She's as fearless as a fire-fighter, as driven as Richard Branson and as self-absorbed as the sulky goth girl who lives next door. For 25 years, Madonna Louise Ciccone has entertained, shocked, captivated and perplexed. But, amidst the publicity stunts, the Church-baiting controversies and the breathless analyses of her exercise regime, one thing tends to get lost: her music. On the week of her 49th birthday, Gay Spy presents a guide to the Queen of pop's ten studio albums. Warning: this article contains several references to Madge's unmentionables.

Madonna (1983)
“Everybody spread the word, we're gonna have a celebration...” (‘Holiday’)

Four years after Disco Demolition Night, Madonna’s debut album slyly beckoned us back to the dancefloor. How? By blending sinewy synths, undulating grooves and unforgettable hooks into a 27-minute head-rush. ‘Holiday’, a joyous paean to escapism, became Madge's first worldwide smash.
Like A Virgin (1984)
“You know that we are living in a material world, and I am a material girl…” (‘Material Girl’)

Madonna’s sophomore set unleashed the two songs - and, just as importantly, videos - that made her a superstar. She trumped capitalism with white-hot sex appeal and a killer cleavage on ‘Material Girl’, while ‘Like A Virgin’ saw her flaunting her libido on a Venetian gondola. Elsewhere, she proved she was dirtier than a pig farmer’s wellies by pledging to “dress you up in my love, all over your body” on - you've guessed it - ‘Dress You Up’. Eew!
True Blue (1986)
”Papa I know you're going to be upset, ‘cause I was always your little girl…” (‘Papa Don’t Preach’)

Madonna's third album was a masterclass in pop songcraft. She threw down the romantic gauntlet on 'Open Your Heart', clicked her castanets on 'La Isla Bonita' and pastiched the sixties girl group-sound on 'True Blue'. And then there was ‘Live To Tell’, a gripping ballad about child abuse that proved Madonna could marry insightful lyrics to her unshakable pop melodies.
Like A Prayer (1989)
Don't go for second best baby, put your love to the test...” (‘Express Yourself’)

After half a decade of superstardom, La Ciccone resolved to make a major artistic statement. The result? A kaleidoscopic pop opus taking in raging funk (‘Express Yourself’), swooning girl-group (‘Cherish’) and heart-wrenching confessionals (‘Oh Father’, ‘Till Death Do Us Part'). Best of all, the psychedelic whimsy of ‘Dear Jessie’ suggested that Madge, a woman who'd hitherto seemed tougher than a bison's ball-sack, might just have a maternal side.
Erotica (1992)
“If I take you from behind, push myself into your mind…” ('Erotica')

Madonna's fifth album cemented her reputation as pop’s leading provocateur. She sang about oral sex (‘Where Life Begins’), AIDS ('In This Life') and sadomasochism (‘Erotica’), but, after the Sex Book debacle, the public had tired of Madge's orifice-exploring phase. Still, ‘Deeper and Deeper’, a blissful tale of sexual awakening set to a thumping house beat, might just be her most underrated single.
Bedtime Stories (1994)
“Happiness lies in your own hand, it took me much too long to understand…" ('Secret')

After ramming her sexuality down the world’s throats on Erotica, Madonna realised that subtlety could be sexy, too. The folky R&B of ‘Secret’ and winsome balladry of ‘Take A Bow’ were restrained, effortless and far more seductive than Erotica's humourless vulva-flashing. And The Bjork-penned ‘Bedtime Story’ showed that Madge could still push the boundaries of pop music.
Ray Of Light (1998)
“I traded fame for love, without a second thought…” (‘Drowned World/Substitute For Love’)

After her Golden Globe-winning turn in Evita, Madonna strained to reclaim her position at pop's bleeding edge. By casing her most revealing lyrics since Like A Prayer in William Orbit's swirling electronic washes, she succeeded. She cooed over baby Lourdes on ‘Little Star’, locked up her broken heart on ‘Frozen’ and flicked a V sign at fame – for six minutes, at least – on the stunning ‘Drowned World/Substitute For Love’.
Music (2000)
“Hey Mr. DJ put a record on, I wanna dance with my baby…” (‘Music’)

With the vibrant, pulsating disco of Music, La Ciccone finally discovered the secret of eternal youth - in musical terms, at least. Although she came off like a viagra-fuelled convent girl on the lusty ‘Impressive Instant’, much of the album was filled with tender declarations of love for Guy Ritchie (‘I Deserve It’, ‘Nobody’s Perfect’, ‘Amazing’). Elsewhere, the sleekly sensual 'What It Feels Like For A Girl' proved that Madge could still mount a claim to the World's Greatest Pricktease title.
American Life (2003)
“I tried to stay ahead, I tried to stay on top…” (‘American Life’)

At 45, Madonna suffered a musical mid-life crisis. Although American Life’s blend of folky confessionals and jerky electronica failed to win over the mass audience, it reaffirmed the old adage that an interesting failure is preferable to a boring success. ‘Nothing Fails’ was one of La Ciccone’s most stirring ballads; ‘Mother and Father’ was as bonkers as Brian Sewell, and ‘Hollywood’ proved she could still unleash a slap-you-round-the-face chorus when she felt like it.
Confessions On A Dancefloor (2005)
“Don't cry for me, 'cause I'll find my way…” (‘Hung Up’)

Stung by American Life’s commercial misfire, Madonna returned to her spiritual home: the discotheque. Lead single ‘Hung Up’, a tale of infatuation built around a so-obvious-it’s-genius Abba sample, gave her a chance to show off her yoga-honed thighs, while ‘Get Together’ was her most anthemic floorfiller in years. Elsewhere, the clunky couplets of ‘I Love New York’ - "I don’t like cities but I like New York, other places make me feel like a dork" - conjured up images of little Rocco Ritchie letting rip on Madge's lyric pad.