MADONNA – The First Album 12" Vinyl LP Album

- The 1983 debut that transformed a New York club dream into global pop mythology

Album Front Cover Photo of MADONNA – The First Album Visit: https://vinyl-records.nl/

Madonna’s debut, The First Album, is where the 1980s truly learned to dance. Released in 1983, it’s the raw spark that lit a global phenomenon — all attitude, glitter, and irresistible rhythm. Recorded at New York’s Sigma Sound Studios and produced by Reggie Lucas with key remixes by John “Jellybean” Benitez, the album blends post-disco grooves and synth-pop gloss into pure pop alchemy. Tracks like “Holiday,” “Borderline,” and “Lucky Star” didn’t just climb the charts; they defined the decade’s sound and style. It’s the moment Madonna stopped chasing fame and started rewriting what pop stardom could mean.

Table of Contents

"The First Album" Album Description:

Madonna – The First Album (as printed on the front cover, though the record label simply reads Madonna) marked the explosive debut of the rising pop star in 1983. Produced primarily by Reggie Lucas, who had worked with artists like Stephanie Mills and Mtume, it introduced a sleek blend of dance-pop and post-disco that defined the early sound of Madonna’s career.

New York beginnings and early singles

Before this release, Madonna had built a following in New York’s vibrant club scene, performing her own songs while working with local producers. After signing with Sire Records in 1982, she issued her first single, “Everybody,” followed by “Burning Up,” both of which became underground dance hits.

Their success paved the way for the full album, released in July 1983, turning her club reputation into mainstream recognition.

Lyrics and musical style

The album’s lyrics center on desire, relationships, and romantic optimism. “Lucky Star” opens the record with a shimmering, upbeat groove, capturing the youthful self-confidence that would become Madonna’s trademark.

“Borderline,” one of her breakthrough hits, pairs emotional uncertainty with an irresistibly catchy hook, while “Holiday” celebrates escape and joy with a bright, universal appeal.

Production and remix influence

While Reggie Lucas oversaw most of the production, DJ and remixer John “Jellybean” Benitez played a crucial role in refining several tracks for the club market, giving “Borderline” and “Lucky Star” their enduring dance-floor polish.

The result is a sound that fuses polish and pulse — professional studio craftsmanship meeting raw street energy.

Commercial impact and legacy

Commercially, the album was a major success, climbing to number eight on the Billboard 200 and eventually selling over five million copies worldwide.

It established Madonna not just as a pop singer, but as a cultural force whose visual style, ambition, and self-determination would influence an entire generation of artists.

Album Key Details: Genre, Label, Format & Release Info

Music Genre:

80s Pop

Dance-pop and post-disco sounds define the early Madonna style—rhythmic, sleek, and built for the dance floor while retaining melodic pop sensibilities.

Label & Catalognr:

SIRE 32 3867

Album Packaging

This album "MADONNA - The First Album" includes the original custom inner sleeve with album details, complete lyrics of all songs and artwork/photos.

Media Format:

12" LP Vinyl Stereo
Total Weight: 230g

Year & Country:

1983 – Made in Italy

Production & Recording Information:

Producers:
  • Reggie Lucas – Producer for Kalisa Inc.
    Former guitarist for Miles Davis, Reggie Lucas became a key figure in shaping 1980s R&B and dance-pop, producing for artists like Stephanie Mills before launching Madonna’s debut.
Sound & Recording Engineers:
  • Jim Dougherty – Recording Engineer
    A frequent engineer at Sigma Sound Studios, Dougherty contributed to the clean, radio-ready polish typical of early 1980s pop production.
Recording Location:

Sigma Sound Studios – New York City, USA

Founded by Joe Tarsia, Sigma Sound was renowned for its Philadelphia soul legacy and later became a creative hub for New York’s emerging dance and pop acts.
Album Cover Design & Artwork:
  • Carin Goldberg – Album cover design
    Goldberg was an acclaimed art director for Atlantic and CBS Records, known for fusing classical typography with bold, postmodern visual style.
Photography:
  • Gary Heery – Album cover photography
    Australian photographer Gary Heery became internationally recognized for his portraits of musicians, including Frank Zappa, Madonna, Annie Lennox, and Joe Cocker, often highlighting their personality through intimate visual framing.

