Today in Madonna History: January 17, 1985

like-a-virgin-promo

On January 17 1985, Debbie Miller reviewed Madonna’s Like A Virgin album for Rolling Stone magazine. Here’s what she had to say (3 1/2 stars out of 5):

In the early Sixties, when girls were first carving their niche in rock & roll, the Crystals were singing about how it didn’t matter that the boy they loved didn’t drive a Cadillac car, wasn’t some big movie star: he wasn’t the boy they’d been dreaming of, but so what? Madonna is a more, well, practical girl. In her new song, Material Girl, she claims, “the boy with the cold hard cash is always Mr. Right/’Cause we’re living in a material world/And I am a material girl.” When she finds a boy she likes, it’s for his “satin sheets/And luxuries so fine” (Dress You Up). Despite her little-girl voice, there’s an undercurrent of ambition that makes her more than the latest Betty Boop. When she chirps, “You made me feel/Shiny and new/Like a virgin,” in her terrific new single, you know she’s after something. Nile Rodgers produced Like A Virgin, Madonna’s second LP; he also played guitar on much of it and brought in ex-Chic partners Bernard Edwards on bass and Tony Thompson on drums. Rodgers wisely supplies the kind of muscle Madonna’s sassy lyrics demand. Her light voice bobs over the heavy rhythm and synth tracks like a kid on a carnival ride. On the hit title song, Madonna is all squeals, bubbling over the bass line from the Four Tops’ “I Can’t Help Myself.” She doesn’t have the power or range of, say, Cyndi Lauper, but she knows what works on the dance floor. Still, some of the new tracks don’t add up. Her torchy ballad Love Don’t Live Here Anymore is awful. The role of the rejected lover just doesn’t suit her. Madonna’s a lot more interesting as a conniving cookie, flirting her way to the top, than as a bummed-out adult.

Today in Madonna History: November 4, 1995

On November 4 1995, Madonna’s You’ll See was reviewed by Billboard magazine’s Larry Flick. Written & produced by Madonna & David Foster, the song of self-empowerment served as the lead single from her collection of ballads, Something To Remember.

 

Today in Madonna History: August 20, 2001

On August 20 2001, Sal Cinquemani published this review of Madonna’s Music album in Slant magazine:

After her hugely successful and critically-lauded Ray Of Light, Madonna could have gone in one of several possible directions: (1) a more hardcore trance route, enlisting a world-class DJ like Sasha (who remixed a few tracks from Ray Of Light and whom Madonna allegedly dismissed after collaborating on several tracks early in the recording process of this new album); (2) staying in safe territory by writing and recording once again with William Orbit, the mastermind behind Ray Of Light; or (3) a weird, more experimental direction, commissioning someone like French electronica guru Mirwais Ahmadzai. Madonna once told producer Shep Pettibone “You can never do the same thing twice…ever,” but two new collaborations with Orbit, “Runaway Lover” and “Amazing,” prove that when you do, it will probably be completely uninteresting. “Runaway Lover” sounds like a Ray Of Light outtake with uninspired couplets like “It doesn’t pay to give away what you lack/You’ll never get your money back.” But amid the clichés, Madonna throws in profound food for thought like “You get your education from your lovers.” “Amazing” is incredibly catchy and has a Supremes-like melody but that’s where it ends. The track borrows the drum loop Orbit used in “Beautiful Stranger” (which was originally the loop from his “Ray Of Light” remix), and proves that he may not have had enough tricks up his sleeve for an entire new album anyway (and perhaps Madonna knew that).

As such, Madonna enlisted Mirwais for most of the rest of the album in question, Music. The title track, a retro hands-in-the-air club song reminiscent of Debbie Deb’s “When I Hear Music” and Madonna’s own “Into The Groove,” is the singer’s best dance floor-beckoning track since “Vogue.” She sings “Music makes the people come together” like a track off of her debut album, and as an added bonus she uses words like “bourgeoisie” and “acid-rock” with equal abandon. If you can get past the initial horror of hearing Madonna’s voice get the Cher “Believe” treatment on “Nobody’s Perfect,” another Mirwais collaboration, you’ll find a brilliant song full of genuine sorrow. The track opens with an intentionally imperfect and somber “I feel so sad,” and it is indeed believable. Lyrics like “What did you expect? I’m doing my best” are sung with an intriguing juxtaposition of human emotion and mechanically detached vocalizations. Though hard to swallow at first (like most on the album), the track is one of the singer’s best creations. With its distorted vocals and grinding electronic burps, “Paradise (Not For Me)” is another distinctive Mirwais production. At a turning point in the song, Madonna awkwardly struggles to speak the words “There is a light above my head/Into your eyes my face remains” while strings swell and bring the song to a climax. It is at this point that “Paradise” resembles the cinematic grandeur of tracks like “Frozen,” and it is also one of the few moments throughout Music that recalls the spiritual introspection of Ray Of Light.

