What It Feels Like For a Girl discography online – 35 different pressings

The third (and final) single to be taken from ‘Music’ was ‘What It Feels Like For a Girl’. A song that was praised by critics from the start, so it wasn’t a very surprising single choice.

The music video was a surprise though, of course Madonna accomplished the unexpected and turned the music video into a violent mini-movie directed by Guy Ritchie. Instead of the album version of the song a remix played throughout Madonna’s road rage. 

A spanish version of the song was also recorded ‘Lo Que Siente La Mujer’ which was the version chosen to perform during the Drowned World Tour in 2001. Madonna has yet to include the original song in her setlist.

In the discography we have collected 35 different pressings including a rare promo CD with ‘That Kid chris’ remixes which were never commercially available and mega rare Mexican promo CD for the Spanish version (double A side with ‘Amazing’

Check it all out HERE

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PopCulture25YL – March 1994: Madonna vs. Letterman, The Crow Soundtrack, and More

Revisiting Madonna’s 1994 David Letterman Appearance   by Jason Sheppard

“Our first guest tonight is one of the biggest stars in the world, and in the past 10 years she has sold over 80 million albums, starred in countless films and slept with some of the biggest names in the entertainment industry.”

With that introduction by David Letterman, on March 31st, 1994, world-wide mega-star Madonna walked out on stage of the Ed Sullivan Theater while Paul Schaffer and the CBS orchestra played “Holiday” for her entrance.

In Madonna’s hand was what appeared to be a cloth item of some sort which she handed to Dave while he was standing to greet the smiling star.

The item was a pair of her underwear which she goaded Dave into smelling (he didn’t.)  Dave kept goading her into kissing a male audience member who very much wanted one (she didn’t.) After this, what unfolded was one of the most memorable and uncomfortable interviews in TV history.

“I’m only here because there isn’t a Knicks game. Don’t get excited,” the star began and with that opening comment, the audience immediately expressed their displeasure at the harmless but stinging insult. It didn’t get any better.

After numerous references to her underwear, her reported dating several members in the NBA (she was actually rumored to be dating the late rapper Tupac Shakur at the time) and her sex life some more, less than two minutes after she sat down, Madonna pointedly said to David Letterman, “You know, you really are a sick f–k!” This unexpected pronouncement caused the audience to scream and cheer while Paul and the band playfully struck some more musical notes from “Holiday.”

Read full article at 25 Years Later Site

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Madonna’s Like a Prayer Mixes the Sacred and Profane to Create Her Masterpiece

They say nothing is certain but death and taxes. I would add another certainty to that list, which is that wherever there is art, teenagers will spend their parents’ money on art about sex. But for most of history, the sex had to be tastefully disguised.

During Shakespeare’s lifetime, his non-theatrical poetry was especially beloved by college students. When it comes to lust, Romeo and Juliet has nothing on Venus and Adonis. Says Venus to her lover: “I’ll be a park, and thou shalt be my deer/ Feed where thou wilt, on mountain or in dale.” Which parts might be mountains and which might be dales is left to the reader’s imagination, and if mom walks in, then everyone can pretend that only the deer is horny.

The story of Madonna’s success is, in large part, a story of sex. When it comes to songs about that most-popular of recreational activities, the woman born Madonna Louise Ciccone was more tinkerer than trailblazer. In 1963, The Beatles may have only wanted to hold your hand, but by 1969 they were asking, “Why Don’t We Do It in the Road?” Al Green and Teddy Pendergrass treated intercourse with all the reverence of a medieval artist painting Jesus. And while there were many performances that preceded this moment, Olivia Newton John’s 1981 music video for “Physical” was a watershed moment in the expression of female sexuality. Newton John wears a skintight leotard, and sometimes the camera lingers on her legs or groin. But most of the attention is on the many handsome hunks, wearing little more than Speedos, who are stretching and flexing and glistening in the shower.

Newton John is more observer than observed. And that’s the big difference between her and Madonna. Madonna would never want you looking at someone else.

After the release of her 1984 debut album, Madonna, critics mocked her “helium” voice. But she instantly connected with teenage girls, and became a big draw for MTV. She dressed in fishnets, chains, and fingerless gloves, bulky cargo shorts, and midriff-baring tank tops. Her hair was messy and hip. Her earrings dangled past her kneecaps (well not quite). But her look was instantly iconic. Critics suggested she had more style than substance. Critics predicted she would be a one-hit wonder. Critics, if you can believe it, were wrong.

