“Seymour was in the hospital at the time,” she says. “I had heard that a lot of A&R people hung out at the clubs,” she says, “and I thought trying to go see them at their offices would be a waste of time.” It proved a good strategy: Through Mark Kamins, the DJ at Danceteria, the tape found its way to Sire Records, and Madonna was signed by label president Seymour Stein. Stephen had keys to all the rehearsal rooms, so when I decided to make my own demos, we’d go into other people’s studios at night and use their four-track machines.”Īrmed with a tape, Madonna began making the rounds of New York’s dance clubs. “I had just gotten kicked out of my apartment,” Madonna says, “so the band let me live in their rehearsal space at the Music Building, on Eighth Avenue.

By 1982, she had managed to get only a few gigs singing with drummer Stephen Bray’s band, the Breakfast Club, at clubs like CBGB and Max’s Kansas City, and the future looked far from bright. įive years after arriving in New York City from her hometown of Pontiac, Michigan, Madonna Louise Ciccone had little to show for a lot of work. This feature was originally published in the Novemissue of Rolling Stone. The next revolution may be just around the corner. Looking at the best rock has had to offer in the Eighties, it’s clear that there’s plenty of life left in the old beast yet. But rock in the Eighties was like that - lively, varied, contentious and, to some degree, inconclusive. The embarrassment of riches on this list is all the more remarkable, since arthritic radio programming, corporate sponsorship and outbursts of racism and sexism in rap and metal have complicated rock’s present and raised fears for its future.īest-of lists such as this one are by nature subjective. kicked out some serious streetwise jams Metallica and Guns N’ Roses established new hard-rock beachheads and Hüsker Dü, Sonic Youth and the Replacements offered definitive statements of postpunk angst. Further down the list, old-timers like Dylan, the Stones and Lou Reed hit new highs Public Enemy and Run-D.M.C. The first 10 entries here span the Clash’s polyglot punk, Prince’s crossover funkadelica, Afro-bop from Talking Heads and Paul Simon and hymns of innocence and experience by U2 and Tracy Chapman. And rap transformed the face - and voice - of popular music. Punks got older and more articulate in their frustration and rage, while many veteran artists responded to that movement’s challenge with their most vital work in years. The following survey of the 100 best albums of the Eighties, as selected by the editors of Rolling Stone, shows that the music and the values it stands for have been richer for the struggle. Musicians and audiences alike have struggled to come to terms with rock’s parameters and possibilities, its emotional resonance and often dormant social consciousness. But if the past 10 years haven’t exactly been the stuff of revolution, they have been a critical time of re-assessment and reconstruction. In comparison, the Eighties have been the decade of, among other things, synth pop, Michael Jackson, the compact disc, Sixties reunion tours, the Beastie Boys and a lot more heavy metal. The Seventies gave rise to David Bowie, Bruce Springsteen, heavy metal, punk and New Wave. The Sixties were rocked by Beatlemania, Motown, Phil Spector, psychedelia and Bob Dylan. The Fifties witnessed nothing less than the birth of the music. This has been the first rock & roll decade without revolution, or true revolutionaries, to call its own.

Georgia on my mind chord chart