"Everybody" is a song written and recorded by American singer Madonna and produced by DJ Mark Kamins. In 1982,the singer was living with her former Michigan boyfriend Stephen Bray in New York,and since dance music was in style,they created a demo with four dance tracks,one of which was "Everybody". Madonna,who was not signed to any record label at the time,pitched the tape on her own:she would go to local nightclubs and try to convince the DJs there to play it. She met and befriended DJ Mark Kamins at Danceteria nightclub,who played "Everybody" to a positive reception from the crowd. Afterwards,Kamins took the tape to Sire Records,where Seymour Stein,the label's president,signed Madonna for two twelve-inch singles.
Recorded in three days at the Bob Blank’s Blank Tape Recording Studios,"Everybody" was officially released as Madonna's debut single on October 6,1982. It was then added to the singer's 1983 self-titled album. A post-disco dance song with R&B elements,its lyrics invite the listener to dance and lose inhibitions. Music critics reacted positively towards the song,singling out its sound. In retrospective reviews,it is now considered one of Madonna's best songs. It was the singer's first entry on the Billboard Hot Dance/Club Play Chart,where it peaked at number three.
By incorporating R&B elements in its music and not including Madonna's image on the cover artwork,marketing for the song gave the impression that she was a black artist. That misconception was cleared with the song's music video,which was directed by Ed Steinberg;it shows the singer and two backup dancers performing at New York's Paradise Garage. The clip helped to further promote the song and Madonna in the dance scene. After a number of live performances throughout late 1982 and early 1983,"Everybody" was included on three of the singer's concert tours,with the Celebration Tour of 2023–2024 being the most recent.
Background
"Madonna is great. She will do anything to be a star, and that's exactly what I look for in an artist: total co-operation... With Madonna, I knew I had someone hot and co-operative, so I planned to build her career with singles, rather than just put an album right away and run the risk of disaster."
—Sire RecordsA&R executive Michael Rosenblatt on working with the singer.[1]
In 1979, Madonna was trying to establish her music career in New York City. She was the drummer of a band called Breakfast Club, which was headed by the Gilroy brothers, Dan and Ed.[2] The following year, after a dispute with Dan, Madonna left the band.[3] She then formed a new band called Emmy, with her former Michigan boyfriend Stephen Bray.[3] In 1981, after attending one of Emmy's gigs at Max's Kansas City, Adam Alter and Camille Barbone from Gotham Records signed a contract with Madonna.[3] However, the association was short-lived and dissolved the following year due to creative differences between the label and singer: Gotham was interested in rock and roll whereas Madonna wanted to pursue disco.[4]
By 1982, the singer was living with Bray in an unused rehearsal studio.[5] After coming to the realization that "funkydance records were in style on the radio and dance floor", they created a demo tape with four dance tracks, including "Everybody", "Burning Up", and "Ain't No Big Deal".[4] With no record label to back her up, Madonna began pitching the tape on her own, visiting local nightclubs trying to get DJs to play it.[4][5] She managed to get Mark Kamins, the resident DJ at Danceteria nightclub, to play "Everybody", which was met with a positive reception from the crowd.[5][1] Kamins promised Madonna he would help her get a record deal on the condition that he would get to produce it.[1] As he was also an A&R scout for Island Records, Kamins took the tape to his boss Chris Blackwell, but he wasn't impressed nor interested in signing Madonna.[6]
Kamins then approached Sire Records president Seymour Stein, who at the time was at Lenox Hill Hospital recovering from a heart surgery.[6] Stein had his secretary send the tape to the hospital so he could listen to it; "I liked the hook, I liked Madonna's voice, I liked the feel [...] I liked it all and played it again", the executive recalled.[7] He signed the singer on for two twelve-inch singles;[1] she would get $15,000 for each one, but would also have to pay for all recording costs.[6] Sire A&E executive Michael Rosenblatt, who oversaw the entire process, wanted to release a double-sided single with "Ain't No Big Deal" as A-side and "Everybody" as B-side. "Ain't No Big Deal", however, "did not come out well", so Roseneblatt decided to put "Everybody" on both sides of the record: One version lasted 5:56, while the other was a dub form with a duration of 9:23.[8][5][1] Since he had recorded the demo, Bray argued that he should be the producer for the single, but Stein decided to appoint Kamins, "for the sheer interest of seeing where it would go".[7] Kamins, however, wasn't interested in producing, wanting to focus on A&R instead; he approached musician Kashif to see if he was interested in working on the song, but he turned down the offer.[9]
