Madonna "Like A Virgin"

Like a Virgin is the second studio album by American singer and songwriter Madonna, released on November 12, 1984, by Sire Records. Following the success of her self-titled debut album, Madonna wanted to become the record producer of her next album. However, her label was not ready to give her the artistic freedom and she chose Nile Rodgers instead to produce the album due to his work with David Bowie. Madonna wrote six songs on the record, five of which feature Steve Bray as a co-writer. The album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic bandmates Bernard Edwards, who was the bassist, and Tony Thompson, who played drums. Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique introduced at that time.

The album's photographs were shot by Steven Meisel. Madonna wanted the album title and the cover image to make provocative link between her own religious name Madonna, as the Roman Catholic title for Jesus' mother Mary, and the Christian concept of the virgin birth. While not a substantial musical departure from Madonna's first album, she felt that the material from Like a Virgin was stronger. After its release, Like a Virgin received mixed reviews from music critics, but was a commercial success. It became Madonna's first number one album on the Billboard 200 and set the record as the first female album in history to sell over five million copies in the United States. The Recording Industry Association of America (RIAA) later certified it diamond for shipment of ten million units. It also reached number one in Germany, Italy, Netherlands, New Zealand, Spain and the United Kingdom, and remains one of the best-selling albums of all time with sales of over 21 million copies worldwide.

Five singles were released from the album, including Madonna's first US number-one "Like a Virgin" and her first UK number-one "Into the Groove". To promote the album, she embarked on The Virgin Tour, which had shows in cities of North America only. Like a Virgin has attained significance as a cultural artifact of the 1980s. Madonna proved that she was not a one-hit wonder and was able to provide herself with a permanent footing in the music world. Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population, especially "Material Girl" and "Like a Virgin". According to author J. Randy Taraborrelli, "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment."

A former dancer and fixture on the New York club scene, Madonna Louise Ciccone became known to the world simply as Madonna, with the release of her 1983 self-titled debut album Madonna. Fueled by hit songs like "Holiday", "Borderline" and "Lucky Star", the album was one of the best selling of the year and helped Madonna become one of the most exciting new artists of the 1980s. When she started work on her second album, Madonna felt that her first album had succeeded in introducing her "street-smart dance queen" persona, and she wanted to solidify and build upon that concept. According to her, "My work, my dedication—the stubbornness for getting Madonna released—had paid off. Now it was time to solidify my future."

For Like a Virgin, Madonna attempted to become one of the primary record producers, feeling the need to control the various aspects of her music. She believed that depending on a particular producer for her album was not something that suited her. Madonna said "I learnt my lesson while creating my debut album, and the way Lucas left me in the water with the project, you can't trust men"—referring to the incident, when due to certain difference of opinion between producer Reggie Lucas and Madonna, Lucas had left the project half-way. However, Warner Bros. Records was not ready to give her the artistic freedom that she wanted. In J. Randy Taraborrelli's biography of Madonna, she commented,

"Warner Bros. Records is a hierarchy of old men and it's a chauvinist environment to be working in because I'm treated like this sexy little girl. I had to prove them wrong, which meant not only proving myself to my fans but to my record company as well. That is something that happens when you're a girl. It wouldn't happen to Prince or Michael Jackson. I had to do everything on my own and it was hard trying to convince people that I was worth a record deal. After that, I had the same problem trying to convince the record company that I had more to offer than a one-shot singer. I had to win this fight."

Ultimately, Nile Rodgers was chosen by Madonna as the producer of the album, with the approval of the Warner Brothers executives. Madonna chose Rodgers mostly because of his work as a member of the seventies band Chic, and his most recent production work with David Bowie on his 1983 album Let's Dance. She commented, "When I was making the record, I was just so thrilled and happy to be working with Nile Rodgers. I idolized Nile because of the whole Chic thing. I couldn't believe that the record company gave me the money so that I could work with him."


For his part, Rodgers recalled that he had first seen Madonna perform at a small club in New York in 1983. In an interview with Time magazine, Rodgers explained: "I went to the club to see another woman sing, but when I got there Madonna was onstage. I loved her stage presence and then we met right after that. I kept thinking to myself, 'Damn, is she a star', but she wasn't at that time. I always wanted to work with her and Like a Virgin seemed like a perfect opportunity."

The album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic bandmates Edwards, who was the bassist, and Tony Thompson, who played the drums; they appeared on several tracks of the album. Rodgers decided to be the guitarist, when Edwards requested him to do so, in exchange for their help. The recording sessions did not start until the afternoon as Rodgers, who attended late-night parties, was not accustomed to work in early mornings. The schedule was also difficult for Madonna, who recalled that she used to "go to the swim club on the Upper West Side and go swimming and walk from there to the recording studio. It was impossible for me to reach there at morning." Rodgers recalled that Madonna was a real hard worker and incredibly tenacious. He commented: "I am always amazed by Madonna's incredible judgement when it comes to making pop records. I've never seen anyone do it better, and that's the truth. When we did that album, it was the perfect union, and I knew it from the first day in the studio. The thing between us, man, it was sexual, it was passionate, it was creativity ... it was pop."


Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the future of recording. To ensure this, Corsaro used a Sony 3324 24-track digital tape recorder and a Sony F1 two-track during the mixing of the tracks. Madonna recorded the lead parts of the songs in a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room". Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer. Once the tracks met with everybody's approval, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano, while Rodgers also played a Synclavier. Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time. She never left".