"Burning Up" is a song written and recorded by American singer Madonna and produced by Reggie Lucas. In the early 1980s, after leaving the band Emmy, which she had formed with drummer Stephen Bray, Madonna pursued a solo career, carrying with her demos of "Everybody", "Ain't No Big Deal", and "Burning Up". In 1982, she met DJ Mark Kamins at New York City's Danceteria nightclub; he played "Everybody" to a positive crowd reaction and later introduced her to Sire Records. Label president Seymour Stein signed Madonna for two twelve-inch singles, and the success of "Everybody" in the dance scene led to approval for a full album. Madonna chose Lucas as producer, though creative disagreements led to his departure. She then enlisted John "Jellybean" Benitez, her boyfriend at the time, to remix several tracks, including "Burning Up."
The song was recorded at Sigma Sound Studios and released as a double-sided single with "Physical Attraction" on March 9, 1983, and later included on Madonna's self-titled debut album. A dance track with new wave influences, "Burning Up" incorporates guitar riffs, synthesizers, and lyrics that juxtapose sexual desire with themes of power and self-assertion. The single received positive critical response and reached number three on Billboard's Dance Club Songs chart, and number 13 in Australia. Its accompanying music video, directed by Steve Barron, depicts Madonna in a white dress lying in a road, initially appearing submissive before taking control —an early example of her use of sexual imagery to assert dominance. The video has been cited as foundational to the visual and thematic style that would define her career. "Burning Up" was promoted through television and nightclub appearances, and later included in four of Madonna's concert tours, most recently the Celebration Tour (2023–2024). It has been covered by artists such as Iggy Pop and Britney Spears.
Background
In the late 1970s, Madonna was working to launch her music career in New York City. She began as the drummer for the band Breakfast Club, led by Dan and Ed Gilroy, but left in 1980 after a dispute with Dan.[1][2] She then formed a new band, Emmy, with her ex-boyfriend Stephen Bray.[1] In 1981, Madonna caught the attention of Gotham Records after a gig at Max's Kansas City, but the partnership ended quickly due to creative differences —Gotham wanted a rock and roll sound, while Madonna preferred dance and disco.[1][3] By 1982, she and Bray were living together in a rehearsal studio, where they produced a four-track demo with songs like "Everybody", "Burning Up", and "Ain't No Big Deal".[3] Without a label, Madonna began promoting the tape herself at local clubs.[3][4] She met DJ Mark Kamins at Danceteria nightclub. After hearing "Everybody," Kamins introduced her to Seymour Stein, president of Sire Records, who signed Madonna for two twelve-inch singles.[5]
Following the release of "Everybody" in October 1982 and its success in the dance scene, Sire approved the recording of a full album.[6][7] Madonna chose not to work with Bray or Kamins and instead collaborated with Warner Bros. producer Reggie Lucas.[7] Lucas contributed new songs, including "Physical Attraction" and "Borderline", but creative differences soon emerged. Madonna was dissatisfied with Lucas's production style, which she felt strayed too far from the minimalist sound of her demos.[5] Lucas ultimately left the project, and Madonna brought in then-boyfriend John "Jellybean" Benitez to remix the remaining tracks.[5] For "Burning Up," Benitez added additional guitar riffs and vocals to finalize the track.[5]
Musically, "Burning Up" is a dance track with new wave influences and a minimalist arrangement featuring drum machines, electric guitar, and synthesizers.[5][11][12][13] The song includes tom-tom drum patterns similar to those used by Phil Collins, as well as what were considered cutting-edge synthesizer sounds at the time.[14] Its lyrics conflate sexual desire with ambition, employing double entendres to express themes of submission and self-assertion. The refrain consists of a repeated three-line phrase, while the bridge highlights Madonna's declaration of having "no shame" and being "unlike the others".[5] According to sheet music published by Alfred Publishing Inc., "Burning Up" is composed in the key of B minor with a tempo of 138 beats per minute. It is set in common time and follows a chord progression of Bm–Bm–A–E, with Madonna's vocals spanning from A3 to B4.[15]
Release and chart performance
The double-sided single "Burning Up" / "Physical Attraction" was released on March 9, 1983.[16] The cover art was designed by Madonna's friend Martin Burgoyne.[17] It debuted at number 66 on Billboard's Dance Club Songs chart the week of April 9, eventually peaking at number three a month later.[18][19] By September 1983, the twelve-inch single had sold over 150,000 copies, according to a Warner Bros. Records advertisement in Radio & Records magazine.[20] In Australia, the single entered the Kent Music Report in November 1983 and reached its peak position of number 13 nearly eight months later.[21] "Burning Up" was later included on Madonna's 2009 compilation albumCelebration, while an early demo version appeared on Pre-Madonna (1997).[22][23]