"Everybody" was recorded at the Bob Blank's Blank Tape Recording Studios in April 1982, in a span of three days. [9][10] Personnel working on the track included Fred Zarr and Dean Gant on keyboards, Ed Walsh on synthesizers, along with Butch Jones and Zarr; Bobby Malach played tenor saxophone, while background vocals were provided by Gwen Guthrie, Brenda White, and Chrissy Faith.[11]Barry Eastmond had been hired as arranger, but left the project after getting into an argument with Madonna; she felt his work was "too slick", and lacked the "edge of the club-land grooves she was hankering after".[10] Rosenblatt made the decision to replace Eastmond's keyboard parts, and it was Arthur Baker, an assistant to Kamins, who brought in Fred Zarr to redo all the keyboards.[10][9]
Musically, "Everybody" is considered a post-disco dance and electro song with R&B elements.[12][13][14] In Madonna's own words, the lyrics talk about "getting people to dance and lose their inhibitions".[15] The singer's vocals, which were described by author Rikky Rooksby as being in "gum-chewing mode", were doubletracked.[16] "Everybody" is written in the key of A minor, with the melody beginning in G and rising to the second scale degree on the syllable bo of Everybody, thus highlighting the refrain which follows in the chord progression of G–A–B–A.[17] Just before the refrain, there is a "deft dab of reverb [that] sucks the listener in".[10] A "funky Bernard Edwards-style bass" plays towards the song's breakdown, as Zarr's synthesisers whir around it.[10]
Release and commercial performance
"I was living on the Upper West Side, 99th and Riverside, and about 7:00 at night I had the radio on in my bedroom, on WKTU, and I heard 'Everybody'. I said, 'Oh, my God, that's me coming out of that box'. It was an amazing feeling".
—Madonna talking about hearing "Everybody" on the radio for the first time.[18]
The twelve-inch single of "Everybody" was released on October 6, 1982.[19][20] Lou Beach designed the sleeve's cover art, which did not show Madonna but rather a "hip hop–style NYC street scene".[10] Beach cut out the images from different magazines and put them together forming a collage. Rosenblatt revealed that he did not want the cover to show the singer's face, as he felt it "could get a lot of R&B play [...] because a lot of people thought she was black".[21] Matthew Lindsay from The Quietus found it ironic that the record sleeve did not depict Madonna on the cover, as she would go on to become "the face of the 80s".[10]
The single debuted at number 40 of Billboard's Dance Club Songs chart one month after its release;[22] it peaked at number three the week of January 8, 1983, remaining 17 weeks on the chart.[23] On the Bubbling Under Hot 100, "Everybody" entered at number nine on December 25, 1982, peaking at number seven on January 22 of the following year.[24][25] The first American radio station to embrace and play the song was WKTU.[26] By September 2, 1983, according to a Warner Bros. Records advertisement in Radio & Records, the "Everybody" twelve-inch single had sold more than 150,000 copies.[27]
To commemorate its 40th anniversary, a limited edition of the twelve-inch single was reissued on November 25, 2022; it included the original version, the dub version, and came with a new cover art.[28] Following this release, "Everybody" reached the 22nd and second positions of the United Kingdom's Singles and Vinyl Sales charts, respectively.[29][30] "Everybody" was included on Madonna's compilations You Can Dance (1987), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).[31][32][33]
Critical reception
"[W]ith that unearthly keyboard chime and those warped synths that seem to fade in and out like they’re coming from a dirtier dancefloor in the club’s backroom, ['Everybody'] drops the bright, buoyant vibes that characterized the rest of the album and closes it on a dark, sensuous note".
