Madonna waited seven years after 2019’s Madame X to release her next studio album, her 15th. That album, titled Confessions II, is a sequel to her celebrated 2005 dance album Confessions on a Dance Floor.
I ranked the first Confessions as my fourth favorite Madonna album, agreeing with the critics and fans alike who deemed it her last truly relevant release.
So, did going back to that well pay off? In my opinion, yes. This is Madonna’s best album since its namesake two decades ago.
I’ve written about some albums so often that I’m just shy of covering the whole tracklist. I’ll be filling in the gaps on some of those in the coming weeks, so I can add them to the Albums page.
Peter Gabriel’s So has been one song short of 100% coverage for about a year now. I was seven-for-nine as of June 2022, before posting ‘That Voice Again‘ last October.
Any guesses as to which song remains?
A month after my deep dive of Jackson Browne’s studio catalog, and seven years after the singer-songwriter’s last record, Browne released his 15th album. If he’d moved a little quicker, or I’d moved a little slower, it would have been part of that series.
Instead, I’m getting to 2021’s Downhill from Everywhere five years late.
While building out artist and album pages, I’ve realized there are quite a few instances where I’m just an album or a song short of a complete set.
It might be a Deep Dive artist who put out an album after I did the Deep Dive. Or an album I’ve covered so extensively over the years that I’m just a song or two short of representing the whole tracklist.
Over the next couple of weeks I’m going to fill in some of those blanks.
Berlin’s ‘Take My Breath Away’ topped the Billboard Hot 100 the week of September 13, 1986, reaching #1 for the first and only time in the new wave band’s career. It spent one week atop the chart.
‘Take My Breath Away’ was written by Giorgio Moroder and Tom Whitlock for the Top Gun soundtrack. It was the second single released from that juggernaut of a collection, following Kenny Loggins’ ‘Danger Zone‘ (also written by Moroder and Whitlock). Director Tony Scott and producers Jerry Bruckheimer and Don Simpson liked the song so much they added additional love scenes to the film in order to feature it.
Meet Me In Montauk 