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t’s a new year, a new movie and another
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chanteuse, the irrepressible Madonna. Using
her appearance in Warren Beatty’s new film,
Dick Tracy, to launch a sonic assault on the
nation's collective inner ear, Madonna has
gambled that her devoted fans will buy her
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style.
Those fans who hanker to hear this
Marilyn look-a-like sing dance music should
be forewarned about this change of pace
before buying I’m Breathless. Don’t hold
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24
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July 1990
your breath. Only the popular single “Vogue”
invokes the memory of Madonna’s past work
in style, rhythm and content. The remaining
tunes, including three by musical stage
songmeister Stephen Sondheim, tip their hat
to a more mainstream and serious musical
tradition.
Far be it from Dr. Tantalus to give this
recording the American kiss of death by
calling it “art.” But it is true that Madonna is
attempting to expand her musical repertoire
by seeking out songs of more substance than
she typically approaches. Unfortunately, her
thin voice does not always live up to the
quality of the songs she has chosen to sing.
Madonna has hedged her bets in releasing
this new material upon unsuspecting fans in
several ways. First, she included an obvious
dance song, “Vogue,” with this materia]
although it is not consistent with the other
songs on the album. Obviously, it was
necessary to ensure that at least one hit would
attract buyers. Second, this stylistic departure
coincides with the release of an album
affiliated with a movie that is expected to be
one of the summer’s blockbusters, thus
attempting to enhance sales through this
felicitous association.
Despite these obvious concessions to
commercial considerations, I ’m Breathless
deserves some credit, too. As a capitalist
who is aware o f the market for her product,
Madonna has taken the first major artistic and
commercial risk of her career which might
actually diminish sales. There are some tunes
on I’m Breathless that are enjoyable and fun,
particularly those written by the star and her
frequent co-writer, Patrick Leonard, such as
“He’s a Man,” “Hanky Panky” and “Cry
Baby.”
Worth particular mention is “Hanky
Panky,” which has received the most press
attention because of the reference to spanking,
which the song promotes as a healthy lark,
romp and whomp. Perhaps Dr. Tantalus has
become a little jaded, but (yawn) this really
isn’t very titillating unless you have been
asleep for the past fifteen years. Regardless
o f this shocked attitude that some are
feigning, the song is bouncy, fun and provides
a perfect vehicle for the display of attitude
with which Madonna excels.
The other interesting aspect of this song is
the way in which some writers have teasingly
implied that Madonna’s song is a reflection of
her personal preferences. When mystery
writers concoct tales of death and adventure
no one assumes that their private lives reflect
their writing. Yet let a pop star utter a word
that is even slightly risqué and the world
assumes that her own life is in the line.
Back in Portland, Nurse Consuelo and Dr.
Tantalus were treated to a fine performance
by Sinead O ’Connor at the Schnitzer Concert
Hall on June 7. Appearing in a stark black
outfit, O ’Connor performed many of the
songs found on her latest release I Do Not
Want What I Haven’t Got, as well as several
songs from her prior recording. The Lion and
the Cobra. All told the concert was a short 70
minutes, which is a minimal amount o f time
for the high ticket prices ($20) currently being
charged for even the nose-bleed seats in the
upper balcony.
Perhaps more astounding than O ’Connor’s
performance was the audience response to her
presence. Every raised arm, leg or note
brought shrieks, howls and screams from the
mostly teenage crowd that acted like it was
seeing the Beatles reunited. Even such a
simple matter as a change in musical
dynamics caused outbursts from the highly-
charged audience. Encouraged, rowdies
managed to pepper even soft songs with
shouts. One gentleman (and we use the term
loosely) even begged Sinead to allow him to
have her baby.
Such is the price of fame these days,
although O ’Connor handled these distractions
with professionalism and aplomb. Her songs
combined moments of intense anguish with
ones of complete intimacy and vulnerability.
Never was this more evident than during the
evening’s highlight, “The Last Day of our
Acquaintance,” which was dedicated to the
ladies in the concert hall. Beginning at almost
a whisper, she began to describe the ending of
a relationship. As the song progressed she
began to increase the intensity until the band
joined her and she began to spit out the lyrics.
It was a riveting performance and showcased
all of her many talents.
The contrast between Madonna and
O ’Connor is something to consider given their
divergent strategies— Joni Mitchell referred
to it as the “star-maker machinery.”
O ’Connor’s efforts all come from her own life
and experiences. She lays out her ragged
emotions with each piece she performs.
Madonna’s approach is more thoughtful, in
the sense that it is planned in advance, the
. way emotions can never be.
Because she does not write her own songs
(although she may contribute the lyrics)
Madonna is always dependent on others for
her musical ride. After nearly ten years of
massive success, Madonna searches for new
vehicles to carry her stardom. In the
meantime, O ’Connor is content to let her own
life provide the background for her songs.
We shall hear more from both of these
performers. Whether Madonna continues in
her arty style will depend, no doubt, on how
well this album succeeds commercially.
W e’re betting that next year she’ll be back to
dance music. O ’Connor’s quirky success is
something that seems sustainable now, but
how many times have rock and rollers been
only as good as their most recent recording?
If the market’s taste changes, the way it did
abruptly in the seventies for the first flock of
singer-songwriters, then what is the path to
success? The audience, as usual, will let us
know.
y