Critical reception
Upon its release, "Burning Up" received generally positive reviews from music critics. Billboard's Brian Chin described it as a "fast [...] terrific one-two punch," while Rolling Stone's Don Shewey called it simple but clever.[24][25] Rikki Rooksby, in The Complete Guide to the Music of Madonna, noted its resemblance to "the disco end of new romanticism", comparing it to Gary Numan's work, though he considered it "noticeably weaker" than other tracks on Madonna.[5] Santiago Fouz-Hernández, co-author of Madonna's Drowned Worlds, praised its upbeat dance qualities, and AllMusic's Stephen Thomas Erlewine highlighted it —alongside "Physical Attraction"— for its "darker, carnal urgency".[26][27] Writing for Entertainment Weekly, Jim Farber asserted the song proved Madonna could "also rock", while Pitchfork's Jill Mapes found it a "striking" single.[28][29] However, some contemporary reviews were less favorable. Terry Hazlett of the Observer–Reporter found it "inoffensive, danceable [but] ultimately forgettable", and The Washington Times described it as a "nugget better left buried".[30][31]
In retrospective assessments, "Burning Up" has been increasingly recognized as a highlight in Madonna's catalog. Entertainment Weekly's Chuck Arnold called it "another shoulda-been hit that became a fan favorite after she made it big", and described it as "the most rocking thing she has ever done", drawing from the 1980s New York punk scene with "fiery attitude and passion".[32] Similarly, BBC News' Mark Savage labeled it one of Madonna's "overlooked gems," and Adam Graham from The Detroit News called it "underappreciated".[33][34] Mark Lore of The Portland Mercury described it, along with "Everybody," as a "gritty New York anthem" overshadowed by later hits like "Holiday" (1983) and "Borderline" (1984).[35]
On his ranking of Madonna singles, HuffPost's Matthew Jacobs placed it at No. 41, calling it an "outtake from the punk persona [she] never fully embraced", while PinkNews' Mayer Nissim likened its sound to early New Order or late Joy Division.[36][37] The song placed 21st in rankings by TheBacklot.com and The Arizona Republic, with writers praising its assertive, punk-influenced energy and comparing it to the work of Pat Benatar, and Michael Jackson's "Beat It".[38][39]The Advocate called it "one of the sexiest songs of the [1980s] decade", while Parade and Slant Magazine both ranked it 32nd among Madonna’s best.[40][41][42]Billboard placed it at No. 11, describing it as an "irrepressible" song that showed Madonna as a "pioneer of female Big Dick Energy".[43]Idolator included it among her "10 best songs that radio forgot," and The National Student ranked it third on a list of the singer's most underrated tracks, calling it an "irresistibly catchy, quintessentially '80s" song.[44][45]
The music video for "Burning Up" was directed by Steve Barron, known for his work on Toto's "Africa" (1982), "Billie Jean" (1983) by Michael Jackson, and Eddy Grant's "Electric Avenue" (1983).[46] Barron initially declined the project when approached by Sire Records' Simon Fields, stating the song "didn't have the atmosphere" he was looking for. However, Madonna —an admirer of the "Billie Jean" video— persistently lobbied for his involvement until he agreed.[46] Upon meeting her in New York, Barron was struck by her charisma and unconventional confidence. The encounter inspired the idea for one of the video's shots: a low-angle close-up of Madonna's face pressed to the road.[47]
Filmed over two nights in Los Angeles, the video's concept was not directly based on the lyrics but rather a "mish-mash" of Barron's visual ideas, as he admitted he didn't fully connect with the song.[46] Madonna had significant input on her appearance, wearing a white mini-dress, crucifixes as earrings, and typewriter belts as bracelets.[5][48] Actress Debi Mazar served as the make-up artist, and her then-boyfriend Ken Compton played Madonna's onscreen lover.[17] Barron later recalled that a seven-ton crane used to film a nighttime boat sequence nearly toppled onto the singer.[46] The video premiered on MTV on October 8, 1983, and was later included in the Celebration: The Video Collection compilation (2009).[49][22]
Analysis and reception
