass add flavor. One of the best musical moments of the album is the bridge of this song; Madonna's vocals aren't the most impressive, but the light string arrangement is heavenly: very simple, but very well done and beautiful.

The last track, Mer Girl is an interesting tune. With no percussion or drums, it's Madonna's riskiest move yet. Stripped bare of instruments, the primary feature on this track is simply Madonna's voice. She sings of the memories of her mother, and the insecurities she has. I adore this song; it's a gutsy move for her and I find it full of creativity and the lyrics are heartfelt.

This album in it's entirety is very well done, and full of passion and life. Overseas, Ray of Light had a bonus track titled Has To Be, which was also included on the Ray of Light single as a non-album track. This song is very moving and if you can find a single or album with it, I suggest purchasing it. It's a cross between The Power of Good-bye and Mer Girl: very hopeful, optimistic and simply gorgeous.

Unfortunately, Madonna moved on stylistically (once again) with her album Music released in the year 2000. I would have loved to see Madonna stick with the electronica movement a while longer; it was some of her best work ever. But like any other Madonna moment, it was fabulous while it lasted and will (in my opinion) live on forever as her wisest and most impressive move. I highly recommend this album, in addition to every remix single spawned from it.

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