Madonna is the debut album An album or record album is a collection of related audio or music tracks distributed to the public. The most common way is through commercial distribution, although smaller artists will often distribute directly to the public by selling their albums at live concerts or on their websites of American recording artist Madonna Madonna is an American recording artist, actress and entrepreneur. Born in Bay City, Michigan, and raised in Rochester Hills, Michigan, she moved to New York City in 1977, for a career in modern dance. After performing as a member of the pop groups Breakfast Club and Emmy, she released her debut album, Madonna, in 1983 on Sire Records, released on July 27, 1983 by Sire Records Sire Records is an American record label, owned by Warner Music Group and distributed through Warner Bros. Records. The album was re-released in 1985 for the European market and re-packaged as Madonna – The First Album. In 1982, during establishing herself as a singer in New York downtown, Madonna met Seymour Stein, president of Sire Records, who signed her after listening to her single "Everybody". The success of the single prompted Sire to sign her for an album's deal. For the album, Madonna chose to work with Reggie Lucas, a Warner Bros. producer. However, she was not happy with the completed tracks and disagreed with Lucas's production techniques, so decided to seek additional help with the production.

Madonna then invited her boyfriend at the time, John "Jellybean" Benitez to help her to finish the album. Benitez remixed many of the tracks and produced "Holiday". The overall sound of Madonna is dissonant, and is in the form of upbeat synthetic disco, utilising some of the new technology of the time, like the usage of Linn drum machine, Moog bass and the OB-X synthesizer. The songs on the album are sung by Madonna in a bright, girlish vocal timbre, and lyrically talks about love and relationships.

Contemporary critics have applauded the album, but it received negative feedback when it was released in 1983. In 2008, Entertainment Weekly Entertainment Weekly is an American magazine, published by the Time division of Time Warner, that covers film, television, music, Broadway theatre, books and popular culture. Unlike celebrity-focused publications Us Weekly, People, and In Touch Weekly, EW's primary concentration is on entertainment media and critical reviews. Unlike Variety and named it as the fifth of "Top 100 Best Albums of Past 25 Years." The album was very successful on the charts, reaching number eight on the Billboard 200 The Billboard 200 is a ranking of the 200 highest-selling music albums and EPs in the United States, published weekly by Billboard magazine. It is frequently used to convey the popularity of an artist or groups of artists. Often, a recording act will be remembered by its "number ones", those of their albums that outsold all others during, and the top ten of the charts in Australia, France, Netherlands, New Zealand, Sweden and United Kingdom. It was certified five-times platinum, by the Recording Industry Association of America The Recording Industry Association of America is a trust that represents the recording industry distributors in the United States. Its members consist of record labels and distributors, which the RIAA say "create, manufacture and/or distribute approximately 85% of all legitimate sound recordings produced and sold in the United States" (RIAA), for shipment of five million copies across the United States. Worldwide, the album has sold ten million copies.

Five singles were released from the album, with "Holiday" becoming her first song to chart on the Billboard Hot 100 The Billboard Hot 100 is the United States music industry standard singles popularity chart issued weekly by Billboard magazine. Chart rankings are based on radio play and sales; the tracking-week for sales begins on Monday and ends on Sunday, while the radio play tracking-week runs from Wednesday to Tuesday. A new chart is compiled and officially, and "Lucky Star", her first top-five hit. The album was promoted by The Virgin Tour in 1985. Madonna has often remarked that she wished she had more variety in the songs of the album, and had more creative control. However, critics and scholars noted that with the album, Madonna introduced a style of upbeat dance music that would prove particularly appealing to future gay audiences. With Madonna, she began her career as a disco diva.

Contents

Background

Madonna performing "Holiday" on the Drowned World Tour, 2001

In 1982, the 23 year old Madonna was living in New York, and trying to set up her music career.[2] She was joined by her Detroit boyfriend Steve Bray who became the drummer of her band, the Breakfast Club, which played generally hard-rock music. Soon they abandoned playing songs in the hard-rock genre, and got signed by a music management company called Gotham Records, planning to move in a new musical direction.[3] They decided to pursue the funk Funk is an American music genre that originated in the late 1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music. Funk de-emphasizes melody and harmony and brings a strong rhythmic groove of electric bass and drums to the foreground. Funk songs are often based on an extended genre, but the record company was not happy with their musical talents and they were dropped from the label; Madonna and Bray left the band also.[2] Meanwhile, she had written and developed some songs on her own. She carried rough tapes of three of the songs, "Everybody", "Ain't No Big Deal" and "Burning Up". At that time she was frequenting the Danceteria nightclub in New York. It was here that Madonna convinced the DJ A disc jockey is a person who selects and plays recorded music for an audience. Originally, disk referred to phonograph records, while disc referred to the Compact Disc, and has become the more common spelling. Today, the term includes all forms of music playback, no matter the source Mark Kamins to play "Everybody".[2] The song received positively by the crowd, and Kamins decided that he should get Madonna a record deal, on the understanding that he would get to produce the single In music, a single or record single is a type of release, typically a short recording of one or more separate tracks. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular.[2] He took her to his boss Chris Blackwell, who owned Island Records Island Records is a record label that was founded by Chris Blackwell in Jamaica. It was based in the United Kingdom for many years and is now owned by Universal Music Group. The label now operates as a division of Island Def Jam Music Group in the United States and as a standalone label in the United Kingdom . Since 2007, there is also a frontline, but Blackwell refused to sign Madonna so they approached Sire Records Sire Records is an American record label, owned by Warner Music Group and distributed through Warner Bros. Records.[4] Michael Rosenblatt, who worked at the artists and repertoire department of Sire, offered Madonna $ 5,000 in advance, plus $ 10,000 in royalties, for each song she wrote.[5][6]

