Carolin S. from CHANDLER, AZ Reviewed on 7/15/2010...
A great music to dance to and also to clean the house ...
2 of 2 member(s) found this review helpful.
Marianne E. from MAPLEWOOD, MO Reviewed on 8/7/2006...
You can dance, too!
0 of 1 member(s) found this review helpful.
You Can Dance
Bjorn Viberg | European Union | 01/18/2009
(4 out of 5 stars)
"You Can Dance being Madonna's 1987 and her first remix album is a real gem with many fine treacks like the extended version of Into the Groove remixed by Sheep Pettibone , the remix of Spotlight by Jellybean and Everybody which was remixed by Bruce Forest and Frank Heller. The linernotes written by Bruce Chin are quite interesting and the booklet is quite spartan but serves its purpose with Madonna in some Spanish looking outfit. 4/5."
"Un año después de True Blue y el mismo año en que editó la banda sonora de su película ¿Quién es esa chica?, Madonna lanza al mercado el álbumYou Can Dance el 17 de noviembre de 1987. Este álbum es un recopilatorio de las canciones dance de sus tres últimos discos: Madonna, Like a Virgin y True Blue. No era algo común, lanzar al mercado en menos de un año dos producciones, ni siquiera para Madonna (quien esperaba un tiempo no menor a un año para editar sus álbumes), aunque lo justificable es que ninguno de los dos álbumes que surgieron en 1987 son álbumes de estudio, ya que para Who's That Girl, Madonna sólo grabó 4 temas y para You Can Dance sólo grabó un tema inédito. Este es un disco 100% bailable, no contiene ni una sola balada. Además podemos encontrar una secuencia desde la primera hasta la última canción. Seis son los éxitos que se incluyen en el disco con nuevos toques masterizados de las viejas versiones. Además, Madonna escribe y produce un nuevo tema llamado "Spotlight", que originalmente iba a ser incluido en el álbum True Blue pero al final sin alguna razón fue descartado del tracklisting oficial.
A good compilation of 12"-type mixes
J. Free | England | 06/06/2009
(5 out of 5 stars)
"I know this isn't exactly every fan's favorite Madonna album and I can't say it is mine even, but I have nonetheless liked it a lot since buying it in 1990, thinking then as now that putting together a collection of 12"-like versions of popular dance songs of hers that hadn't had official 12" versions made of them was a fine idea. (You could however argue that Everybody and Holiday already had 12" versions, but I'd be inclined not to count these personally seeing as they were in the US at least nothing more or less than the unedited, full-length versions, while the UK 12" remix of Everybody was probably never that accessible anyway.)
Besides the choice of tracks, the mixes on YCD being extended and jazzed-up forms of the originals yet without departing too radically from them is what I particularly like about it. Indeed, the added sounds and livelier feel of the YCD version of Over and Over caused me to go off that on the Like a Virgin album as soon as I first heard the former (even if they do sound similar), and the more 'beaty' and up-to-date nature of Everybody makes this one, too, an improvement on the original in my opinion.
Into the Groove on the other hand has many echoes or vocals repeated over and over again in rapid succession which I can imagine might start to grate on me a bit if I were to hear this mix more than twice in a short space of time and which perhaps make it seem a little dated now; but since they were so in vogue in the 1980s, they undoubtedly helped to make it sound pretty cutting-edge back in its day and hence very good for a 12" version that never was.
Holiday and Where's the Party aren't what I'd call much (if any) better than their album versions either; but in spite of these also being far-from-drastic remix jobs, they are still different enough to be likely to give someone who likes the originals some incentive to listen to the YCD mixes of them once in a while for a bit of a change.
The previously unreleased Spotlight is I guess in somewhat of a class of its own - not one of Madonna's best I wouldn't say, but decent enough to have been deserving of a release as a single worldwide rather than (as was the case) in Japan only."