#JCsMusicology - Madonna (1987 - 1989)

JOHN CAMERON'S MUSICOLOGY EPISODE X: Madonna (88 - 89) First Week Sessions (Leonard) Like A Prayer, Spanish Eyes, Cherish Promise To Try, Til Death Do Us Part, Dear Jesse Collaborations (Prince) Love Song/ By Alien Means More Sessions (Leonard) Oh Father, Supernatural More Sessions (Bray) Keep It Together, Express Yourself Introduction As the 1980s was coming to a close, there were three artists that had indisputably reigned throughout. Madonna was one of them. By 1988 she had three studio albums that were highly successful, four film roles that weren�t and an image that caused intrigue, disgust and desire. 1988 would be an interesting year for Madonna. Her previous acting failures, would attempt to be rectified with a Broadway debut. Her marriage to Sean Penn was a constant struggle, with his increasing erratic behaviour. And, she would turn 30, the age of her mother, when she passed away. As a result, Madonna had a lot on her mind. A stressful situation for any person, let alone someone constantly in the spotlight. She was a creative person yearning to express herself in an act of self-therapy and self-empowerment. Over a two week period, she and Patrick Leonard (who had produced her last album) would get together with the intention of creating some rough musical ideas. Despite this casual approach, his instrumentation, along with her lyrics and vocals would go on to create her greatest work up to that point and the defining statement of her career. Like A Prayer Arguably Madonna�s magnum opus, �Like a Prayer� would be the album�s title, as well as be the lead single. It opens with a dramatic fade-up of guitars, then a loud bang, like Madonna had just fallen out of heaven to deliver this message. Patrick would have most of the basic musical ideas, while Madonna wrote lyrics to her 12 year-old self-ambition of wanting to be a nun. This version is the result of their first day working on the track. Quite remarkably, most of the vocal take recorded in the first take would be that on the final product. The bongos and other percussion sounds would either be replaced or removed and other instrumentation updated. And then they added the Andre Crouch Choir. The album version wouldn�t be the only one. For the �12� Extended Remix� and �12� Dance Mix�, Shep Pettibone and Junior Vasquez would change, alter and amp-up the bass and drums, making the track�s subtle funk hit harder in the mix. Speaking of funk, a guitar solo would be added by Prince. More of this epic contribution would be featured in the �Dub Beats� mix (along with a sample of his Prince�s then-unreleased song, �Bob George� from the legendarily bootlegged �Black Album�). Bill Botrell, another frequent collaborator of Madonna�s would remix "Like A Prayer� for the �12� Club Version�, which would begin like the Pettibone/ Vasquez mixes, but the transition into the �Dub Beats� remix, sans Prince�s guitar and sample. Another mix worthy of praise, is Shep Pettibone�s �12" Dance Mix�. It retains almost no non-vocal elements from the original (aside from a few synth stabs) and would form the basis for Madonna�s performances of �Like A Prayer� during that era. To truly highlight �Like a Prayers� gospel nature, yet another remix would be added to the single release. The �Churchapella� retains small instrumental elements like the layers of synths and Latin-inspired percussion, but it�s a showcase of Madonna�s boldness, even more bold than previous. How many pop-singers with her vocal range would exhibit themselves with one of the greatest choirs in the world, and still manage to stand out? �Like a Prayer�s� single would reach number one in every chart around the world worth of mention. It�s controversial music video certainly helped, but the song by itself is an indisputable masterpiece and it�s multitude of mixes are just a great as the original. Spanish Eyes The track that would ultimately close out the album, �(Pray For) Spanish Eyes� is a display of Madonna�s seldom acknowledged vocal adaptability. Touching on musical elements explored with a previous hit, �La Isla Bonita�, both Patrick and Madonna would heavily incorporate prominent characterises of Latin Pop to match the song�s narrative. The lyrics detail unrest in a non-specific barrio, Madonna sings about a man who fought against the local disturbance, mourning his loss and concern about who else this war might take. At least, that�s a literal interpretation of the lyrics � some fans claim there is an underlying metaphor about her friends whose lives have been taken by aids. This claim does not appear to have been confirmed by either Madonna or Patrick Leonard and arguably isn�t obvious by an analysis of the lyrics. With that said, the �Like A Prayer� album was initially issued with a pamphlet about safe sex and Madonna has always spoken about the subject's importance, when it was not popular to do so. In terms of yrics though, such themes wouldn�t be so expressly articulated until her next album. Cherish While Madonna was rehearsing for an upcoming Broadway production, she engrossed herself in reading Romeo and Juliet. As a result, this perfect pop-gem known as �Cherish� exists. It�s not at all profane, requiring sexually-minded interpretation or is at all contentious. It�s just a joyous pop song, something that was becoming progressively rarer in her catalogue, for better or for worse. The demo would be updated with a breakdown of the instrumental towards the end, as well as additional vocals provided Marilyn Martin, who would be gifted her own track �Possessive Love�, written by Madonna, Patrick and Jai Winding during these sessions. When asked about the song in 2002, Madonna reflected on its success, but described it as �one of the most retarded songs I�ve ever written�. And even at the time, expressed reluctance over the idea of it�s inclusion. But �Cherished� would be released as the third single from �Like A Prayer� and reach number one in several countries, as well as charting highly in others. While the general public seem to disagree with Madonna�s conflicted feeling about its inclusion, it's success certainly justified it�s place. Promise To Try With the