Madonna was ultimately signed for two 12" singles The 12-inch single gramophone record came into existence with the advent of disco music in the 1970s. The first 12" single was actually a 10" (25 cm) acetate used by a mix engineer (Jose Rodriquez) in need of a Friday night test copy for famed disco mixer Tom Moulton. As no 7" (18 cm) acetates could be found, a 10" (25 cm) by the President of Sire, Seymour Stein, who was impressed by her singing,[5] after listening to "Everybody" at a hospital in Lenox Hill where he was admitted.[6] The 12" version of "Everybody" was produced by Mark Kamins who took over the production A record producer is an individual working within the music industry, whose job is to oversee and manage the recording of an artist's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the work from Steve Bray.[6] The new recording ran 5:56 on one side and 9:23 for the dub version on the reverse side. Madonna and Kamins had to record the single at their own cost.[7] Arthur Baker, friend of Mark Kamins, guided him through the role of a music producer A record producer is an individual working within the music industry, whose job is to oversee and manage the recording of an artist's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the and provided him with keyboard player Fred Zarr.[8] Due to the restrained budget, the recording was a hefty affair as Madonna could not understand Kamins' directions and Kamins himself faced problems directing. Rosenblatt wanted to release "Everybody" with "Ain't No Big Deal" on the other side, but later changed his mind and put "Everybody" on both sides of the vinyl record A gramophone record, commonly known as phonograph record , vinyl record (when made of polyvinyl chloride), or simply record, is an analog sound storage medium consisting of a flat disc with an inscribed, modulated spiral groove. The groove usually starts near the periphery and ends near the centre of the disc. Phonograph records are generally after hearing the recorded version of "Ain't No Big Deal".[6] The single was commercially released in October 1982 and became a dance hit in the United States. This led to Sire, signing Madonna for a LP and two more singles.[5][9]

Development

"I thought she had a lot of style, and she crossed over a lot of boundaries because everyone in the rock clubs played her – the black clubs, the gays, the straight – and very few records have that appeal. [...] However, she was unhappy with the whole damn thing, so I went in and sweetened up a lot of music for her, adding some guitars to 'Lucky Star', some voices, some magic. [...] I just wanted to do the best job I could do for her. When we would playback 'Holiday' or 'Lucky Star', you could see that she was overwhelmed by how great it all sounded. You wanted to help her, you know? As much as she could be a bitch, when you were in groove with her, it was very cool, very creative.

—John "Jellybean" Benitez talking about Madonna and the album.[10][11]

For the album, Madonna opted not to work with either Kamins or Bray, but chose Reggie Lucas, a Warner Bros. producer. Bray decided to push her in the musical direction of pop Pop music is usually understood to be commercially recorded music, often oriented towards a youth market, usually consisting of relatively short, simple love songs utilizing technological innovations to produce new variations on existing themes. Pop music has absorbed influences from most other forms of popular music, but as a genre is, and recorded the song "Burning Up" with her.[10] However, Madonna still did not have enough material to warranty a suitable album. The songs available were, "Lucky Star", a new version of "Ain't No Big Deal", "Think of Me" and "I Know It". Lucas brought another two songs to the project, "Physical Attraction" and "Borderline".[10] As he recorded the tracks, he deviated considerably from the original versions of the demos. One such hugely altered song was "Lucky Star". The song was written by Madonna for Kamins, who previously promised to play the track at Danceteria.[6] However, the track was instead used by Madonna for the album, which she planned to call Lucky Star.[6] She believed that "Lucky Star", along with "Borderline", were the perfect foundation for her album.

Problems arose between her and Lucas, during the recording of the songs. Madonna was unhappy with the way the final version turned out. According to her, Lucas used too many instruments and did not consider her ideas for the songs.[12] This led to a dispute between the two and after finishing the album, Lucas left the project without altering the songs to Madonna's specifications, hence she called John "Jellybean" Benitez, a DJ at Funhouse disco, to remix the available tracks.[10] In the meantime, due to conflict of interest, Bray had sold "Ain't No Big Deal" to an act on another label, rendering it unavailable for Madonna's project.[10] It was Benitez who discovered a new song, written by Curtis Hudson and Lisa Stevens of the pop group Pure Energy.[6] The song, titled "Holiday", had been turned down by Phyllis Hyman Phyllis Linda Hyman was an American soul singer and Tony-nominated actress and Mary Wilson, formerly of The Supremes Originally founded as The Primettes in Detroit, Michigan, in 1959, The Supremes' repertoire included doo-wop, pop, soul, Broadway show tunes, psychedelic soul, and disco. They were the most commercially successful of Motown's acts and are, to date, America's most successful vocal group with 12 number one singles on the Billboard Hot 100. Most of.[4] After the vocals were added by Madonna, Benitez spent four days and tried to enhance the commercial appeal of the track before the April 1983 deadline.[10][4] Just before it was completed, Madonna and Benitez took the tape over to their friend Fred Zarr's apartment in Brooklyn.[4] Zarr added a piano solo in the intermediate section of the track.[6]

