It was great – there wasn't any infighting or any of that kind of shit. Reggie wrote two of the songs, "Borderline" and "Physical Attraction." The rest were Madonna songs.
"Borderline" has a stylistic similarity to "Never Knew Love Like This Before" [the 1980 Grammy-winning Stephanie Mills song that Lucas co-wrote and co-produced], particularly in the front, with Dean Gant's electric piano introduction.
This was the first record I ever used a drum machine instead of a drummer. And the bass on "Borderline" is an ARP 2600 synthesizer, but the great Anthony Jackson – who did that intro on the O'Jays' "For the Love of Money" – is playing along on an electric bass guitar, and they're playing so tight you can't tell the difference.
I remember telling Seymour, when he was giving me grief for being in the studio every day, that Madonna was going to be the biggest act he ever worked with. He laughed and said, how big is she going to be? My line was "Seymour, she's going to be bigger than Olivia Newton-John!"
I dared to believe this was going to be huge beyond belief, the biggest thing I'd ever had, after I heard "Borderline." The passion that she put into that song, I thought, there's no stopping this girl. All of her energy – my God, I never saw anybody work this hard in my life. And then make it look so easy.
During the making of the album, we would walk down the street and people would just stop and gawk. This is before she was famous. She just had that look and that vibe; there was no stylist working with her. It was all her. We'd walk into a restaurant and people would stop eating and just stare.
There's no way to get around it, Madonna exudes a lot of sexuality. She would curse a lot, talk about sexual things a lot in a joking way. She was more liberated. So you picked up her energy when you were around her. You could tell this was somebody who was going to work with being a celebrity well if she was able to achieve it. That's what she wanted more than anything. She would always come into the studio with biographies of famous movie stars from the Thirties, Forties and Fifties. She spent time studying what she was thinking about doing.
She'd really put it out there in the studio, and not in a self-conscious way. It wasn't crude, it wasn't coarse, it didn't seem like she was just selling a little sex to sell a few more records. So working with her, you could play off that. She's a pretty good improviser, on the tags – you know, the ends of the records – and on "Burning Up" when she's like "I'm burning up, "Unh! Unh! Unh!" me and the engineer were like "This is great, man!" So we're just like, "Madonna, do it one more time!" So we kept making her do it over and over, just to get off on it. But you hear it on the record; it's a very erotic record.
We had this really fun guitar thing on "Lucky Star," and then she had a meltdown about guitarists – she related an experience where a rock guitarist she was sharing the stage with turned up his guitar, and upstaged her with volume. So we never completed that version.
We finished the album, and I wanted another song. Something much more uptempo. I needed to get more money to finish the record. So Seymour said, "Take her down to L.A., have her meet the executives at Warner Brothers."
At Warner Brothers, when they first met her – Mo Ostin, Michael Ostin, Lenny Waronker – they said, "She wants to sing black music, so just have her go promote her singles at the black radio stations." Which is what she did. But they didn't have a vision of, "Oh my god, she's going to be an enormous pop star." Because she expressed an interest in black music, they said, "Oh! Go sell it to the black people, then." That's how she was visualized.
But once she went out to L.A., everybody started buzzing. I said to Lenny Waronker, "I need an up-tempo song; will you give me 10 grand?" He said yes.
That trip to L.A., Madonna didn't have a manager. We decided to get somebody based in L.A. to deal with Warner Brothers. So we met with Freddy DeMann. At the time, Freddy was managing Michael Jackson. So we go into Freddy's office and we're having this great meeting, his assistant comes in, and says, "Freddy, you have a call. Can you take it?" He says, "You guys stay here, watch this video, let me know what you think. It's premiering on MTV in about two weeks." Freddy puts in a video, presses play, shuts the door. Madonna and I watch the "Beat It" video. As soon as the video ends, I say, "This guy's your fucking manager." She says, "Yeah."
So I went back to New York with the money in hand and went to Jellybean [Benitez] and Reggie Lucas and maybe two other guys, and said, "Whoever comes up with an up-tempo dance song gets to produce it." Literally three days later, Jellybean comes into the office and plays me a demo of "Holiday," and it's like, "You win."
Lisa Stevens, co-writer, "Holiday":
Curtis Hudson and I wrote "Holiday" for the group we were in, Pure Energy.
Curtis Hudson, co-writer, "Holiday":
Lisa was playing [sings opening chords], but she was playing it like a ballad. It wasn't even in the rhythm of "Holiday," but I heard something. The whole melody came together in my head over a couple days before I wrote anything down. Then it just poured out of me. We played it for everybody we knew, producers, artists – everybody was excited. Kool & the Gang were like, "Wow, that's a smash."
We went into Mix-O-Lydian Studios in New Jersey and cut "Holiday." Our record company said it wasn't a hit.
We already had songs that were doing well in the clubs, we just never did break as a pop act. We played the Funhouse, the Paradise Garage, Studio 54. Jellybean was DJing at the Funhouse, so we met Madonna through him. When I first saw her, she had all these rags tied around her dress and all these accessories. I was like "What is she wearing?"
Jellybean told us Madonna was looking for one more song for the album. He asked us if we had a song for her, and we said, here – we have "Holiday."
So we went into Sigma Sound in New York with Jellybean, and we had the demo tape in the studio, and matched everything to that. I played guitar on it, my brother played the bass, and we brought Bashiri Johnson in to do percussion.
Jellybean hired me to put my own touch on it. I was using new equipment at the time. The Oberheim System, which was the OB-X synthesizer, the DMX drum machine, and the DSX sequencer. I was reading the manual while I was programming in the studio. It was very primitive, but it was state of the art at the time. It allowed me to sort of have 12 hands at one time – to program the drums and sync it to the OB-X and some other keyboards – a bass part on the Moog, some string sounds. Jellybean and Madonna came to my house, I pressed play, the computer played part of the track. They loved it. We went in the next day, and I overdubbed the piano solo. Madonna played the cowbell. A couple of days and it was done.
We weren't there when she did the vocal sessions, because she wanted privacy or whatever, so Jellybean said, "Would you guys mind?" We said, "No, if that's the way she likes to record." She didn't know us that well, so maybe with Lisa doing the vocal on the demo, Madonna didn't want to be influenced. When I first heard it, I was like, "Wow, okay, I've got to get used to hearing it without all the soulful riffs that Lisa did." But once I'd really listened to it, I realized it was going to be more universal. Since she was pretty much sticking to the melody, it was all about the song.
At that point the jig was up. Everyone knew she was a little Italian girl. We originally had a drawing of her. But it was a little too soft, so we decided to go with a photo shoot.
Carin Goldberg, art director:
When I heard the name Madonna, my eyes just sort of rolled back in my head. I thought, "Just what we need, another gimmicky one-name girl singer who will have one album."
We had a meeting, and she showed me her new loft. we talked a little bit. Even at that time, she was not warm and fuzzy, she was very focused, very clear about the parameters that this was business and not a friendship. There was no pretense or bullshit, and I really liked that. She knew what she wanted.
There was no discussion of what she would wear. On the day of the shoot, she showed up at the studio in her "Madonna outfit" and danced to her music while the photographer, Gary Heery, shot. I zeroed in on her bracelets, and borrowed more from Gary's girlfriend, added those to her wrists and told Gary to focus on them. They were clearly her unique trademark. The shoot took no time at all.
As soon as we saw the proofs, that it was it. It was just perfect.
Sire Records released 'Madonna' on July 27th, 1983. It entered the Billboard 200 chart at Number 190 over a month later. The album has since been certified five times platinum.
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