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Madonna’s ‘American Life’ Turns 15 | An Anniversary Retrospective


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Madonna’s ‘American Life’ Turns 15 | An Anniversary Retrospective

April 18, 2018 Quentin Harrison

http://www.albumism.com/features/madonnas-american-life-turns-15-anniversary-retrospective

Happy 15th Anniversary to Madonna’s ninth studio album American Life, originally released April 21, 2003.

For close to a decade dating back to 1994’s Bedtime StoriesMadonnagracefully held the music world in the palm of her hand. With two subsequent albums and an accomplished soundtrack to an even more accomplished film (1996’s Evita), Madonna had taken back the creative power misplaced with Erotica (1992). That record sought controversy over content as its lure and failed to find followers.

The anticipation for what Madonna would do next was palpable and “Die Another Day” was more than an adequate appetizer for what was to come. Unveiled in the fall of 2002, the kinetic single was both the theme song to the James Bond film of the same name and the unofficial first offering from her then untitled ninth studio album upon which it would also feature.

As winter gave way to spring, Madonna was now preparing to unleash American Life and its titular track as the set's “official” debut single. The accompanying music video, directed by Jonas Åkerlund, was fitted with all the trimmings of a controversy—a rarity for Madonna during this stretch of time when the focus was on her craft, not a random firestarter.

It was with that in mind that she unexpectedly pulled the plug on the original video—later subject to reshoots—and then issued the following statement on April 1st, 2003 in lieu of the burgeoning Iraq War: “I have decided not to release my new video. It was filmed before the war started and I do not believe it is appropriate to air it at this time. Due to the volatile state of the world and out of sensitivity and respect to the armed forces, who I support and pray for, I do not want to risk offending anyone who might misinterpret the meaning of this video.”

Public perception toward Madonna's statement—or apology—was mixed. It was a glaring portent promising that American Life was to meet stormy waters on its April 21st, 2003 reveal date. But despite any of the difficulties that were to come for it, the record's roots were firmly planted in only the richest artistic soil, the same soil that had nurtured its preceding effort Music (2000).

Music had been eagerly tended to by Madonna and the French producer/instrumentalist Mirwais Ahmadzaï. Theirs was an enthusiastic and imaginative relationship, one with an exacting eye for detail and precision and this same work ethic carried over into the very early stages of the American Life sessions in late 2001. As the long player's form began to take shape, it received embellishments and contributions from fellow songwriters, producers and musicians such as Mark “Spike” Stent, Guy Sigsworth, Jem Griffiths, Monte Pittman and Stuart Price. However, it was Madonna and Ahmadzaï that kept the overall record on track to become what is was to be—an edgy, eclectic confessional tome.

Topically, everything is on the table here—Madonna's second marriage (“Love Profusion,” “Nothing Fails”), her relationship with her parents (“Mother and Father”), her place in the modern world (“American Life,” “I'm So Stupid”). Nothing was off limits. All of these lyrical battle studies regarding love, family, and self-discovery are intelligent, feeling and, sometimes, brutally candid.  

Musically, Madonna delves further into her own niche experimentation with electronic and guitar-flecked pop that came to life on Music, the latter genre giving way to a folk base on American Life. The genres are suited to each other, managing to function independently (“Nobody Knows Me”) and collectively (“Love Profusion”). Could a few of these songs be labeled “danceable?” Certainly they could, but, Madonna didn't restrict them to that genre box alone. In fact, their surrounding production minutiae—samples, loops, live strings and acoustic guitar—suggested an emphasis for long term listening versus momentary consumption on any dance floor. And, in a classic Ciccone chess move going all the way back to  “Crazy For You,” the ballad method is utilized stunningly to showcase Madonna as a top tier vocalist in her own right, as evidenced by “Intervention,” “Nothing Fails,” “X-Static Process,” and “Easy Ride.”

As a body of work, American Lifepresents itself as the product of a woman with a sense of artistic clarity and wisdom. Its only equal in Madonna's canon is Ray of Light (1998).

Upon its late April 2003 unveiling, the LP immediately polarized critics and fans. Either they praised or panned it, there was little to no middle ground. Its sales were devastatingly slow. Taking into account “Die Another Day,” American Life produced six singles in all, four commercial, two promotional—almost all of the positive traction they gained happened abroad, with “Die Another Day” as the lone domestic exception.

The rejection of American Life signaled the end of an era for Madonna, as she has yet to challenge herself, or her audience, as audaciously as she did on this collection. Yet, American Life has aged beautifully, the abundance of its vision to make Madonna's private challenges and triumphs into open-air personal politics that listeners could see themselves in was intimate and eloquent. It is, without question, the last album where Madonna pushed the envelope where it mattered—musically.