Composition

"Everybody" (1983) "Everybody" was Madonna's first single. Her voice is double tracked in the song.
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The overall sound of Madonna is dissonant, and is in the form of upbeat synthetic disco, utilising some of the new technology of the time, like the usage of Linn drum machine, Moog bass and the OB-X synthesizer. These equipments have already dated since, consequently the sound of the album comes off as harsh.[13] Madonna commented on her debut album: "The songs were pretty weak and I went to England during the recordings so I wasn't around... I wasn't in control. [...] I didn't realise how crucial it was for me to break out of the disco mold before I'd already finished the [first] album. I wish I could have got a little more variety there."[13] The album starts with the song "Lucky Star", a medium-paced dance track, beginning with a sparkle of synth note Notes are the "atoms" of much Western music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis and is followed by heavy beats of electronic drum When an electronic drum pad is struck, a voltage change is triggered in the embedded piezoelectric transducer or force sensitive resistor (FSR). The resultant signals are transmitted to an electronic "drum brain" via TS or TRS cables, and are translated into digital waveforms, which produce the desired percussion sound assigned to that and handclaps A clap is the sound made by striking together two flat surfaces, as in the body parts of humans or animals. Humans clap with the palms of their hands, often in a constant drone to express appreciation or approval , but also in rhythm to match sounds in music and dance. Seals are among the animals that clap.[13] A guitar is played in high riff In music, an ostinato is a motif or phrase which is persistently repeated in the same musical voice. An ostinato is always a succession of equal sounds. Each note always has the same weight in an ostinato. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. Both "ostinatos" and "ostinati" are and a bubbling bass Bass , when used as an adjective, is used to describe tones of low frequency or range. Played in an ensemble/orchestra, such notes are frequently used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm. In popular music the bass synth is produced to accompany the guitar sound.[13] The song revolves around the "Starlight, starbright" hook A hook is a musical idea, often a short riff, passage, or phrase, that is used in popular music to make a song appealing and to "catch the ear of the listener". The term generally applies to popular music, especially rock music, hip hop, dance music, and pop. In these genres, the hook is often found in, or consists of, the chorus. A hook for more than a minute, before going to the chorus To produce the effect, either naturally or in simulation, individual sounds with roughly the same timbre and nearly the same pitch converge and are perceived as one. When the effect is produced successfully, none of the constituent sounds is perceived as being out of tune. Rather, this amalgam of sounds has a rich, shimmering quality which would. According to author Rikky Rooksby, the lyrics are repetitive and inane, revolving around the transparent ambiguity of the stars, and juxtaposition of the male character with being a heavenly body in the sky.[13] "Borderline" is a sentimental track, talking about a love that is never quite fulfilled.[11] According to author Santiago Fouz-Hernández and his book Madonna's drowned worlds, the lyrics of the song like "Something in way you love me won't let me be/I don't want to be your prisoner so baby won't you set me free" depicted a rebellion against male chauvinism.[14] Madonna used a refined and expressive voice to sing the song, backed by Lucas's instrumentations.[11] Bass Bass refers to a variety of musical instruments that can be collectively regarded as bass instruments since they produce tones that are in the low-pitched range. They belong to different families of instruments and can cover a wide range of musical roles. Since producing low pitches usually requires a long air column or string, the string and wind player Anthony Jackson provided the synths for the song.[13] The chords in the song were inspired by Seventies disco sound in Philadelphia as well as Elton John Sir Elton Hercules John, CBE is an English singer-songwriter, composer and pianist. He has worked with his songwriting partner Bernie Taupin since 1967; they have collaborated on more than 30 albums to date's musical style during the mid-seventies.[13] The chord sequences cite from Bachman-Turner Overdrive Bachman–Turner Overdrive is a Canadian rock group from Winnipeg, Manitoba, that enjoyed a string of hit albums and singles in the 1970s, selling over 7 million albums in that decade alone. The band has sold an estimated 20 million albums worldwide, and has fans affectionately known as "gearheads" (derived from the band's gear-shaped's song "You Ain't Seen Nothing Yet "You Ain't Seen Nothing Yet" is a rock song written by Randy Bachman and performed by Bachman–Turner Overdrive on the album Not Fragile. It was released as a single in 1974 with an instrumental track "Free Wheelin'" as the B-side. It reached the #1 position on the Billboard Hot 100 singles chart the week of November 9, 1974" while the synth phases display her typical musical style.[15]

The third track "Burning Up" has a starker arrangement, brought about by bass, single guitar The guitar is a plucked string instrument, played either with fingers or a pick. The guitar consists of a body with a rigid neck to which the strings, generally six in number but sometimes more, are attached. Guitars are traditionally constructed of various woods and strung with animal gut or, more recently, with either nylon or steel strings and drum machine A drum machine, also referred to as a drum pad, is an electronic musical instrument designed to imitate the sound of drums and/or other percussion instruments. Drum machines are very useful instruments for a wide variety of musical genres, not just purely electronic music. They are also a common necessity when session drummers are not available or.[15] The tom-tom drum The tom-tom originates from Native American or Asian cultures. The tom-tom drum is also a traditional means of communication. The tom-tom drum was added to the drum kit in the early part of the 20th century beats used in the song were reminiscent to the records of singer Phill Collins.[15] It also incorporated electric guitars and the most state-of-the-art synthesizers of that time.[16] The chorus is a repetition of the same three lines, while the bridge In music, especially western popular music, a bridge is a contrasting section which also prepares for the return of the original material section. The bridge may be the third eight-bar phrase in a thirty-two-bar form , or it may be used more loosely in verse-chorus form, or, in a compound AABA form, used as a contrast to a full AABA section consists of a series of double entendres; the lyrics describing what Madonna is prepared to do for her lover, and that she is individualistic and shameless.[15] Next track "I Know It" has a gentler swing to it and features music from piano, a saxophone The saxophone is a conical-bored transposing musical instrument that is a member of the woodwind family. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet. The saxophone was invented by the Belgian Adolphe Sax in 1841. He wanted to create an instrument that would both be the most powerful, synth phrases while having an offbeat chord change.[15] "Holiday" consists of a four-bar sequence, featuring instrumentation from guitars, electronic handclaps A clap is the sound made by striking together two flat surfaces, as in the body parts of humans or animals. Humans clap with the palms of their hands, often in a constant drone to express appreciation or approval , but also in rhythm to match sounds in music and dance. Seals are among the animals that clap and synthesized string arrangement. A side-by-side repetitive progression is achieved by making use of the chorus To produce the effect, either naturally or in simulation, individual sounds with roughly the same timbre and nearly the same pitch converge and are perceived as one. When the effect is produced successfully, none of the constituent sounds is perceived as being out of tune. Rather, this amalgam of sounds has a rich, shimmering quality which would.[17] Towards the end of the song, a change in the arrangement happens, where a piano break In popular music, a break is an instrumental or percussion section or interlude during a song derived from or related to stop-time – being a "break" from the main parts of the song or piece is heard. Lyrically, the song expresses the universal sentiment that everybody needs a holiday.[17] In "Think of Me", Madonna warns her erring lover that he should pay her attention, else she would leave. The song consists beats from a snare-drum and a saxophone interlude. "Physical attraction" is a medium paced track, with synth bass, a guitar line, sounds of a brass A brass instrument is a musical instrument whose sound is produced by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones, literally meaning "lip-vibrated instruments" and Madonna singing in a shrill voice, about the attraction between herself and a boy.[17] The last song on the album is "Everybody", which starts with a heavily synthesized A synthesizer is an electronic musical instrument that uses one or more sound generators to create waveforms which are then processed and combined in order to generate musical sounds and spoken introduction In music, the introduction is a passage or section which opens a movement or a separate piece. In popular music this is often called an intro. The introduction establishes melodic, harmonic, and/or rhythmic material related to the main body of a piece, with Madonna taking a loud intake of breath Breathing is the process that takes oxygen in and carbon dioxide in and then out of the lungs. Aerobic organisms require oxygen to release energy via respiration, in the form of the metabolism of energy-rich molecules such as glucose. The medical term for normal relaxed breathing is eupnea.[18] She displayed her bubblegum-pop like voice in the song, which was also doubletracked.[18]

