Bullet For My Valentine

Playlist: Room Service

Hotels can be strange places. While they can represent a lavish lifestyle and living in the lap of luxury, they’re also mysterious, unsettling, and creepy. Why else do you think so many horror movies take place in them? Musicians spend most of their time in and out of hotel rooms around the world, so there are plenty of songs about hotels out there. While some of them view the hotel as a place of comfort or even a wild night, others see it as something mysterious and unnerving. Here are some of the more notable songs about hotels and what happens behind closed doors.

“Hotel Yorba” – The White Stripes

This early White Stripes song features the name of a real hotel in the band’s hometown of Detroit. They actually recorded the single version of this song in room 206 of the hotel. When they wanted to film the video inside the hotel, they weren’t allowed to and used various exterior shots instead. Upon initial release, the song was a hit in England before it was embraced stateside. Now, it’s considered a fan favorite, though for some reason I always disliked this song. Something about the bluegrass and the jaunty melody of the “1, 2, 3, 4” hook was annoying to me.

“Room 13” – Black Flag

Here we see a man on the brink of losing control. He’s at the point of snapping and is not sure whether or not he can make it in the world. At the same time, he wants to live and keeps begging for someone to “keep me alive/I don’t know if I can do it.” The song is brash, in your face, and outright brutal, much like Black Flag themselves. Not only is the song aggressive it leaves you wondering, what the hell is room 13? It’s never mentioned and leaves your mind to wander. Is it part of an insane asylum or prison? We’re never sure. All we know for sure is this guy is about to lose it.

“Hotel” – Cassidy ft. R. Kelly

Anybody actually remember the rapper, Cassidy? Probably not, but in 2003 he had one of the hottest hip hop songs. With R. Kelly by his side, Cassidy talks about using lush hotels to hold lavish parties and convince hotties to creep up to his hotel room. It’s similar to Chingy’s “Holidae In” and Cassidy knows this as he makes references to both that song and the iconic “Rapper’s Delight.” Honestly, it sounds like your typical rap song, but what made this one a hit was the unforgettable hook. Even if you didn’t really like the song you couldn’t help but sing the R. Kelly laced hook. You gotta admit, the man knows how to make earworm hooks.

“Room 21” – Hinder

I always saw Hinder as a sleazy band and they prove it with this song.  Sounding like a Motley Crue song, the band talks about being seduced by an irresistible woman and having a wild night in room 21. When the guy comes to the next morning, the mysterious woman is gone. He’s been used, but it was so good he doesn’t care. It’s the classic tale of excess, sex, and partying. It’s clearly meant to be a fun night to remember instead of a cautionary tale like the other songs on this list.

“Heartbreak Hotel (This Place Hotel)” – Michael Jackson

One of Jackson’s best and underrated songs, it’s about a strange hotel designed to break up couples. In it, the protagonist talks about taking his lover to what he thought would be a romantic night out and instead ends in heartache. The hotel implants two women in his room implying he’s cheating on his lover. He can’t convince her otherwise and he’s left alone. The upbeat music, Jackson’s wails, and the catchy hook distracts you from how weird this song is. A hotel made to break up couples? Just shows you never know what’s happening behind closed doors. To make the song even stranger the song title was later changed to “This Place Hotel” to avoid confusion with the Elvis Presley song.

“Room 309” – Creeper

If you’ve been following Creeper, then you’d know about the major story running across two EPs and their debut album. In a nutshell, the story follows the Callous Heart cult, the stranger, and paranormal investigator James Scythe trying to piece it all together. Room 309 is where James stays at The Dolphin Hotel in Southampton, UK. The story is so massive, it’s best to you check it all out here. As for the song itself, it’s one of the heaviest on the album and packs a major punch, showing off Creeper’s heavier side.

“Twilight Hotel” – Quiet Riot

This quintessential 80s rock band takes us to the titular hotel where “anything goes” and your wildest fantasies will be fulfilled. Frontman Kevin DuBrow sings about a “secret rendezvous” in this place that seems too good to be true. Even though it holds unbridled pleasures, there’s still an air of apprehension about the place. Appearing on their third album, QIII, the song is a typical rock ballad filled with big hooks and shredding guitars. Surprisingly, it’s not as sappy or cheesy as other ballads of the era.

