Madonna has shared a three-track digital re-release of her 1985 single “Dress You Up.” Released for the dance-pop song’s 40th anniversary, the digital edition features a remixed version, the 12″ formal mix of the track, and an instrumental mix.
“Dress You Up” was the final single off Madonna’s LP, Like a Virgin. The song, produced by Nile Rodgers, was initially released on July 31, 1985. Listen here.
In a press release, Madonna dedicated the re-release to Barbie designers Mario Paglino and Gianni Grossi, who died in a car crash in Italy earlier this week. “With the tragic news this week of the passing of the doll designers and Madonna superfans Mario Paglino and Gianni Grossi, we dedicate this release to them,” the press released noted. “Thank you for dressing up so many of your creations in Madonna iconic looks over the years.”
Last week, Madonna released her long-shelved Ray of Light remix album, Veronica Electronica, nearly 27 years after the companion LP was first sidelined. Veronica Electronica features seven Ray of Light-era remixes from late Nineties powerhouse producers like Peter Rauhofer, William Orbit, Sasha, BT, and Victor Calderone, plus the original demo of “Gone, Gone, Gone,” an unreleased track co-produced by Rick Nowels from the Ray of Light sessions.
Madonna’s most recent studio album, Madame X, arrived in 2019; the now-six-year gap between albums is the longest of Madonna’s career.
The singer is currently working with filmmaker Shawn Levy to develop a limited series at Netflix. It’s unclear what period of Madonna’s career the television series will focus on, although she has previously hinted at her long-awaited biopic being turned into a TV series. Recently, actress Julia Garner confirmed she is still on track to portray Madonna the biopic.
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There is no question that Clipse’s Let God Sort Em Out made a serious impact and continues to hold weight. The project showed that hip hop is not limited by age and proved that a long-awaited return can still land in a major way regardless of the time away.
If you need a reminder, the Virginia duo’s fourth studio album debuted comfortably within the top five of the Hot 200. It secured the number four position and moved an impressive 118,000 units in its first week.
On top of that, it picked up a win at this year’s Grammys, earning Best Rap Performance for “Chains & Whips.” The album also received four additional nominations, including Best Music Video, Rap Album, and Album of the Year.
It is hard to believe the project will officially hit its one year mark this summer on July 11. Even so, Pusha T is making it clear that both supporters and critics should not be overlooking it anytime soon.
While performing at Coachella yesterday, King Push told the crowd that LGSEO still sits at the top, regardless of genre.
He said, “‘Let God Sort Em Out’ is still the album of the motherfckin year. Whole new year, still album of the year,” per Kurrco. “Album of the motherfcking year until we drop again. We don't care who dropping. It don't matter.”
That is a strong statement for obvious reasons, especially considering the recent claims surrounding Push himself.
Over the same weekend, hip hop social media lit up after several alleged reference tracks connected to Quentin Miller and Push began circulating. Three tracks surfaced in total, but one that drew the most attention was an alleged record titled “Real Gon’ Come.” It is said to come from the DAYTONA era, around 2017 to 2018.
The situation gained traction because fans remember the past tension between Drake and Pusha T before Drake’s clash with Kendrick Lamar. During that feud, Pusha accused Drake of using ghostwriters on tracks like “Infrared,” which appears on DAYTONA. On that song, he raps, “The bigger question is how the Russians did it /
It was written like Nas, but it came from Quentin.”
Reactions have been mixed. Some people argue it is not a major issue since Miller’s alleged contributions were limited to hooks. Others point out that the songs were never officially released, so they see no real problem. Meanwhile, critics view it as clear hypocrisy on Pusha T’s part, a perspective that DJ Akademiks has also supported.