—Joel Lynch on "Everybody" on Billboard's review of the Madonna album on its 40th anniversary.[34]
Since its release, critical reviews towards "Everybody" have been generally positive. Billboard's Brian Chin referred to it as a "spare, bright cut [that] has a relaxing quality at home listening levels, but sounds much harder-edged in the club".[22] Barbara O'Dair, one of the authors of Madonna: The Rolling Stones Files, called "Everybody" a "moody, hiccuping" song.[35] On his biography of the singer, J. Randy Taraborrelli described it as a "rhythmic call-to-party", while Matthew Rettenmund —author of Encyclopedia Madonnica— deemed it "one of her enduring chestnuts" that "immediately established [her] as a Disco Queen".[36][37] Santiago Fouz-Hernández, one of the authors of Madonna's Drowned Worlds, wrote that "Everybody", alongside "Music" (2000), are the two singles that define Madonna's artistic credo – that music has the power to overcome divisions of race, gender, and sexuality.[17]
From Rolling Stone, Don Shewey commented: "At first, ['Everybody'] doesn't sound like much at all. Then you notice its one distinguishing feature, a girlish hiccup that [Madonna] uses over and over until it's irritating as hell. Finally, you get hooked, and you start looking forward to that silly little catch in her voice".[38] Mark Lore from the Portland Mercury referred to "Everybody" and "Burning Up" as "true gems, gritty New York anthems", that were overshadowed by the more known "Holiday" (1983) and "Borderline" (1984).[39]The Arizona Republic's Ed Masley described "Everybody" as an example of "classic early '80s dance pop", singling out Madonna's "youthful exuberance".[40]Idolator's Mike Was concluded that, although "everything [Madonna] touched in the '80s turned to gold, and ['Everybody'] is no exception, it’s just not in the same league as classic bops like 'Lucky Star' or 'Borderline'.[41] Also mixed was Marcus Wratten from PinkNews, who said the song is "not bad by any means", but it's not among the singer's best, and its message has been replaced by "far greater singles" such as "Music" and "Into the Groove" (1985).[42] A negative review came from Rikky Rooksby, who felt the single came off as "artificial, repetitive and uninspired".[16]
In 2006, Slant Magazine placed the song at number 18 on their list of "The 100 Greatest Dance Songs"; "['Everybody'] sparkles with shiny-and-new-for-'82 synths, while Madge offers a preview for the world-as-a-dance-floor motif she'd never stop revisiting throughout the next 23 years", wrote Rich Juzwiak.[43] Six years later, "Everybody" was included on the Dallas Observer's list of the "20 best Madonna songs you won't hear at the Super Bowl"; Hunter Hauk noted that, "after all these years, [it] remains one of her purest, most groove-addled dance tracks".[44] Joe Morgan from Gay Star News placed the song at number 48 of his ranking of Madonna's singles, writing: "It sounds at first listen like a typical song of the decade. But there is something special to it, something that proves there's a Queen of Pop to come".[45] Jude Rogers, from The Guardian, compared "Everybody" to the work of Tom Tom Club and placed it at number 31 of her ranking of Madonna singles.[46]
Writing for The A.V. Club, Stephen Thomas Erlewine named it the singer's 17th best song; "all these years later, ['Everybody'] still sounds simultaneously tentative and vibrant [...] [It] does seem like a relic of the early 1980s, yet it hasn’t lost its potency".[47] Matthew Jacobs from HuffPost considered "Everybody" to be Madonna's 24th best, writing that it "ushered in what she would inspire us to do for the next 32 years (and counting)".[48] "Everybody" was considered a precursor to "Music", as well as the 23rd best single in Madonna's discography, by Entertainment Weekly's Chuck Arnold, who also added it was "ahead of its time".[49] It was named one of the greatest debut singles of all time by Rolling Stone: "[Madonna'd] quickly go on to bigger things, and sharper material, but this song patterned the ebullient electro-pop sound of her early classic hits".[50]
Music video
Screenshot of Madonna dancing in the music video for "Everybody". According to author Mary Cross, the low-budget clip served to clear the public misconception that the singer was black.