Critical reception

Professional ratings
Review scores
Source Rating
About.com About.com is an online source for original information and advice. It is written in English, and is aimed primarily at North Americans. It is owned by The New York Times Company (Positive)[19]
Allmusic Allmusic is a service of music guide, owned by All Media Guide. Allmusic was founded in 1991 by popular-culture archivist Michael Erlewine as a guide for consumers. Its first reference book was published the following year. AMG on the Internet predates the World Wide Web and was first available as a Gopher site [20]
Blender Blender was an American music magazine that billed itself as "the ultimate guide to music and more". It was also known for sometimes steamy pictorials of female celebrities [21]
Billboard Billboard is a weekly American magazine devoted to the music industry, and is one of the oldest trade magazines in the world. It is often considered to be one of the 'holy grails' of the entertainment industry, and the official trade publication of the music industry; it is typically regarded as one of the most relevant and unbiased sources of (Positive)[22]
Entertainment Weekly Entertainment Weekly is an American magazine, published by the Time division of Time Warner, that covers film, television, music, Broadway theatre, books and popular culture. Unlike celebrity-focused publications Us Weekly, People, and In Touch Weekly, EW's primary concentration is on entertainment media and critical reviews. Unlike Variety and (A)[23]
Q magazine Founders Mark Ellen and David Hepworth were dismayed by the music press of the time, which they felt was ignoring a generation of older music buyers who were buying CDs — then still a new technology. Q was first published in 1986, setting itself apart from much of the other music press with monthly production and higher standards of photography [24]
Robert Christgau Robert Christgau is an American essayist, music journalist, and self-professed "Dean of American Rock Critics" (A-)[25]
Rolling Stone Rolling Stone is a U.S.-based magazine devoted to music, politics, and popular culture that is published every two weeks. Rolling Stone was founded in San Francisco in 1967 by Jann Wenner and music critic Ralph J. Gleason [26]
Slant Magazine [16]

The critical reception of the album changed over the time from negative to positive. Bill Lamb from About.com commented that "Madonna's album is state of the art dance-pop loaded with hits from 'Holiday' and 'Lucky Star' to 'Borderline'. Irresistible pop hooks glide across shimmering synth beats to make this a landmark album of the early 80's."[19] Stephen Thomas Erlewine from Allmusic commented that "[Madonna's] eponymous debut isn't simply good, it set the standard for dance-pop for the next 20 years. Why did it do so? [...] Madonna's singing isn't particularly strong; the songs, while hooky and memorable, couldn't necessarily hold up on their own without the production — but taken together, it's utterly irresistible."[20] Tony Power from Blender said that the album consisted of "quacking synths, overperky bass and state-of-the-art mechanical disco, with Madonna strapped to the wing rather than holding the controls. It's a breathless, subtlety-free debut, with overtones of Soft Cell and Tom Tom Club."[21] While reviewing the remastered version of the album, released in 2001, Michael Paoletta from Billboard felt that "Nearly 20 years after the release of Madonna, such tracks as 'Holiday', 'Physical Attraction', 'Borderline' and 'Lucky Star' remains irresistible."[22]

Jim Farber from Entertainment Weekly gave the album an A, saying "[Madonna] might have wound up just another post-disco dolly if [the songs on the album] didn't announce her ability to fuse club beats with peerless pop."[23] In July 2008, the magazine ranked the album at number 5 in their list of "Top 100 Best Albums of Past 25 Years."[27]. Jonathan Ross from Q said that "'Borderline' is sweet and 'Holiday' still fizzes with invention and joie de vivre....this quintessentially '80s dance hit also features a barrelhouse piano solo."[24] Robert Christgau gave the album an A- and said, "In case you bought the con, disco never died — just reverted to the crazies who thought it was worth living for. This shamelessly ersatz blonde is one of them, and with the craftily orchestrated help of a fine selection of producers, remixers, and DJs, she's come up with a shamelessly ersatz sound that's tighter than her tummy — essence of electro, the D in DOR."[25] Don Shewey from Rolling Stone was of the opinion that "without overstepping the modest ambitions of minimal funk, Madonna issues an irresistible invitation to the dance."[26] Sal Cinquemani from Slant Magazine commented" "Heralding the synth-heavy movement was a debut album [Madonna] that sounds just as fresh today as it did almost two decades ago."[16] The album also received a number of negative reviews at the time of its release. John Skow of Time magazine called her voice sounding as "Minnie Mouse on helium". Other detractors concurred, suggesting that Madonna was "almost entirely helium, a gas-filled, lighter-than-air creation of MTV and other sinister media packagers."[28] Other critics commented that "She's a one-hit wonder, she'll disappear after a year."[29]

