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Greatest Hits Vol. 2 (1 CD)

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Une compile comme celle là? Qui peut rever mieux! Cependant un ou deux inédits n'auraient pas étaient de trop, à réserver en priorité aux gens qui aiment Madonna et qui n'ont aucun disque de celle-ci, pour les autres!!!!

Premiere grosse erreur en presque 20 ans....
Pas un seul inedit sur GHV2
Bien triste !

Le digipack est somptueux et le picture-CD magnifique, ce qui fait de cette édition limitée un collector de première !
Même si certains se plaignent du fait que musicalement ce coffret ne possède rien de plus que l'album original, il s'agit bien d'un collector c'est a dire d'une édition rare parfaite pour les collectionneurs que nous sommes...
De plus, il est rare qu'un collector contienne autre chose qu'un packaging different de l'original...
Donc pour résumer, un album indispensable enfermé dans un écrin luxueux.
Dépechez vous avant qu'il n'y en ait plus !

Je ne suis pas une très grande fan de madonna mais la vraiment, cet album est génial!
Il y a toute mes chansons préferés et il y a une variété dans les chansons qui vont des chansons les plus vieilles et choquantes a celle douces et et assez tristes franchement, je suis très impressionné.
J'apprecie d'avantage madonna.

Si on déplore inévitablement l'absence d'inédits, on ne peut que s'emerveiller à l'écoute des chansons qui composent le best of !! tous les grands tubes de Madonna post "Immaculate Collection" sont là ! et prouvent que Madonna est bien la reine de la dance et de la pop... de Music sont dernier tube international en passant par "Ray Of Light", "Deeper And Deeper", "Beautiful Stranger", "Frozen", "Take A Bow, "Secret", ce best of s'impose comme le best of à avoir pour noël !!!

Madonna a marqué de nouveau une decennie entière. Elle fut très présente dans les années 90. Avec intelligence, talent et quelques risques, elle s'impose à nouveau comme la star de la musique ! Chapeau bas !! Une remarquable carrière!! Frozen, Erotica, Don't Tell Me, Ray Of Light, Secret, Beautiful Stranger, Don't Cry For Me Argentina, Music sont à coup sûr quelques uns des tubes que l'on retrouvera avec plaisir sur cette compilation déjà mythique.

Fan depuis 17 ans de la Madonne, j'étais quand même heureux d'apprendre la sortie d'un nouveau Greatest Hits de mon idole. Pas de titre nouveau ? OK, pas de problème. Un best of, c'est avant tout fait pour les non-initiés. J'ai donc attendu la sortie de l'édition limitée au cas où, et... rien de plus que l'album traditionnel : ni remix nouveaux, ni bonus,... Certaines rumeurs disaient qu'il y aurait une galerie de 600 photos en CD-Rom dans cette édition (j'ai un doute : l'aurais-je loupé ?) Résultat : RIEN, sauf une couverture cartonnée en remplacement de la traditionnelle pochette plastique. C'est tout. Vu le prix, ça ressemble sérieusement à de l'arnaque. Chez nous, en France, on appelle cela simplement... un digipack. Ca sort en même temps que l'album et c'est le même prix.
Alors, pour la même chose pour le double du prix (merci quand même à Amazon.fr pour sa réduction substentielle), réfléchissez avant d'acheter !

In 1984 (two years before this reviewer was even born), American singer Madonna released her début self-titled album. Now, 20 years later, she is still writing, recording and performing music that has evolved and improved over time. "GHV2" collates the hit singles from albums "Erotica" (in 1992) through to "Music" (in 2000), and it's quite an experience. (NOTE: All but five tracks are shortened versions of their original counterparts. This must've been done to squeeze everything on a 70-minute CD.)

The opener, "Deeper and Deeper", is clearly quite disco, but with the addition of Spanish flair come the bridge. Strings fill-out this high-energy track, with a passage of lyrics borrowed from a past single, "Vogue".

"Erotica" caused quite a stir when it was released in 1992, and it's clear why (though listeners today may be desensitised). Whilst still vaguely disco, it's heavy on the bass, and drops low. Patterned with moans, this is not a song for the kiddies, and even the choked sound of the strings gives the impression that they're not entirely at ease here. Lyrics include "If I take you from behind / push myself into your mind"... Make of those what you will.

"Human Nature" is cheeky and a bit bitter. The style is more R&B, with urban beat and hip keyboards, whilst the lyrics definitely give off the impression of not apologising for masturbation (eg. "Express yourself, don't repress yourself" whispered, and "Oops, I didn't know I couldn't talk about sex making appearances in the verses").

"Secret" also has an urban beat, but also includes the acoustic guitar (which opens the song), keyboards and strings (as well as a smidge of "porn guitar"). Said to be about transvestites, it includes the lyrics "Happiness lies in your hand" (which can be interpreted in different ways).

"Don't Cry for Me Argentina" is one of two tracks in this collection (the other being "Bedtime Story") that Madonna herself did not have a hand in writing. (The other 13 tracks she co-wrote, as well as practising production.) This song, written by Tim Rice and Andrew Lloyd Webber, was part of the motion picture "Evita", of which Madonna played the starring role and won a Golden Globe for her efforts. Well orchestrated (can't go wrong with an orchestra), it's a slow tune, with flutes, humming, brass, as well as switching to a tango beat just before the coda.

"Bedtime Story" is a venture into trance-house music, a welcome addition from the creation of Nellee Hooper, Björk and Marius DeVries. The music travels to another place, and the lyrics match the atmosphere ("Leaving logic and reason / to the arms of unconsciousness"). Different, but decidedly good.