Ed Steinberg directed the music video for "Everybody", which was filmed on December of 1982 at New York's Paradise Garage, and shows Madonna performing onstage with dancers Erika Belle and Bags Rilez.[19][52] Madonna had previously invited some Sire executives ―including Stein and Rosenblatt― to watch one of her performances at Danceteria; the video was approved after they realized "what a visual knockout" she was in person.[51] Rosenblatt contacted Steinberg, who ran the Rock America video company, and gave him a $1,500 budget to work on the "strictly in-house production".[52]
Intended to be filmed during Madonna's next live performance at Danceteria, the director opted to shoot at Paradise Garage, as he could use the venue for free.[52] Actress Debi Mazar, a personal friend of the singer's, was in charge of makeup, and even brought a few of her own friends to act as audience in the video.[52] Steinberg was impressed with the singer's "incredible work ethic". He recalled that one of the hired dancers hadn't shown up, which meant the choreography would need to be altered; "without missing a beat, [Madonna] had Erika and Bags restaged with precision and the show went on", the director recalled.[19] He sent copies of the visual to nightclubs across the United States that used to play dance music videos as entertainment; according to Andrew Morton, this promotion helped the song go from local New York dance song, to nationwide hit.[52] Regarding the importance of a music video, Madonna explained: "If I didn't [have a video], I don't think all the kids in the Midwest would know about me. It takes the place of touring. Everybody sees them everywhere".[1]
Matthew Rettenmund felt Madonna looked "very early-80s butchy. Like a Go-Go gone bad", and opined that, "[the video] is mesmerizing, even sans all the glam and lighting and editing and stuff".[37] Carol Gnojewski referred to the clip as a "low-budget, promotional affair primarily focusing on disco".[53] By his part, Fab Five Freddy reminisced that it helped the singer appeal to "those who were more street, more savvy, more flavorful".[52] Mark Elliott from website This is Dig! noted that it has become a "fan favourite that has now enjoyed millions of streams online".[19]
Live performances
Madonna first performed "Everybody" as part of Haoui Montaug's No Entiendes cabaret revue on December 18, 1982, on the second-floor stage of Danceteria.[54] In 1983, she travelled to the United Kingdom and sang the single at London's Camden Palace, and Manchester's The Haçienda.[55][56] According to Andrew Morton, however, these performances were not well received by the British audience.[55] Afterwards, "Everybody" was included on three of the singer's concert tours: Virgin (1985), the Girlie Show (1993), and Celebration (2023–2024). On the first one, Madonna played tambourine and was joined by two male dancers; her outfit consisted of matching fringed micro-top and skirt, a trilby hat, and multiple sized crucifixes.[57] Halfway through the performance, she would straddle a boombox and address the audience: "Every lady has a box. But mine makes music".[58] The performance of the song at Detroit's Cobo Arena was included on the Madonna Live: The Virgin Tour video release (1985).[59]
To commemorate the single's 30th anniversary, Madonna sang it at the San Jose concert of the MDNA Tour (2012). Reviewing the concert, Aidin Vaziri from the San Francisco Chronicle wrote it was "an off-script moment that inadvertently became the highlight of the show".[68] On the Washington, D.C. concert of 2015―2016's Rebel Heart Tour, "Everybody" was included in a slow, Latin-infused medley, along with "Dress You Up" (1985), "Into the Groove", and "Lucky Star"; the number was referred to as a "delightful surprise" by the Washington Blade's Joey DiGuglielmo.[69]
On the Celebration Tour of 2023–2024, "Everybody" was the second song of the setlist. The number sees Madonna and her troupe, who are dressed as "punk rock clubgoers of [her] early NYC days", dancing under a New York City skyline.[70][71] She wore a "punky" tailcoat designed by Dilara Fındıkoğlu —inspired by one she wore for a performance in Japan in the 1980s.[72] The number was one of many that "harkened back to a more buttoned-down era guided by conservative taboos", according to the Chicago Tribune's Bob Gendron.[73]
