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."[225] 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.[225] Madonna's approach was far from the music industry wisdom of "Find a winning formula and stick to it." Her musical career has been a continuous experimentation with new musical ideas and new images and a constant quest for new heights of fame and acclaim. Grant concluded that "having established herself as the queen of popular music, Madonna did not stop there, but continued re-inventing."[226] 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."[18][not in citation given] Mark Bego, author of Madonna: Blonde Ambition, called her "the perfect vocalist for lighter-than-air songs", despite not being a "heavyweight talent."[227] Madonna has always been self-conscious about her voice, especially in comparison to her vocal idols such as Ella Fitzgerald, Prince and Chaka Khan.[228]Throughout her career, Madonna has written or co-written most of her own materials, as well as songs of other artists such as Nick Kamen's "Each Time You Break My Heart" and Gary Barlow's "Love Won't Wait".[229] 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."[230] From 1983 to 1986, Madonna's musical productions were often girlish and naive in nature, focusing primarily on love, romance, passion and boy-meets-girl relationships.[230] This changed with the album Like a Prayer, when the lyrics became much more personal, as in "Promise to Try", which references Madonna's lingering pain at the loss of her mother.[230] Madonna's lyrics often suggest an identification with the gay community. Santiago Fouz-Hernandez believes that when Madonna sings "Come on girls, do you believe in love?" in "Express Yourself", she is addressing both the gay audience and the heterosexual female.[230] Even in the Erotica era, with its often adult-oriented lyrics, the songs appear free-flowing and gullible ("So won't you go down, where it's warm inside" "Where Life Begins" from Erotica). Madonna's songwriting ability has been criticized, with Rolling Stone's Maria Raha calling her lyrics "flighty and not sophisticated. Madonna can only bring a trunk full of trite lyrics on the long standing tradition of pop music, love; when she wasn't singing about love, she was singing about partying and dancing."[231] Her lyrics were considered banal, and her songwriting capability was largely ignored by critics until the release of Ray of Light and Music. According to Jarman-Ivens, lyrics such as "You're frozen, when your heart's not open" ("Frozen", 1998) and "I