“Room 409” – Bullet For My Valentine

Sometimes you don’t want to know what’s waiting for you in a room as this Bullet song explains. Frontman Matt Tuck sings about a guy walking into Room 409 and finding his girlfriend with another man. Rather than walking out the door, he goes in upset and ready to unleash his violent rage. It’s clear things aren’t going to end well with Tuck singing “[You] said his name and I came in your direction /Now I can choose what to do with both of you.” This territory isn’t new for Bullet. They have lots of songs about getting revenge on a cheating lover, but this one is probably their best.

“Chelsea Hotel #2” – Leonard Cohen

There are plenty of songs about the infamous Chelsea Hotel, but this one is about a once in a lifetime meeting. In 1968, Leonard Cohen was staying at the New York hotel working on his music. At 3 AM he ran into a woman in the elevator and proceeded to strike up a conversation. Turns out, the woman was none other than Janis Joplin. They apparently spent the night together, but their affair would be forgotten in the morning. Cohen penned this song about their meeting in 1971 not too long after her death. It’s a bittersweet account of a night spent together that’s all too fleeting.

“Hotel California” – The Eagles

The mother of all hotel songs. You can’t have a hotel playlist without this Eagles classic.


The British Invasion Tour Conquers Chicago


Bullet For My Valentine at House of Blues Chicago 02/19/16

The British came and conquered this past Friday at the House of Blues. Hundreds braved the extreme wind to see the sold out British Invasion tour, a show that brings together While She Sleeps, Asking Alexandria, and Bullet For My Valentine. Though it was clear much of the crowd was there to see headliners BFMV from the seas of t-shirts, rubber bracelets, and hoodies sporting their logo, all of the bands successfully won over the crowd.

Openers While She Sleeps got the night started with their intense song “Brainwashed.” All it took was frontman Loz Taylor pumping his fist and chanting “Brainwashed! Brainwashed! Brainwashed!” to get the crowd on his side. With his screaming pushing his voice to the limit, you wouldn’t guess Taylor had throat surgery just last year. His voice never cracked as the band blazed through “This is Six,” “Death Toll,” and “Trophies of Violence.” The band engaged with the crowd joking about no one wanting to see them because they’re the openers, thanking them for coming early, and even crowd surfing. Before the end of their 45 minute set the band had the entire venue on their side following their demands for fist pumps, circle pits, and devil horns. They did what most opening bands fail to do: get the crowd interested.

The cheers and screams got louder when Asking Alexandria took the stage. Opening with the brutal track “I Won’t Give In” new frontman Dennis Stoff howled and the crowd put their devil horns in the air. This is actually Stoff’s first US tour with the band since taking over the role as singer last year. Fans seemed to embrace him as they cheered on his every kick, jump, and command. Even if you know nothing about the band, you can’t help but be impressed by Stoff’s vocal range. During songs “Run Free” and “Closure” Stoff went from melodic singing to screeching vocals and brought it back down for a guttural style. He never missed a beat. He easily swapped between ranges sometimes in the middle of a song.

Read the rest of the story here.

2015: The Year of Redemption

As 2015 comes to a close, the internet is flooded with list counting down the best albums of the year. I shifted through everything new I heard this year, thinking which album deserved this title when I realized how many artists made great comebacks: Madonna, Marilyn Manson, Bullet For My Valentine, and Muse. I don’t mean they came back to music after a lengthy absence. What I’m talking about it a return to form and creating albums that proved better than their previous efforts.

With all the artists I mentioned, their previous LP’s didn’t so well: people hated MDNA, Temper Temper lacked brutality, The 2nd Law was a little too ambitious, and Manson’s last few releases made people lose faith in the rocker (not counting his 2012 effort). All these artists came back stronger and harder this year to show fans and critics the fire hadn’t burned out of them yet. They weren’t perfect and I wouldn’t call any of them album of the year, but they helped redeem each artist in a way.

Rebel Heart showed that so far into her career Madonna still has it going on. Rather than trying to follow trends as she did on MDNA, she followed her own path to create one of her strongest albums since 2007’s Confessions on a Dancefloor. There were still some problems with it, but it made people think twice about writing off the Queen of Pop. Muse’s Drones had a poor concept behind it, but when you just look at the songs it’s classic, hard hitting Muse all the way. They scaled back on the overblown nature of their last few releases and went back to their rock roots for an exciting LP. It featured everything fans felt was missing from The 2nd Law, including Bellamy’s sweet soaring vocals.