Band Members / Musicians:

Band Line-up (Part 1):
  • Madonna – Vocals, Background Vocals, Cowbell
    Emerging from New York’s club scene, Madonna became one of the most influential pop artists of the 20th century, blending dance, fashion, and provocation into global stardom.
  • Curtis Hudson – Guitar
    Member of the R&B group Pure Energy and co-writer of “Holiday,” one of Madonna’s breakthrough hits.
  • Paul Pesco – Guitar
    A session guitarist and longtime collaborator with Madonna, also known for his work with Hall & Oates and C+C Music Factory.
  • Reggie Lucas – Guitar
    Former member of Miles Davis’s electric band, Lucas transitioned into production, shaping early ’80s pop and R&B hits.
  • Ira Siegel – Guitar
    Esteemed New York session guitarist who played on numerous pop and R&B recordings throughout the 1980s.
  • Dean Gant – Synthesizer, Piano, Electric Piano
    A jazz and R&B keyboardist whose smooth arrangements appeared on recordings by Grover Washington Jr. and Anita Baker.
  • Ed Walsh – Synthesizer
    Pioneer of early synthesizer programming and sound design, contributing to New York’s post-disco production scene.
  • Fred Zarr – Synthesizer, Piano, Drums, Electric Piano, Moog Synthesizer, Fender Rhodes, Moog Bass
    Multi-instrumentalist and arranger behind many dance-pop hits of the era, also contributing to tracks for Cyndi Lauper and Village People.
Band Line-up (Part 2):
  • Raymond Hudson – Bass
    Bassist and songwriter known for his collaboration with Curtis Hudson in Pure Energy and work in the early New York funk scene.
  • Anthony Jackson – Electric Bass
    Legendary session bassist who invented the six-string contrabass, performing with Steely Dan, Chaka Khan, and Paul Simon.
  • Bashiri Johnson – Percussion
    A leading New York percussionist who appeared on countless R&B, pop, and soul albums, later working with Luther Vandross and Whitney Houston.
  • Bob Malach – Tenor Saxophone
    American jazz saxophonist known for his work with Stevie Wonder and Barbra Streisand, blending pop sensibility with improvisational skill.
  • Tina B. (Tina Baker) – Background Vocals
    Club vocalist and recording artist who later collaborated with producer Arthur Baker on 1980s dance hits.
  • Christine Faith – Background Vocals
    Session singer active in early ’80s pop and soul projects, known for smooth harmonies on Sire and Atlantic releases.
  • Gwen Guthrie – Background Vocals
    Solo artist and songwriter behind the 1986 hit “Ain’t Nothin’ Goin’ On But the Rent,” also wrote for Aretha Franklin and Roberta Flack.
  • Brenda White – Background Vocals
    Backing vocalist for Luther Vandross and Stephanie Mills, admired for her dynamic range and gospel-infused tone.
  • Norma Jean Wright – Background Vocals
    Former lead singer of Chic who enjoyed solo success and became one of the most in-demand session singers of the disco and post-disco eras.

Collector’s Note: Norma Jean Wright

Norma Jean Wright is an American singer best known as the original lead vocalist of the disco-funk band Chic. Before joining Chic, she sang background for Aretha Franklin, Luther Vandross, and Sister Sledge—voices that defined late-70s soul and R&B.

In 1977, she fronted Chic’s self-titled debut album, delivering the silky vocals on hits like “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah).” After leaving the band in 1978 to pursue a solo career, she released Norma Jean—produced by Nile Rodgers and Bernard Edwards—which featured the club favorite “Saturday.”

Throughout the 1980s, she remained one of New York’s most sought-after session singers, lending harmonies to countless disco, soul, and pop recordings, and continuing to tour and record with former Chic members in later years.

Collector’s Note: Martin Burgoyne

During the era of The First Album (1982–1983), Madonna’s hairstylist was Martin Burgoyne, her close friend and former roommate in New York City’s East Village. His artistry helped define the visual spark of her early career — the tousled blonde curls, ribbons, and stacks of bracelets that became icons of the Lucky Star and Borderline era.

Burgoyne wasn’t just a stylist; he was a creative conspirator. Alongside makeup artist Debi Mazar, he helped Madonna shape a look that blended street punk energy with downtown glamour. His eye for detail and raw aesthetic sense turned her from an aspiring club performer into a visual phenomenon that MTV couldn’t ignore.

