True Blue is the third studio album by American singer and songwriter Madonna. It was released on June 30, 1986, by Sire Records. Madonna assumed greater control over the creative direction of True Blue, attempting to establish herself as a more serious artist and to appeal to a broader, more mature audience.
Madonna recorded the album between 1985 and 1986, collaborating with Patrick Leonard and Stephen Bray on its writing and production. She had previously worked with the latter on her second studio album, Like a Virgin (1984). For the first time in her career, Madonna co-wrote and co-produced all of the tracks on True Blue. Its themes—primarily love, romance, marriage, and devotion—draw in part on her personal life and her marriage to actor Sean Penn. Musically, True Blue is a pop and dance-pop album with a soundscape characterized by synthesizers, guitars, drum machines, and backing vocal arrangements, influenced by the Motown sound, girl groups, and Latin pop.
On release, True Blue garnered critical acclaim for its dance-pop production and Madonna's maturity as a vocalist, songwriter, and producer. Retrospectively, the album has been regarded as an archetype of popular music from the 1980s and is credited with solidifying her position as the most commercially successful female pop superstar of the decade, rivaling male musicians such as Michael Jackson and Prince. Globally, True Blue was the best-selling album of 1986 and the best-selling album of the 1980s by a female artist. It remains Madonna's best-selling studio album and one of the best-selling albums of all time, with sales exceeding 25 million copies worldwide.
Background
American singer and songwriter Madonna released her sophomore album, Like a Virgin, in 1984.[1] She selected all of the songs herself, five of which she wrote or co-wrote.[2] It became her first number-one album in Germany, Italy, the Netherlands, New Zealand, Spain, the United Kingdom and the United States.[3] All four of its singles reached the top five of the US Billboard Hot 100, with the lead single and title track, "Like a Virgin", becoming her first chart-topper; the second single, "Material Girl", reached number two.[4] Eventually, it sold over 21million copies globally, making it one of the best-selling albums of all time.[5][6] However, the album was not as successful critically as it was commercially; Madonna's vocals were criticized, though Nile Rodgers's production was acclaimed.[a]
After Madonna met actor Sean Penn on the set of the music video for "Material Girl", the two began dating in February 1985.[12] She mentioned that Penn was someone whose work she admired, and she believed he felt the same. Madonna said they had "so much in common" and that "he [was] almost like [her] brother".[13] After dating casually for six months, the pair married on Madonna's twenty-seventh birthday on August 16.[13][14] Soon after, the newlyweds co-starred in Shanghai Surprise (1986), an adventurecomedy film that became a critical and commercial failure.[14] During her Virgin Tour in 1985, Madonna met producer Patrick Leonard, who was hired as the tour's musical director.[15] Following the tour's conclusion, Madonna asked Leonard if he wanted to work with her.[16] They met at a barbecue at his home, during which he presented her with a song he had composed in his studio, titled "Love Makes the World Go Round". Madonna performed it at the Live Aid benefit concert in Philadelphia in July 1985.[15][17]
Recording and development
"I like to have control but I'm not a tyrant [...] I like to be surrounded by really talented, intelligent people who I trust, and ask them for their advice and get their input too".