 
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4 hours ago, groovyguy said:

Music had been eagerly tended to by Madonna and the French producer/instrumentalist Mirwais Ahmadzaï. Theirs was an enthusiastic and imaginative relationship, one with an exacting eye for detail and precision and this same work ethic carried over into the very early stages of the American Life sessions in late 2001.

However, it was Madonna and Ahmadzaï that kept the overall record on track to become what is was to be—an edgy, eclectic confessional tome.

All of these lyrical battle studies regarding love, family, and self-discovery are intelligent, feeling and, sometimes, brutally candid. 

The ballad method is utilized stunningly to showcase Madonna as a top tier vocalist in her own right, as evidenced by “Intervention,” “Nothing Fails,” “X-Static Process,” and “Easy Ride.”

American Life has aged beautifully, the abundance of its vision to make Madonna's private challenges and triumphs into open-air personal politics that listeners could see themselves in was intimate and eloquent. It is, without question, the last album where Madonna pushed the envelope where it mattered—musically.

THIS.

I LOVE AL.

430181_456891527723511_1401906441_n.jpg?

[Damn, i look quite younger in there LOL, i think i took it in 2013 marking AL's 10 anniversary...]

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I wonder what the book will be like ? I might get it if its nicely illustrated ? The most shocking thing about this era is i think it was the first time she ever censored herself by not releasing the American Life video ? I never understood why she would have filmed a video like this anyway ? it doesnt really go with the song anyway ? 

i found the AL era a mixed bag really(Just like the album) it was brave of her to go in a new direction musically but i felt a lot of the songs just didnt really gel with me(Same as BS album)- i know a lot of fans do love this album and thats great - we all have different tastes- I think if she had done more with Stuart price and less with Mirwais it might have been a different album - she doesnt reference this album very much or even sing songs from it on her tours so maybe she wasn't too happy with it ?

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16 minutes ago, wtg1987 said:

I wonder what the book will be like ? I might get it if its nicely illustrated ? The most shocking thing about this era is i think it was the first time she ever censored herself by not releasing the American Life video ? I never understood why she would have filmed a video like this anyway ? it doesnt really go with the song anyway ? 

8

I thought the original video was a perfect fit for the song.

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The video fit perfectly with the song and what was going on at the time.

I remember purchasing the album back in 2006 at Barnes and Noble and loving the artwork to it. The booklet is amazing with the several photos of her spelling out the title. The album took me a while to warm up to. I must admit at the beginning it wasn't her best for me but I became captivated with the double punch of Nothing Fails/Intervention. 

Now many years later, I find myself appreciating the record a lot more than I originally did. Hollywood and its remixes are amazing. Nobody Knows Me is a great track. Easy Ride is one my favorite Madonna tracks. Beautiful lyrics and awesome ending to the record with its distorted and crazy ending.

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On 20/04/2018 at 4:28 PM, kesiak said:

There were actually many really good remixes for that album - last great "remix era" when it comes to Madonna albums in my opinion.

COADF remixes were as good, but the concept of the album implied club treatment. It's true that the remixes of non dance songs from AL were mostly great.

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At first glance, I also agree that the original military-themed video for the title track actually had nothing to do with the song’s subject matter, which was quest for fame. But with a deeper look, the song talks about “greed” and it was also the case with the US attack in Iraq in 2003. So, maybe it was not completely irrelevant after all.

For the album, I wish it had more protest songs and an edgier sound. The title and the artwork of the album as well as Madonna’s overall image and attitude could have implied such an approach. I would like a rock sound better, just like on her tours, see “I’m Going to Tell You a Secret”. Also, more socially conscious lyrics would have served much more relevantly on an album called “American Life”.

Anyways, not among my favorite albums, but I like all the songs except for the terrible ‘Mother and Father’. ‘Nothing Fails’ is my absolute favorite!

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15 hours ago, Turuncan said:

At first glance, I also agree that the original military-themed video for the title track actually had nothing to do with the song’s subject matter, which was quest for fame. But with a deeper look, the song talks about “greed” and it was also the case with the US attack in Iraq in 2003. So, maybe it was not completely irrelevant after all.

For the album, I wish it had more protest songs and an edgier sound. The title and the artwork of the album as well as Madonna’s overall image and attitude could have implied such an approach. I would like a rock sound better, just like on her tours, see “I’m Going to Tell You a Secret”. Also, more socially conscious lyrics would have served much more relevantly on an album called “American Life”.

Anyways, not among my favorite albums, but I like all the songs except for the terrible ‘Mother and Father’. ‘Nothing Fails’ is my absolute favorite!

I always felt the album artwork and original video misled the tone of the album.  A lot of the public (if they even cared) thought of it as an Anti-American album when it was nothing of the kind.  So I agree that the artwork and video came off a bit too aggressive when the album didn't.  I would expect much more aggressive and edgier songs.  That said, I loved the album for what it actually was.  It probably would have been better if she just called the album "X-Static Process". 

