Madonna Singles Discography

Madonna Singles Discography

The singles discography of American singer-songwriter Madonna consists of 76 singles as well as nine promotional singles and 13 other appearances. In 1982 Madonna signed a recording contract with Sire Records, a label owned by Warner Bros. Records, and released her first two singles before launching her eponymous debut album. Her first single, "Everybody", was released on October 6, 1982 and became a dance hit, peaking at number three on the Billboard Hot Dance Club Play chart. However, the single failed to enter the Billboard Hot 100 chart. Her first entry on the Hot 100 was "Holiday" (1983), which peaked at number 16. Other singles released from the album included "Borderline" and "Lucky Star", both reached the top-ten on the Hot 100. The following year, Madonna released "Like a Virgin", which reached number one in the United States, Australia and Canada. The single became her first number-one on the Hot 100 and spent six weeks at the top of the chart. The album Like a Virgin spawned three other top five singles: "Material Girl", Angel" and "Dress You Up". In 1985 Madonna released her second US number-one single, "Crazy for You", and her first UK number-one single, "Into the Groove", both from motion picture soundtracks. In 1986 Madonna's third album, True Blue, gave her three number-one singles: "Live to Tell", "Papa Don't Preach" and "Open Your Heart". Two other singles from the album, "True Blue" and "La Isla Bonita" were top-five hits. In 1987 she scored another number-one single with "Who's That Girl". In 1989, the title track from Madonna's fourth studio album, Like a Prayer (1989), reached number one, making her the first artist to accumulate seven number-one singles in the 1980s, and the first female performer to get as many number-ones as a solo act. Other top ten singles from Like a Prayer included "Express Yourself", "Cherish" and "Keep It Together". By the end of the decade, she was tied with Michael Jackson as the artist with the most number one songs.

In 1990 Madonna released "Vogue" from the album I'm Breathless. It topped the charts in Australia, Canada and United Kingdom, as well as the Billboard Hot 100. The same year she released "Justify My Love", her ninth US number-one single. It was followed by the soundtrack single "This Used to Be My Playground" (1992), which became her tenth number-one on the Hot 100. Her fifth studio album, Erotica, was released that same year but failed to generate any chart-topping singles. Only the title track and "Deeper and Deeper" reached the top ten. In 1995 Madonna released "Take a Bow" from Bedtime Stories, her sixth studio album. The song became her biggest hit on the Hot 100 and stayed at the top for seven weeks, making it her longest run at number one. Other top-ten singles released during this period included "Secret" (1994), "You'll See" (1995) and "Don't Cry for Me Argentina" (1996). "Frozen", from the 1998 album Ray of Light became her first ever single to debut at number-one in the United Kingdom. It was also her first chart topper there since 1990, and marked a major comeback for her. The title track reached the top-ten in the United States, the United Kingdom, Australia, Canada, and Italy.

In 2000 Madonna scored her 12th US number-one single, "Music", from the album of the same name. Other singles included "Don't Tell Me" and "What It Feels Like for a Girl". "Die Another Day", released in 2002, was another top-ten single. Madonna released her ninth studio album, American Life, in 2003. The singles from the album failed to achieve commercial success, except for the title track, which was a hit worldwide. In 2005 Madonna released "Hung Up", from her tenth studio album Confessions on a Dance Floor, which became her biggest worldwide hit to date. The single peaked at number one in 41 countries and earned a place in the 2007 Guinness Book of World Records for topping the charts in more countries than any other song. With this single going platinum, Madonna surpassed The Beatles for having more gold certified singles in the United States. The album's second single, "Sorry", became Madonna's 12th number-one single on the UK charts. "4 Minutes", the lead single from her 11th studio album, Hard Candy, scored Madonna her 37th Billboard Hot 100 top ten hit, thus surpassing Elvis Presley as the artist with the most top-ten hits. Madonna ended the 2000s as the best-selling singles artist of the decade in the United States. She was announced as the highest ranking solo artist on the "Billboard Hot 100 All-Time Top Artists" as well as having more number-one singles in the United Kingdom than any other female artist. She is also the most successful artist on Billboard's Hot Dance Club Play chart with a total of 43 number-one singles, and as of May 2012 succeeds Donna Summer on this chart as the only active artist to chart continuously since 1982, spanning four decades.

Madonna has a record 156 No. 1 singles. Given her multi-format appeal, winning support at pop, dance and adult formats, Madonna leads all artists for the most No. 1s on all Billboard charts combined. When her single "Turn Up the Radio" ruled the Sept. 8, 2012 Dance/Club Play Songs chart, Madonna logged her record-extending 156th leader on an active, current-based domestic Billboard survey.

Read more about Madonna Singles Discography:  Promotional Singles, Other Appearances

Other articles related to "madonna singles discography, madonna, single":

Madonna Singles Discography - Other Appearances
... Bray and produced by Reggie Lucas, it was recorded during the Madonna studio album sessions and appeared on the 1984 Warner Bros ... as the b-side to "Everybody", this never materialized, instead it was later included as a AA maxi-single in Japan with "Dress You Up" in 1985 and also as the b-side ... Talk" Recorded and released by record producer John "Jellybean" Benitez, as a single from his album Wotupski!?! ...

Famous quotes containing the word madonna:

    In our minds lives the madonna image—the all-embracing, all- giving tranquil mother of a Raphael painting, one child at her breast, another at her feet; a woman fulfilled, one who asks nothing more than to nurture and nourish. This creature of fantasy, this myth, is the model—the unattainable ideal against which women measure, not only their performance, but their feelings about being mothers.
    Lillian Breslow Rubin (20th century)