Chart performance

Madonna performing "Lucky Star" on the Confessions Tour, 2006

In the United States, the album was released on October 4, 1983. It entered the Billboard 200 albums chart at number 123, the week of November 5, 1983.[30] The album had a slow and steady climb, and peaked at eight on the Billboard 200 on the week ending October 20, 1984, almost a year after its release.[31] It also peaked at twenty on the Top R&B/Hip-Hop Albums.[32] The album peaked in the top 20 almost everywhere else. Within a year, the album sold 2.8 million copies in the United States.[33] Seventeen years since its release, the album was certified five-times platinum by the Recording Industry Association of America (RIAA) for shipment of five million copies across United States.[34] In Canada, the album was released on March 10, 1984, and debuted at eighty-seven on the RPM Albums Chart.[35] After six weeks, the album reached a peak of fifty-seven on the chart.[36] It entered the chart again, at position ninety-five, on August 4, 1984.[37] After twenty-nine weeks, it reached a new, much higher peak of sixteen.[38] The album was present on the chart for forty-seven weeks and was ranked at position fifty, on the RPM Top 100 Albums of 1984 list.[39][40] In the United Kingdom, the labum was released on February 11, 1984, and charted on the UK Albums Chart, reaching a peak of thirty-seven and present on the chart for twenty weeks.[41] After a re-release titled Madonna – The First Album in July 1985, the album charted again on the UK Albums chart. It reached a higher peak of fourteen and was present on the chart for eighty weeks.[41] Six months since the re-release, the album was certified platinum by the British Phonographic Industry (BPI) for shipment of 600,000 copies of the album.[42] In Australia, the album reached a peak of ten, on the Kent Music Report albums chart.[43] Across Europe, the album reached the top ten in New Zealand, Sweden, France and Germany; the last two markets, it was certified platinum and gold, respectively.[44][45][46][47] It was also certified platinum in Netherlands.[48] Worldwide, the album has sold ten million copies.[49]

Singles

"Lucky Star" (1984) "Lucky Star" was the fourth single from the album. It became Madonna's first top-five song on Billboard Hot 100.
"Burning Up" (1983) The chorus of "Burning Up", where the same line of "I'm Burning Up" is repeated three times while being backed by a single guitar arrangement.
"Holiday" (1983) A sample for "Holiday" where the song makes a repetitive progression by making use of its chorus.
"Borderline" (1984) A 30 second sample of "Borderline" with Madonna singing the chorus, her vocal ranging from F♯3 to B4, backed by instrumentation of Reggie Lucas.
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Madonna released five singles from the album. "Everybody" was released on October 6, 1982, as the debut single. Musically incorporating R&B infused beats, the song portrayed the image of Madonna as a black artist, since her picture did not appear on the single cover.[15] However this misconception was cleared later when Madonna convinced Sire executives to allow her to shoot a music video for the song. The low-budget music video directed by Ed Steinberg portrayed Madonna and her friends singing and dancing in a club to the song. The video helped to promote the song and Madonna as an artist further.[50] Critically the song did not receive any acclaim and failed to enter the official Billboard Hot 100 chart, but charted on its dance charts.[51] "Burning Up" was as the album's second single on March 9, 1983, in some countries as an A-side single with "Physical Attraction". It received mixed reviews from contemporary critics and authors, who noted the song's darker, urgent composition while praising its dance beats.[20][23] The single failed to do well commercially anywhere, except the dance chart in the United States, where it peaked at three, and the Australian Charts, where it was a top twenty hit.[43] The accompanying music video of the song portrayed Madonna in the classic submissive female positions, while writhing in passion on an empty road, for her lover who appeared to come from her behind on a car. The video ended showing Madonna driving the car instead, thereby concluding that she was always in charge.[52] "Holiday" was released as the third single on September 7, 1983. Commercially, the song was Madonna's first hit single when it entered the top twenty of the Billboard Hot 100 while peaking its dance chart.[53] The song was also a crossover success, entering the top ten and top forty of many European countries. A re-release of the song in 1985 saw it peaking at two in the United Kingdom.[54] Madonna has performed "Holiday" in most of her tours.

"Lucky Star" was the fourth single from the album and was released on November 12, 1983. Both contemporary and old critics have praised the song, heralding it as the introduction to upbeat dance music.[20] "Lucky Star" became Madonna's first top-five hit on the Billboard Hot 100, when it reached the peak position of four, becoming the first of fifteen consecutive top five hits. It had already become Madonna's first number-one song on the Billboard dance charts, when it peaked the chart alongside previously released single "Holiday".[55] The music video portrayed Madonna dancing in front of a white background, accompanied by her dancers. After the video was released, Madonna's style and mannerisms became a fashion trend among the younger generation. Scholars noted that in the video, Madonna portrayed to herself as narcissistic and an ambiguous character. She referred herself as the lucky star, unlike the lyrical meaning of the song.[56] "Borderline" was the fifth and final single from the album, and was released on February 15, 1984. Contemporary critics and authors applauded the song, calling it as harmonically the most complex song from the Madonna album and complimenting the dance-pop nature of the song. "Borderline" became Madonna's second top ten song on the Hot 100, peaking at ten. Elsewhere, the song reached the top twenty of a number of European nations while peaking the chart in Ireland.[57] In 2009, the song was placed at eighty-four on Blender magazine's "The 500 Greatest Songs Since You Were Born" article.[58] The accompanying music video portrayed Madonna, with a Latin man as boyfriend. She was enticed by a British photographer to pose and model for him, but later returned to her original boyfriend. The video generated interest amongst academics, who noted the use of power as symbolism in it.[14]

Promotion

Main article: The Virgin Tour Madonna performing "Borderline" on the Sticky & Sweet Tour in 2008

Madonna had promoted the album throughout 1983–84 by performing a series of "track dates", one-off gigs. These shows were done at New York City and London clubs like Danceteria and Camden Palace and on American and British television programs like American Bandstand and Top Of The Pops.[59] The album's singles were later performed on The Virgin Tour in 1985. It was Madonna's first concert tour and visited North American dates. The tour was critically panned but was a commercial success. Later authors have looked back at the tour and commented that it was clear that "[Madonna] was a bonafide pop star in the process of becoming a cultural icon."[60] Shari Benstock and Suzanne Ferriss noted the clothes and fashion in the tour and said, "Virgin Tour established Madonna as the hottest figure in pop music."[61] A video compilation, titled Madonna, was also released to promote the singles, as well as the album. Madonna was the singer's first video compilation. It won the award for the "Best Selling Video Cassete Merchandised as Music Video", from the National Association of Recording Merchandisers.[62] It also topped the Music Videocassette chart of Billboard for the period from April 13, 1985 to November 9, 1985. Jim McCullaugh from Billboard attributed the strong sales of the video to Madonna's recent studio album Like a Virgin and The Virgin Tour concert.[63]

