Borderline (Madonna song)
"Borderline" | ||||
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Warner Bros. | ||||
Songwriter(s) | Reggie Lucas | |||
Producer(s) | Reggie Lucas | |||
Madonna singles chronology | ||||
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Music video | ||||
"Borderline" on YouTube |
"Borderline" is a song by American singer Madonna from her debut self-titled studio album (1983), written and produced by Reggie Lucas. In 1982, Madonna was signed on by Sire Records for the release of two 12-inch singles; after the success of first single "Everybody", the label approved the recording of an album, and the singer decided to work with Lucas. "Borderline" is a pop song with post-disco elements whose sounds recall the music of the 1970s, while the lyrics find a woman complaining of her lover's chauvinism.
In the United States, it was released as single on February 15, 1984, whereas in Europe it was published twice: first in June 1984, and then in January 1986. Upon release, "Borderline" was acclaimed by music critics, who lauded the singer's vocals; in retrospective reviews, it has been referred to as Madonna's breakout song, and as one of the best songs from the 1980s. It was commercially successful: in 1984, it gave Madonna her first top-ten hit in the US Billboard Hot 100. The 1986 release saw success across Europe: it became the singer's second number one in Ireland, and reached the top 3 in the United Kingdom, Belgium and The Netherlands.
The song's
, among others.Background
In 1982, Madonna was living with her former Michigan boyfriend
Prior to entering the studio, Madonna had written three new songs: "Lucky Star", "Think of Me", and "I Know It".[8] However, she soon realized that there was not enough material for a full-length album ― the only tracks available were "Everybody", "Burning Up", "Lucky Star", "Think of Me", "I Know It", and "Ain't No Big Deal".[3] Lucas then brought two compositions of his own to the project: "Physical Attraction" and "Borderline", which he wrote specifically for Madonna.[3][9] Him and the singer worked on "Borderline" while she was staying at artist Jean-Michel Basquiat's apartment; "I'd write songs and put them on a little cassette player [...] I’d ask Madonna if she liked them [...] I did the demos for 'Physical Attraction' and 'Borderline' [...] and we did what we did to them", the producer recalled.[7][9] Upon hearing the final version, Stein declared, "I dared to believe this was going to be huge beyond belief, the biggest thing I'd ever had, after I heard 'Borderline'... The passion that she put into that song, I thought, there's no stopping this girl".[6]
Composition and release
Recording took place at the
"Borderline" is a
In the United States, "Borderline" was released on February 15, 1984, as the fourth single from the Madonna album, following "Holiday";[16] in the United Kingdom, it was published as the album's fifth single on June 2, 1984.[8][17] To "keep the Madonna mania going on", a second European release was done in January 1986.[18][16] "Borderline" was then included on Madonna's compilation albums The Immaculate Collection (1990) and Celebration (2009).[19][20]
Critical reception
"Madonna went on to sing more-clever songs ('Material Girl'), more-showy songs ('Like a Prayer'), more-sexy songs ('Justify My Love'). But 'Borderline', her first top-10 hit, captures the essence of her pop appeal, its freshness, simplicity and vitality".