—Madonna on working with Leonard and Bray on True Blue[18]
Madonna and her collaborators, Patrick Leonard and Stephen Bray, began recording True Blue in December 1985.[19] For the first time in her career, Madonna co-wrote and co-produced every track on the album.[20] She was greatly in control of the album's development and, according to Bray, was "very much in love" while recording.[21] Madonna collaborated separately with Leonard and Bray, with all three working together collectively on only one occasion.[22] According to Leonard, the recording process was informal: he typically developed a musical idea on piano, after which Madonna would "write a lyric, she'd sing it, and the next day [they] would do another song", often completing one per day. Bray said he focused on "shap[ing] things and [...] creat[ing] arrangements to show off the song[s] better".[19]
The first song recorded for True Blue was "Open Your Heart".[23] Written by Gardner Cole and Peter Rafelson, it was originally titled "Follow Your Heart" and conceived as a rock track. The song was intended for singer Cyndi Lauper, although she passed it on. The Temptations were also offered the song but declined after hearing that Madonna was interested.[24][25] After a demo was recorded, "Follow Your Heart" was submitted to Madonna's team for True Blue; Madonna and Leonard added a bassline, turning it into a dance-pop composition. Madonna also revised the lyrics, which allowed her to get a songwriting credit, and retitled it "Open Your Heart".[24][25] The sentimental ballad "Live to Tell" was conceived by Leonard as an instrumental for the score of Paramount's film Fire with Fire (1986). After Paramount rejected the track, he asked Madonna to write the lyrics.[16] Madonna subsequently enlisted former boyfriend, Bray, whom she had worked with on Like a Virgin. Madonna felt that he could help her create "up-tempo songs with a classic Top 40 sensibility".[26]
"Papa Don't Preach" was written by Brian Elliot with the intention that it be performed by a singer named Christina Dent.[27] A demo was presented to Warner Bros. executive Michael Ostin, who played it to Madonna during the recording of True Blue. Elliot had been working with Dent for six months and was initially reluctant to offer the song to another artist, but ultimately agreed, later describing the prospect of Madonna recording it as "hard to resist". Madonna expressed immediate interest and acquired the song.[28][29] While her lyrical contributions were minimal, she received a co-writing credit;[30] Madonna was drawn to the track as, according to her, it aligned with her "personal zeitgeist of standing up to male authorities".[31] "La Isla Bonita" was initially composed as an instrumental demo by Leonard and Bruce Gaitsch for Michael Jackson, who rejected the track.[32] After meeting to begin work on True Blue, Leonard presented Madonna with the demo, and she wrote the lyrics while filming Shanghai Surprise (1986).[33]
"Where's the Party" was the only track on True Blue co-written by Madonna, Bray, and Leonard.[34] Curtis Hudson—who co-wrote Madonna's 1983 breakthrough single "Holiday"—and Bray composed "Spotlight" for the album. Although it was recorded, the song was ultimately excluded from True Blue's final track list, and later included on her first remix album, You Can Dance (1987).[35] By April 1986, the development process for True Blue had been completed.[19]
Described by Madonna as her "most personal" work at the time, True Blue aimed to reach a broader, more mature audience.[19][50] Love, romance, commitment, and fidelity constitute the album's main themes.[42][14][51] Songs such as "True Blue" and "Open Your Heart" explore romantic devotion and emotional intimacy.[25] The title track in particular expresses devotion and loyalty to a romantic partner.[52] Biographer Andrew Morton wrote that it is the only song on the album that was a "direct tribute to her husband [Penn]", though the entire album was "inspired by her feelings for him at this time".[53] Similarly, author Lucy O'Brien wrote that her love for Penn "seep[s] into every song".[54] "Papa Don't Preach" addresses teenage pregnancy, "Love Makes the World Go Round" promotes themes of anti-war and anti-poverty, and "Live to Tell" deals with deceit, mistrust, and trauma.[55][56] Escapism is depicted through the idyllic portrayal of an imaginary tropical paradise in "La Isla Bonita" and the pursuit of enjoyment in "Where's the Party".[57]