Promoted by Warner Music Video as 'A Vision of Madonna', the compilation contained the music videos for the singles "Burning Up and "Borderline", the then current single "Like a Virgin" and a special extended dance mix of "Lucky Star".[64] In "Lucky Star" when she says "ooh yeah" it is echoed three times and her image is repeated three times. "Like a Virgin" omits the scene where the lion's tongue moves in time with the beat of the music. These videos were later released on the 1990 greatest hits compilation The Immaculate Collection with these edits changed.[64] The video was promoted at the Cabaret Metro club in Chicago, on February 9, 1985. Dubbed as 'The Virgin Party', the event drew around 1,200 crowd and promoted Madonna's LPs, tapes, CDs and the videocassette. Attendees were encouraged to wear white, and for $5 admission fees, were able to view the Madonna videocassette and the premiere of the music video of her then single "Material Girl". The event was organised as a drive to promote music videos, which at that point did not have a large market.[65]

Legacy

Stephen Thomas Erlewine said that with the album, Madonna began her career as a disco diva, in an era that did not have any such divas to speak of.[20] In the beginning of the 80s, disco was an anathema to the mainstream pop, and Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma, chutzpah and sex appeal. Erlewine also credits the music of the album as "cleverly incorporated great pop songs with stylish, state-of-the-art beats, and it shrewdly walked a line between being a rush of sound and a showcase for a dynamic lead singer. This is music where all of the elements may not particularly impressive on their own — the arrangement, synth, and drum programming are fairly rudimentary — but taken together, it's utterly irresistible. [...] Here, Madonna is on fire, and that's the reason why it launched her career, launched dance-pop, and remains a terrific, nearly timeless, listen."[20] Martin Charles Strong, author of The great rock discography felt that the album's unprecedented dance-pop and naive appeal served Madonna in establishing her base as an artist.[66] According to biographer Andrew Morton, the album made Madonna a household name, and was instrumental in introducing her star power.[67] When Madonna appeared on American Bandstand to promote the album in January 14, 1984, Madonna expressed her dream "to rule the world."[68]

Following the release of the album, Madonna was dismissed by some music critics. After the success of her single "Holiday", they began to call her a one-hit wonder.[69] Madonna said, "In the beginning I was called everything from a Disco Dolly to a One-Hit Wonder."[70] She responded the comment "Minnie Mouse on helium" from Time magazine by doing a photoshoot with Alberto Tolot, where she flirted with a giant Mickey Mouse toy, putting its hand inside her dress and looking at it with an admonishing glare. Author Debbi Voller noted that "such provocative imagery at a young age of her career, could have hurt her too much. But it went on to shut those twerps who dared to take a swag at her voice again."[71] Twenty-five years later, in her acceptance speech of Rock and Roll Hall of Fame induction, Madonna thanked the critics who snubbed her in the early years, "The ones that said I was talentless, that I was chubby, that I couldn't sing, that I was a one-hit wonder. They pushed me to be better, and I am grateful for their resistance."[72]

In an interview with Time, Madonna reflected that her relationship with her father had not been good, before she released her debut album. "My father had never believed that what I was doing here [in New York] was worthwhile, nor did he believe that I was up to any good. [...] It wasn't until my first album came out and my father started hearing my songs on the radio that he stopped asking the questions."[73] Music critics Bob Batchelor and Scott Stoddart, commented in their book The 1980s that "the music videos for the singles off the album, was more effective in introducing Madonna to the rest of the world."[74] Author Carol Clerk said that the music videos of "Burning Up", "Borderline" and "Lucky Star" established Madonna, not as the girl-next-door, but as a sassy and smart, tough funny woman. Her clothes worn in the videos were later used by designers like Karl Lagerfeld and Christian Lacroix, in Paris Fashion week of the same year.[73] Professor Douglas Kellner, in his book Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern, commented that the videos depicted motifs and strategies which helped Madonna in her journey to become a star.[75] With the "Borderline" music video, Madonna was credited for breaking the taboo of interracial relationships and was considered one of her career-making moments. MTV played the video in heavy rotation, increasing Madonna's popularity further.[14]

The release of the album, heralded Madonna's arrival in the music scene, but her vocal abilities were not fully formed artistically. Her vocal styles and lyrics appeared similar to those of other pop stars of that period, namely Paula Abdul, Debbie Gibson and Taylor Dayne.[76] The songs on Madonna reveal several key trends that have continued to define her success, including a strong dance-based idiom, catchy hooks, highly polished arrangement and Madonna's own vocal style. In songs such as "Lucky Star" and Borderline", Madonna introduced a style of upbeat dance music that would prove particularly appealing to future gay audiences. The bright, girlish vocal timbre of the early years became passé in Madonna's later works, the change being deliberate, to cater the latest trends in the music world.[76]

Track listing

No. Title Writer(s) Producer(s) Length
1. "Lucky Star" Madonna Reggie Lucas 5:37
2. "Borderline" Reggie Lucas Reggie Lucas 5:18
3. "Burning Up" Madonna Reggie Lucas 3:44
4. "I Know It" Madonna Reggie Lucas 3:45
5. "Holiday" Curtis Hudson, Lisa Stevens John "Jellybean" Benitez 6:08
6. "Think of Me" Madonna Reggie Lucas 4:53
7. "Physical Attraction" Reggie Lucas Reggie Lucas 6:36
8. "Everybody" Madonna Mark Kamins 4:57

