But for Hard Candy, The Material Girl’s 11th studio album, you can’t help but think she’s been left in the starting blocks.

In the past Stuart Price on Confessions On A Dance Floor, William Orbit on Ray Of Light and Mirwais on Music, all got it right.

This time, she has employed the talents of The Neptunes, Timbaland, Danja Hills and Justin Timberlake – but haven’t we heard it all before?

Where’s the originality we expect from the Queen Of Reinvention? You can’t turn on the radio these days without hearing a Pharrell/Danja/Timbaland or Timberlake enhanced song.

Gwen Stefani, Nelly Furtado and Britney Spears all got in there first, working with the überproducers well before Madge got a sniff, and it kinda spoils her track record of leading the way.

Opening track Candy Shop is Madge’s favourite track on the album. Produced by The Neptunes, like six other tracks on Hard Candy, it oozes lyrics full of sexual innuendo but sounds like cheap talk coming from a woman pushing 50.

The horn-filled 4 Minutes – the current UK No1 – fares better and features Justin Timberlake, who co-writes five tracks (though it’s Justin who steals the limelight on this jaunty track). Next single Give It 2 Me is a pure Neptunes winner.

A bouncing beat with vocoder vocals, it’s one of the pure pop moments. Miles Away is more urban in style and begins with a summery acoustic guitar and is by far the best track.

She’s Not Me has all the makings of a brilliant track – the funky guitar intro is a throwback to her Eighties heyday. But Madonna’s harsh vocals can’t carry the sweet melody.

Another Pharrell-produced number, Beat Goes On sees rapper Kanye West join in.

Spanish Lesson is worth a mention simply for being so bad. It’s up there with American Life and Hanky Panky for “Worst Madonna Track Ever”. Her multilingual mutterings make this song bottom of the class.

The problem with Hard Candy is that it just doesn’t suit Madonna’s style.

This album would be better if it didn’t have her on vocals. Her thin voice fails to blend with the hip-hop vibe.

After Confessions On A Dance Floor which proved she was still Queen Of Disco, her hip-hop venture doesn’t work.

Let’s hope her next CD is a return to her pop roots to get us back into the groove.