Two tracks take a striking folk direction. “I Deserve It” finds Madonna once again singing with a warm yet detached voice, but this time her vocals are completely untouched by effects. “Gone” ends the album and is possibly one of Madonna’s best performances. In the vein of “Live To Tell,” the song seems to sum up everything Madonna has tried to tell us about being the most famous woman in the world. Earlier attempts have seemed obvious and sometimes trite (“Goodbye To Innocence,” “Survival,” “Drowned World”), but this song seems to be particularly telling. It is also, perhaps, the most human she has ever been. Self-deprecation and vulnerability have never been Madonna’s strong-suits, but the way she sings “I won’t let it happen again/I’m not very smart” could make you wonder. Music seems more like a collection of songs than a cohesive album, and it is an unexpected answer to Ray Of Light. But strangely, in an attempt to make a “fun,” less-introspective album, Madonna has revealed more of herself than ever. No longer shrouded with pedantic spirituality, she has become even more human, exposing her fears on tracks like “Nobody’s Perfect” and “Paradise,” her soul on “Don’t Tell Me” and “What It Feels Like For A Girl,” and revealing her joys on “Impressive Instant” and “Music.”

Today in Madonna History: July 12, 1986

On July 12 1986, Madonna’s third album, True Blue, debuted at #1 on the UK Albums Chart.

Here’s the AllMusic review of True Blue by Stephen Thomas Erlewine:

True Blue is the album where Madonna truly became Madonna the Superstar — the endlessly ambitious, fearlessly provocative entertainer that knew how to outrage, spark debates, get good reviews — and make good music while she’s at it. To complain that True Blue is calculated is to not get Madonna — that’s a large part of what she does, and she is exceptional at it, but she also makes fine music. What’s brilliant about True Blue is that she does both here, using the music to hook in critics just as she’s baiting a mass audience with such masterstrokes as “Papa Don’t Preach,” where she defiantly states she’s keeping her baby. It’s easy to position anti-abortionism as feminism, but what’s tricky is to transcend your status as a dance-pop diva by consciously recalling classic girl-group pop (“True Blue,” “Jimmy Jimmy”) to snag the critics, while deepening the dance grooves (“Open Your Heart,” “Where’s the Party”), touching on Latin rhythms (“La Isla Bonita”), making a plea for world peace (“Love Makes the World Go Round”), and delivering a tremendous ballad that rewrites the rules of adult contemporary crossover (“Live to Tell”). It’s even harder to have the entire album play as an organic, cohesive work. Certainly, there’s some calculation behind the entire thing, but what matters is the end result, one of the great dance-pop albums, a record that demonstrates Madonna’s true skills as a songwriter, record-maker, provocateur, and entertainer through its wide reach, accomplishment, and sheer sense of fun.

Today in Madonna History: December 2, 2000

On December 2 2000, Madonna’s Don’t Tell Me single was reviewed by Chuck Taylor in Billboard magazine.

Don’t Tell Me was Madonna’s final single to be released on cassette in the U.S.  In the U.K., Warner Bros. issued Madonna’s next two singles in the format, with the last being 2002’s Die Another Day. In Canada – the first market to regularly issue Madonna’s singles on cassette (beginning with the cassette maxi-single for Angel in 1985) – her final cassette single was 1995’s Bedtime Story, while her final cassette maxi-single was 1994’s I’ll Remember.

Today in Madonna History: October 27, 1996

On October 27 1996, Madonna’s You Must Love Me (the lead single from Evita) was released.

Kathleen Guerdo’s review for Billboard:

“Madonna delivers what is by far one of the strongest vocal performances of her career, comfortably scaling to the song’s demanding soprano heights while infusing it with delicate, heart-rending emotion. This bodes well for the creative potency of the rest of the soundtrack, which is due Nov. 14. Prepare for wall-to-wall airplay of this flawless ballad on pop and AC radio.”

Today in Madonna History: July 4, 1992

On July 4 1992, Madonna’s This Used To Be My Playground single from the film A League Of Their Own was reviewed by Larry Flick in Billboard magazine.

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