The genius of Madonna was the genius of reinvention, and the postpunk fishnets didn’t last long. Soon she was a material girl, for whom not even diamonds could ever be enough. She released two No. 1 albums in a row, buoyed by some of the best pop songs of the ‘80’s or any decade: “Material Girl”, “Papa Don’t Preach”, and “Like a Virgin”. Did you ever think the word “Like” could change the meaning of a song that much? With Madonna, sex was always part of the appeal.

The cover of her fourth album, Like a Prayer, showed a bare spanse of skin somewhere between mountains and dale. In anticipation of the album’s release, Pepsi signed Madonna to a $5 million promotional deal that included a two-minute commercial. The day after the commercial aired, Madonna released the first music video for her new album, “Like a Prayer”. And the day after that, she had been personally condemned by Pope John Paul II, and a worldwide boycott of PepsiCo products had begun.

Read full article at Consequence of Sound

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The album where Madonna truly expressed herself

When Madonna went into the studio in September 1988 to begin work on what would be her fourth studio album, she was the biggest pop star on the planet. Although not an overnight success – having toiled hard until landing a deal with record label Sire – her career experienced a meteoric rise from the moment she released her debut single Holiday in 1983.

And yet in the 12 months before laying down new material, she had put the music on hold as she tried to prove herself as an actress. A pair of big budget movies, Shanghai Surprise and Who’s That Girl, had failed to wow the critics and her performance in David Mamet’s Broadway play Speed-the-Plow had delivered so-so reviews.

There was a lot of turmoil in her private life, too. She was in the wars with husband Sean Penn and they would file for divorce at the beginning of 1989, and she had become fixated that, now aged 30, she was the same age as her mother when she died of breast cancer. Madonna was just five-years-old at the time and was brought up by a difficult father – but more about him later.

While she had changed the course of pop – thanks to some of the most emblematic songs of the decade – she was determined to be taken seriously as an artist and the resulting album, Like a Prayer, certainly delivered on that aspiration.

Read full article at Belfast Telegraph

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Co-Writer Behind Madonna’s Vogue Moves Forward With $500,000 Suit Against Warner/Chappell

Warner Music Group pays more to its own lawyers than it can to its songwriters.

Two years ago, the co-writer behind Madonna’s ‘Vogue’ filed a lawsuit against Warner Music Group (WMG).

Robert ‘Shep’ Pettibone claimed the major label illegally withheld royalties from the 1990 hit.

The move followed another lawsuit over another song.  VMG Salsoul sued Madonna and Pettibone for willfully infringing on a 1976 song, ‘Love Break.’

Siding with the artist and the songwriter, the 9th Circuit Court of Appeals upheld a lower court decision.  Yet, the appeals court overruled the lower court’s decision to award attorneys’ fees, totaling more than $500,000.

Filing his own lawsuit soon thereafter, Pettibone alleged WMG and Warner/Chappell “have admittedly withheld and failed to pay Pettibone royalties owed to Plaintiff for its defense of the VMG Salsoul lawsuit, despite Plaintiff’s demand that they pay these royalties to him, and despite giving them notice of breach.”

Read full article at Digital Music News

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Madonna: An Intimate Biography of an Icon at Sixty Paperback – 18 Apr 2019 (PRESS RELEASE)

Always provocative. Always talented. Always iconic and now finally understood.

For more than three decades Madonna has been generating headlines and topping music charts. J. Randy Taraborrelli has written the definitive biography of one of the most successful pop stars in the world, whose music has constantly evolved and who has remained relevant to a massive global fanbase throughout an epic career.

From the driven, ambitious young woman struggling to get a break in New York to the outrageous pop diva and more spiritual mother, the changing faces of Madonna are revealed. We see her relationships with Jean-Michel Basquiat, Tupac, Prince, Warren Beatty and what happened in her marriages to Sean Penn and Guy Ritchie. We see her embracing motherhood and today with five children, still recording and touring and defiantly living life on her own terms.

Madonna is based on decades of research and exclusive interviews with people speaking of her publicly for the first time – including friends, business associates and even family members. J. Randy Taraborrelli has also interviewed the star herself on numerous occasions and he draws on first-hand experiences to bring Madonna to life as not merely a sensational tabloid delight but as a flesh-and-blood woman with human weaknesses, alongside great strengths and ambitions.

