Who writes songs for Madonna


Like a Virgin (1984)

Madonna grew up in New York clubs in the late seventies, drumming in post-punk and new wave bands. Later on, Susan Seidelman, Richard Hell and Scorsese's “After Hours” were fixed points. This socialization could be heard everywhere: in the razor-sharp guitar sound, the rustling drums. With Nile Rodgers and chic drummer Tony Thompson, she engaged two musicians who were more committed to the pompous pop sound. "Into The Groove" is about love as a principle of eating and being eaten. “Material Girl”, like many songs about yuppies, has a poor definition - but characters like Gordon Gekko, Patrick Bateman and the “Material Girl” are also sexy in their dominance. The title track, "Like A Virgin," is more subversive. "People were racking their brains over me," said Madonna at the time. "Was I the Virgin Mary or a whore?"

True Blue (1986)

The hangover after that "Like A Virgin"-Party. In “Papa Don't Preach” a pregnant girl makes a decision: “I'm keeping my baby.” The considered tone (“I need your help, Daddy, please be strong”) contrasts with the jumping “Virgin” - Madonna in her wedding dress with crucifixes dangling like jewels. The “Holiday” teen from 1983 and the hedonist from 1984 became a role model for women who wanted to determine themselves and make men responsible. The title track, "True Blue", would also work as a rockabilly - there is only one important color in rock'n'roll, and jeans are blue too.

Like a Prayer (1989)

Unthinkable today, 30 years ago, Madonna was fired by her advertising partner Pepsi for kissing a black Jesus in the video. It is still conceivable today, however, that the Vatican would write a protest note. Their fourth record is rarely about sex. "Life is a mystery", she sings and, accompanied by a gospel choir, asks for redemption. The first of two “grown-up” albums (the second is "Ray Of Light"), which no longer portray fictional, but biographical tragedy: divorce (“Till Death Do Us Part”), family breakdown (“Oh Father”) and bad coupling. “This is not a love song,” she sings in Prince's face.

Confessions on a Dancefloor (2005)

That Madonna convinced Björn Ulvaeus and Benny Andersson with a handwritten letter, “Gimme! Gimme! Gimme! (A Man After Midnight) “to be able to use it as a sample sounds like made up. But this album, conceived like a DJ set (there are no pauses between songs) documents Madonna's courage to dedicate herself to just one style for the first time with disco. She wanted to sound like “ABBA on drugs” - and how well she did it with producers Stuart Price and Mirwais! The high-energy of “Jump” should be covered by Hot Chip long ago, and the electro-hard rock of “I Love New York”, which swings through the universe with its echoes, is their most underrated song. The “Confessions” tour was the last to celebrate current songs as well as the classics.


Ray Of Light (1998)

“What do you mean: I reinvented Madonna?” Asked William Orbit - “she invented me!” A win-win situation. Madonna's comeback continues to this day, and her producer established the soft beats with bubbling-bubbling-water drops that were popular at the turn of the millennium. Madonna has been measured by the success of this work for 21 years. The sound hasn't aged well, but the compositions are timeless. She sings about being a mother (“Little Star”) and dares to try a kind of witch pop with “Frozen”; today one would say: Melisandre-Pop.

Music (2000)

Smart observers believed that Madonna's cowboy hat was a return to American values ​​in the era of George W. Bush. Hello? Seldom has she - here together with French house DJ Mirwais - been more forward-looking. There is probably no other 42-year-old woman in pop history who created a hit for the U-42 ​​generation that to this day is not only their most beloved, but also sounds like it was from today. Madonna recognized the stroke of genius and gave it the non-descriptive title “Music”: It could express modesty - or the claim to the last word in pop. In another video she sang, "Don’t tell me to stop," and sat on a mechanical bull. As if it could stay up for years.

Hard Candy (2008)

The beginning of the third career phase, which continues to this day: that of intergenerational loyalty in order not to lose touch. Madonna allowed R&B partners on an equal footing, created great, harmonious duets with Justin Timberlake ("4 Minutes"), Pharrell Williams ("Candy Shop") and Kanye West ("Beat Goes On"). For the last time she appeared integrated instead of, as is often the case today, overreaching and not really in the topic. Maybe she was two years late with the Timbaland production, but that way she had the last word in a genre again.


Madonna (1983)

She celebrated in the "Danceteria", had Jellybean Benitez as producer and used Linn's drum machine: it was her debut so 1983. "Holiday", as an anti-achievement society song the counterpart of "Material Girl", is remembered as her first number 1 in the USA; the single only made it to 16.

I'm Breathless (1990)

In 1989 “Batman” led to the boom in comic cinema. Warren Beatty's following "Dick Tracy" film was hollow, but co-star Madonna (as nightclub singer Breathless) was a convincing swing and jazz performer. For “Sooner Or Later” she didn't get an Oscar, but Stephen Sondheim, the author and composer.


MDNA (2012)

This is an example of the uncertainty-based false belief that is rampant among wavering stars today that you can force many hits with many producers. Madonna hired ten and only produced songs with a Minnie Mouse voice. The "Give Me All Your Luvin" clip in a Ronald McDonald setting, with Nicki Minaj and the under-challenged M.I.A., is scary.


Sex ”was perhaps Madonna's most ambitious project - and is of course out of print today: the Sado Maso scandal book including essays on the supplementary album "Erotica" from 1992. To see: Madonna smooches with Naomi Campbell and sticks her tongue into the ass of a slave. Some call it “post-feminist” today - at that time, of course, buyers were mostly men.

Precious items

Rarities and obscurities

"Lost Madonna Tapes 1979"

The first five demo recordings mixed with bed whispers with her partner. Madonna lived in the basement of a synagogue in Queens. Heard on YouTube.

"Take Me (I Want You")

Sent unsuccessfully to record labels in 1981 under the name Emmy And The Emmys. Hard rock inspired by Blondie.

"Each Time You Break My Heart"

For "True Blue"-Album planned, then passed on to the one-hit wonder Nick Kamen. Madonna sings in the background.


Single from the remix album released in Japan "You Can Dance" (1987). Megamix records were in then - Janet Jackson ("Control: The Remixes") and Phil Collins ("12 ″ ers") demonstrated it.

"Love Song"

With Prince. Summit of superstars that was sold below value because it was not released as a single. To be in love as a misunderstanding. Madonna demands: "Embrasse-moi!" Prince, naive: "What?"

"I'd Rather Be Your Lover"

On "Bedtime Stories" appeared as a duet with Meshell Ndegeocello, but the (better) demo was made with Tupac Shakur. Fire meets fire.

"I Want You"

The 1995 Marvin Gaye cover with Massive Attack documents a great vocal performance. When love is unfulfilled, she is in shape.

"Like An Angel ..."

… Passing Through The Room ”. She sings like Agnetha! One of the most beautiful ABBA songs, for "Music" written, then discarded, today on the net.

"Queen’s English"

A favor for the choreographers Jose Gutierez and Luis Camacho, who designed Madonna's “Vogue”. Officially her only backing vocals.

"Rebel Heart Demos"

13 demos of the album, which was only released four months later, were online - more vital and experimental than the final versions.