Madonna, though she has as many hit compilations as one would expect from an artist of her vintage and stature, has always seemed wary of looking back or indulging much degree of nostalgia about her career. 

As polarizing as her later albums sometimes are, one could never accuse her of cashing in, as so many veteran acts do, on tour after tour of the same old set list designed to hit all the obvious musical marks, please the most tepid of fans and make easy millions. But she has almost swung too far the other way. Hits sometimes have felt grudgingly performed at her live shows of the last, oh, 20 years or so, and have, at times, been so radically re-crafted — an approach that can be thrilling when it works, no doubt — the spirit of the original track has been sometimes painfully undercut.

All that to say, it’s fun to see Our Lady of the Remix — for whom in popdom is more deserving of that title? — look back so sumptuously with the Aug. 19 release of “Finally Enough Love: 50 Number Ones,” (☆☆☆ out of four) a new 50-track remix collection available digitally, in a three-disc CD set and a sold-out six-LP vinyl edition, as well as “Finally Enough Love,” a 16-track version on single CD, double vinyl and digitally. The releases are the first since it was announced last summer that Madonna was returning to her original label, Warner Records, in a new deal that would include a series of deluxe catalogue reissues. It celebrates her record-shattering span of 50 No. 1 hits on the Billboard U.S. Dance Songs Club chart, starting with “Holiday”/“Lucky Star” (only “Holiday” is here, though) in 1983 and culminating with “I Don’t Search I Find” in early 2020 from her 2019 album “Madame X.” The collection’s title is taken from that track. For context, those trailing her record of 50 No. 1 hits on that chart are Rihanna (33), Beyonce (22), Janet (20) and Katy Perry (19); Madonna’s record here is the most number ones by an artist/band on any Billboard chart ever.

It’s also especially nice to see since remixes have been so essential to Madonna’s career. The only time she ever released anything remotely akin to this before was either very early (1987’s “You Can Dance” remix album) or oddly random (the 2003 EP “Remixed & Revisited”). 

This collection is not, as one might guess, a collection of her all-time greatest remixes or even necessarily the versions of the songs that charted. Gen. Xers who gobbled up her maxi singles all through the ’90s and beyond will find their stash, if retained, are still the only sources (not counting unofficial YouTube postings) for classics such as the “Shep’s ‘Spressin’ Himself Re-remix” of “Express Yourself” from the “Justify My Love” maxi (also home to the deliciously weird “The Beast Within Mix”), the “Waiting” remix (a non-single) from the “Rain” maxi or any of the varied delights (e.g. “Madonna Gets Hardcore”) on the import “Bye Bye Baby” maxi. 

Even if you’re a completist of the highest order — and there certainly are folks like that in the Madonnaverse — your experience won’t be sullied or buoyed much by the mixes included or excluded. 

Tons of other remixes here are just slight variations of mixes we’ve heard before. I haven’t been following these releases like a hawk in recent years, but if you collected these in any capacity over the years, there will likely be a fresh balance of familiar and unfamiliar motifs and passages sprinkled throughout. 

Most of the remixes retain the bulk of the lyrics from the album versions and are tight edits (no 10-minute percussion solos). The earlier cuts on disc one are the least radical, a non-surprise considering remixing trends of the ’80s. And while many of these mixes are heretofore unreleased, they are nearly all vintage or, where tweaked, retain the spirit of their album counterparts. There’s no radical thumpa-thumpa version of “Everybody” or “Material Girl,” for example; disc three, containing the newest material, is by far the most pounding/rave-influenced. 

Standouts for me were the loungy, uptempo-yet-chill vibe of the “Underground Club Mix” of “Erotica” (straight from the vintage “Erotica” maxi), the “PSB Maxi Mix Edit” of “Sorry,” (until now, a promo-only mix), the “Eddie Amador Club 5 Edit” of “Give it 2 Me,” (vintage, but never commercially available until now) and “Avicii’s UMF Mix” of “Girl Gone Wild,” which features a spidery instrumental motif that could almost work as a fugal theme.

As a whole, however, there are a few impediments to the way this all goes down, especially if you listen straight through. A few tracks — e.g. the “Sasha Ultra Violet Mix Edit” of “Ray of Light” with its sputtery beat pattern or the loungy, uber-chill vibe of the “Bob Sinclar Space Funk Edit” of “4 Minutes” (this edit of which was only ever previously released on a 12” vinyl picture disc) — give needed contrast to the mostly unrelenting 4/4 beat patterns. But after a while, especially on discs two and three, it all starts sounding like little more than “Hooked on Madonna,” of the famous “Hooked on Classics” series from the ’80s, which set classical themes to dance beats. Of course, some of that is to be expected given the nature of the release, but as an actual experience, it’s occasionally tedious. 

And while the DJs are all obviously talented and at times quite creative, by the middle of disc two, one starts wondering if a wiz/nerd with access to the stems could have almost come up with something just as good on a Yamaha Clavinova or the like. Almost. 

It also moves a lot faster through her catalogue than you might guess. Since classics like “Papa Don’t Preach” and La Isla Bonita” were not No. 1 dance hits, we get to “Like a Prayer” and “Vogue” barely halfway through disc one. 

When a non-Madonna-penned single pops up — Andrew Lloyd Webber’s “Don’t Cry for Me, Argentina” (from “Evita”) or Don McLean’s “American Pie” (from “The Next Best Thing”), they jump out as markedly better examples of songcraft than just about anything Madonna ever came up with herself. Going straight from “Pie” to “Music,” one of M’s most lyrically insipid compositions ever to my ear, is especially painful. For sure, there are dozens of pop masterpieces here, but the covers tend to accentuate the froth on cuts like “Turn Up the Radio” or “Jump.” 

On the brighter side, however, the vocals sound stronger and sweeter than I recalled. Yeah, they’re likely auto-tuned and otherwise studio sweetened, but there were several passages — “Nothing Really Matters,” “Keep it Together,” “Deeper and Deeper” — when it’s clear Madonna is a better studio singer than she ever gets credit for.

Booklets, too, are thorough and nicely done with detailed track info and pics of all her single artwork. 

While there are 50 tracks here, the math is a bit fuzzy. “Angel,” which charted jointly with its flip side “Into the Groove,” is absent as is “Causing a Commotion,” which had a vinyl Record Store Day release back in April, though it’s annoying it’s not here. Because “You Can Dance” topped the chart as an entire album and the Britney duet “Me Against the Music” was not from a Madonna project, there’s a little wiggle room numerically in how this set was curated.