—Time's Radhika Jones reviewing "Borderline" on the magazine's All-Time 100 songs ranking.[21]
"Borderline" has been acclaimed since its release. For Rikky Rooksby, it's the "most harmonically complex track on the album", while Dave Marsh, author of The Heart of Rock & Soul, felt it was "too damn good to be denied, no matter whose value system it disrupts".[3][22] To Marc Andrews, it's the album's "sweetest" song.[23] Author Maury Dean, in his book Rock 'n' Roll Gold Rush, applauded its "saucy-style and come-hither magnetism".[24] AllMusic's Stephen Thomas Erlewine singled it out as "effervescent", and as one of the "great songs" on his review of the Madonna album;[25] for Stewart Mason, from the same portal, "[it] proved that Madonna was more than a pretty face, a dancer's body and a squeaky voice [...] 'Borderline' is a pure treasure, one of those unabashedly commercial pop songs that also manages to at least hint at deeper emotions". He concluded that the singer, "delivers the best vocal performance of her early career, when her limitations were at their most obvious".[26]
From
While reviewing The Immaculate Collection on its 25th anniversary, Drew Mackie from People opined it was "catchy", and a "promise of even better things to come" in Madonna's career.[19] James Rose, from the Daily Review, referred to "Borderline" as an "insight to an emerging wordsmith, with a deeper sensibility married to her unerring aim on manufactured pop hooks".[35] On his review of the 2001 re-release of Madonna, Michael Paoletta from Billboard pointed out that, "such tracks as 'Borderline' [...] remain irresistible".[36] While ranking the album's tracks on its 40th anniversary, Marcus Wratten from PinkNews placed "Borderline" on the first spot, singling out Madonna's performance, and comparing the single to a "warm, comforting hug".[37] "Borderline" has often been referred to as Madonna's breakout song: Journalist Roxanne Orgill in her book Shout, Sister, Shout!, wrote that it made the singer "the star that she is".[38] J. Randy Taraborrelli, in his biography of Madonna, said it was, along with "Holiday", one of the "key recordings" that helped to establish her career.[39] Mark Elliott from website This is Dig! added that "Borderline" was a "landmark song", as it positioned Madonna as a "premier-league mainstream star and a compelling dance act".[16] Finally, the staff of Rolling Stone concluded that, "['Borderline'] propelled [Madonna] from urban-radio contender to pop queen".[7]
"It's easy to see how 'Borderline' became the nascent New York star's first top ten hit on the Hot 100 — it's pure pop bliss [...] But while the track might've been a hit for anyone, it's Madonna’s vocal — an overpowering mixture of aching naivete and teasing vitality — that pushes [it] into the rarefied realm of pop classics".
—Joe Lynch's review of "Borderline" on Billboard's list of Madonna singles.[40]
Matthew Jacobs from HuffPost placed the song at number 17 of his ranking of Madonna's singles, singling out "those wailing vocals".[41] On Gay Star News' ranking, the single came in at number 12; Joe Morgan wrote: "[Madonna] may have done more complicated songs, and experimented more, but 'Borderline' is pure pop finery".[42] Jude Rogers, from The Guardian, opined "Borderline" showcased "the young, untutored star at her most gentle and beseeching", and placed it at number 2 of her ranking of Madonna singles.[43] It was named "the song that proved early on that Madonna was no one-trick disco show pony", as well as her 27th best, by PinkNews' Nayer Missim.[44] Louis Virtel, writing for The Backlot, named "Borderline" the sixth best song of Madonna's discography, highlighting its "desire and unabashed innocence", and "phenomenal closing segment".[45] The staff of Rolling Stone named it the second best song of 1984.[46] On Pitchfork's ranking of the 200 best songs from the 1980s decade, "Borderline" was placed at 106: "four minutes of emotional helium [...] there’s so much charisma, it’s easy to see why it catapulted [Madonna] toward[s] being the biggest pop star in the world", read Jeremy Gordon's review.[47] In 2023, while celebrating the 65th anniversary of the Hot 100, the staff of Billboard named "Borderline" the 128th best pop song to appear in the chart since 1958: "Not [Madonna's] biggest '80s pop hit, but likely her purest", read the review.[48]
Commercial performance
The week of March 3, 1984, several
In the United Kingdom, "Borderline" debuted at the 74th position of the
Music video
Background and synopsis
Lambert herself described the video's plot to Rolling Stone: "[A] Boy and [a] girl enjoy simple pleasures of
Footage with the photographer was shot in black-and-white, while the scenes in the barrio with her boyfriend were shot in full color.[76] "Borderline" was added to MTV the week of March 24, 1984.[53] Years later, it was added to Madonna's video compilations The Immaculate Collection (1990) and Celebration: The Video Collection (2009).[74][20]
Analysis and reception
"'Borderline' was significant not only because of its then-controversial representation of an interracial relationship and female sexual assertiveness [...] but because [it] played out -and with- struggles over immigration, gender roles, and multiculturalism that were at the forefront of US politics in the 1980s".
