Madonna – The Immaculate Collection

My copy I brought when it came out came with a white tray. This collection still holds up to this day - I still love it and dig it out quite often.

By 1990, Madonna had easily become the top female single of the WORLD; she could do no wrong. Each and every release was greeted with a blaze of glory, surrounded by public and critical interest, and she always managed to pull out many surprises. This compilation traces back to the very beginning from 1983 through to 1990, effectively chronicling her rise as the world's leading female pop star. It runs in chronological order, so you get to hear the development of her musical art, as well as her vocal strength, progressing from squeaky-voiced to a more refined, exuberant vocalist. 'The Immaculate Collection' was released in late 1990 at the height of her success and popularity.

1. HOLIDAY
Madonna's first international hit, written by Curtis Hudson and Lisa Stevens (of Pure Energy), and production courtesy of John "Jellybean" Benitez. Madonna had been looking for potential hits to include on her eponymous debut album and after accepting 'Holiday' when offered to her by John Benitez, they both set about altering its composition. Adjustments to the composition made included the addition of a piano solo performed by their mutual friend, Fred Zarr. Bearing a slick, sultry groove, the instrumentation features a wave of guitars, electronic handclaps, a cowbell, and a striking string synthesised arrangement. Its lyrics are simple, speaking of the universal sentiment of taking a holiday from everyday life. Madonna sounds particularly squeaky at points when she strains for the high notes, and somewhat nasal, leading some critics to compare her singing to Minnie Mouse! Not a compliment, obviously. However, this was still early days and her vocals would improve as time went on.

2. LUCKY STAR
This was an even better track, even if Madonna sounded slightly shrill and cutesy throughout. Written by Madonna, with production again overseen by Jellybean Benitez along with Reggie Lucas, this medium-paced dance track employs the use of heavy drum beats, synthesisers, and guitars played in a high riff. The lyrics juxtapose the male body with the heavenly stars in the sky, while in the accompanying promotional video many critcs noted that Madonna portrayed herself as narcissistic and a rather ambiguous character.

3. BORDERLINE
Another winning pop-dance confection, its lyrics dealing with the subject of a love that is never quite fulfilled: 'Something in the way you love me won't let me be!/I don't want to be your prisoner, so set me free." Here, Madonna sounds more refined and expressive, living the song's theme and delivering her most convincing performance to date. While the main keyboard work distinctly dates it as a product of its time, its essence still holds up as it's such a fine production. The sweeping synths and piano are complemented by the longing in Madonna's voice, which soars above the instrumental in a suitably subtle way so as not to obscure the song's emotional content. This gave you a clear sign that Madonna was not just a typical pop star; she had something special and unique.

4. LIKE A VIRGIN
Moving into 1984 for this title-track from her second album, and it saw Madonna collaborating with the genius Nile Rodgers, one half of the duo behind Chic who had helped shape the whole face of disco music. Written by Billy Steinberg and Tom Kelly, Steinberg said the song was inspired by his own personal experiences of romance. While being another dance-oriented track, the production here is more distinctive and this is most definitely one of her defining classics. A continuous arrangements are heard along the pumping bassline, while the lyrics are ambiguous and full of hidden innuendo. However, in sexual terms, the lyrics can be interpreted in different ways for different people. The erotic undertones are not least complemented by a stirring and highly effective vocal from its star who still retains a nasal sound and sings in a high register, but her style was evidently developing and improving. 'Like A Virgin' is also notable for being the first of several number one hit singles for Madonna.

5. MATERIAL GIRL
Another top-notch production courtesy of Nile Rodgers, and written by Peter Brown and Robert Rans. Provocative in content, Madonna claimed the song was indicative of her life at the time. Depicting materialism, she is asking for a rich and affluent life as opposed to romance and relationships. On this compilation, it has been slightly remixed and sounds all the better for it, consisting of striking synth arrangements with a robotic voice repeating the hook. The promotional video was a fun homage to Marilyn Monroe's 1953 film 'Diamonds Are A Girl's Best Friend'. 'Material Girl', just as 'Like A Virgin' had done before it, helped establish Madonna as an icon and from here began being touted by the press as the "Queen of Pop".

6. CRAZY FOR YOU
After the high-energy of the previous five tracks, 'Crazy For You' sees the mood mellow on this exuberant ballad. This signalled a change of musical direction for Madonna, never having released a ballad as a single before. A smooth instrumental that flows seamlessly is coated by a fluctuating vocal from Madonna, singing in both her lower and higher register. Consisting of snare drums, harps, bass synthesiser, and an electric guitar, the song speaks openly of sexual desire between two lovers, with hidden innuendo bubbling discreetly in the lyrics. 'Crazy For You' also garnered Madonna her very first Grammy Award nomination.

7. INTO THE GROOVE
"Get into the groove, cos you've got prove, your love for me"...INFECTIOUS! Written by Madonna and Steve Wray (both of whom also produced), the inspiration behind the song was the dance floor, Madonna writing it after watching a handsome Puerto Rican man, across her balcony. The lyrics are written as an invitation to dance with the singer, though as often the case, it does also contain sexual innuendos and undertones in the meaning. 'Into The Groove' captures her voice double-tracked, and singing in her lower register during the bridge, while the bouncy instrumental pours with synthesisers and slamming drum machines.

8. LIVE TO TELL
The compilation then does an about-turn and steers back into ballad territory, though 'Live To Tell' is of the most haunting, atmospheric variety. Written by Madonna and Patrick Leonard, they also produced this sparse, beautiful number. The instrumental incorporates delicate use of guitars, keyboards, drums and synthesisers which sweep steadily along, while the lyrics deal with deceit, mistrust and childhood scars. It is also about exerting one's own personal strength. The track builds to a stunning bridge which carries swirling, ethereal effects, before reverting to its steady paced tempo. Critically-acclaimed, 'Live To Tell' also (deservedly) scored the Queen of Pop another number one hit.