"The Power of Good-bye" was from 1998's "Ray of Light" album, which was treated with the expert hands of Rick Nowles, Patrick Leonard and the more well known William Orbit. This bittersweet beauty of a track is a winner, with acoustic guitar, chimes and (always viewed upon favourably) strings.

"Beautiful Stranger" travels to the '60s, and was featured in the motion picture "Austin Powers: The Spy Who Shagged Me". An upbeat, easily danceable track (i.e. may induce shoulder movement in listeners), Madonna fans may notice that it shares a similar style of sound to the track "Amazing" from 2000's "Music" album. The lyrics are rather confusing, though. In a passage we hear "To know you is to love you", and later we hear "I fell in love with a beautiful stranger". Now, let's not analyse too heavily on the theme of growing emotionally attached to a stranger. However, if one knows someone, then one is no longer a stranger. With that in mind, have another look at the two lines of lyrics aforementioned. Would it be that the stranger is no longer a stranger? (Maybe I think too much.)

"Frozen" was also from "Ray of Light". It's atmospherically disturbing and hauntingly beautiful, stroked with strings and fitted with chimes/xylophone (my musical knowledge is not yet trained enough to distinguish the difference between chimes and the xylophone in this track - my bad), and its stark and dark film clip fit in rather well when "Frozen" was released. This time listening six years on, it is still a stunning track.

"Take a Bow" was co-written by Babyface, best known in the '90s for his "click" style of music (music you can click the beat to). This is clearly evident in this pretty but bitter ballad, which makes use of keyboards, bells and strings. It is also a good example of how Madonna's voice has changed over the years, and what her vocal range is capable of. (How well do you remember the '80s?) She's obviously at her best when singing low, but the higher notes in some parts of this song aren't harsh on the ears either. If "Like a Virgin" was too chirpy for you, then you should be pleased to know that times have changed for the better.

"Ray of Light" has good intentions, but is not for everyone. Undoubtedly danceable (though definitely awkward for some), the energy mixes with various forms of what technology and electronics (quite possibly the same thing) have to offer. But not my cuppa tea.

"Don't Tell Me", however, is. It does for line-dancing what Shania Twain, the Dixie Chicks and company couldn't quite pull off - make it reach a wider audience. (Line-dancing is fine every now and again, but when they are relatable to most of one's music...) This was from the album "Music", which marked the beginning of Madonna's collaboration with French producer/writer Mirwais Ahmadzaï, who seems fond of mixing electronics into tracks. The song also includes the acoustic guitar with an important role to play, strings, an evident beat and synthesised vocals (another feature of Mirwais' works). But the un-synthesised vocals are strong, with Madonna singing in the range that she sings best.

"What It Feels Like for a Girl" takes a passage from the film "The Cement Garden" (at least I THINK it's a film - buggered if I know), and the lyrics of the whole track are pretty much explained by the song's title. American by birth, the UK influence on her life is evident whenever the word "what" is sung. (That is, the good people of the United Kingdom - or at least some of them - have the tendency to pronounce the "h" before the "w" in regards to words beginning with "wh".) But that point is probably irrelevant to the song, and probably won't be picked up by listeners unless they're looking for it, or are Australian. (We're a weird mob.)

"Drowned World / Substitute for Love" is simply beautiful, from the atmospheric introduction to the conclusion. As you can probably guess, it, too, was from "Ray of Light". This bittersweet track makes use of chimes/xylophone, an unnameable sound (my intellect only goes so far), the acoustic guitar and a tiny bit of piano. It's overall gentle and sad, but gets slightly angrier during the bridge. It closes with the line "This is my religion", which, although nice, is a bit difficult for me to understand (see intellect comment).

"Music" has a saunter/swagger that dares listeners to dance; music apparently being the tool to "make the people come together" (and also "make the bourgeoisie want to rebel", if you choose to believe that way). If you can handle the synthesised vocals, then you can definitely handle the funky guitars.

Sometimes you don't quite appreciate how much someone has done until you see it all in front of you. That is the beauty of greatest hits collections, or at least those of artists who have stuck around the music scene for so long. "GHV2" (the companion to the first hits collection, "The Immaculate Collection", which traced songs from 1984 to 1990) is not just for fans only. It'is for anyone interested in knowing what they may have missed out on, and re-discovering old(ish) favourites. Don't be embarrassed to have this as part of your music collection.

GHV2 est certainement une compile sans inédit, mais reste agréable à écouter.
On y retrouve des morceaux dansants et envoutants, un vrai bijoux.

Ce second best-of de Madonna retraçant tous ses "tubes" de l'album "Erotica" (dont elle aurait pu nous épargner les trois quarts des titres) à "Music" n'était pas indispensable d'un point de vue personnel, on y retrouve 2 titres d'Erotica, 4 titres de Bedtime Stories (dont le magnifique "Take a Bow" et "Secret"), 4 titres de Ray of Light (dont le tube "Frozen") et 3 titres de "Music", et bien sûr l'incontournable "Beautiful Stranger" qui est ma préférée. Néanmoins, pour ceux qui ne connaissent pas la chanteuse et qui veulent la découvrir ce best-of est à déconseiller car il reflète la décennie 1990-2000 qui est une période qui, à mon avis, n'est pas celle qui met en valeur Madonna (changement de style). Le best-of précédent, "The Immaculate Collection", est pour moi celui qu'il faut avoir car il contient tous les meilleurs tubes avant que la chanteuse ne change radicalement de style musical (et aussi comportemental). Le GHV2 est donc un album que l'on ne peut acheter que si l'on aime vraiment la période Madonna des années 1990-2000.