True Blue opens with "Papa Don't Preach", a dance-pop song with elements of baroque pop, post-disco, classical music, and 1960s-inspired psychedelia. The lyrics are narrated from the perspective of a teenage girl who confesses to her father that she is pregnant and has chosen to keep the child. She appeals for understanding and declares her independence. Songwriter Brian Elliot stated that the lyrics told the story of a "young girl who found herself at a crossroads in life and didn't know where to turn".[29][58] The second track, "Open Your Heart", is an innuendo-laden dance-pop song incorporating elements of rock and roll, with melancholic lyrics about a woman determined to persuade a resistant man to emotionally open up to her.[59][25][60]
The third track, "White Heat", was dedicated to actor James Cagney and named after the 1949 film of the same name. It is an uptempo dance track featuring synth bass and double-tracked vocals, and incorporates two excerpts from the original film soundtrack—consisting of dialogue and gunshot effects—placed at the beginning and near the end.[61] The song reinterprets the typical focus on crime and material gain by presenting love as the central object of desire, rather than wealth or power.[52] "Live to Tell" is a sentimental ballad with torch song influences, featuring instrumentation that includes keyboards, synthesizers, electric guitar, and a combination of programmed and live percussion.[62][63] Lyrically, it explores themes of deception, mistrust, and the emotional burden of carrying a hidden secret while confronting a painful past.[62][56]
"Where's the Party", the fifth track on True Blue, is an upbeat dance track driven by keyboards, drum machines, and a synthesizer bass, described by biographer Daryl Easlea as "the most straightforward track on the album".[64] Its lyrics depict a person who works tirelessly throughout the week and seeks release on the dance floor during the weekend. Madonna described the song as a statement about "what it's like to be in the middle of this press stuff with everybody on my back".[64] The album's sixth track, title song "True Blue", is the singer's tribute to her husband, Penn.[53] It is a dance-pop love song featuring doo-wop harmonies, drawing influence from Motown and girl groups from the 1960s. Its verse–chorus structure is reminiscent of the Dixie Cups' "Chapel of Love" (1964), with backing vocalists Siedah Garrett and Edie Lehman accompanying Madonna's stylized, high-pitched vocals in a choir-like arrangement.[45][65][66][67]
"La Isla Bonita" is a Latin pop dance ballad with influences from bossa nova.[68][69] Its instrumentation includes flamenco guitar, Latin percussion, electronic sounds, and maracas.[43][70] Lyrically, "La Isla Bonita" portrays Madonna as a "humble observer" longing for an imaginary island named San Pedro.[32][71] She sings four lines in Spanish.[72] The eighth track, "Jimmy Jimmy", is a dance-pop song with influences of Motown sound and new wave music.[19][73] Its lyrics reference "a boy who comes from bad places",[33] and were inspired in part by Madonna's youthful fascination with actor James Dean.[45]True Blue closes with "Love Makes the World Go Round", an upbeat track with Latin drums and samba-influenced rhythms, and lyrics addressing anti-war and anti-poverty themes.[46] Biographer Mark Bego described it as "her salute to the peace songs of the sixties" and compared it to "All You Need Is Love" (1967) by the Beatles.[73]
Artwork and release
Lucy O'Brien compared the album's cover art to the work of American artist Andy Warhol (pictured).
The album cover for True Blue was photographed by Herb Ritts, with whom Madonna had previously worked on for the poster of the film Desperately Seeking Susan (1985).[74] It depicts the singer in profile, with her head tilted back and eyes closed against a sky-blue background. Her complexion appears bleached out, and her hair is styled in a platinum blonde shade.[75] Jeri Heiden, then working in the Warner Bros. art department, was responsible for editing the photographs for use as record covers. The final image was selected by Madonna, Heiden, and Warner Bros. creative director Jeff Ayeroff. Heiden then experimented with various treatments of the original black-and-white photograph to align with the album's title, eventually producing the final blue-toned, hand-tinted version.[76]