9. PAPA DON'T PREACH
The compilation continues to get better and better and 'Papa Don't Preach' is another pop masterpiece. Commencing with an exhilarating classical interlude with a wave of swirling strings, the track then bursts into a sharp, urgent, nifty dance-pop arrangement. The lyrics deal with teenage pregnancy and abortion which quickly caused controversy shortly after its release. The song also caused her first conflict with the Vatican, as she dedicated it to Pope John Paul II, who urged Italian fans to boycott her concerts during the 'Who's That Girl' World Tour in 1987. Madonna's vocals are so precise and emotive, her phrasing and enunciation impeccable, singing in an engaging lower register with touches of huskiness and grit. Despite all its (unwarranted) controversy, 'Papa Don't Preach' became another thoroughly deserved major hit.

10. OPEN YOUR HEART
A tinkling dance-pop tune, with a lilting arrangement and Madonna showing off her vocal range which sways from high to low at many points. A love song, talking of innocent feelings of a boy-meets-girl romance, Madonna is also confidently expressing her own sexual desires here. Swift and as infectious as always, 'Open Your Heart' was written by the Queen of Pop herself, along with Gardner Cole, while production was by her and Patrick Leonard.

11. LA ISLA BONITA
Ahh, how I LOVE this song. One of my own all-time favourite Madonna classics. Little bit of trivia for you that I only recently learned about this song: In its instrumental form, it was first offered to Michael Jackson! Madonna soon snapped it up, though, and wrote lyrics (along with Patrick Leonard) and the melody to it. The lyrics speak about a 'beautiful island' and was, according to Madonna, a tribute to the beauty of the Latin people. Indeed, wrapped in an intoxicating Latino arrangement, the lush instrumental captures arrangements of Cuban drums, Spanish guitar, maracas, harmonicas, compellingly intertwined with a mix of both synthesised and real drums. Madonna's vocal is delicate and evocative; gone are the squeaky, nasal sounds she possessed on her earlier hits. Here, she proves herself a highly adept vocalist.

12. LIKE A PRAYER
'Like A Prayer' had startling undertones of spiritual and religious commentary which was both profound but controversial in its day. Depictions of murder and interracial love, the stunning video had everybody talking at time: She is seen dancing in front of several burning crosses as though she was in some sort of state of religious and sexual ecstasy. Pepsi dropped its adverts that featured her in this clip, Catholics denounced her, and the video was banned from TV after just one screening. Fans, however, were all justifiably delighted. All this controversy shouldn't over-shadow the immense quality of the recording, undoubtedly remaining one of her most quintessential singles. Funky and poignant, the track opens with distorted guitars and a thud, leading into an invigorating and enigmatic pop-gospel work-out. Not surprisingly, the single release of 'Like A Prayer' quickly topped the charts on both sides of the Atlantic.

13. EXPRESS YOURSELF
The undertones of hot, pulsating funk on the playful 'Express Yourself' ( which she co-wrote with Steve Bray) proved that Madonna hadn't lost her impeccable touch for making great, infectious, jamming dance music. Moving away from the Church into her swish high-rise apartment, she finds herself looking at her jewels and satin sheets and decides she'd much rather have a man who is in touch with his feelings and able to express himself. Brassy, sassy and funky, the track would become a cross-Atlantic Top 10 seller.

14. CHERISH
Even more buoyant is 'Cherish', a delightful confection of radio-friendly pop that returns to Madonnas more familiar sound. Boasting a melody that's tight and punchy, this is utterly contagious. Madonna's tone is playful and fun, sounding far more angelic than usual. Her sassy charm truly ignites this recording, helping it to become a huge seller on the UK and US charts.

15. VOGUE
'Strike a pose...VOGUE'. Another of her defining classics, the song was inspired by vogue dancers and choreographers Jose Gutierez and Luis Xtravaganza from the Harlem "House Ball" community, the origin of the dance form, and they introduced "Vogueing" to her at the Sound Factory club in New York City. Combining elements of dance-pop and house, 'Vogue' set the trends of dance music in the 1990s. It also bears a strong 70s disco influence within its fantastic composition. While lyrically the song is about enjoying one's self on the dance floor, it also name checks several A-list Hollywood legends of the past during a spoken section. Anthemic, this became the biggest-selling single of 1990, shifting over six million copies.

16. JUSTIFY MY LOVE
One thing about Madonna is she always knows how to manipulate the press; the more controversial she is, the more exposure her releases gain. While this song itself is not particualarly controversial, the video that accompanied this certainly was, gaining an X-certificate. Written by Lenny Kravitz and Ingrid Chavez, with additional lyrics courtesy of Madonna, her vocals are primarily spoken and whispered, but almost never sung. A trip hop-influenced song, with mid-tempo settings and an almost hypnotic instrumentation, this is another of Madonna's best, and even though the video contained images of sadomasochism, voyeurism and bi-sexuality and was censored for television screenings, 'Justify My Love' still became a major hit. It also was one of two new songs recorded specifically for this compilation in a bid to enhance sales.

17. RESCUE ME
The compilation comes to a halt following this more straight-forward number, which, regardless, is another superbly-produced piece of pop and carrying an effective vocal from Madonna. It actually bears a slight resemblance to 'Vogue' in its instrumental, again entwining dance-pop with house influences. A nice end to this thoroughly superb collection.

Consistently excellent, with no throw-outs, this is the definitive compilation to own if, like me, you're still a sucker for Madonna's old-skool classics. Though there are a few hits are missing from this era, it is just as the title suggests: The Immaculate Collection!

Ian Phillips