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equality. The episode also received positive reviews from critics. Ken Tucker of Entertainment Weekly called it "one of the best hours of TV you’re likely to see all year", writing that the episode pays Madonna "the highest compliment possible" in not just expressing admiration for the singer, but "demonstrat[ing] a potent understanding of why Madonna matters." Glee: The Music, The Power of Madonna, an EP containing eight cover versions of Madonna songs featured in the eposide was released in May. The EP debuted at number one on the Billboard 200 chart, with 98,000 copies sold in the United States, the highest debut for a Glee soundtrack. Madonna's music has been the subject of much analysis and scrutiny of critics. Robert M. Grant, author of Contemporary Strategy Analysis (2005), commented that what has brought Madonna success is "certainly not outstanding natural talent. As a vocalist, musician, dancer, songwriter, or actress, Madonna's talents seem modest." He asserts Madonna's success is in relying on the talents of others, and that her personal relationships have served as cornerstones to the numerous reinventions in the longevity of her career. Conversely, Rolling Stone has named Madonna "an exemplary songwriter with a gift for hooks and indelible lyrics, and a better studio singer than her live spectacles attest." Mark Bego, author of Madonna: Blonde Ambition, called her "the perfect vocalist for lighter-than-air songs", despite
Musical style
not being a "heavyweight talent." Madonna has always been self-conscious about her voice, especially in comparison to her vocal idols such as Ella Fitzgerald, Prince and Chaka Khan. According to Freya Jarman-Ivens, Madonna's talent for developing "incredible" hooks for her songs allows the lyrics to capture the attention of the audience, even without the influence of the music. As an example, Jarman-Ivens cites the 1985 single "Into the Groove" and its line "Live out your fantasy here with me, just let the music set you free; Touch my body, and move in time, now I know you're mine." From 1983 to 1986, Madonna's musical productions were often girlish and naïve in nature, focusing primarily on love, romance, passion and boy-meets-girl relationships. This changed with the album Like a Prayer, when the lyrics became much more