True Blue's inner sleeve did not include photographs, instead showing only production credits and song lyrics since, according to biographer J. Randy Taraborrelli, "Madonna may have wanted to be best represented by just her work".[26] In the liner notes, she dedicated True Blue to Sean Penn, describing him as "the coolest guy in the universe".[77] O'Brien described the cover as a Warholian example of pop art with its "mixture of innocence [and] idealism [...] Our first glimpse of Madonna as a classic icon".[75] Taraborrelli interpreted the artwork as indicative of artistic development, suggesting that True Blue was a period of growth for Madonna. He also described the "washed-out" colour treatment as comparatively understated, particularly in contrast to the more overtly sexualized imagery associated with her earlier work.[26] Joe Lynch of Billboard deemed the cover as among the greatest album artworks.[78]
In April 1986, Billboard reported that her third album would be titled Live to Tell and was scheduled for a summer release.[79] A month later, the title was confirmed as True Blue, named after one of Penn's favourite expressions, which Madonna described as representing a "very pure vision of love".[45][80][81]Sire and Warner Bros. Records released True Blue on June 30, 1986.[82][36] In the US and Canada, the album cover did not display Madonna's name. In an interview with Aperture, Heiden explained that the record company opted to use shrink wrap for these releases, allowing the photograph of Madonna to be revealed once the packaging was removed. Warner Bros. included her name on European editions to maintain recognisability in those markets.[76] In 2001, Warner Bros. issued a remastered edition of the album that included bonus tracks and remixes.[83]True Blue was also reissued on crystal clear vinyl on November 8, 2019.[84] A thirty-fifth anniversary edition was released on July 30, 2021, featuring further remixes as well as dub and instrumental versions. It was the first release from Madonna's "Silver Collection" reissue series.[85]
Madonna promoted True Blue with the Who's That Girl World Tour, her second concert tour; it also supported her soundtrack album Who's That Girl (1987).[86][87] The tour began on June 14, 1987, in Osaka, Japan, and concluded on September 6 in Florence, Italy.[88] It marked her first visit to Europe and Asia.[87] The tour was musically and technically more elaborate than the Virgin Tour, with a larger stage and four large video screens as backdrops; Madonna described it as a "theatrical multimedia spectacular".[87][89] In collaboration with costume designer Marlene Stewart, Madonna developed the wardrobe to expand her concept of translating her music video personas to the stage, recreating scenes from "True Blue", "Papa Don't Preach" and "La Isla Bonita".[90]
The Who's That Girl World Tour was well-received,[91] with reviewers praising the performances, Madonna's vocal delivery, and her stage presence.[86][92][93] Her performance of "Papa Don't Preach" was Madonna's first conflict with the Vatican, as she dedicated the song to Pope John Paul II, who encouraged Italian audiences to boycott the concerts.[94] With a total gross revenue of US$25 million, the Who's That Girl World Tour was the second highest-grossing tour by a female artist in 1987, behind Tina Turner's Break Every Rule World Tour.[95] The tour broke several attendance records, including a performance near Paris attended by over 130,000 people—the highest for a female artist at the time.[96][97]
Singles
True Blue was supported by five singles. The lead single, "Live to Tell", was released in the United States on March 26, 1986, and in Europe on April 14.[98][99] The song was described by several reviewers as one of Madonna's finest ballads and praised the singer for her vocal performance.[100][101][102] In the US, it entered the Billboard Hot 100 at number forty.[103] In its eighth week on the chart, it reached number one, becoming Madonna's third song to top the Hot 100.[104] "Live to Tell" also reached number one in Canada, Greece, and Italy, and placed top five in the United Kingdom, Norway, Belgium, Denmark, the Netherlands, Switzerland, and Uruguay.[c] The music video, directed by James Foley, presents Madonna with a more demure and understated image, drawing inspiration from classic Hollywood actresses such as Marilyn Monroe. It is intercut with scenes from the film At Close Range.[111][36]
"Papa Don't Preach" was released as the second single from True Blue.[19] Its American release occurred on June 11, and Europe followed five days later.[112] Critics praised the song's hook and maturity and deemed it a milestone in Madonna's career.[113][38][114] Debuting at number forty-two, "Papa Don't Preach" reached number one on the Billboard Hot 100 in its seventh week, staying atop the chart for two weeks and becoming her fourth chart-topper.[29][115][116] The song also reached number one in Australia, Belgium, Canada, Denmark, Finland, Greece, Ireland, Italy, the Netherlands, Norway, Panama, Portugal, and the United Kingdom.[d] "Papa Don't Preach" was nominated for the Grammy Award for Best Female Pop Vocal Performance.[124] Directed by Foley, its music video follows Madonna as she struggles to tell her father about her pregnancy. These scenes are intercut with footage of her singing and dancing in a dimly lit studio, as well as moments showing a romantic evening spent with her boyfriend.[125][126]