When Burgoyne fell ill from AIDS-related complications in 1986, Madonna supported him quietly but completely — paying his medical bills, arranging his care, and covering his funeral expenses. Her loyalty ran deeper than friendship; it was a private act of devotion to someone who had helped her craft her earliest sense of self.

Even after his death, Burgoyne’s presence lingered in her work. He had designed the single sleeve for Burning Up, and his sense of play and rebellion echoed in Madonna’s future visual reinventions. In later interviews, she described him as “one of the purest souls” she had ever known — a dreamer who saw beauty before fame blurred it.

In the years that followed, Madonna became a strong advocate for AIDS awareness and fundraising. Every benefit she performed, every cause she championed, carried an unspoken tribute to Martin — her friend, stylist, and fellow visionary who helped her find her first true look before the world ever called her a star.

Complete Track-listing:

Tracklisting Side One:
  1. Lucky Star (5:37)
    Written by Madonna. Produced by Reggie Lucas. Remix by John "Jellybean" Benitez.
  2. Borderline (5:20)
    Written and produced by Reggie Lucas.
  3. Burning Up (3:45)
    Written by Madonna. Produced by Reggie Lucas. Remix by John "Jellybean" Benitez.
  4. I Know It (3:47)
    Written by Madonna. Produced by Reggie Lucas.
Video: Madonna - Lucky Star (Official Video)
Tracklisting Side Two:
  1. Holiday (3:51)
    Written by Curtis Hudson and Lisa Stevens. Produced by John "Jellybean" Benitez.
  2. Think of Me (4:54)
    Written by Madonna. Produced by Reggie Lucas.
  3. Physical Attraction (6:39)
    Written and produced by Reggie Lucas. Remix by John "Jellybean" Benitez.
  4. Everybody (6:02)
    Written by Madonna. Produced by Mark Kamins.
Video: Madonna - Holiday [Official Music Video]

Disclaimer: Track durations shown are approximate and may vary slightly between different country editions or reissues. Variations can result from alternate masterings, pressing plant differences, or regional production adjustments.

Collector’s Note: Madonna MTV Controversies

Madonna’s early MTV adventures were pure pop teatro — half music, half mischief, and just enough scandal to make the priests faint and the record execs cheer.

“Lucky Star” twirled onto the screen like a neon stella over New York, all bangles, belly buttons, and divine attitude. Italian mothers may have sighed “Madonna mia!” at the sight, but the teenagers? They raided their closets to copy her every move.

Then came “Borderline”, the little film that dared to flirt across color lines — a bacio proibito for MTV in 1984. It was tender, streetwise, and just rebellious enough to make middle America clutch its rosaries.

“Burning Up” turned the thermostat to bollente. Catholic guilt met electric guitars, and Madonna looked straight into the camera with the confidence of a woman who knew she owned both heaven and MTV’s airtime.

Even “Holiday”, the most innocent of the bunch, felt like a festa senza fine — glitter, joy, and a wink that said she was taking a brief vacation before taking over the world.

And this Italian pressing? Perfetto. It spins with a little extra warmth, a little espresso in the groove — because when Madonna met MTV, it wasn’t just pop music. It was opera moderna, and every frame said: Benvenuti alla rivoluzione pop!

Additional Notes:

The album front cover displays the title "Madonna – The First Album", while the record label itself simply reads "Madonna". This distinction identifies it as the European reissue version, first appearing in 1985. The original U.S. release carried only the self-titled name.

Album Front Cover Photo
Front cover of Madonna’s 1983 LP 'The First Album', featuring a striking portrait of Madonna in her early 1980s New York club look. She gazes directly at the viewer with pale blue eyes framed by heavy eyeliner and shimmering eyeshadow. Her blonde hair is tousled with dark roots and curls spilling over her shoulder. Madonna’s lips are painted vivid pink, and she wears a large black cross earring on her left ear, layered pearl and leather necklaces, and numerous black rubber and silver bracelets. The typography reads 'madonna' in yellow lowercase letters and 'the first album' in red beneath it, both positioned in the upper right corner against a black background. The lighting casts a cool blue tone across her face, emphasizing the dramatic contrast between glamour and grit that would define her early image.

This front cover of Madonna – The First Album captures the young artist on the brink of stardom, fusing street fashion with high-art glamour. Madonna poses with hands near her face, her gaze both defiant and magnetic, signaling the arrival of a new kind of pop icon. The lighting, with its soft diffusion and hints of shadow, accentuates her angular features and creates a dramatic sense of intimacy.