"Who's That Girl" is a song by American singer Madonna from the soundtrack of the 1987 film of the same name. Written and produced by Madonna and Patrick Leonard, it was released in Europe as the soundtrack's lead single on June 29, 1987 and in the United States on 30 June 1987. An uptempo pop song, "Who's That Girl" continued the singer's fascination with Latin pop, a genre she had previously explored on her single "La Isla Bonita". It features instrumentation from drums, bass, and trumpets, and has lyrics sung both in English and Spanish. While shooting for the film, then called Slammer, Madonna had requested Leonard to develop a song that captured the nature of her character; the producer worked on a demo and, afterwards, Madonna added the lyrics and decided to rename the song, as well as the film, to "Who's That Girl".
Mark Kamins was an American record producer, remixer, and disc jockey famous for his role in the New York club scene. He is best known for helping launch the career of singer Madonna by bringing her to Sire Records and producing her debut single "Everybody" in 1982.
"Material Girl" is a song recorded by American singer Madonna for her second studio album, Like a Virgin (1984). It was released on January 23, 1985, by the Sire label as the second single from Like a Virgin. It also appears slightly remixed on the 1990 greatest hits compilation, The Immaculate Collection, in its original form on the 2009 greatest hits compilation, Celebration and Finally Enough Love: 50 Number Ones (2022). The song was written by Peter Brown and Robert Rans, and produced by Nile Rodgers. Madonna said the concept of the song was indicative of her life at that time, and she liked it because she felt it was provocative.
Madonna is the debut studio album by American singer Madonna, released on July 27, 1983, by Sire Records. In the late 1970s, Madonna had established herself as a singer in downtown New York City; alongside her Michigan boyfriend Stephen Bray, she put together a demo tape with four dance tracks and began pitching it around local nightclubs. She managed to get Mark Kamins, the resident DJ at Danceteria, to play "Everybody" —one of the songs from the tape. The song drew positive reception from the crowd, and Kamins took Madonna to Sire Records, where label president Seymour Stein signed her on for three twelve-inch singles. Following its release on October 6, 1982, "Everybody" found success on the dance scene, and the label approved the recording of an album.
"Dress You Up" is a song by American singer Madonna from her second studio album, Like a Virgin (1984). It was released as the album's final single on July 24, 1985, by Sire Records. Composed by Andrea LaRusso with lyrics by Peggy Stanziale, and produced by Nile Rodgers, who also played guitar on the track, it was the final song to be added to the album. Rodgers had asked the writers to compose something similar to the work of his band Chic but, due to LaRusso and Stanziale being busy with other projects, the composition took time. When the lyrics were submitted, the producer initially rejected them, as he felt there was no time to compose a melody; Madonna, however, liked the lyrics and convinced him to include the song on Like a Virgin. Musically, "Dress You Up" is a dance-pop song whose lyrics are an extended metaphor for fashion and lust, comparing dressing up with passion.
"Ray of Light" is a song by American singer Madonna. It is the title track from her seventh studio album, Ray of Light (1998), and was released as the album's second single on April 27, 1998, by Maverick Records. The song was also included on the compilation albums GHV2 (2001), Celebration (2009) and Finally Enough Love: 50 Number Ones (2022). Written by Madonna, William Orbit, Clive Maldoon, Dave Curtiss, Christine Leach, and produced by Madonna and Orbit, "Ray of Light" is based on Curtiss Maldoon's "Sepheryn" and is an electronic dance song with techno, trance, Eurodance, and disco influences. "Ray of Light" consists of a main synth sound oscillating on the primary musical note and an electric guitar riff. Lyrically, the song has a theme of freedom.
