On Billboard’s Hot 100: (1) "Gold Digger" – Kanye West featuring Jamie Foxx, (2) "Photograph"- Nickelback, (3) "Shake It Off" – Mariah Carey, (4) "My Humps" – The Black Eyed Peas, (5) "Like You" – Bow Wow featuring Ciara, (6) "Wake Me Up When September Ends" – Green Day, (7) "Soul Survivor" – Young Jeezy featuring Akon, (8) "Run It!" – Chris Brown, (9) "Because Of You" – Kelly Clarkson, and (10) "Play" – David Banner.

If people are wondering how the music in Madonna’s "Confessions On A Dance Floor" under Warner Music (set for worldwide release on Nov. 12) is going to sound then wonder no more. We just got word from her mother record company that the disc will carry 12 cuts of ‘future disco’ represented clearly by the banner single "Hung Up" (that curiously samples from Abba’s "Gimme, Gimme") premiered on MTV’s TRL show yesterday.

This new sound has the Material Girl evoking and embellishing all superlatives disco has to offer. According to those who worked with her on the disc in London, Madonna was not the perfectionist she used to be in the studio but let the songs "flow very quickly, just capturing the moment of instinctive joy in rhythm and movement that comes across best on the dance floor." The entire CD is seamlessly segued in classic dance club format, in fact.

Even thematically, Madonna shuns heavy stuffs as spirituality and politics but wrote about "good time straight through (that will have) people jumping out of their seats."

As in previous works that have kept her sound fresh every time she comes out, Madonna’s co-pilot in "Confessions" is first time record producer (at least in Madonna’s case) Stuart Price. Also known as Les Rythmes Digitales and Jaques Le Cont, Price is one of the UK’s most electrifying young DJ’s and remix wizards, who initially forged a creative partnership with Madonna as her musical director on both the 2001 "Drowned World" and 2003’s "Reinvention" tours.

Other cuts in "Confessions" are "Get Together," "Sorry," "Future Lovers," "I Love New York," "Let It Will Be," "Forbidden Love," "Jump," "How High," "Isaac," "Push" and "Like It Or Not."

Complementary to yesterday’s TRL, MTV will also air Madonna’s new documentary "I’m Going To Tell You A Secret" on October 21st with subsequent airings on the VH-1 and Logo Networks."Secret" chronicles Madonna on and offstage during her last tour.

To date, Madonna has won 20 MTV Video Music Awards, racked up 200 million album sales and put 33 dance hits on top of the international charts apart from 46 Top 40 singles.

It’s been awhile since we last listened to aggressive punk-oriented album that made us laugh out loud for cheeky, off-the-wall lyrics (e.g."I can’t believe once you and me did sex/ Since everyday I love you less and less" in the first track). Though this band is definitely old school in spirit (more Sex Pistols than, say, Greenday), this work remains a ghost to hound other bands of similar orientation to be angry and make a call for anarchy (at least musically) without losing sense of humor. Not all songs here as "You Can Have It All" apply the 140 up time signature, yes. But even so, it’s the attitude that makes Kaiser Chiefs, in our lingo, astig. Ricky Wilson is a bawdy vocalist with English orientation while his musical minions are darn right in the money in making darn wrong impression to any stiff audience. This is the kind of album that makes you want to play it with the top down of any convertible or makes you want to blow a hole in one with a bazooka if there’s none. Kaiser Chiefs makes a strong impression and merits only one expression: Cool.

Songwriting team with proven track record and glossy production work have so far saved Hilary Duff and her limited vocal skills from embarrassment in past albums and, now, here. In 13 tracks, we also see the singer-actress’ growth (no matter how minimal) in choosing subjects to sing of. If in her first singles as "So Yesterday" and "Come Clean" she tackles love, Hilary’s succeeding releases as chronicled have gone on to include, er, weightier topics as steadfastness in the face of change ("Fly"), jet setting around the globe whilst dealing with stardom ("Wake Up") and even self-introspection ("Metamorphosis"). And hark(!): Hilary even drops the early unbecoming (her vocal quality simply doesn’t even come close to cutting her slack) pop rocker chic stance so we could hear the remixed "Why Not" and "Come Clean" in more danceable mutations—the way they were intentioned (we highly suspect) by their songwriters and in genre more consistent to her saccharine image. Now, there’s credibility for once. And a measure of real maturity at last.

The term ‘acoustic’ in music has become a relative term—at least as far as this album is concerned. If before, it means ‘stripped down’ subgenre of music played using none electrical instruments, here the term simply refers to, well, the acoustic guitar. Thus warned, don’t be surprised if you hear keyboards and samples in Dirty Vegas’ "Days Go By." Further, ‘acoustic’ here is not about sappy slow songs like "More Than Words"— otherwise Tasmin Archer’s spirited version of "Sleeping Satellite" and The Sunday’s buoyant "Here’s Where The Story Ends" would just disappoint. Think acoustic guitar (prevalent in all cuts here and holds the concept together), period. Kudos goes to whoever compiled this album for procuring the license for songs by acts outside the label (e.g. Warner Music’s R.E.M. or BMG Music’s Kings of Convenience). Indeed, like hat the acoustic guitar proves and represents, the universality of music cannot be really hampered by technicalities. Nor by lack of high technology.