‘A thoroughly professional job…makes her more, not less, fascinating.’ Lynn Barber, Daily Telegraph
‘A fascinating document of – ka-boom! – blonde ambition.’ Heat
‘A great read that’s as spirited as Madge herself…This is the Madonna biography.’ Daily Mirror
‘A book you will find yourself “just dipping into” for hours at a stretch.’ Evening Standard

J. Randy Taraborrelli is the bestselling and renowned celebrity biographer whose titles include Becoming Beyoncé, Michael Jackson: The Magic and the Madness, The Secret Life of Marilyn Monroe, Elizabeth, Call Her Miss Ross, Sinatra: The Man and the Myth and Once Upon a Time: The Story of Princess Grace, Prince Rainier and their Family. He regularly appears on TV as a news commentator and lives in Los Angeles.

Madonna by J. Randy Taraborrelli is published on 18th April 2019 (Macmillan, £9.99)
ISBN: 9781509842803 | Also available as an ebook.

Pre-order through Amazon.co.uk HERE
Or through Bol.com by clicking this below

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Behind one man’s effort to bring Madonna to Israel

Madonna, the iconic pop star, would seem to have little in common with Sylvan Adams, a Canadian-Israeli philanthropist. She’s outspoken; he’s mild-mannered. But they have a closer connection than you might first imagine. They’re both the same age and grew up just across the border from each other – Madonna in Michigan, and Adams in Canada.

Adams, who moved to Tel Aviv a few years ago, is currently spearheading an effort to bring the rock legend to his new adopted hometown to perform in May. After discussing it briefly while on stage at Keshet’s Innovative TV conference last week in Jerusalem, we caught up with Adams backstage to probe a little further.

In recent months, Adams helped bring a prestigious European cycling race known as the Giro to Israel and was also part of the team that launched a tiny spacecraft on a historic mission to the moon. So how does Madonna compare? He laughed. “It may not be as lofty, but it’s within the same theme.”

As the winner of the 2018 Eurovision Song Contest, Israel became the host nation for the 2019 outing, which is May 14-18 in Tel Aviv. The international singing competition enjoys a massive audience, with up to 600 million people watching the telecast worldwide. It launched the careers of ABBA and Celine Dion. But in the United States, which does not compete in the contest, it hasn’t taken on the same resonance.

“The Eurovision is a massive thing, but it’s not very well known in North America,” Adams said. “We’ve reached out to Madonna to try to add some glitz to the event and create more interest. It’s looking very good that she’s going to participate.”

And Madonna will do more than watch from the sidelines. “I decided to join forces with the Eurovision people here in Israel and to invite Madonna to come and sing during the competition and to coach some of the contestants and to make it more of a worldwide event, to make it more exciting and more impressive for an event that was already exciting and impressive.”

For Madonna, the trip to Israel this spring won’t be much of a stretch. She already has strong connections to the Mediterranean country. Since 2005, her manager has been Israeli producer Guy Oseary. He’s not only overseen her most recent albums and several very successful tours, he also released two books of his concert photography from those tours: Madonna Confessions and Madonna: Sticky & Sweet. The 46-year-old Jerusalem native also works with U2, Alicia Keys, Ashton Kutcher, Amy Schumer and baseball great A-Rod.

Read full article at From The Grapevine

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Madonna’s farewell from Portugal turns sour over row involving a horse

Madonna is at the center of a fresh controversy in Portugal, just as she is set to leave the country. The singer has accused the Portuguese of being ungrateful, an accusation that they have thrown right back at her. And the culprit behind this latest row? A horse, which was not allowed inside a palace for a music video.

Madonna, who has been living in Portugal since 2017, was set to film a video for the song “Indian Summer” in the Quinta Nova de Assunção palace in Sintra, a resort city near Lisbon.

The pop star’s attitude has incensed Portuguese authorities, who have reminded her of all the things they’ve done for her during her stay

Last week however, Sintra City Hall said the pop star could use the palace from March 15 to 20 but could not let a horse inside. The decision reportedly left her outraged.

In the script for the music video, Madonna was meant to pose next to the animal on the ground. But local authorities said a horse would threaten the safety of the building, given its wooden floor sits upon wooden beams and is “unstable, which prevents it from being used for activities that cause vibrations.”

