Madonna (album) - Composition

Composition

According to Allmusic, the album is mostly influenced by dance-pop, post-disco and pop rock music. The overall sound of Madonna is dissonant, and is in the form of upbeat synthetic disco, utilizing some of the new technology of the time, like the usage of Linn drum machine, Moog bass and the OB-X synthesizer. These equipments have already dated since, consequently the sound of the album comes off as harsh. Madonna commented on her debut album: "The songs were pretty weak and I went to England during the recordings so I wasn't around... I wasn't in control. I didn't realise how crucial it was for me to break out of the disco mold before I'd already finished the album. I wish I could have got a little more variety there." The album starts with the song "Lucky Star", a medium-paced dance track, beginning with a sparkle of synth note and is followed by heavy beats of electronic drum and handclaps. A guitar is played in high riff and a bubbling bass synth is produced to accompany the guitar sound. The song revolves around the "Starlight, starbright" hook for more than a minute, before going to the chorus. According to author Rikky Rooksby, the lyrics are repetitive and inane, revolving around the transparent ambiguity of the stars, and juxtaposition of the male character with being a heavenly body in the sky. "Borderline" is a sentimental track, talking about a love that is never quite fulfilled. According to author Santiago Fouz-Hernández and his book Madonna's drowned worlds, the lyrics of the song like "Something in the way you love me won't let me be/I don't want to be your prisoner so baby won't you set me free" depicted a rebellion against male chauvinism. Madonna used a refined and expressive voice to sing the song, backed by Lucas's instrumentations. It opens with a keyboard rich intro and a catchy synth melody provided by Fred Zarr. Bass player Anthony Jackson doubled Dean Gant's synth bass to provide a solid & more complex texture. The chords in the song were inspired by Seventies disco sound in Philadelphia as well as Elton John's musical style during the mid-seventies. The chord sequences cite from Bachman–Turner Overdrive's song "You Ain't Seen Nothing Yet" while the synth phases display her typical musical style.

The third track "Burning Up" has a starker arrangement, brought about by bass, single guitar and Linn drum machine. The drum beats used in the song were reminiscent to the records of singer Phil Collins. It also incorporated electric guitars and the most state-of-the-art synthesizers of that time. The chorus is a repetition of the same three lines, while the bridge consists of a series of double entendres; the lyrics describing what Madonna is prepared to do for her lover, and that she is individualistic and shameless. Next track "I Know It" has a gentler swing to it and features music from piano, a saxophone, synth phrases while having an offbeat chord change. "Holiday" consists of a four-bar sequence, featuring instrumentation from guitars, electronic drums and handclaps from the Oberheim DMX, cowbell played by Madonna and a synthesized string arrangement. A side-by-side repetitive progression is achieved by making use of the chorus. Towards the end of the song, a change in the arrangement happens, where a piano break is heard. Lyrically, the song expresses the universal sentiment that everybody needs a holiday. In "Think of Me", Madonna warns her erring lover that he should pay her attention or else she would leave. The song consists beats from the Linn drum machine and a saxophone interlude. "Physical attraction" is a medium paced track, with synth bass, a guitar line, sounds of a brass and Madonna singing in a shrill voice, about the attraction between herself and a boy. The last song on the album is "Everybody", which starts with a heavily synthesized and spoken introduction, with Madonna taking a loud intake of breath. She displayed her bubblegum-pop like voice in the song, which was also doubletracked.