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Includes rare 12" dance remixes previously unavailable on CD. The title track, which, combined with her overt sexuality, caused waves of controversy at the time, has now become part of movie folklore, with director Quentin Tarantino letting his brutish cast mull over the meaning of its lyrics for the opening sequence of the film Reservoir Dogs. It is somehow gratifying that the Madonna album that unleashed her on the world should have become a cultural icon and reference point for the 80s. A telling blend of lush pop songs and street suss--the dancing went on all through the night. The British import CD (SIRE 925181-2) contains 1 extra track "Into The Groove" from the "Desperately Seeking Susan" soundtrack and has a running time of 43:22. Source: MTV.com 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'm 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 rythm and synth tracks like a kid on a carnival ride. On the 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. Source: Rolling Stone, Debby Bull, January 17, 1985
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