Madonna called her agent to complain about what was happening. “My Queen, I am doing everything I can. I have called many people and sent various messages. Unfortunately the man who makes the decision is not available, but he will be,” he replied, according to messages revealed by the Portuguese newspaper Correioda Manhã.

Annoyed, Madonna responded that she didn’t have to wait and would film somewhere else. “I’ve already given a lot to this country and when I ask for a simple favor, one which will present Portugal to the world, the answer I get is negative,” she told her agent, adding: “This is your fault. You convinced me to come live here.”

It emerged in February that Madonna would be leaving Portugal in the next few months, to move to New York. A fleet of cars carrying suitcases was recently seen leaving the four-star Palacio Ramalhete hotel in Lisbon, where the singer has been staying for the last year.

The pop star’s attitude has incensed Portuguese authorities, who have reminded her of all the things they have done for her during her stay in the country. For example, Lisbon City Hall gave Madonna a reduced price on a parking spot; the soccer club S.L. Benfica welcomed her son so that he could practice regardless of his level; the international school Lycée Français Charles Lepierre accepted the singer’s twin girls even though there was a waiting list; and the Portuguese government fast-tracked her residency.

Read more at El Pais

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Madonna and Patti LuPone will apparently play big roles in ‘Pose’ season 2

Madonna Vogue

Season two of Ryan Murphy’s Pose, a groundbreaking TV series about New York City ballroom culture with a largely transgender cast, will apparently star beloved stage actress Patti LuPone and take place around March 1990, when Madonna released the “Vogue” track which introduced ballroom culture to the mainstream. (Though Madonna herself won’t actually star herself as a character in the show.)

At PaleyFest, the annual New York City TV festival, Murphy told trans actress MJ Rodriguez and gay actor Billy Porter that they’d both have plenty of scenes with LuPone, though Murphy stopped short of revealing what role the 69-year-old actress would play.

Murphy also revealed that trans journalist Janet Mock, Porter and trans musician and writer Our Lady J will all direct episodes in the upcoming season, reports Deadline.

The first episode of season two will take place on March 27, 1990, the day that Madonna released “Vogue.” Her song, which went on to become an international chart topper, featured several gay dancers and real-life ballroom performers in its music video including Luis Xtravaganza Camacho and Jose Gutierez Xtravaganza from the legendary ballroom House of Xtravaganza.

“Vogue” makes an interesting start to the show’s second season as it dropped near the height of the ongoing HIV epidemic and was seen as a major career landmark for Madonna. Madonna’s sexually charged and unapologetic performance in the music video flew in the face of ’80s-era sexual conservatism.

Some of her backup dancers on the Blonde Ambition world tour (which featured “Vogue” among other crowd-pleasing hits) later contracted HIV and sued Madonna for outing them as gay in the resulting tour documentary Truth or Dare.

Pose itself also has the largest LGBTQ cast in television history, with 140 trans actors and crew members and 35 non-trans LGBTQ characters. Its five main trans actresses of color overcame abuse, rejection, discrimination and poverty to become TV’s newest breakout stars.

Read more at Queerty.com

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Madonna Plots Comeback

She may be 60, but Madonna is plotting a comeback! Daisy and Rob Kendalldiscuss.

“I don’t think she’s an awesome singer. I never really have thought she was a great singer. But she’s a good entertainer and she’s really good at re-marketing herself. She’s a good marketer.” – Daisy

More at WIBC.com


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‘Like a Prayer’ Was Madonna’s First Masterpiece

By the time it was released in 1989, Madonna was already a bona fide superstar. Thirty years after its release, we look back at the album that established her as a meaningful artist

Madonna was already a superstar before she released Like a Prayer, which turns 30 years old this week. She had produced at least half-a-dozen era-defining hits (“Holiday,” “Like a Virgin,” “Material Girl,” “Into the Groove,” “Papa Don’t Preach,” and “La Isla Bonita”), and her previous album, 1986’s True Blue, had sold more than 25 million copies. But, in a way, she was also strangely underrated. When Like a Prayer came out in 1989, six years after she hit the ground running with her infectious debut single, “Everybody,” critics lauded Madonna for changing our conceptions around how a female pop singer could present herself and conduct her career. But they didn’t necessarily regard her as a “great artist.”