2001 Remastered version bonus tracks

No. Title Writer(s) Producer(s) Length
9. "Burning Up (12" Version)" Madonna Reggie Lucas 5:56
10. "Lucky Star ("New" Mix)" Madonna Reggie Lucas, John "Jellybean" Benitez 7:15

Album credits

Personnel

Production

Design

  • Carin Goldberg – art direction
  • Gary Heery – photography
  • George Holy – photography

Charts and certifications

Album

Charts (1983–84) Peak position
Australian Kent Music Report[43] 10
Austrian Albums Chart[44] 15
Canadian RPM Albums Chart[38] 16
Dutch Albums Chart[45] 7
French Albums Chart[45] 8
German Albums Chart[45] 28
New Zealand Albums Chart[44] 6
Swedish Albums Chart[44] 2
UK Albums Chart[41] 6
US Billboard 200[31] 8
US Top R&B/Hip-Hop Albums[32] 20

Certifications

Country Certifications (sales thresholds)
France Platinum[46]
Germany Gold[47]
Netherlands Platinum[48]
United Kingdom Platinum[42]
United States 5× Platinum[34]

Singles

Year Singles Peak chart positions Certifications (sales thresholds)
US [55] U.S. Club [55][77] AUS [43] AUT [78] CAN [79] GER [80] ITA [81] SWI [82] UK [41]
1982 "Everybody" 107 3 — — — — — — — —
1983 "Burning Up" — 3 13 — — — — — — —
"Holiday" 16 1 4 — 32 9 26 18 2
1984 "Lucky Star"[A] 4 36 — 8 — — — 14 —
"Borderline" 10 4 12 — 25 36 — 23 2
"—" denotes releases that did not chart or was not released.

Notes

  1. ^ Madonna Madonna (1983) liner notes Sire Records
  2. ^ a b c d Rooksby 2004, p. 4
  3. ^ Cross 2007, p. 27
  4. ^ a b c d Morton 2002, p. 142
  5. ^ a b c Rooksby 2004, p. 5
  6. ^ a b c d e f g h Cross 2007, p. 25
  7. ^ Morton 2002, p. 143
  8. ^ Morton 2002, p. 145
  9. ^ Morton 2002, p. 146
  10. ^ a b c d e f Rooksby 2004, p. 10
  11. ^ a b c Taraborrelli 2002, p. 77
  12. ^ Taraborrelli 2002, p. 76
  13. ^ a b c d e f g h Rooksby 2004, p. 11
  14. ^ a b c Fouz-Hernández & Jarman-Ivens 2004, p. 67
  15. ^ a b c d e f Rooksby 2004, p. 12
  16. ^ a b c Cinquemani, Sal (2001-09-09). "Madonna: Madonna (Remaster)". Slant Magazine. http://www.slantmagazine.com/music/music_review.asp?ID=118. Retrieved 2009-09-08.
  17. ^ a b c Rooksby 2004, p. 13
  18. ^ a b Rooksby 2004, p. 14
  19. ^ a b Lamb, Bill (1983-2008). "Madonna Discography: Annotated list of Madonna's albums". About.com. The New York Times Company. http://top40.about.com/od/discographies/a/madonnadisc.htm. Retrieved 2009-09-08.
  20. ^ a b c d e f Erlewine, Stephen Thomas (1999-08-23). "allmusic ((( Madonna > Overview )))". Allmusic. Rovi Corporation. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:mneq97u7krht. Retrieved 2009-09-04.
  21. ^ a b Power, Tony (1983-01-01). "Madonna – Blender". Blender (Alpha Media Group). http://www.blender.com/guide/back-catalogue/52747/madonna.html. Retrieved 2009-09-08.
  22. ^ a b Paoletta, Michael (2001-08-18). "Vital Re-Issues". Billboard (New York: Nielsen Business Media, Inc) 113 (33). ISSN 0006-2510. http://books.google.co.in/books?id=7RMEAAAAMBAJ&pg=PA17&dq=Madonna+Like+a+Virgin+review&as_pt=MAGAZINES&cd=9#v=onepage&q=Madonna%20Like%20a%20Virgin%20review&f=false. Retrieved 2010-03-11.
  23. ^ a b c Farber, Jim (2001-07-20). "The Girl Material". Entertainment Weekly (Time Inc.). http://www.ew.com/ew/article/0,,255548,00.html. Retrieved 2009-09-16.
  24. ^ a b Ross, Jonathan (July 2001). "Madonna: Madonna review". Q magazine: 131. ISSN 4858679.
  25. ^ a b Christgau, Robert (1983). "Robert Christgau: CG: Madonna". RobertChristgau.com. http://www.robertchristgau.com/get_artist.php?name=madonna. Retrieved 2009-09-08.
  26. ^ a b Shewey, Don (1983-09-29). "Madonna: Madonna: Music Reviews". Rolling Stone (Jann Wenner). http://www.rollingstone.com/artists/madonna/albums/album/213974/review/6068215/madonna. Retrieved 2009-09-08.
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  28. ^ Skow, John (1985-05-27). "Show Business: Madonna Rocks the Land". Time (Time Inc): pp. 1. http://www.time.com/time/magazine/article/0,9171,957012,00.html. Retrieved 2010-03-10.
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  38. ^ a b "Top Albums/CDs – Volume 41, No. 11, November 17 1984". RPM. RPM Music Publications Ltd. 1984-11-17. http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.9548&volume=41&issue=11&issue_dt=November%2017%201984&type=1&interval=24&PHPSESSID=4dp17sl7hp9qmhhj3vmcenr836. Retrieved 2010-03-11.
  39. ^ "Top Albums/CDs – Volume 42, No. 3, March 30 1985". RPM. RPM Music Publications Ltd. 1985-03-30. http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.0503&volume=42&issue=3&issue_dt=March%2030%201985&type=1&interval=24&PHPSESSID=4dp17sl7hp9qmhhj3vmcenr836. Retrieved 2010-03-11.
  40. ^ "Top 100 Albums of 1984 – Volume 41, No. 17, January 05 1985". RPM. RPM Music Publications Ltd. 1985-01-05. http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?&file_num=nlc008388.9642&volume=41&issue=17&issue_dt=January%2005%201985&type=1&interval=24&PHPSESSID=4dp17sl7hp9qmhhj3vmcenr836. Retrieved 2010-03-11.
  41. ^ a b c d "ChartStats – Madonna". The Official Charts Company. Chartstats.com. http://www.chartstats.com/artistinfo.php?id=799. Retrieved 2010-03-11.
  42. ^ a b c d "BPI – Searchable Database". British Phonographic Industry. 1985-12-18. http://www.bpi.co.uk/certifiedawards/search.aspx. Retrieved 2010-03-11.
  43. ^ a b c d Kent, David (1993) (doc). Australian Chart Book 1970–1992. Australian Chart Book, St Ives, N.S.W. ISBN 0-646-11917-6.
  44. ^ a b c d "Madonna – The First Album". Ultratop 50. Hung Medien. http://www.ultratop.be/en/showitem.asp?interpret=Madonna&titel=The+First+Album&cat=a. Retrieved 2010-03-11.
  45. ^ a b c d Morton 2002, p. 89
  46. ^ a b "French Certifications Database – Madonna". Syndicat National de l'Édition Phonographique. http://www.infodisc.fr/CD_Certif.php. Retrieved 2010-03-11.
  47. ^ a b "German Certifications Database – Madonna". International Federation of the Phonographic Industry. http://www.musikindustrie.de/gold_platin_datenbank0/. Retrieved 2010-03-11.
  48. ^ a b "Dutch Certifications Database – Madonna". Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. http://www.nvpi.nl/nvpi/pagina.asp?pagkey=61112&documentid=1237498&zoekform=60463&formposted=yes. Retrieved 2010-03-11.
  49. ^ Taraborrelli 2002, p. 145
  50. ^ Morton 2002, p. 332
  51. ^ Fouz-Hernández & Jarman-Ivens 2004, p. 66
  52. ^ Morton 2002, p. 756
  53. ^ "Madonna – Holiday – The Billboard Hot 100". Billboard. Nielsen Business Media, Inc. 1984-02-04. http://www.billboard.com/#/charts/hot-100?chartDate=1984-02-04&order=timeon. Retrieved 2009-07-03.
  54. ^ "Madonna – Holiday (1985)". The Official Charts Company. Chartstats.com. http://www.chartstats.com/songinfo.php?id=12683. Retrieved 2009-07-03.
  55. ^ a b c "allmusic ((( Madonna > Charts & Awards > Billboard Singles )))". Allmusic. Rovi Corporation. 1983–2010. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:jvfyxqe5ldae~T51. Retrieved 2009-05-26.
  56. ^ Cross 2007, p. 29
  57. ^ Dean 2003, p. 523
  58. ^ Staff, Blender (2009-04-01). "The 500 Greatest Songs Since You Were Born". Blender. http://www.blender.com/lists/68125/500-greatest-songs-since-you-were-born-451-500.html?p=9. Retrieved 2009-07-20.
  59. ^ Voller 1999, p. 33
  60. ^ Sherman, Heidi (July 2001). "10 Tours That Changed The World". Spin (Spin Media LLC) 17 (7). ISSN 0886-3032.
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  67. ^ Morton 2002, p. 159
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References

