Madonna is coming home: Having spent a decade working with producers drawn from European club culture, Hard Candy is her link-up with the American men who've come to define global pop. Five songs with Timbaland and Justin Timberlake, six with Pharrell Williams, one with Williams and Kanye West. The best, this line-up announces, need to work with the best. But lead single "4 Minutes" doesn't sound like the best working with the best: It sounds complacent, like a pop supergroup high-fivin' each other.

The "4 Minutes" marching band rhythm-riff may be Timbaland's strongest idea on the album but the performers seem happy to let it do the work. He keeps shouting for "Mad-DON-nuh!" but she's a guest on her own track, singing from the margins of what might as well be a Timberlake outtake. Timbaland's productions are the weaker links on this frustratingly ordinary album. Partly he's a victim of his own ubiquity-- we know his tricks by now: the interlocking rhythmic hooks on his upbeat tracks, the bubbling claustrophobia on his ballads. "Devil Wouldn't Recognise You" is the third time-- at least-- that he's written "Cry Me a River", right down to the moody rainstorm breakdown and thunderclaps. But his less-typical productions don't all work well here either: "Dance 2Night" aspires to 80s funk slickness but lumbers where it should cruise.

The 1980s, specifically Madonna's 80s, haunt Hard Candy: It's been touted as a return to the spirit and sound of her earliest work, but her voice and delivery have changed too much for the comparison to hold. Her vocal training and singing lessons in the 90s broadened her range but she's never sounded as hungry since, and her phrasing on Hard Candy is frequently dreadful-- words so evenly spaced and emphasized that it sounds like she's reading aloud to a class. Or teaching you the choruses: You won't get "Miles Away" out of your head in a hurry but that's less to do with its quality than the didactic way she delivers it. Her biggest misstep is "Heartbeat"-- lyrics deliberately reminiscent of "Into the Groove" but sung so detached you might as well be at a Madonna Studies lecture.

The record's better tracks are, unsurprisingly, those where Madonna sounds more engaged. Second single "Give It to Me" has her delivering an imperious lesson on success and survival-- "Show me a record and I'll break it/ I can go on and on"-- over Hard Candy's most urgent tune, hard-pushing electro-ska whose keyboards break up trying to keep pace. Closing track "Voices" is gorgeously gothic orchestral synth-pop that she seems to relax and revel in. Centerpiece "She's Not Me" is a stirring piece of turf-defense, prowling between Chic-era disco and modern pop-house as Madonna slaps down a rival. It's taut and cold, easily Hard Candy's most emotionally compelling moment.

"She's Not Me" smoothly lays out Madonna's credentials: Twenty-five years at the top of the game. She doesn't reinvent pop; she defines it. Her strengths have always been her authority, and her smart sense of who to work with and when. So even if it's a summary of where pop's at rather than where it's going, Hard Candy should still be excellent. After all, if you're not going to do your best work for Madonna, who are you going to do it for? But after listening, the question's still open-- nobody involved in Hard Candy is anywhere near their creative peak.