When reading interviews Bullet For My Valentine seemed immensely disappointed by the reception of Temper Temper. They kept promising fans the next effort would be heavier and return to their beloved brutality. They kept their word with the excellent Venom. Finally, here were the songs that punched you in the face and never stopped to apologize. They still kept some of the rock influences from their last album, but they mixed it with their older sound rather than abandoning it completely. Even Children of Bodom had a great comeback with I Worship Chaos, which was miles better than Halo of Blood.

But perhaps the biggest comeback belongs to Marilyn Manson. Ever since the mid-2000s his career has been suffering. Since Eat Me, Drink Me he’s spent years searching for a sound that was right for him. He tried to continue his angry at everything, shock rock shtick, but it was clear it wasn’t working anymore. Rather than sounding clever and intelligent, his songs became boring and sounded like a Goth trying to hard to be disturbing. He finally bounced back with 2012’s Born Villain, but the damage was done. No one paid attention to the album; they thought he was the sad rock star. With The Pale Emperor, he finally found his groove in slow burning songs influenced by the blues. Sure, maybe the tracks aren’t as intense or insane as his earlier work, but he’s in a different place now. Things have changed and he’s finally found his voice for where he’s at in his career and critics took notice. Rolling Stone even called the best metal album of 2015.

While I wouldn’t call any of these albums the best of the year, they’re still impressive. Each one showed an artist bouncing back from a misstep and hitting the music scene with even more force than before. They had to show critics and fans they could still make good music despite some setbacks. They met expectations and in some cases exceeded them with the music they made this year. It goes to show a bad album isn’t the end. In some cases, it’s only the beginning.

Venom – Bullet For My Valentine

Release Year: 2015

Rating: 8/10

Ever since their fourth LP Temper Temper was met with tepid reviews, the group promised their next effort would be the hard, fast, brutal band fans love. They even rushed out a new song to prove they weren’t lying. It seems they kept their word for their fifth album, which should please long time fans of the band. They don’t stray away from their well established sound, which is both good and bad keeping this album from being the best they have to offer.

Bullet seem to have taken the reaction to their last album personally. Every song here sounds like there’s a new fire lit under them, something that was noticeably missing last time. To prepare fans for the intense ride the record opens with the brief “V,” which sounds like the band tuning and building up to something major. It’s not much, but it creates this unnerving anticipation. Bullet previously released the excellent “No Way Out” and it’s still one of the strongest tracks here. It’s a fucking beast of a song as they go all out with aggression, kick ass riffs, and screaming vocals fans have become used to over ten years. As always there’s the great blend of melody and brutality both in terms of the music and the vocals. The way Matt Tuck screams “No way out!” at the beginning of the song gets your heart racing and braces you for what’s about to come.

Army of Noise” is another great song dedicated to the legion of the group’s fans. Talking about the thrill of being on stage and watching the beautiful madness unfolding before their eyes, the song is all about letting go to the music. As the dirty guitars slay through the track, you picture the crowd opening up for motley circle pits and loving every minute of it. Tuck exclaims “Here’s to chaos tonight” as the song amps up and gets fiercer with every minute. Of course things gets hectic during the intense solo with their standard twin guitars that fans are used to, but can’t get enough of. Things slow down with “Worthless,” but the band never loses their heaviness. Though the song is a bit on the mellow side of, they still go as hard as they can while proclaiming “You can keep all your apologies/those words are worthless to me.” You can feel how fed up Tuck is when he starts singing that biting hook. What’s even better everything keeps getting more and more intense as the song goes on making sure there isn’t a moment where you want to hit skip.

Some critics have noted how the album doesn’t go beyond their standard “metalcore” sound and they’re right. The band doesn’t really try anything new on the LP, but that doesn’t make it any less enjoyable. Though it does mean some of the songs are forgettable or not very strong, such as “You Want a Battle? (Here’s a War).” Matt Tuck lets out an epic scream at the beginning of the track, but that’s about the best thing. Otherwise, the song itself is just okay. It’s not terrible, but the idea has been done before (and better) and having a whole chorus of people singing it like a battle cry gives it a hint of cheesiness. Didn’t we see this with glam metal? It’s as if they tried too hard to make this an anthem. “Broken” is another track with an overdone concept that warrants a decent sounding song. As always the guitar riffs kick ass, but otherwise there isn’t much more to say about it.