The third single, "True Blue", was released in Europe on September 29, 1986, and in the United States on October 9.[127] Critics praised its lighthearted nature and girl-group influences.[128][38][129] After opening at number forty, "True Blue" peaked at number three on the Billboard Hot 100 in its sixth week on the chart.[130][131] Elsewhere, the song reached number one in Canada, Denmark, Ireland, and the United Kingdom, and reached the top five in Belgium, Italy, New Zealand, Brazil, and the Netherlands.[e] Two music videos were shot for "True Blue". The official one depicts Madonna with three backup dancers and a 1950s Ford Thunderbird convertible in an all-blue diner. An alternative version was made through MTV's "Make My Video" contest; the winning submission, directed by Angel Garcia and Cliff Guest, was shot in sepia tone and featured a teenage romance.[139][140]
"Open Your Heart" was issued as the fourth single from True Blue in the United States on November 12, 1986, and in Europe on December 1.[141] Reviewers rank the song highly amongst Madonna's other songs.[142][143] "Open Your Heart" debuted at number fifty-one on the Billboard Hot 100 and topped the chart in its ninth week.[144][145] It became Madonna's fifth number-one on the chart and the third number-one from True Blue, making her the second female artist—after Whitney Houston—to score three chart-toppers from one album.[146][147] The song reached the top five in Denmark, Ireland, Iceland, the United Kingdom, and Italy.[f] In the Jean-Baptiste Mondino–directed music video, the singer portrays an exotic dancer at a peep show who befriends a little boy. Critics appreciated her for depicting women as the dominant sex, but the concept of a child in a strip club received criticism.[153][154][155]
"La Isla Bonita" was released as True Blue's fifth and final single on February 25, 1987.[156] Critics liked the Latin-influenced sound of the song.[157][158] Entering the Billboard Hot 100 at number forty-nine, it eventually peaked at number four in its sixth week.[159][160] It topped the charts of Austria, Canada, France, Switzerland, and the United Kingdom, and reached the top five in Iceland, Ireland, Netherlands, Portugal, Belgium, Finland, Sweden, and New Zealand.[g] It became the best-performing song of 1987 in Europe.[166] Directed by Mary Lambert, the music video for "La Isla Bonita" depicts Madonna as two different characters: a Catholic woman and a flamenco dancer.[167][168]Rolling Stone praised the video for its theatricality,[169] and composer Rikky Rooksby opined that it was "marginally more interesting" than the song.[170]
Critical reception
Initial reviews
On release, True Blue was favorably reviewed by music critics;[171][h] Madonna's maturity as a vocalist, producer, and songwriter was particularly acclaimed amongst reviewers. Billboard opined that she had progressed as both a writer and producer.[172]Robert Hilburn wrote in the Los Angeles Times that, while True Blue was not revolutionary, Madonna's voice had matured, and was "so finely tailored that she actually extends the punch and appeal of the production touches".[173] Similarly, Alan Niester wrote in The Globe and Mail that Madonna was no longer a "squeaky-voiced born-again virgin" on True Blue; he described her vocals as "huskier" and more "full-bodied".[174] In the Orlando Sentinel, Bill Henderson stated that the album overshadowed Like a Virgin because of its "mature" and "timeless" sound, and the singer's more "focused" songwriting, describing it as "proof that the material girl has substance as well as style".[175]Davitt Sigerson referred to True Blue as a "sturdy, dependable, lovable" album, praising Madonna's voice for sounding "better than ever".[113]
