Madonna - MDNA

Madonna’s new LP, her first since 2008′s Hard Candy, drops today, so a few of those tracks have found their way to the web, one of which includes the M.I.A. collab “B-Day Song.” It’s the second track to feature “M.I.A.” we’ve heard so far, and that’s not even the most memorable M.I.A./Madonna hookup of the album cycle! Those were simpler times. Head here to stream “B-Day Song.”

MDNA is out today on Interscope.

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Comments (14)
  1. These lyrics make S Club 7 sound prolific. It should probably be noted that this track got thrown off the standard edition and relegated to the deluxe version only. It’s already a subpar listen to begin with, but I’m sure the Superbowl gaffe gave Madge even more reason to downgrade M.I.A.’s profile on the album.

    • shout out s club 7, 4evs and 4alwyz

      this song is fucking trash. wtf are you doing mia – chill out, have some truffle fries, and get the fuck away from madonna. she’s old as fuck but you have no excuse for this.

      • I actually wrote this really bad think-piece over the weekend for my blog that was inspired by Tom’s Skrillex feature last Monday, only for the mere fact that it was all “WTF?!” I ultimately decided against posting it because it just didn’t fit in or achieve what I wanted it to.

        The title? S Club 7 Was the Best Pop Group of the New Millennium


        In my short life, there has been no darker era in music to live through than the final few years of the ’90s and the first few of the new millennium when major labels very consciously began to manufacture insipid pop and rock groups at a factory-paced rate. For whatever insane reason, the world collectively bought into it and it will go down as maybe the last time in history that selling a million copies on a weekly basis was a given (The fact that the industry is in shambles today is probably karma at worst.) Teen idols are nothing new as Beibermania will attest. However, the level at which pre-packaged boy bands and girl groups dictated music trends using nothing but hoaky love songs and tacky fashion cues was completely ridiculous.

        On the other side of the pond, the UK was playing a a very serious, dangerous game with this gimmick thanks to a man named Simon Fuller. Fuller, as many of you probably know, is the man responsible for creating the original mid-’90s pop group sensation known as the Spice Girls, which inevitably led to a sea of knock-off concepts that carried over stateside and paved the way for the gel-haired mess and meticulously manicured success that were ‘N Sync and the Backstreet Boys (He also created the Idol television franchise, so you can thank him each time someone walks up on stage and shamelessly whores themselves out in front of a Coca-Cola-sponsored audience to score a recording contract.)

        There was one group out of the bubblegum bunch that absolutely captivated me throughout this whole train wreck however — One which I honestly believe was the only manufactured that made any sense at all: S Club 7. Fuller created the group soon after being fired by the Spice Girls by collecting not four, not five, not six, but seven performers altogether. It was a ridiculous concept that hyperbolistically pushed the pre-packaged pop group shtick to the limit by marketing a multi-racial cast of male and female characters that today’s K-pop scene would envy. However, it went one step further by giving them a Monkees-like children’s sitcom (and eventual feature-length film) that ensured if you didn’t hear their songs on the radio, you’d probably see them on the screen. Outside from the single “Never Had a Dream Come True,” S Club never quite took off here in the U.S. despite the fact their TV show was a staple on abc Family scheduling. Looking back at some of their top tracks however, the group was essentially ahead of its time and prefaced (THIS IS WHERE I STOPPED WRITING AND DID NOT FINISH)

        “S Club Party”

        The obligatory introduction song! It’s a cliché in the world of manufactured pop groups but S Club 7 had one that just fucking killed it in every way. From the deep bass undoubtedly made for jacked up car stereo systems (which if I remember correctly, were ridiculously trendy in the late ’90s,) the nonsensical call-and-response lyrics (“Hoochie mamas, show your nanas!,” was absolutely cringeworthy and hysterical) to the orgasmic climax. What the hell was an S Club party anyway? Much like trying to make sense out of Black Eyed Peas song, we never really found out, but I’m pretty sure listeners had a great time.

        “You’re My Number One”

        The UK’s biggest contribution to pop over the past half-decade has been a constant string of ’60s retro style female vocalists, but S Club 7 had that sound pinned down on much of their early material before it even became an international trend. “You’re My Number One” was the best of them, arriving in 1999 as the group’s third single and establishing Jo O’Meara as the member out of the three chicks with the most strength and ability to hit the same high notes people go apeshit over today when hearing an Adele song.


        “Natural” was S Club 7′s first major push to permeate the America market beyond the television screen and onto the radio in 2001. While it should have been their breakthrough hit here in the States, it just didn’t resonate despite having all the fixings of a fashionable R&B pop hit. Written by acclaimed dance musician Cathy Dennis (“Just Another Dream, “C’mon and Get My Love”) and featuring a sample of Gabriel Fauré’s classical piece Pavane, this sexy single was the cookie-cutter formula Britney Spears would later take advantage of on her acclaimed 2004 track “Toxic.”

        “Show Me Your Colours”

        “Show Me Your Colours” was featured on the season premiere of S Club 7 Goes Hollywood, which I clearly remember airing the weekend after the 9/11 attacks. Given the segment it appears depicts the group dancing atop broken-down jet wings in an airplane graveyard, it was kind of an eerie scene to display on a kids’ show considering the week’s horrific events. Regardless, “Show Me Your Colours” showed that S Club had matured greatly since their sophomore effort with a sultry, sophisticated, modern R & B sound that focused the attention away from that scene and onto its new frontwoman Rachel Stevens. Here, she finally stepped out of Jo’s shadow and shortly after went on to have the most successful and acclaimed of solo careers out of the 7. This is a song that could have easily fit alongside any of Robyn, Beyoncé or Katy Perry’s best material a decade later.

        “Don’t Stop Movin’” and “Alive”

        Hands down the coolest songs of S Club’s career, “Don’t Stop Movin’” and “Alive” were released in 2001 and 2002 respectful, marking a drastic 180° turn for the band usually known for cheesy, inspirational pick-me-ups rather than club hits. Part “Billy Jean,” part Daft Punk and part chic, symphonic disco, these two singles made futuresex lovesounds before J.T.’s solo career had even taken off. It’s rumored that S Club changed up their style soon after three of its members were busted for pot while promoting the unexpected success of “Never Had a Dream Come True” here in the States. If this was their way of shedding their squeaky clean image, it worked.

    • the word prolific means “producing many works”. I didn’t listen to this madonna song, nor do i care to, but by definition madonna is obviously more “prolific” than S Club 7… the content of a song’s lyrics generally don’t indicate their performer’s volume of output.

      • The work isn’t what is being measured, though. Prolific also means “fruitful” and “rich,” so in that context it makes perfect sense (i.e. Their lyrics have a larger abundance in value in comparison to that of Madonna’s.)

  2. Let´s resume this. It sucks

  3. I’ll take the overall uneasiness of Chris Brown’s remix of Rihanna’s “Birthday Cake” over this shit-storm all day. Rebecca Black is hearing this somewhere and laughing at how bad the lyrics are.

  4. I think I’ll just pretend M.I.A. was never a part of this…for her and my sake.

  5. This album is so amazingly bad.

  6. Wow, it’s….wow. I have trouble believing that this song even exists.

    For anybody that watches 30 Rock, this is more or less equivalent to last week’s episode where Jenna wrote a song that was so self-consciously bad that it could never be parodied by Weird Al. Maybe Madge is still stinging from “Like a Surgeon” and decided to just head Al off at the pass.

  7. Yeeeah, as bad as the lyrics are to this song, you really should hear the lyrics to the *rest* of the songs on this album. I cannot recall the last time I cringed as hard as when I heard the other song on the album with Nicki Minaj.

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