"Spotlight" is a song by American singer Madonna from her first remix album You Can Dance (1987). It was released as a single in Japan on April 25, 1988 by Sire Records and Warner-Pioneer Japan. Initially rejected during her True Blue album recording sessions, the song was written by Madonna, Stephen Bray and Curtis Hudson who had presented the original to the singer. The song was remixed by John "Jellybean" Benitez.
"Causing a Commotion" is a song by American singer Madonna from the soundtrack album to the 1987 film Who's That Girl. It was released as the album's second single on August 25, 1987, by Sire Records. Its Silver Screen Single Mix later appeared on the EP The Holiday Collection (1991). Written and produced by Madonna and Stephen Bray, the song was inspired by her relationship with then-husband Sean Penn, and his abusive and violent nature. Containing a dance-oriented, up-tempo groove, the song begins with the chorus and is accompanied by a four-note descending bassline and staccato chords in the verses.
"Lucky Star" is a song by American singer Madonna from her self-titled debut studio album (1983). Produced by Reggie Lucas, it was written by Madonna with the intention that her friend Mark Kamins would play it in his sets at Danceteria, where he was the resident DJ. In 1982, Madonna was signed on by Sire Records for the release of two 12" singles; after the success of first single "Everybody", the label approved the recording of an album, and the singer decided to work with Lucas. However, problems between Madonna and the producer arose and he ended up leaving the project; she then called John "Jellybean" Benitez, her boyfriend at the time, to work on the remaining songs.
"Borderline" is a song by American singer Madonna from her debut self-titled studio album (1983), written and produced by Reggie Lucas. In 1982, Madonna was signed on by Sire Records for the release of two 12-inch singles; after the success of first single "Everybody", the label approved the recording of an album, and the singer decided to work with Lucas. "Borderline" is a pop song with post-disco elements whose sounds recall the music of the 1970s, while the lyrics find a woman complaining of her lover's chauvinism.
"Holiday" is a song by American singer Madonna from her self-titled debut album (1983). It was written by Curtis Hudson and Lisa Stevens-Crowder for their own musical act Pure Energy, and produced by John "Jellybean" Benitez. Hudson came up with the lyrics of the song while watching negative news on television, and together with Stevens-Crowder worked on the music. They recorded a demo, which was turned down by their label Prism Records. Afterwards, Benitez pitched the track and offered it to several artists, including former the Supremes singer Mary Wilson, but it was rejected. Around the same time, Benitez was working with Madonna on her album; after realizing they needed a song for the project, Benitez thought of "Holiday" and approached Hudson and Stevens-Crowder.
"Burning Up" is a song written and recorded by American singer Madonna included on her debut studio album Madonna (1983). Written by the singer and produced by Reggie Lucas, the song was released as a double-sided single with "Physical Attraction" on March 9, 1983. In early 1980, Madonna was beginning her music career as a member of band the Breakfast Club; together with band drummer Stephen Bray, they formed a new band, Emmy and the Emmys, but shortly after, she decided to pursue a solo career. She and Bray created demos for three songs: "Everybody", "Ain't No Big Deal", and "Burning Up".
"Angel" is a song by American singer Madonna from her second studio album Like a Virgin (1984). It was released on April 10, 1985, by Sire Records as the album's third single. Written by Madonna and Steve Bray, it was one of the first songs developed for the project and, according to Madonna, was inspired by a girl who is saved by an angel, and she falls in love with him. "Angel" was released as a 12-inch single with "Into the Groove" in some countries and charted likewise. A music video was not filmed for "Angel", and instead, a promotional clip comprising segments of her previous videos was released in the United Kingdom.