While critiquing the album for lacking the "gleaming ultra-sleek aural surfaces" of Like a Virgin, Stephen Holden of The New York Times wrote that True Blue was made up of "shrewdly crafted teen-age and pre-teen-age ditties that reveal Madonna's unfailing commercial instincts" and found her singing with "a lot more heart".[41] For the Minneapolis Star and Tribune, Jon Bream wrote that the album saw Madonna developing an independent artistic identity, rather than being primarily shaped by a contemporary producer; he noted greater confidence in her singing and more mature lyrical themes.[176]The Citizen's Mike Abrams stated that her vocals on the album were "better than ever" and deemed it a "showcase for her singing and writing", but wrote that much of the "glamor and starlet image" from her previous works was missing.[177] Wayne Robins—writing in Newsday—described True Blue as a record with "terrific tunes and no filler". He lauded that Madonna took creative control as both a producer and songwriter, calling her a "formidable talent".[178] For The Wall Street Journal, Pam Lambert commented on the "fresh-sounding, uncluttered production" of True Blue by Madonna, Bray, and Leonard, stating that "[the singer's] never sounded better".[179]
Although True Blue was generally acclaimed,[171] some reviewers were more critical in their assessments. Dismissing the record as "warmed over Go-Gos material", Observer–Reporter critic John Quayle praised the singles for being "strong enough to convince even her worst critics that Madonna does have talent".[180] Don McLeese of the Chicago Sun-Times stated that, although True Blue was a "valiant—and necessary—attempt on Madonna's part to expand her artistic range, [the album] just isn't as much fun" as her previous records.[181] The Record-Journal's Jim Zebora applauded "Live to Tell" as "one absolutely marvelous torch song", but described the rest of True Blue as "barely competent post-disco". He ended his review with the comment: "Let's call it a C plus and program the CD player to ignore eight out of [its] nine songs".[182] Steve Morse and Ken Tucker, of the Boston Globe and The Philadelphia Inquirer respectively, were also critical in their reviews, describing True Blue as "boring", "tired", "vapid", and "disappointing". Tucker, however, highlighted "Papa Don't Preach" as the only "terrific song" from the record.[183][184]
In the years following its release, True Blue has continued to garner acclaim from music critics, as well as some criticism. Editing for the magazine PopMatters, Peter Piatkowski deemed it a "concerted effort to prove her mettle as an accomplished singer-songwriter", writing that it was a "self-conscious effort to broaden her creative and artistic talents".[36] Mary Von Aue stated in Stereogum that the album experiments with "different sounds that are well executed as singles", with "more vocal range and lyrical complexities" than Madonna's first two albums. However, she criticized True Blue for sounding "disjointed" and stated that the rest of the album "doesn't live up to the strength of [its singles]".[188] Similarly, biographer Daryl Easlea said the album's five singles are "so strong" that they overshadow the album's other tracks, which may seem "slight by comparison".[98]
AllMusic's Stephen Thomas Erlewine opined that True Blue was one of the great dance-pop albums. He acclaimed Madonna's skills as a songwriter, producer, provocateur, and entertainer, and highlighted the "wide reach, accomplishment, and sheer sense of fun" of the album.[39] El Hunt of the Evening Standard described it as the "most polished" of Madonna's first three albums, striking a "flawless balance between the irresistible tang of sugary pop, and capturing a more diverse set of her artistic touchstones".[189] For Spin, Al Shipley observed that tracks such as "Live to Tell" and "Papa Don't Preach" suggested Madonna's effort to move past her "boy toy" image and "be taken more seriously", although he described the album as "by far the least fun" of her 1980s releases.[190]Robert Christgau, in his Record Guide book (1990), described True Blue as an "uneven product", arguing that its commercial success did not inherently constitute meaningful art.[186] In his 2001 review for Entertainment Weekly, Jim Farber praised Madonna for "adding to her palette", lauding "La Isla Bonita" for its Spanish pop influences and describing "Live to Tell" as her best ballad to date.[187]
Commercial performance
In the United States, True Blue debuted on the Billboard 200 at number twenty-nine; the following week, it rose to number nine.[191][192] In its fifth week on the chart, the album rose to number one. It was her second album to reach the top of the chart, following Like a Virgin, making Madonna one of five female artists in the rock era to reach number one with successive releases.[193]True Blue peaked atop the BIllboard 200 for five consecutive weeks and spent eighty-two weeks on the chart.[194][195]True Blue has received a septuple platinum certification from Recording Industry Association of America, denoting shipments of over sevenmillion copies.[196] After entering at number seventy-one, True Blue climbed to the top of the RPM albums chart in Canada five weeks later.[197][198] It was eventually certified diamond by the Canadian Recording Industry Association, denoting shipments of over one million copies. Madonna became the second female artist to receive the certification, following Whitney Houston.[199][200]
