On August 7 2012, Turn up the Radio was released in North America.
Written by Madonna, Martin Solveig, Michael Tordjman and Jade Williams, and produced by Madonna and Solveig, the song was released as the third and final international single from the MDNA album.
On August 6 1996, Madonna and brother-in-law Joe Henry contributed a cover of Guilty By Association to the Vic Chesnutt tribute CD Sweet Relief II: Gravity Of The Situation – The Songs Of Vic Chesnutt.
On August 5 1989, Madonna’s Express Yourself single enjoyed a third week at #1 on the Hot Dance Music/Maxi Single Sales chart in the USA.
The hit single continued to top the dance chart for a fourth week (August 12), and spent a total of 12 weeks on the Dance Music/Maxi Single Sales chart.
What you need is a big strong hand
To lift you to your higher ground
Make you feel like a queen on a throne
Make him love you till you can’t come down
(You’ll never come down)
On August 4 2002, Madonna took delivery of a $40,000 Mini Cooper.
Workers at the Cowley car plant in Oxfordshire gave it the personal touch by signing their names on the underside of the chassis. A worker at the Mini Cooper car plant said: “We are all so proud that Madonna is such a big fan of the car. Everyone who worked on it left their signature, either inside or under the bonnet. If anyone doubted this was a classy car before, they can certainly think again now Madonna has bought one.”
A custom Mini Cooper later appeared in the American Life music video, and promotional mini versions (no pun intended) were distributed when the American Life album was released.
On August 3 2012, Madonna’s Turn Up The Radio was released as the third single from the MDNA album in the United Kingdom.
The examiner reviewed the single and noted:
Turn Up the Radio should have been the first single, not the third. The song is light, fun and has a killer hook.
In a world where ageism doesn’t exist, Turn Up the Radio would become one of the biggest pop anthems ever. It certainly competes with Madonna’s other classic songs such as Vogue, Holiday, and Into the Groove. However, we live in a world where a new song from a singer over 40 (particular a female singer) is not welcome at contemporary radio.
On August 2 2008, the second single from Madonna’s Hard Candy album, Give It 2 Me, debuted at #2 on the Hot Dance Singles Chart in the USA. The single would go on to spend 3 non-consecutive weeks at #1.
Here’s the AllMusic.com review of the single by Anthony Tognazzini:
Madonna’s Hard Candy continued the electronica-oriented, disco-centric vibe she began with Confessions on a Dance Floor, and Give It 2 Me, the album’s second single, is a case in point. Co-written and co-produced by industry heavyweight Pharrell Williams, Give It 2 Me pulses, surges, and sashays with all the pop smarts that her fans expect from Madonna.
The Give It 2 Me maxi-single contains 8 remixes of the song from artists as diverse as Paul Oakenfold, Freddie Le Grand, and Sly & Robbie (whose dancehall interpretation of the track truly takes it someplace new). The remixes highlight the song’s incessant danceability, and should have any Madonna fan, especially those of Hard Candy, gyrating with pleasure.
On August 1 1989, the third single from Madonna’s Like a Prayer album, Cherish, was released by Sire Records. The song was written and produced by Madonna an Patrick Leonard.
The single was released on 7″, 12″, CD and cassette single formats. The b-side featured a previously unreleased track, Supernatural.
Biographer J. Randy Taraborrelli talking about Cherish in his book, Madonna: An Intimate Biography:
“Cherish was a particular triumph for the Madonna/Patrick Leonard partnership. A delightful confection of radio-ready proportions, the song had it all—strong, positive, remarkably dysfunction-free lyrics about love, a memorable, singalong vocal melody, and a tight, pungent rhythm arrangement. It remains, quite simply, one of the best songs Madonna has ever written; sweet and happy, but by no means corny, it’s a perfectly constructed pop song which Madonna delivered beautifully, and with undeniably sassy charm. Indeed, if Cherish had been released in the Sixties, it would have most likely emanated from Detroit’s Motown or the New York song writing Mecca, the Brill Building.”
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