Her look — bleached curls, layered jewelry, black off-the-shoulder top, and crucifix earring — defined early 1980s club style, a mix of rebellion and sensuality. The large black cross, dangling from her left ear, became one of her signature accessories, symbolizing both provocation and personal spirituality. Her wrists are adorned with stacks of rubber and metal bracelets, reflecting New York’s post-punk fashion.

The typography is minimalist: madonna in lowercase yellow, and beneath it, the first album in red, echoing both confidence and simplicity. Designed by Carin Goldberg with photography by Gary Heery, the composition’s stark background allows Madonna’s expression and style to dominate the frame. It’s an image of attitude, ambition, and transformation — a moment when pop’s future queen first looked the world in the eye and dared it to look back.

Album Back Cover Photo
Back cover of Madonna’s 1983 LP 'The First Album' Italian pressing. The right half features the song list in bright yellow and red serif text against a dark navy-blue background with faint tribal-style symbols and geometric line art. The left side displays a full-length photo of Madonna in her early 1980s street fashion — a cropped black top revealing her midriff, black pants, and studded belt with silver chain. Her hair is tousled and bleached blonde, with a black ribbon tied in her hair and a black bracelet cuffing her wrist. She poses with one arm raised above her head and her gaze slightly away from the camera, exuding attitude and independence. The track listing includes 'Lucky Star,' 'Borderline,' 'Burning Up,' 'Holiday,' and 'Everybody,' while production credits note Reggie Lucas, John 'Jellybean' Benitez, and Mark Kamins. The Sire Records logo and copyright ©1983 Sire Records Company appear at the bottom.

The back cover of Madonna – The First Album presents a split composition balancing bold typography and iconic photography. On the left, Madonna stands in full-length view against a gradient gray backdrop. Her pose — one arm lifted over her head, the other relaxed at her side — captures both confidence and cool detachment. She wears a black off-shoulder top, cropped to reveal her midriff, paired with black pants and a dangling silver chain belt.

The right side lists the album’s eight tracks in yellow and red serif type: “Lucky Star,” “Borderline,” “Burning Up,” “I Know It,” “Holiday,” “Think of Me,” “Physical Attraction,” and “Everybody.” Production credits highlight Reggie Lucas for Kalisa Inc., John “Jellybean” Benitez for remixes, and Mark Kamins for the original version of “Everybody.” Beneath, the familiar Sire Records logo anchors the design in vivid red.

The subtle indigo background pattern features abstract shapes and linear motifs, a recurring Sire design cue from the early 1980s. The minimal layout allows Madonna’s image to dominate, blending strength, sensuality, and streetwise style. It’s a perfect visual epilogue to an album that transformed a downtown performer into a global pop phenomenon.

First Photo of Custom Inner Sleeve
Monochrome portrait of Madonna from the inner sleeve of her 1983 LP 'The First Album'. She is photographed in high contrast black and white, standing against a plain studio backdrop. Her cropped knit top exposes her midriff, and her arms are lifted behind her head as she adjusts a large bow-like scarf tied in her hair. Her expression is alert and slightly curious, with lips parted and eyes looking upward. She wears layered earrings, including a prominent cross earring, and multiple bracelets—leather, metal, and rubber—encircling her wrists. A studded belt and soft shadows complete the composition, evoking a sense of raw attitude and youthful rebellion characteristic of Madonna’s early 1980s image.

This inner sleeve photograph from Madonna – The First Album presents a raw, minimalist portrait in striking black and white. The focus is entirely on Madonna, framed waist-up as she lifts her arms behind her head, caught mid-motion. The lighting creates sharp shadows that emphasize the contours of her arms, face, and midriff — a reminder of how photography can turn simplicity into bold presence.

Madonna’s outfit encapsulates early 1980s downtown style: a cropped knitted top, studded belt, and a cascade of bangles wrapping both wrists. Her accessories — layered cross earring, leather straps, and metal loops — balance between punk defiance and street glamour. The fabric bow tied around her head adds a playful, feminine touch that softens the stark contrast of the photograph.

This portrait, shot by Gary Heery, channels both confidence and vulnerability. It’s not yet the choreographed Madonna of later eras, but the daring newcomer who turned New York club fashion into a pop identity. The photo’s grain and tonal depth give it the texture of a moment suspended in time — intimate, confident, and unmistakably iconic.