True Blue spent thirty-one weeks atop the European Top 100 Albums chart, making it the chart's longest-running album, and had sold fivemillion copies continent-wide by July 1987.[210][211] It became the first album by an American artist to debut atop the UK Albums Chart, spending six weeks at number one. It was the best-selling album of 1986 in the UK, with sales of over twomillion copies.[212][213] The British Phonographic Industry certified it septuple platinum and it has sold over twomillion copies worldwide.[214][215] Topping the French albums chart, True Blue was certified diamond by the Syndicat National de l'Édition Phonographique for shipments of over onemillion units.[216][217] In Germany, it reached number one on the albums chart and was certified double platinum by the Bundesverband Musikindustrie.[218][219] Elsewhere in Europe, True Blue topped the charts in Belgium, Denmark, Finland, Iceland, Ireland, Italy, the Netherlands, Spain, Switzerland, and Sweden.[i]
"True Blue launched Madonna to global superstardom, yes, but its impact on music and culture helped keep her at the top of her game for the next three decades, and it might well be the record she is remembered for for many more decades to come".
—Classic Pop's Andy Jones commenting on the impact of True Blue[19]
True Blue is the album that launched Madonna into worldwide superstardom and made her a pop icon.[39][19][36] Erlewine deemed the album the point at which she became "Madonna the [s]uperstar", who he described as "the endlessly ambitious, fearlessly provocative entertainer that knew how to outrage, spark debates, get good reviews—and make good music while she's at it".[39] Writing for Slant Magazine, Sal Cinquemani called True Blue the "supreme archetype for late '80s and early '90s pop music", writing that it marked Madonna's transition from "pop tart to consummate artist", rivaling the decade's other popular artists such as Michael Jackson and Prince.[38] Similarly, Piatkowski said that True Blue was the album that made Madonna "the dominant face on the Mount Rushmore of 1980s pop", alongside Jackson, Prince, and Bruce Springsteen, while Mark Savage of the BBC wrote that it cemented her as the "first lady of pop".[36][236]
Author Robert C. Sickels wrote that True Blue solidified Madonna's status as the most popular female musician of the 1980s, "shining alongside" male pop icons such as Jackson and Prince.[42] Piatkowski also stated that True Blue "set the stage for the exponential ascent of [her] brilliance" that began with Like a Prayer (1989) and peaked with Ray of Light (1998).[36] Editors for Slant Magazine named the album one of the best of the 1980s; Jonathan Keefe wrote that it was where Madonna showed that she was more than "just a flash-in-the-pan pop star[...] [i]t's when she began manipulating her image—and her audience—with a real sense of clarity and purpose".[237] In the website for the Official Charts Company, Jack White wrote that True Blue "saw Madonna shoot into the realms of superstardom that her previous album Like a Virgin had cemented".[238] According to Matthew Rettenmund, author of Encyclopedia Madonnica, True Blue provided the first "solid proof" of Madonna's artistic and musical abilities.[239]
A writer for The Daily Telegraph included True Blue amongst what they described as the "four big beasts" of 1980s pop, alongside Thriller (1982) by Jackson, Purple Rain (1984) by Prince, and Faith (1987) by George Michael.[240] The BBC credited True Blue with broadening Madonna's appeal to an older audience while maintaining her younger fanbase.[241]Edna Gundersen, critic for USA Today, recognized the album for "boost[ing] her credibility with critics" and making her "an envelope-pushing provocateur and legitimate songwriter".[242] O'Brien attributed the album's "sophisticated sheen" and its blending of 1960s girl group influences with "chunkier" dance textures to Madonna's transition from a dance-focused artist to a global pop figure.[243] As noted by Billboard's Paul Grein, the album also helped popularize marketing singles: "10 or 20 years ago you would have had two singles from an album at the most. Now we're in an era where Madonna is on her fifth [from True Blue]".[244]
* Sales figures based on certification alone. ^ Shipments figures based on certification alone. ‡ Sales+streaming figures based on certification alone.