working title �Little Girl�, �Promise to Try� is a consoling letter to exactly that. Addressing the death of her mother, which occurred when she was just five years old, Madonna would describe the track as written for the little girl inside her. The lyrics are an ode to anyone who�s lost a parent. The yearning of a relationship, that can now only be had metaphysically, manifesting itself just in one�s own mind. Madonna maintains a consistent child-like vocal throughout, with just a piano backing and string swelling at various points � almost score-music like. The instrumental touches on the emotion of the listener as much as Madonna�s performance. Til Death Do Us Part Originally recorded under the working titles of �Out of Time� and then, �State of Matrimony�, �Til Death Do Us Part� was one of the earliest song titles to be leaked out to the press � thanks to Madonna�s highly publicised divorce from Sean Penn. After filing for divorce twice and a police report filed against Penn�s alleged abusive behaviour at the time, Madonna certainly had enough fodder to use in a lyrical critique of marriage, juxtaposed over a somewhat poppy instrumental. It sounds in line with many other pop songs at the time, but it�s subject matter significantly stands out when observed. The song articulates various forms of spousal abuse � fuelled by alcoholism. Tolerance is a vessel that can only hold so much, thus the reiterations that the relationship is running out of time. Since 1987, it�s been alleged by the media that Sean Penn, during a well-documented phase of violence and other capricious behaviours, assaulted, kidnapped and sexually abused Madonna during their marriage. This was further fuelled by the police report filed at the time by Madonna alleging such acts. It should be acknowledged that these rumours were strongly denied by both parties in 2017, after a number of disparaging articles were published about Sean. �Till Death Do Us Part� would be edited down before the album's release, shortening its instrumental coda. It would rather strangely appear as a B-side to the single another distinctive song, with more innocent content. Dear Jesse On an eventual configuration filled with slightly-unconventional compositions and song writing, there would be one track that stands out in particular for being indisputably eclectic. While jamming at the keyboard in the pursuit of new ideas, Patrick made reference to a Beatle�s track titled �Dear Prudence�. In response, Madonna replied with �How about �Dear Jesse�, making reference to Leonard�s daughter. He began to compose some Beatle-esque keyboard patterns that would later be translated into strings and horns, while she would paint a fantastical dreamland with her lyrics. The instrumental as heard on the albums isn�t how the song was initially demoed. Originally, it featured drums and a bass that often accentuated the string sections throughout. This version arguably would have been more conventional for an individual release, but they would ultimately be removed, the songs rhythmic structure being supported by some lighter percussion. Despite it�s more psychedelic-pop sound being unlike most popular music at the time, an animated video would be produced, illustrating the fantasy described through the lyrics. It would also be released as a single in Oceanic regions and Europe, where it would become a hit. Angels With Dirty Faces (Interim) For two weeks from late-January to early-February 1988, Madonna and Patrick Leonard had recorded seven near-complete songs which would lay the groundwork for her next album, although Madonna would have other obligations to fulfil. She would begin rehearsals for the Broadway production of �Speed The Plow�, the official dates taking place between early May and late August � a commitment being, while arguably her most important album up to that point was being constructed. The demos her and Pat had created were amazing ideas, with potential that would have to be realised at a later point. From September to November, many of the finishing touches on at least six of the former tracks would be made, as well as more original ideas created. But even while Leonard couldn�t negotiate time with Madonna during �Speed The Plow�, one artist would... By Alien Means/ Love Song Prince�s input on the album didn�t end with its title track. He and Madonna had previously recorded some jam sessions at his Paisley Park Studio, most likely between late 1987 and early 1988. After seeing Madonna in the Broadway production of �Speed The Plow�, Prince sent her a compilation of tracks they had come up with. Madonna was impressed and wanted to make something out of them for her album. Given the working title �Daisy Miller�, �Love Song� would eventuate, having been born out of those experimental sessions. Prince would play drums, while Madonna experimented with synth lines, thus the track�s sparse nature. In March, Prince would mix together the basic tacks for �Love Song� - whether out of elements from their sessions or newel recorded is unknown, but it was then sent to Madonna to add hear contributions at her own leisure (presumably when she got back into the studio after Broadway). The track would then be sent back to Prince, along with Like A Prayer. While �Love Song� is arguably more familiar with the sound that Prince was creating at that time, it is representative of what happens when two great artists come together. When Madonna would release her Mega-hit �Hung Up� 17 years later, she would reuse the line about �those who wait�. Prince would also gift Madonna with a track from his endless vault of material, as he would with many artists. Titled �By Alien Means� wouldn�t sound out of place next to �Love Song� instrumentally, it�s lyrical content, asking people not to commit suicide, is a curious topic for what Madonna was singing about at the time. Ultimately, Madonna wouldn�t accept the offer, but would still continue to send Prince tracks to make uncredited contributions to. Oh Father While on still on Broadway, Patrick id come to visit Madonna. They met at a local run-down studio. He began putting a composition together, while Madonna wrote lyrics. The result would