What the album is good at is giving fans what they want: songs that are loud, full of aggression, and heavy as fuck. “Pariah,” one of the stand out tracks, opens with slaying guitars that get your heart racing and body ready to mosh. It’s really energetic, upbeat, and full of fury. “Skin” is downright vicious with blazing guitars and catchy jumping rhythm. With “Venom” Bullet finally has a non corny slow number, though it may make you think of “Tears Don’t Fall” from the opening. Everything about it is really subdued, but since it seems to be about a poisonous relationship, there’s still a lot of edginess and fire. Just hear the way Tuck spits out “I hate you” while he reflects on his feelings.

Fans begged and screamed for classic BFMV and the band delivered. It’s definitely a step above their last LP, which found them kind of tame and depending on lame wrestlers for songs (talking to you Chris Jericho). The album is full of heavy tracks that will get you head banging until your neck is sore. Just about every song is intense, brutal, and in your face all equipped with killer riffs the band has become known for. They may have played it safe by not going beyond their comfort zone, but at least what they delivered are great songs that deserve to be played so loud it wakes your neighbors. What’s weird is the band seem to have this pattern where every other album is not so great followed by a good one (think Scream, Aim, Fire followed by Fever). It doesn’t compare with their finest work like The Poison, but at least it’s another strong entry in their catalog.

Playlist: Latest and Favorites

There’s nothing like waking up in the morning and finding out your favorite band has released a new song. You never know what you’re getting: will it blow you away so hard you can’t imagine waiting another second for the new album? Or will it be so disappointing you vow to give up on them? Whatever the reaction, usually gets you in the mood for their older stuff and that’s what this playlist is about. The artists featured here have released new songs over the past 2 years. Their latest single will be paired with a personal favorite, so sit back and get excited about new music. Or just be satisfied with their older stuff, either way is fine.

Maroon 5

“This Summer’s Gonna Hurt Like a Motherfucker”

Ever since Adam Levine’s ego grew bigger than his head, I haven’t been a fan of Maroon 5. Morbid curiosity keeps me checking out their new stuff, but it’s usually a disappointment. My feelings are the same with this song. It’s pretty obvious the band are trying to score the “song of the summer” title with this single. Levine goes completely falsetto while pop electro music swirls around him. It’s a pretty mediocre track and sounds similar to all of the songs on their last album. I don’t know what’s worse, the fact that Levine shows his ass in the video or how obvious it is Maroon 5 are trying to be bad ass and score a hit song.

“This Love”

Remember when Adam Levine’s naked oily body wasn’t covered in tattoos? That was back in 2005 when the band’s mega-successful debut dropped. And this was one song you couldn’t get away from. It’s simple, catchy, and really dirty if you actually pay attention the lyrics. It’s not like Maroon 5 changed pop music forever with this song; it was just really well crafted like the rest of the album. Levine sounds like himself rather than a whiny, falsetto mess who’s always trying to be sexy and sensitive. Also, the band actually sounded like band instead of back up for the singer. Ah, simpler times.

Panic! At the Disco


I stopped listening to Panic! when the rest of the world stopped caring about them. I wasn’t that impressed by their second album and haven’t paid attention to their new material since. And judging by this song, I made the right choice. I don’t even know where to begin. It has this weird gospel, soul vibe going on, which is completely different from what they previously did. There’s even a part with a gospel choir and hand claps. It’s totally unexpected. Because the chorus is so repetitive, it’s one of those songs that’ll get stuck in your head even if you don’t want it to. Otherwise, the song is just weird.

“But It’s Better if You Do”

P!ATD surfaced at a time when sounding like Fall Out Boy meant guaranteed success. They weren’t the greatest band, but what made them stand out was how fun their songs were (even if the titles were obscenely long). This track from their debut, which is now 10 years old, mixes upbeat pop-punk with vaudeville-esque music that was standard for their sound at the time. The entire thing is full of energy, it gets you moving as soon as the first jaunty piano note is played. It’s upbeat, memorable, and puts you in the mood for dancing whenever you hear it. Between musical changes and band departures, the band haven’t been the same since.



Slipknot’s latest is considered the “poppiest” on .5: The Gray Chapter. With the soft, muted beginning and Corey Taylor’s mellow vocals, it does throw listeners for a loop the first time it’s heard. But it doesn’t take long for the track to go back to the aggressive nature the band is known for. The single mixes the band’s melodic side with their intensity, providing a best of both worlds. Everything keeps building up until the explosive ending where Taylor sounds violent and viscous. It also helps that the lyrics suggest something darker is going on: “We were meant to be together/Now die and fucking love me/We were meant to hurt each other
Now die and fucking love me.” It’s actually one of the stand out track from the LP.