↑All reviews below are from the album's release date up until the end of 1986. Reviews after this period are either in the § Retrospective commentary or § Legacy sections.
↑Chin, Brian (December 1, 1984). "Dance Trax"(PDF). Billboard. Vol.96, no.46. p.62. ISSN0006-2510. Archived(PDF) from the original on May 19, 2024. Retrieved April 8, 2024.
↑Bronson, Fred (July 20, 2002). "Chart beat"(PDF). Billboard. Vol.114, no.29. p.4. ISSN0006-2510. Archived(PDF) from the original on September 23, 2022. Retrieved April 12, 2022.
↑Chin, Brian (April 5, 1986). "Dance Trax"(PDF). Billboard. Vol.98, no.14. p.35. ISSN0006-2510. Archived(PDF) from the original on December 24, 2023. Retrieved December 29, 2023.
↑"Top Singles of '86". RPM. December 27, 1986. Archived from the original on November 24, 2015. Retrieved August 2, 2024– via Library and Archives Canada.
↑"Classifiche". Musica e Dischi (in Italian). Archived from the original on December 1, 2016. Retrieved November 3, 2024. Set "Tipo" on "Singoli". Then, in the "Artista" field, search "Madonna" and "True Blue" in the "Titolo" field.
↑Grein, Paul (December 6, 1986). "Chart Beat"(PDF). Billboard. Vol.98, no.49. p.6. ISSN0006-2510. Archived(PDF) from the original on February 8, 2022. Retrieved June 7, 2024.
↑Grein, Paul (February 7, 1987). "Chart Beat"(PDF). Billboard. Vol.99, no.6. p.6. Archived(PDF) from the original on December 30, 2023. Retrieved December 29, 2023.
↑"Top 3 in Europe"(PDF). Music & Media. 4 (4): 18. January 31, 1987. Archived(PDF) from the original on August 21, 2020. Retrieved June 9, 2024.
↑"Reviews: Spotlight"(PDF). Billboard. Vol.99, no.28. July 12, 1986. p.72. ISSN0006-2510. Archived(PDF) from the original on December 30, 2023. Retrieved December 30, 2023.
↑Grein, Paul (September 13, 1986). "Chart Beat"(PDF). Billboard. Vol.98, no.37. p.6. ISSN0006-2510. Archived(PDF) from the original on January 1, 2024. Retrieved January 2, 2024.
12"Argentina's Top 10"(PDF). Cash Box. 51 (25): 17. December 12, 1987. Archived(PDF) from the original on September 1, 2024. Retrieved December 30, 2023.
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↑"How Faith Set the Standard for Pop Reinvention: Reissued on Vinyl Ahead of Its 40th Anniversary, George Michael's First Solo Venture Was the Greatest British Album of the 1980s". The Daily Telegraph. February 28, 2026. p.10.
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