The video was noted for its contrasting imagery and has been widely interpreted as a counter-text to the song's lyrics.[50]Rolling Stone described it as a mix of "disparate images of illuminated busts and cars driving on water" with scenes of Madonna lying in the road.[46] The narrative presents her as a seemingly submissive figure, expressing devotion to her lover (Compton), who drives an Amphicar. During the lyric "Do you want to see me down on my knees?", Madonna kneels in the vehicle's path, but her defiant gaze and tone suggest resistance.[50] Scholars such as Robert Clyde Allen argued that the visuals subvert the lyrical message, shifting it from vulnerability to empowerment. The video ends with Madonna taking the wheel and smiling —seen as a symbolic reversal of control.[17] Andrew Morton described it as the public’s first glimpse of Madonna’s sexual politics, while Allen noted its use of parody and excess anticipates later works like "Material Girl" (1985).[50][17]
Further analysis has highlighted religious and gender symbolism. Allen saw references to Christian symbolism as a critique of traditional portrayals of female subordination, while Georges-Claude Guilbert noted the male character's diminishing presence.[50][51] James B. Twitchell interpreted the lyric "I have no shame" as a rejection of pop music's conventional female roles.[52] Retrospective reviews have emphasized the video's significance in shaping Madonna's early image. Jon Pareles of The New York Times Times compared her poses to those of Marilyn Monroe, and Rolling Stone called the video representative of early MTV’s stylistic experimentation.[53][46] Jill Mapes identified it as an early example of Madonna using sexual imagery to assert control.[29] Malone Méndez noted it introduced a recurring theme in her career: "She's the one in charge".[9] Eric Diaz of Nerdist News highlighted the lasting influence of its styling —rubber bracelets, chains, and bleached roots— while Louis Virtel of TheBacklot.com called it a defining moment in Madonna's visual evolution.[54][55]
To promote "Burning Up," Madonna appeared on several British television programs and performed at various nightclubs, including Discoring, The Tube, and Manchester's The Haçienda.[56][17][57] According to biographer Andrew Morton, however, these early performances were not well received by British audiences.[58] The song was included in four of the singer's concert tours: Virgin (1985), Re-Invention (2004), Rebel Heart (2015–2016), and Celebration (2023–2024). On the first one, it was performed prior to the encore, with Madonna wearing a black fringed top and mini-skirt, posing suggestively around her band under orange stage lighting.[59]The Dallas Morning News described the performance as "crisp and energetic," although it was ultimately omitted from the Madonna Live: The Virgin Tour video release.[60][61]
On the Re-Invention Tour, Madonna gave the song a rock interpretation, playing a black Gibson Les Paulelectric guitar while dressed in military fatigues.[62] The performance included video projections of war and sexual imagery, which The New York Times compared to camcorder footage evocative of the prisons of Abu Ghraib.[63] The Daily Herald highlighted Madonna's ability to recast the song's "adolescent whine" into "adult certitude".[64] A similar arrangement was used on the Rebel Heart Tour, where Madonna performed with a Gibson Flying V guitar and wore a nun-inspired outfit.[65][66][67]Rappler described the rendition as confident and charismatic;[68] it was later included on the Rebel Heart Tourlive album (2017), recorded during her Sydney performances.[69] The guitar-led version returned on the Celebration Tour, with Madonna dressed in a punk-style tailcoat designed by Dilara Fındıkoğlu.[70] The performance featured VHS-style visuals referencing her early days at CBGB, and The Guardian's Laura Snapes described the rendition as "brilliant".[71][72]
Britney Spears included a cover of "Burning Up" on her Femme Fatale Tour (2011), during which she performed the song while straddling a giant, glitter-covered guitar.[76] The performance received mixed reviews; Rolling Stone' Barry Walters felt it lacked Madonna’s signature presence, while Billboard's Sarah Maloy described a leaked studio version as "glammed-up without a hint of the '80s to be found".[77][78] The song was featured in a 2020 episode of the twelfth season of RuPaul's Drag Race, where contestants Brita Filter and Heidi N Closet performed it in a lip sync challenge —won by Heidi.[9]
1 2 Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. p.188. ISBN0-646-11917-6. N.B. The Kent Report chart was licensed by ARIA from mid-1983 until June 12, 1988.
1 2 Burning Up / Physical Attraction (twelve-inch single liner notes). Madonna. Sire Records. Warner Bros. 1983. 9 29715-0.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Burning Up / Physical Attraction (European seven-inch single liner notes). Madonna. Sire Records. 1983. 92-9609-7.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Burning Up / Physical Attraction (Australian seven-inch single liner notes). Madonna. Sire Records. Warner Bros. 1983. 7-29609.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Burning Up / Physical Attraction (European CD Single liner notes). Madonna. Sire Records. Warner Bros. 1995. 7599 29715-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
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