"Into the Groove" is a song recorded by American singer Madonna, and featured on the 1985 film Desperately Seeking Susan. Written and produced by both Madonna and Stephen Bray, the main inspiration behind the song was the dance floor; the singer wrote it while watching a Latin American man to whom she was attracted. Its instrumentation features synthesizers and drum machines, with Madonna's voice being double tracked on the chorus. Sexual innuendos and undertones are present throughout the lyrics, which are written as an invitation to dance with the singer. Originally written for her friend Mark Kamins, Madonna later decided to use it on the film, as one of the scenes needed a dance song. It was later added to the 1985 international re-issue of her second studio album, Like a Virgin (1984), and in her compilations You Can Dance (1987), The Immaculate Collection (1990), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).
"Vogue" is a song by American singer Madonna from her soundtrack album I'm Breathless (1990). Written and produced by herself and Shep Pettibone, it was inspired by voguing, a dance which was part of the underground gay scene in New York City. The song was released as the lead single from the album on March 20, 1990, by Sire Records and Warner Bros. Records. "Vogue" is a house song with influences of disco, which contains escapist lyrics describing the dance floor as "a place where no boundaries exist". Its middle eight features Madonna name-dropping several actors from the Golden Age of Hollywood. "Vogue" was later included on three of Madonna's compilation albums: The Immaculate Collection (1990), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).
"Rescue Me" is a song by American singer Madonna from her first greatest hits album, The Immaculate Collection (1990). Written and produced by Madonna and Shep Pettibone, the song was released as the second single from The Immaculate Collection on February 26, 1991, in the United States, and as the third single on April 7 in the United Kingdom. A dance-pop and gospel-house track, the song is accompanied by the sound of thunder and rain, with the lyrics talking of romantic love rescuing the singer.
"Sorry" is a song by American singer Madonna from her tenth studio album, Confessions on a Dance Floor (2005). The song was written and produced by both Madonna and Stuart Price. It was released to hot adult contemporary radio stations in the United States as the second single from the album on February 6, 2006, by Warner Bros. Records. The song was later included on Madonna's compilation album, Celebration (2009). One of the first tracks developed for the album, it is a dance-pop and disco song, and lyrically talks about personal empowerment and self-sufficiency. For the single release, remixers such as Pet Shop Boys, Green Velvet, and Paul Oakenfold were enlisted to conceive remixes for the song.
"Oh Father" is a song recorded by American singer Madonna for her fourth studio album Like a Prayer (1989). It was released as the fourth single from the album on October 24, 1989, by Sire Records. The song was not released as a single in most European territories until December 24, 1995, when it appeared on the 1995 ballads compilation Something to Remember. Written and produced by Madonna and Patrick Leonard, "Oh Father" concerns the presence of male authoritative figures in Madonna's life, most prominently her father, Tony Ciccone. Madonna's relationship with her father had soured after her mother's death in 1963 and his remarriage three years later. While developing the Like a Prayer album, Madonna was in an emotional state of mind due to her personal problems, which is reflected in "Oh Father".
"Physical Attraction" is a song by American singer Madonna. It was included on her debut studio album Madonna (1983). Written and produced by Reggie Lucas, the song was released as a double A-side single with "Burning Up" on March 9, 1983.
↑ Sheffield, Rob (September 27, 2022). "100 Best Songs of 1982". Rolling Stone. Retrieved September 9, 2023. Everybody" was her electro-throb anthem for the party people...
1 2 Chin, Brian (November 6, 1982). "Dance Trax"(PDF). Billboard. Vol.94, no.44. p.41. ISSN0006-2510. Archived(PDF) from the original on January 27, 2021. Retrieved July 8, 2023.
1 2 Everybody (Twelve-inch single liner notes). Madonna. Sire Records. 1982. 929899-0.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Everybody (Italian twelve-inch single liner notes). Madonna. Sire Records. 1982. W9899T.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Everybody (Italian seven-inch single liner notes). Madonna. Sire Records. 1982. W9899.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
↑ Everybody (German CD single liner notes). Madonna. Sire Records. 1982. 759929899-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