“Left Behind”

This is Slipknot at their best. For their second album, Iowa, they turned everything up from how intense the music was to the darkness of the lyrics. The entire album is their most brutal and disturbing and this is one of the best tracks. That hypnotizing guitar riff looping around your head matched with Corey’s extreme vocals he’s become known for since, make for a song that’s intense as fuck.

Motley Crue

“All Bad Things”

The Crue have spent the past two years promoting their farewell tour by signing treaties, doing late night television, and doing endless press conferences. Between all that, they also released this new single and it’s not that bad. The band will never be as good as they were back in the 80s, but at least the track roars to life with a wicked riff that’s in your face and aggressive. It’s not their best, but it’s a fitting way for them to say goodbye since the chorus screams “All bad things must end/all bad thing must die.”  For a few brief seconds you even think you’re listening to classic Crue.

“Dr. Feelgood”

Motley Crue will be remembered for a lot of things, but this is the song they’ll always be associated with. This is when they were the indisputable bad boys of metal and you can hear it on this song. Everything sounds viscous and evil with Mick Mars’ blazing guitars and Tommy Lee behind the kit. No wonder parents thought they were Satanic. The single was recorded after the band got sober and it showed they didn’t need drugs to kick ass.


“Absolution Calling”

Recently, Incubus released their new EP Trust Fall (Side A) with this track as its lead single. Unlike most of the material from their last LP, this one feels more like classic Incubus. It’s upbeat, energetic, and lots of fun. It mixes in their brand of alt rock with some wavering synth for a weird dance vibe. It’s actually a really good track and marks a great comeback for the band. This along with the other songs from their latest release get you excited for what they’ll do next.


The second single from Make Yourself is one of my favorites. The song sounds dreamy with the watery opening riff and Brandon Boyd’s soft singing. This track also plays with the loud/quiet dynamic with soft verses and a loud chorus.  The whole thing is a bit sweet and sentimental. It’s actually kind of relaxing and puts you in a good mood. Though it wouldn’t be as successful as their next single, it’s still among one of their best songs.

Billy Idol

“Can’t Break Me Down”

Idol returned last year with his first new album in seven years along with a phenomenal new book. The album itself was decent enough and this track was among one of the best. This is most likely because it sounds so similar to his older material. But at least Idol still sounds great and there’s no mistaking it’s him when you hear it. The “bang-bang-bang” of the hook is a little cheesy, but it’s something you come around to the more you hear it. It’s still not as strong as his stuff from the 80s, but at least he can still make good music.

“Eyes Without a Face”

There’s no question that Billy Idol was on top of his game in the 80s. He had many hits during this time, but this one has to be his most haunting. He sounds eerie and sinister as he sings lines like “Say your prayers” and keeps mentioning eyes without a face, which is a reference to the French movie of the same name. The song also showed how Idol didn’t always have to be the punk rebel to win hearts over. He knew how to slow things down, yet still rock out. All it takes is a killer from long time collaborator Steve Stevens to make it kick ass.

Bullet For My Valentine

“No Way Out”

Fans complained Bullet’s last album wasn’t brutal enough and for this track the band gives the people what they want . As I previously pointed out in a review, the song isn’t the strongest from the band, but it’s a helluva lot better than Temper Temper and the rushed “Raising Hell.” The best is when the song comes alive during the start with the aggressive, noisy guitars and Matt Tuck screaming at the top of his lungs “No way out!” Though it didn’t blow my mind when I first heard, I’m liking it more and more as I hear it. Let’s hope the rest of the new album is even better.

“4 Words (To Choke Upon)”

That killer opening riff that sounds a tad bit like the Michael Myers theme and the roar of Matt singing “That’s right, one more time!” kicked off the band’s second single with a bang. This is the first track the band wrote after the break up of Jeff Killed John and is a response to those who doubted they were going to be successful, which is why the “look at me now” line makes so much sense. This is a classic Bullet track with everything  that makes the band kick ass: in your face intense music, blazing guitar solos, and harsh vocals mixed with the melodic. It’s no wonder I fell in love with the band as soon as I heard it.

Queens of the Stone Age

“Smooth Sailing”

Queens of the Stone Age came back from a six year absence with a number one album. While every track on the LP is killer, this single is definitely a highlight. The band sets aside hard rock for groovy riffs, a drunken shuffle, and killer riffs. It’s the most upbeat track on the record, giving you a break from all the dark, grim stuff happening otherwise. Once you hear the song you can’t help but start shaking your hips. It has that feel good, party vibe, which they tried to capture in the video. Homme lets loose with his sweet falsetto making the song that much better.