be the vulnerable, �Oh, Father�. Madonna is reflecting on the emotional disconnection between her and her father during her upbringing, particularly following her mother�s death, when she needed that parental connection. This comes across in her vocal delivery, which remarkably cuts through the heavy instrumentation during the songs peaks. While singing the verses which contain a narrative of her childhood, she presents a higher child-like voice, but during the chorus when she describes getting away from that, a deeper more adult vocal come through. While most of the song is a cathartic outpour of emotions towards a victimiser, the bridge acknowledges the humanity in them. They too are a victim, which makes it harder to run away. Documenting ones own hardships and making it into a song is difficult enough, but to then forgive the person responsible adds another layer of complexity. Through the song, she makes a connection with him. She would comment in an interview following the album�s release that the song could apply to any authority figure in her life, including god. The lyrics are about emancipation, being in a position to move away from someone�s affecting actions and grow into your own person. This rejection of authority is a consistent theme throughout the album � and most likely why it resonates as much today as it did 30 years ago. Supernatural The �Like a Prayer� sessions wouldn�t just produce material revolving around relatable themes. An outtake, that would later feature as a B-side to the �Cherish� single, �Supernatural� is a playful lyrical exercise about the benefits of a love affair with a ghost. While the instrumental seems appropriate, with its spooky tone of choir synths and a Theremin, it would rather surprisingly receive a remix in 1992 for the charity compilation �Red Hot + Dance�. This �Original Arms House Mix� would be produced by Jamaican rhythm and production duo Sly & Robbie. The instrumental is an entirely different take on the song and some background vocals, either re-recorded or salvaged from the original sessions differ from the master. Ultimately, �Supernatural� wouldn�t make an impact with either release and while its subject matter is undeniably ridiculous, it is indicative of Madonna�s evolution as a songwriter. Keep It Together Prince wouldn�t be the only secondary producer on the album. Madonna had worked with Stephen Bray since before struck fame. For �Like a Prayer� she sought after his production to execute what she would describe as �sort of my tributes to Sly and The Family Stone�. Invoking the sentiments of the classic �Family Affair�, �Keep It Together� would revolve around similar subject matter. After all of the challenges to the authority figures in her life, a tribute to her mother and some quarrelsome reflections on her dad during the album, this song bring all of those themes back to what is ultimately important. It would also contain a Prince contribution, playing guitar throughout with some motifs too �Family Affair�. Like �Like A Prayer�, this was uncredited. The single would offer a plentiful variety of offerings, including Stephen Bray�s own �12� Mix�, enhancing the rhythm tracks and muting parts of the multitrack throughout. If that wasn�t enough, Shep Pettibon would contribute two additional mixes. The confusingly titled �12� Remix� offers more of a house-styled rhythm and less of the live instrumentation the album version contains. It also samples some vocals from another Madonna track �True Blue� - which Pettibone also remixed years earlier. Shep would also offer another variation of the track in the equally confusingly titled �12� Extended Mix�. This version more closely reflects the one on the album, but does incorporate elements from his alternative Remix, such as the vocal samples and additional percussion. �Keep It Together� would score Madonna yet another number one hit. It�s subtly explored versatility throughout its remixes and irremovable funk places it as an essential piece in Madonna�s catalogue. Express Yourself While there are many songs on �Like a Prayer� that can be described as �essential� or a �masterpiece� � there is one that is indisputably iconic. Bray�s other contribution, would be the dance-pop perfection known as �Express Yourself�. Sequenced as the second track on the final album configuration, after �Like a Prayer�, it�s bombastic brass introductions as well as Madonna�s proclamation, ensures the listener that they�re about to hear something worth listening to. With the primary message, established in the chorus commencing the track, the composition on the verses is relaxed to funky guitar riffs and a Rhodes keyboard, supported by the large-reverbed gated drum sounds. Madonna�s message is a straightforward decree of assertion in a relationship. While the album version is excellent, it�s not the most familiar with the general public. Employed for yet more remixes, Shep Pettibone would create the defining version � resembling a precursor of sorts for his Madonna�s later hit, �Vogue�. Transforming it with a house-styled beat, prominent synth-bass and late-80s characteristic synths, this version would very quickly replace the original in its music video. Madonna would perform this version on the tour that followed and it would feature on �The Immaculate Collection�, a greatest hits compilation released a year later � this would be the prominent iteration of the song played on radio ever since. Surmise The �Like A Prayer� album is the beginning of an artist in her prime and in full control. With all the tracks having been penned by Madonna, exploring a broad range of complex topics, she established herself as a lyricist not obsessed by the superficiality that came with her �Material Girl� image. Of course, there was controversy. The religious imagery in her videos. The sexual displays in performances. Being vocal in her support of homosexuals. These aspects were a turn off for many. But for those who had experienced religious or family or identity struggles, �Like a Prayer� became their representation. It spoke for some and informed others. It�s simply one of the most iconic albums by a pop artist that has ever been released.