External links

Madonna
Albums · Singles · Videos · Unreleased songs · Tours · Films · Books · Awards
Studio albums Madonna · Like a Virgin · True Blue · Like a Prayer · Erotica · Bedtime Stories · Ray of Light · Music · American Life · Confessions on a Dance Floor · Hard Candy
Compilations You Can Dance · The Immaculate Collection · Something to Remember · GHV2 · Remixed & Revisited · Celebration
Soundtracks Vision Quest · Who's That Girl · I'm Breathless · With Honors · Evita · Austin Powers: The Spy Who Shagged Me · The Next Best Thing · Die Another Day
Other albums 12"ers+2 · Remixed Prayers · Madonna 1983–1989 · The Holiday Collection
Video compilations Madonna · It's That Girl · She's Breathless · The Immaculate Collection · Rays of Light · The Video Collection 93:99 · The Madonna Collection · The Ultimate Collection · Celebration: The Video Collection
Video singles "Justify My Love" · "Ray of Light" · "Music" · "What It Feels Like for a Girl"
Live releases Live - The Virgin Tour · Who's That Girl - Live in Japan · Ciao, Italia! - Live from Italy · Blond Ambition - Japan Tour 90 · Live! - Blond Ambition World Tour 90 · Truth or Dare · The Girlie Show - Live Down Under · Drowned World Tour 2001 · I'm Going to Tell You a Secret · The Confessions Tour · Sticky & Sweet Tour
Concert tours The Virgin Tour · Who's That Girl World Tour · Blond Ambition World Tour · The Girlie Show World Tour · Drowned World Tour · Re-Invention World Tour · Confessions Tour · Sticky & Sweet Tour
Motion pictures A Certain Sacrifice · Vision Quest · Desperately Seeking Susan · Shanghai Surprise · Who's That Girl · Bloodhounds of Broadway · Dick Tracy · Shadows and Fog · A League of Their Own · Body of Evidence · Dangerous Game · Four Rooms · Girl 6 · Evita · The Next Best Thing · Swept Away · Die Another Day · Arthur and the Invisibles · Filth and Wisdom
Documentaries Truth or Dare · I'm Going to Tell You a Secret · 15 Films About Madonna · I Am Because We Are
Books Sex · The Girlie Show · The English Roses · Children's books
Related companies Live Nation · Warner Bros. Records · Maverick · Maverick Records · Maverick Films · Semtex Films · Sire Records · Warner Music Group
Related articles Madonna as gay icon · Madonna wannabe · Madonna Studies · Madonna on Late Show with David Letterman · Dolls and Dolls · The Power of Madonna · Raising Malawi · X-STaTIC Pro=CeSS · Breakfast Club · Sean Penn · Guy Ritchie · Christopher Ciccone · Ashcombe House, Wiltshire
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