Madonna Ray of Light Warner Bros.

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One could analyze Madonna's new CD, Ray of Light, from all sorts of angles: the Material Girl grows up, the not-quite-virginal Madonna is now a mother, Madonna develops Sanskrit spirituality, the dance queen does electronica, and either "Madonna in another phase" or "Madonna for real." Any way you look at it, Madonna has completely reinvented herself (again). The songs on Ray of Light have little in common with her past hits, but they are still excellent. In Madonna's latest incarnation, rhythm is merged with mood and a sense of longing replaces lust. Her voice becomes more of a quiet, self-assured melody than a brash sexual come-on. Madonna's voice sounds more beautiful than ever after her classical training for Evita. More noticeable, however, is how deeply personal Madonna becomes through this confessional album. The CD begins with Madonna admitting, "I traded fame for love/Without a second thought" in the somber "Drowned World/Substitute for Love." While it's hard to buy the newfound yoga spiritualism in "Shanti/Ashangi," that track has a trippy, tribal beat for a song sung in Sanskrit. Much more genuine are the feelings. This album contains constant references to her daughter Lourdes, as in "Little Star" and "Nothing Really Matters." Being a mother has apparently given Madonna a sense of rebirth, as she sings, "Everything's changed/I'll never be the same/Because of you" on "Nothing Really Matters." While confessional, these songs remain highly listenable. The exception is "Mer Girl," a touching but ultimately unenjoyable remembrance of the death of her mother; fortunately it comes at the end of the CD and does not disrupt the musical flow. But you are much more likely to just listen and dance than try to figure out Madonna's spiritual/emotional transformation. Most of the electronic-driven melodies will not disappoint Madonna fans. The strongest track is the first single, "Frozen," a somber techno-hymn that haunts you well after you first hear it. Madonna also shows a spunkier, sexier side with dance tracks that don't seem to use the "electronica" influence quite as effectively as her ballads. The title track and "Skin" lean heavily toward rave music, while "Nothing Really Matters" and "Sky Fits Heaven" rely more on pop melodies and buoyant vocals. Nonetheless, the music is all danceable -- just at widely varying speeds. Producer William Orbit (Prince, Blur, Peter Gabriel and the Human League) deserves credit for helping create the mesmerizing mood that pervades this CD. This airy, self-reflective mood is just part of Madonna's new image: a quieter, gentler diva who can still move us with her voice. --D. Harris

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