Your mention of "Mother and Father" made me think how I've always felt it was an odd song.  It's like she threw two songs together.  I always felt the lyrics didn't match the instrumentation.  I love the instrumentation and wish it had something more light hearted to it as it came off more of a dance song to me.  Though those clunky lyrics and vocal delivery just doesn't fit well with me.  To me, it's a song you want to sing along with, but the lyrics just seems too weird for the actual song. 

"Easy Ride", "Nothing Fails", "Nobody Knows Me", "Intervention", "I'm So Stupid" and "X-Static Process" are highlights for me.  I also love "Hollywood" and "Love Profusion", I feel those two are classic Madonna.   "American Life" is fine and I like her delivery of the rap, but it's corny as hell. 

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This album had to grew on me, it's good but not my favorite by any means. 

The title track, to me, is the worst song of her career, the original video was the only plus it had and she ditched it for the other one with the flags, tragic. 

I agree with @Liam, the artwork was way too aggressive for such an intimate and confessional album (for the most part). 

There are some incredible songs like Easy Ride, X Static Process, Intervention, Die Another Day, Nobody Knows Me....but then you also have I'm so Stupid and the title track and I'm still not very fond of the fan favorite Love Profusion, it just lacks something. 

I'm happy this album became a fan favorite anyway, everything that she does has to be loved, even if some of us don't feel this album as much. :cute:

Happy birthday AL! 

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I really didn't like it at all when it was released, especially the title track, which should never have been recorded (she must have been drunk, surely, lol). I found the album tracks and the accompanying themes and imagery to be a complete mis-match that never quite lived up to what she was expecting. However, as the years progressed, some of the tracks really grew on me and I could clearly see just how high the quality of her writing had progressed. I really love how she was playing with acoustic sounds, which matched her vocal style beautifully. There are still some absolute horrid songs on there (the title track still makes me yawn), but overall its a pretty OK album. Possibly the last time we have seen her really try to produce something so experimental (for her)... even if it didn't quite come off so well.

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American Life the song is weird, but thats why I love it. I love the aggressive synth riff. The fact it goes down into a different key in the middle of the verse. (Which actually helps when Madonna tends to sing out of key live here) The sparse instrumentation that leaves a listener in a state of not knowing where we are in the musical world. I don't think Madonna has ever had such an abrasive/ dark sound in her music before this moment. The weird chant of "Do I have to change my name..." makes someone shift in their chair every time they hear it. Not saying they intended on this but this song is more about the uneasy feeling than the actual words. 

Then the abrupt shift to a totally different song with acoustic guitars as she robotically sings about living the American dream. The synthesized vibrato against the chopped up guitar not really creating any sort of rhythm one can fall in to. Then just as fast switching back to our now squelching synth screaming in our ears. Musically its a one note song being punched into your face over and over again. And then the rap... If i judged the rap by comparing to all other rap songs... it's trash. But I view it as the icing on this avant garde cake of uneasiness. This whole songs purpose is to jar someone, wake them up. It's not meant to be pretty or likable, or enjoyable. This is even more evident as different voices come in at the end, shape shifting and evoking the sound of a dying cry. 

 

 

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On 19/4/2018 at 7:58 PM, Enrico said:

Another interesting thing is that this man, Quentin Harrison, is releasing a book about Madonna's discography!! :hearteyes::hearteyes:

This Quentin is the most stupid person I have met in my life.

In 2016 he started on Kickstarter a campaign for the volume 1 called "Record Redux: Spice Girls". He finally got all the money promising all the discography of the band in a luxury book with all info. So I pleged him 10€.

When the book was realised there were songs missings because he didnt like them, using a copy-paste from the CD1 single or CD and giving his opinion about the song. And asking 25€ for a magazine format.

When people like me suggested him to make a few changes he always replied he has a good reputation on the music industry and nobody is who to tell him how to work.

This is an example how is the book with a single and a CD. Sinceresly I hoped something like books by Nemo Media, but this was a crap

 

RRSG_diagram_spread.png

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42 minutes ago, madbella said:

This Quentin is the most stupid person I have met in my life.

In 2016 he started on Kickstarter a campaign for the volume 1 called "Record Redux: Spice Girls". He finally got all the money promising all the discography of the band in a luxury book with all info. So I pleged him 10€.

When the book was realised there were songs missings because he didnt like them, using a copy-paste from the CD1 single or CD and giving his opinion about the song. And asking 25€ for a magazine format.

When people like me suggested him to make a few changes he always replied he has a good reputation on the music industry and nobody is who to tell him how to work.

This is an example how is the book with a single and a CD. Sinceresly I hoped something like books by Nemo Media, but this was a crap

 

RRSG_diagram_spread.png

Thanks for the info, pity, I would have loved an in-depth discography book!

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