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Like A Virgin

And an icon is born . . . all because her shoe flew off.  Kicking off the album with a one-two drum punch from drummer Tony Thompson, “Material Girl” is as shrink wrapped as pop ever got.  Like A Virgin isn't exactly what I'd expect from a Madonna-fronted Chic album, although that's pretty much what it is. Instead of those glorious sweeping strings and long grooves we associated with Chic, Like A Virgin is all sinuous synthesizers and taut basslines. Tony Thompson absolutely slams those drums like a machine - reportedly his drumming was so forceful it destroyed a couple of microphones.  The synth work is also pretty good and sounds fantastic, even the sampled stuff, probably because they used a Synclavier instead of a Fairlight. The Fairlight has a distinctive sound and certainly is a big part of the sound of the '80s (think “Everybody Wants To Rule The World” by Tears for Fears), but that airy/gauzy and sometimes harsh, distorted sound would throw somethi...

Ray Of Light

Madonna sort of fell off my radar as the 90’s wore on. I’d started the decade listening to her quite a bit, enjoying Erotica once I finally bought it, and appreciating the far lighter but uneven Bedtime Stories .  Bedtime Stories is portrayed as something of a commercial comeback, and while “Take A Bow” was a legitimate monster, the album itself only moved a million more copies worldwide than Erotica had.  That’s an even less impressive comeback when you consider we’d entered the age of peak-CD by the time Bedtime Stories was released - Tori Amos moved around 3 million copies of Under The Pink during the same era, for crying out loud. I’m one of those three million, and by the mid-’90s found Amos, Bjork and my growing collection of oldies from Bowie, Joni Mitchell and Dusty Springfield (among others) a heck of a lot more interesting than Madge warbling godawful Andrew Lloyd Webber tripe (even if she was practically born to play a vaguely fascistic climber).  S...