Second Photo of Custom Inner Sleeve
Close-up of the inner sleeve reverse of MADONNA – The First Album, featuring printed lyrics for all eight tracks including Lucky Star, Borderline, Burning Up, Holiday, Think of Me, Physical Attraction, and Everybody. The white matte paper is densely filled with black text columns listing lyrics, musician credits, and production details. On the right margin appear acknowledgments, photographer credit to Gary Heery, design by Carin Goldberg, and management under Warner Bros. The layout is minimalist and typographically balanced, exuding early-80s clarity and precision.

The reverse side of the Madonna – The First Album inner sleeve presents a clean white background with neatly printed black text, showcasing the complete lyrics for all eight songs. Titles such as Lucky Star, Borderline, Burning Up, Holiday, Think of Me, Physical Attraction, and Everybody are displayed in elegant sans-serif type, each section clearly divided into vertical columns.

The rightmost column provides musician credits, listing guitarist Reggie Lucas, bassist Anthony Jackson, and drummer Fred Zarr, along with engineering details from Sigma Sound Studios in New York. The design, created by Carin Goldberg, maintains a minimalist elegance typical of early-1980s Warner releases, balancing readability and style.

At the bottom right corner, the Warner Bros. and Sire Records logos are printed in small black rectangles, accompanied by a production dedication and management reference to Weiser Damon Entertainment. The sleeve functions both as a lyric sheet and as a historical document of the album’s studio personnel and design aesthetics—an artifact of pop’s emerging visual sophistication.

Close up of Side One record’s label
Close-up of Side One label for MADONNA – The First Album Italian pressing. The label has a vivid yellow background with the classic blue Sire ‘S’ logo—a stylized curved path resembling a swirl or sound wave—at the top center. Text is printed in black, neatly arranged with track titles including Lucky Star, Borderline, Burning Up, and I Know It. The words 33⅓ GIRI STEREO and S.I.A.E. appear on the left, confirming Italian manufacture. The catalogue number 92 3867-1 and copyright © 1983 Sire Records Company are printed on the right. Around the rim, small text in Italian notes Warner Communications as the owner and record producer, marked ‘Made in Italy by WEA Italiana S.p.A.’

This close-up shows the Italian Side One record label of Madonna – The First Album, released in 1983 by Sire Records. The label is bright yellow with black text, featuring the distinct blue circular Sire logo at the top — a curved path forming an abstract “S” shape, symbolizing sound flow and stylized motion.

Track titles are listed at the center: Lucky Star, Borderline, Burning Up, and I Know It. To the left, the designation “33⅓ GIRI STEREO” confirms this as a standard Italian LP pressing. Below it, the boxed S.I.A.E. stamp identifies Italy’s official copyright society.

The right side displays the catalogue number “92 3867-1” and production credit “℗ & © 1983 Sire Records Company.” The lower rim text in Italian reads “Made in Italy by WEA Italiana S.p.A. – A Warner Communications Company,” specifying both manufacture and distribution. The overall design is minimalist yet professional, typical of early-1980s Sire labels produced for the European market.

Sire Records, Italy Label

The Italian Sire Records label for Madonna – The First Album exemplifies the early 1980s European Sire design. It pairs a bold yellow base with the iconic blue “S” logo, surrounded by clear typography and rights information. This particular label design was used by Sire Records between 1982 and 1985.

Colours
Bright yellow background with blue and red logo, black text
Design & Layout
Clean typographic hierarchy with track list centered and rights text along rim
Record company logo
Blue circular Sire “S” — stylized wave path suggesting continuous sound flow
Band/Performer logo
None used; artist name printed in uppercase serif text
Unique features
S.I.A.E. boxed stamp; Italian pressing note “Made in Italy by WEA Italiana S.p.A.”
Side designation
“LATO 1” printed right of center
Rights society
S.I.A.E.
Catalogue number
92 3867-1
Rim text language
Italian
Track list layout
Four tracks listed numerically with composer credits in parentheses
Rights info placement
Right side and bottom rim of the label
Pressing info
Manufactured and distributed by WEA Italiana S.p.A., Italy
Background image
Solid yellow; no photographic or pattern design

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MADONNA - Gambler (7" and 12" Versions)
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