—Author Leah Perry on the music video.[76]
According to
In Madonna's Drowned Worlds, Santiago Fouz-Hernández and Freya Jarman-Ivens wrote that the Hispanic boyfriend and British photographer represented "the dualities" of the singer's life and career up at that point: "the gritty, multirracial street and club scene [...] [and] the new slick, fast world of popularity and success".
Matthew Lindsay referred to "Borderline" as a "mini-movie", and compared it to the 1975 film
Live performances
In February 1984, Madonna appeared on The Dance Show and performed "Borderline", joined by her brother Christopher Ciccone, and dancer Erika Belle.[16][85] The single was then included on two of the singer's concert tours: Virgin (1985) and Sticky & Sweet (2008). On the first one, the performance saw Madonna coming out from behind a silhouette.[86] Her wardrobe consisted of a crop top beneath a vest with a silver cross pattée, matching fringed gloves and miniskirt, leggings, low heel leather boots, and a crucifix earring in one ear.[87] "Borderline" is one of three performances not included on the Madonna Live: The Virgin Tour video release (1985).[88]
On 2006's
On March 10, 2016, Madonna sang an acoustic "Borderline" on the Melbourne concert of her Madonna: Tears of a Clown show; she was dressed as a clown ―with a pink wig and candy-striped tights― and began the performance by saying: "I don’t have bipolar disorder but I am a little borderline".[94][95] Writing for The Guardian, Monica Tan praised the singer for "knowing her jokes were shit but using them as a segue into songs".[95] Finally, on June 9, the singer did a “slowed-down, souled-up” rendition of the song on The Tonight Show Starring Jimmy Fallon, where she was joined by American band the Roots; the number was watched by the 44th president of the United States, Barack Obama.[96]
Covers and media reference
In 2000, an
American duo
Actors
Track listings and formats
|
|
Credits and personnel
Credits are adapted from the album and 7-inch single liner notes.[10][114]
- Madonna – lead vocals
- Reggie Lucas – writer, producer, guitars, drum programming
- Fred Zarr – synthesizers, electric and acoustic piano
- Dean Gant – synthesizers, electric and acoustic piano
- Ed Walsh – synthesizers
- Anthony Jackson – electric bass
- Ira Siegal – guitars
- Bobby Malach – tenor saxophone
- Gwen Guthrie – background vocals
- Brenda White – background vocals
- Chrissy Faith – background vocals
- Glenn Parsons - artwork
- Jeri McManus - artwork
- George Holz - photography
Charts
Weekly charts
|
Year-end charts
Decade-end charts
|
Certifications
Region | Certification | Certified units/sales |
---|---|---|
United Kingdom (BPI)[60] | Gold | 500,000^ |
United States (RIAA)[57] | Gold | 500,000^ |
^ Shipments figures based on certification alone. |
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- Fouz-Hernández, Santiago; Jarman-Ivens, Freeya (2004). Madonna's Drowned Worlds. ISBN 0-7546-3372-1.
- Gnojewski, Carol (2007). Madonna: Express Yourself. ISBN 978-0766024427.
- ISBN 0-415-10570-6.
- ISBN 0-306-80901-X.
- ISBN 0-312-98310-7.
- Orgill, Roxanne (2001). Shout, Sister, Shout!: Ten Girl Singers who Shaped a Century. ISBN 0-689-81991-9.
- Perry, Leah (2016). The Cultural Politics of U.S. Immigration: Gender, Race and Media. ISBN 9781479880799.
- Pettegrew, John; Keetley, Dawn (2002). Public Women, Public Words: 1960 to the present. Madison House. ISBN 0-7425-2236-9.
- ISBN 0-312-11782-5.
- Rooksby, Rikky (2004). The Complete Guide to the Music of Madonna. ISBN 0-7119-9883-3.
- ISBN 9780525559603.
- Tannenbaum, Rob; Marks, Craig (2011). I Want My MTV: The Uncensored Story of the Music Video Revolution. Penguin Books. ISBN 9781101526415.
- ISBN 0-7432-2880-4.