Martinelli said:

for the most part its not.....

example:

my and my nigga's went out...

or me and my faggots went out..

would probably slide through...

example of what wouldnt:

you nigga

or

you faggot (directed towards a participant of this site)..



get it?

I guess...

Martinelli said:

Well fact of the matter is Jimmy Jam & Terry Lewis fame are much bigger than Patrick Lenoard and whomever else helped produced Madonna's first album, fuck that. PLUS the Minneapolis Sound is what helped us get here isnt it? [snip-sos]

sirnozedevoidofunk said:[quote]

Martinelli said:

Pat Lenoard isn't on that Album, Who cares if Lewis & Jam r bigger
I'm just saying what i Like about 'the 1st album'...& btw it's long
way from Minneapolis 2 Europe.

Here's my review of Madonna:
5 stars

Over two decades after this seminal release, it is hard to envision the world of music without Madonna. Her sphere of influence quickly enveloped the globe and she has remained a dominant force in the industry, both loved and hated. She gave way to a host of imitators and soundalikes, both successful and long forgotten. Her image and music have become so ingrained in the collective consciousness of numerous generations that it is hard to believe that her eponymous debut initially caused little more than a ripple in the mainstream pool. Nevertheless, Madonna is the machine that got the ball rolling and stands as one of her most consistently solid efforts.

Make no mistake about it- Madonna is a dance album. Critics of the time lambasted the release in the wake of the anti-disco movement. Regardless, no fewer than four of the eight tracks have become irrefutable 80s anthems. Despite its reliance on numerous synthesizers and drum machines, the music is still fresh. Successfully updating elements of disco and mixing in rock and an urban groove, the album found an audience in both clubs and the street (really!) before making waves on pop radio. From the opening whirring synth runs of "Lucky Star" through to the closing electro-glitz of "Everybody", Madonna weaves through assorted styles and rhythms, interjecting fun and attitude throughout.

The album is anchored by six- yes, six- singles aimed at different markets. Her earliest offerings immediately resonated within the club scene. "Everybody" with its rubbery synthesizers and simple drum machine was a call to arms of club-goers everywhere to "get up and do your thing". And did they ever. The cut rocketed its way to the top 3 in the club chart, a feat matched by the subsequent double A-side of "Burning Up" and "Physical Attraction". The latter of these is slithering synth seduction, while the former is just as evocative and suggestive as ever, with Madonna pleading, "do you wanna see me down on my knees, bending over backwards now would you be pleased?" Expertly blending rock and a funky synth bass with its frenetic club pulse, "Burning Up" offers a glimpse of her next conquests and stands as one of her greatest songs.

The next batch of singles- all classics, thank you- established a firm foothold in the mainstream never to be relinquished. The first of these, "Holiday" sways with a care-free groove augmented by a throbbing synth bass and funky guitar licks. Its sweeping appeal was so great that it lured both the urban and pop markets in addition to becoming her first number 1 club hit. The song lives on as a timeless call for celebration. "Lucky Star" and "Borderline" ushered in the era of The Madonna Video, providing perfect fodder for the burgeoning MTV. "Lucky Star" launched Madonna as the icon of jelly-bracelet glitzy style and attitude set to the appropriate edgy and visceral dance groove while "Borderline" showcased a more vulnerable heroine. Both would set off an amazing run of seventeen consecutive top 10 pop hits.

The other two tracks are less noteworthy solely for their lack of exposure. Both songs address romantic woes, "I Know It" effectively shuffling along to a poppy groove and "Think of Me" thumping its dissatisfaction. It is hard to envision these songs not having the same charming effect if they had been likewise released as singles as both are strong cuts.

With her first release, Madonna would seduce many different markets, setting the stage for her eventual mass takeover. Her voice is young and hungry, the beats are intoxicating and the melodies are unforgettable. What more can a dance album offer? While not as notorious as its successor Like a Virgin, Madonna is nevertheless a much more focused and thoroughly satisfying offering.
[Edited 8/4/05 22:29pm]

Moonbeam said:

Again, quite nice. If Holiday, Lucky Star and Borderline are the big 3, what would you consider to be the 4th 80's classic?

TRON said:

I would consider both Everybody and Burning Up classics, but I don't think anyone could discount both.

Moonbeam said:

In your review you mentioned that no fewer than 4 have become classics. I just wondered if you were including only one of those.

TRON said:

That's why I said "no fewer" because personally I'd say there are 5 classics but a case could be made for 4.

Moonbeam said:

They've held up much better than most of the "Like a Virgin" ones too.

TRON said:

Yeah. Here's my review for that!

3.5 stars

Throughout 1983 and most of 1984, Madonna slowly gathered momentum with each successive single from her eponymous debut. The stage was set for a massive breakthrough, which was delivered with the blockbuster album Like a Virgin. Bolstered by some perfect pop singles that would become her anthems, Like a Virgin is a serviceable album typical of 80s pop artists: heavy on the hits and coated with filler.

To ascend to her throne, Madonna enlisted the help of a number of writers as well as super-producer Nile Rogers to polish her sound at the expense of the grit that gave her first album so much charm. Regardless, the formula worked, launching Madonna's career into the stratosphere on the heels of such monstrous hits as the title track and the bouncy "Material Girl". Already a multi-media juggernaut, Madonna's imprint on society was cemented in stone with the videos for these tracks, which feature our heroine frolicking seductively in a wedding dress and parading around in an homage to Marilyn Monroe's "Diamonds Are a Girl's Best Friend", respectively. The lesser known hits (but still hits, mind you), "Angel" and "Dress You Up" offer relentless melodies and pep and really shine.

The remainder of the album is a hit or miss affair. "Over and Over" leaps out as the album's most energetic and uplifting track, while a cover of "Love Don't Live Here Anymore" proves to be Madonna's first successful ballad. Unfortunately, the other tracks are much, much worse. "Shoo-Bee-Doo" is embarrassingly unforgivable saccharine and stands as one of her weakest efforts to date. "Pretender" and "Stay" are only marginally better, both vapid pop-by-numbers offerings that could have been sung by anyone. It is worth noting that the album would have greatly benefited from the inclusion of the B-side to "Angel", "Into the Groove", which sees Madonna revisit her affinity for club bangers. The track immediately received much more attention than its A-side and would easily tower over the entire album if present.

In effect, Like a Virgin works better as an era than an album, per se. It was monumentally successful in achieving its goal of mass appeal, selling over 10 million copies in the US alone and established Madonna as an icon of pop. The singles and videos are unforgettable, but ultimately the album does not hold together very well as a whole. Ever the chameleon, Madonna would soon completely transform both her image and her style to set even more trends with the subsequent album, the more mature True Blue. As a result, Like a Virgin looms large as the only document of her bubblegum megastardom.

I can agree with most of that, except I quite like "Pretender".

I love "Shoo Bee Doo"

Madonna.

Control is very good too though.

DavidEye said:

How come you keep posting this one?