“Critics flock to her uneven product the way liberal arts magnas flock to investment banking,” Robert Christgau, the self-styled “Dean of American Rock Critics,” wrote in his review of True Blue. “So desperate are they to connect to a zeitgeist that has nothing to do with them that they decide a little glamour and the right numbers add up to meaningful work, or at least ‘fun.’”

Like a Prayer certainly confirmed Madonna’s flair for fun; with its kindergarten-friendly lyrics about “pink elephants and lemonade” and treacle-sweet, Beatles-y psychedelia, “Dear Jessie” remains one of her most charming singles. But the album as a whole, Madonna’s first undisputed masterpiece, also proved once and for all that she was a meaningful artist, not just an uncommonly savvy and driven pop star. She bared her navel on the album’s cover, and her soul in its songs.

Even three decades later, it’s difficult to separate the album from the scandal that surrounded its release. When the brilliantly provocative “Like a Prayer” video debuted in February 1989, just a day after the release of a high-profile Pepsi commercial starring Madonna, the Vatican and various religious groups condemned the clip for including allegedly blasphemous imagery. Here was Madonna dancing in front of burning crosses, kissing a Black Saint, and displaying what looked like stigmata on her palms.

Read full article at Noisey

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It can still take you there: Madonna’s ‘Like a Prayer’ turns 30

The opening still gives me chills.

A few seconds of a frenzied guitar, abruptly stopped by a slamming door. A hushed choir and a church organ give way to what sounds like an invocation.

Life is a mystery


Everyone must stand alone

I hear you call my name

And it feels like home

Madonna’s “Like a Prayer” album was released March 21, 1989 and forever altered her career and the course of pop music. Thirty years later, it remains a masterpiece and one of her crowning achievements.

The album revolutionized what it meant to be a woman in pop music and created a blueprint that every pop star has since followed. She wrote and sang brazenly about love and sex, religion and racism, family and freedom.

Miley Cyrus, Britney Spears, Katy Perry, Lady Gaga, Rihanna, Beyoncé, Ariana Grande, Taylor Swift, Christina Aguilera, Cardi B, Dua Lipa — they all owe a huge debt to Madonna.

The “Like a Prayer” album has sold 15 million copies worldwide. It was followed by the Blond Ambition World Tour, which kicked off May 4 and 5 at The Summit in Houston. The building now, ironically, is home to Lakewood Church.

It generated five U.S. singles but every song on the album is worth remembering and told its own story.

The title track elicited a firestorm of controversy because of the video, which prompted Pepsi to pull a commercial featuring the song. Madonna reportedly kept the $5 million advance.

The song itself is a whirlwind of religion, sex and a Prince guitar intro — and one of Madonna’s best.


“Express Yourself” and “Keep it Together” drew inspiration from Sly and the Family Stone. The “Express Yourself” video was inspired by the classic film “Metropolis” and at the time the most expensive ever made at $5 million. (Thanks, Pepsi.) They both placed Madonna in front of live instrumentation, a dramatic switch from her previously synth-heavy pop albums.

Read full article at HoustonChronicle

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Like a Prayer Dutch WEA promotional brochure (1989) – happy 30th

Happy 30th to masterpiece ‘Like a Prayer’! 

For this celebration Warner Music have a special 30th anniversary edition available through online streaming services (please see widgets). Unfortunately there is no physical remaster of this album out (yet), which is long overdue!

We have added this rare Dutch WEA promotional brochure to the Like a Prayer album promo page, dated March 17 1989. This brochure was sent out to inform on upcoming releases (we have previously shared the one that included the Like a Prayer single). In this brochure they inform on the various releases, promo ads and that this is without doubt the musical release of the year.

Check this out and much more in the Album Promo page

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Madonna’s ‘Like a Prayer’ at 30: Here’s Where She Goes From Superstar to Artistic Great

As 1989 began, there was no question that Madonna was already a decade-defining superstar. But no one knew if she, like Bee Gees to the ‘70s or Beach Boys to the ‘60s, would prove a decade-constricted artist whose relevance would wane as a new decade turned over.

Like a Prayer, the magnum opus of her first decade and arguably her defining creative statement, came out 30 years ago today (March 21, 1989) and established that Madonna was not a pop star for her time, but for all time. And in the process, it gave us one of the most unlikely No. 1 smashes of her (or any career) and forced the world beyond her teenage fanbase to acknowledge her formidable vision.

