The album is American Life, and while it has three (four, if you count the pulled one) music videos, a club-only remix vinyl, a couple of imports, and at least two songs being used to hock coporatioin businesses, it's been labelled by some critics as a failure. It's an interesting assment, but I'd sooner use the word 'disappointment.'

It's true: the album doesn't have the raunch that papers went for with Erotica, the complete change in direction that brought Bedtime Stories and Ray of Light press, or even the most perfect pop hits out of Like a Prayer or True Blue. It managed to score some controversy, both with the aforementioned music video: the oft-discussed anti-war statement made in "American Life," which featured the pivotal moment of a grenade hurled at George W. Bush's crotch. With Madonna nixing the airing, it suddenly made the statement that less profound, and it was getting more copy than the original probably would've managed.

No matter. Once again, Madonna's looking forward. And backwards.

The kisses packed a punch on video, but in audio, it's not very clear what's going on, so unless you're watching VH1 during one of the sixty times they're showing it today, it's curious as to why the audience is suddenly in a frenzy during a pause in the song. Plus, while Madonna and Britney (the only pairing the world seemed to care about) kissing was the most publicized moment, it wasn't the highlight of the performace. Christina Aguilera, who outshook Britney's every shake, sings with far more vigor than Britney can muster; the excellent choreography (tango!) involved is sadly missed, as well. Missy Elliot is suddenly just there; you cannot see her pop out of a screen for her random cameo. And of course, you'll miss Justin Timberlake's face when Spears and Ciccone swap spit. The track (a clever Britney/Christina "Like a Virgin" which segues with Madonna's then-current single "Hollywood") was well-conceived, but it is thoroughly a visual presentation.

Far better is the "Love Profusion (Headcleanr Rock Mix)" which at least matches the lyrics with the music. The originally sweet ode to her husband has given a touch-up as opposed to a botched operation. Instead, the lyrics seem to fit this style better than the original, as if they were re-recorded (they weren't) for this mix.

Completely omitting the gospel choir and bassline that made "Nothing Fails" distinctive to American Life, it gets an underground make-over to fit on this EP more easily. It works, and while this particular version (known as the Nevins Mix) nor the album version is decidedly better, they both have their purposes. While the lyrics remain the same, they have an entirely different tone about them. Far more low-key than the glitzy remixes that are surrounding the American Life singles, it is a welcome change, and makes one fairly curious about a rock album from Madonna. One condition: she must reinvent "Candy Perfume Girl" in the same Drowned World Tour vein.

In a moment of madness, Madonna included the "Passengerz Mix" of the dull "Into the Hollywood Groove" medley that was featured in GAP ads with Missy Elliot and Madonna herself. If you wanted to listen to "Hollywood," you would. If you wanted to listen to "Into the Groove," you would. You wouldn't really want to listen to them together. The idea sounds kinda cute, but knowing their purpose makes it seem that much more smarmy, not to mention the fact that it was really dumb. Here, not only is it dumb, it's twice as long.

Completing this collection is the adoring "Your Honesty," which was written in 1994 and missed the cut for Bedtime Stories. It's a bouncy rush-to-the-head, complete with introductory horns. As a b-side, it's quaint. As an album track, it would've been downright appalling. While it doesn't exactly fit on here, one could guess that it was put on the EP (like the live "Virgin/Hollywood") to attract people who never really cared about the American Life album. It's okay, but it gives into the same criticism that American Life did; we've gotten to a point (Ray of Light) where 1994 isn't as good it was in 1994.

As a collection, it seems pretty jumbled. While there are some really decent reworkings, it seems like a fan-made mix CD, and all of the tracks are either pretty good to friggin' terrible.