“Go With the Flow”

QOTSA have a ton of amazing singles, but the fast paced chugging riff and heavy hitting drums won me over. Homme sounds hypnotic as he sings “I can go with the flow/do you believe it in your head” while bursts of squealing guitar appear throughout the track. With such a memorable chorus, the song manages to be catchy making it one of their most accessible tracks. But it still kicks a lot of ass and shows how insanely talented the band is.


“Dead Inside”

Muse took the electronic/synth elements from their previous album and mashed it with their hard rock sound for this stellar track. Bellamy announces the song by singing “Dead inside!” while Dom Howard provides the heavy metallic drumbeat. From there, Bellamy goes on to sing about someone who’s lost hope and is left vulnerable for mind control. It sounds pretty dark, but Bellamy manages to make it sound sensual with his chilling falsetto vocals he peppers the track with. It’s a great return to the band’s much missed rock sound, but it also manages to sound different thanks to a blending of styles.

“Knights of Cydonia”

This is the song that shows why Muse are such a force. Insane and raw guitar riffs, out of this world vocals, and a call to arms. Since its release, this is the song the band have become known for and it’s a huge fan favorite. Again, it’s a great example of Bellamy’s high pitched vocal range, which he uses to full effect on this track. There’s also the epic bridge which screams “No one’s gonna take me alive,” that makes you ready to go into battle. When you hear people talking about how unbelievably talented and over the top the band are, this is what they’re talking about.


“A Deep Slow Panic”

It’s been thee years since AFI released their ninth album, yet this single came out last year. While it’s not one of the strongest songs from the LP, it’s still pretty solid. It seems to have more of the upbeat, lighter tone that was found on Crash Love instead of the intense, hardcore punk they’re loved for. Davey Havok sounds soft as he sings “I haven’t left here for days/My panic keeps me awake/As he unwinds/Inside” while Jade Puget’s bright riffs swirl around him. It’s one of those songs that grows on you the more you hear it.

“Leaving Song Pt. 2”

This track from their breakout LP Sing the Sorrow, doesn’t show the extreme punk sound the band had when they first started, but it’s clearly still present here. Everything that makes an AFI song is here: gang vocals, aggressive guitars, gothic elements, and dark lyrics. The song is intense and in your face, especially during the chorus where the music and the vocals are punched up. The best part is the end when Davey Havok lets out a blood curdling scream ending the song.

Marilyn Manson

“The Mephistopheles of Los Angeles”

Manson returned this year with his most critically acclaimed album of his later career. Ever since the mid 2000s, Manson’s been finding new ways to stay scary and shocking with lackluster results. Though 2012’s Born Villain was a strong effort, it’s this LP where the rocker finds a style that works for where he’s at in his life. This track shows the slow burning, blues tinged music Manson has a knack for making now. While it’s not the best song on the album, it’s still a damn good one.

“The Dope Show”

Manson’s 1998 LP is still considered his best. With a dash of David Bowie and a glam rock direction, Manson crafted what many would call his masterpiece and this song was at the forefront. Not only did it introduce fans to the band’s new sound, but it confused the hell out of the world when the rocker appeared with boobs. It remains one of the most shocking and talked about moments of the 90s. The song itself has this deep, sexy groove matched with a drunken shuffle that makes you feel good and woozy all at once. Years later, it remains one of his best songs.


“Bitch, I’m Madonna”

Madonna knows she’s the baddest bitch and she brags about it in her latest single. Featuring Nicki Minaj, the track is an upbeat club banger mixing some electronic with a but of rump shaker music. While it does sounds like the Queen of Pop is trying a little too hard to keep up with the younger musicians, the let loose, party vibe of the track is too infectious to ignore. Soon enough you’ll find yourself claiming “Bitch, I’m Madonna” with the singer herself.


This is classic Madonna all the way. This is when the singer was at the peak of her career, yet still before the baffling Sex book. Based on and dedicated to the underground voguing scene found in New York gay clubs, the song is about dancing and looking pretty while doing it. There’s even a short section dedicated to the glamorous stars of the classic Hollywood era, such as Bette Davis and Grace Kelly. With a hint of disco and a whole lot of attitude, it’s still a song Madonna fans cherish to this day.