Since history is written by the victors, Madonna maintaining her pop culture dominance well past the ‘80s seems like a historical inevitability these days. But in 1989, that was hardly the case. While she’d netted six Billboard Hot 100 No. 1s prior to Like A Prayer and released five smash albums (three studio LPs, a soundtrack and a remix album), her sound had remained decidedly of the era up until this point. Even as her subject matter deepened on 1986’s True Blue(dedicated to husband Sean Penn, from whom she’d file for divorce in Jan. 1989), the sonic palette was unmistakably ‘80s: bubbling dance-pop for the high-energy numbers, pounding beats and widescreen production for the ballads, and her voice only occasionally stretching for maturation (as on “Live to Tell”).

Read full article at Billboard

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Thirty Years Ago, Madonna’s ‘Like A Prayer’ Cemented Controversy As A Pop Star’s Greatest Weapon

If released in 2019, Madonna‘s “Like A Prayer” video would have ignited a different controversy than the one it stirred up in 1989. Throughout the clip, broadcast in advance of the album of the same name, the singer dances in a field of burning crosses, the instantly and viscerally recognizable motif of the Ku Klux Klan. It’s not exactly her symbol to appropriate. A generous reading of the video suggests she is deploying the inflammatory image toward a commentary on racism in the United States. In the video’s narrative, a black man is arrested by white cops for a crime he did not commit. It’s the same old story: He witnessed a gang of white men assault a white woman, ran over to help her, found himself the one in handcuffs. The stories nursed by white supremacy insist he must be responsible for the violence, so into the can he goes. And then there’s Madonna, dancing in front of the KKK’s crosses, hinting at a link between the racists in uniform and those cowering under white hoods. She presages Rage Against The Machine’s 1992 refrain: “Some of those who work forces / Are the same who burn crosses.”

Thirty years ago, Madonna came under fire not for flashing the burning cross and not even for suggesting that the police are racists but for being horny for God. Before you see the video’s instigating event — the assault, the arrest — you see Madonna rushing into a church, distraught. She finds a wax saint in a cage. He weeps and comes to life, and she falls for him, taking him into her arms until he becomes a real boy. By today’s metrics, it’s a benign enough image, but in 1989 it was enough to send the American Family Association into a tizzy. Madonna had an advertising deal with Pepsi, and the AFA, along with other right-wing Christian groups, furiously called for Pepsi boycotts. Reagan had just left office, succeeded by Reagan-lite (George H.W. Bush). Pop stars couldn’t simply f*ck saints without repercussions.

Read full article at UPPROX

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Sex. Religion. Death. Conical bras. Madonna’s ‘Like A Prayer’ and Blond Ambition Tour at 30

Provocative and – at the time – shocking, Madonna’s fourth album ‘Like A Prayer’ rocked the establishment, and set a new template for self-empowered women in pop. The Blond Ambition world tour that followed, meanwhile, changed the face of live music forever. On the 30th anniversary of the album’s release, El Hunt tells the story

Some albums are worth judging by their cover. With two thumbs poked defiantly into a denim waistband – like a bedazzled answer to Bruce Springsteen’s ‘Born in the USA’ – the artwork for ‘Like A Prayer’ is the perfect visual for Madonna’s audacious, unflinching fourth record. Released on March 21, 1989, this daring exploration of catholicism, desire, bereavement, superstardom and pleasure is an unparalleled totem of pop music 30 years on.

Arriving three years after ‘True Blue‘, a record of bright, loved-up bubblegum pop gold, ‘Like A Prayer’ is abrasive and raw. Moving the focus away from presenting a collection of immediate wall-to-wall bangers, Madonna’s 1989 release feels more concerned with exploration instead. Hulking great ballad ‘Oh Father’ cleverly alludes to her fractured relationship with her father and god at the same time; not your typical album fodder. ‘’Till Death Do Us Part’ also nods toward her split from her then-husband. “I’m not your friend, I’m just your little wife,” Madonna sings, atop jaunty, fidgeting melodies.

Read more at https://www.nme.com/features/sex-religion-death-conical-bras-madonnas-like-prayer-blond-ambition-tour-30-2463908#OzP2UMoql3val37H.99

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