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Why didn't she include this on True Blue????


karbatal

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TB is so great, but somehow short. And then miss Ciccone gives away this great song that could have fitted so well after Jimmy Jimmy (or even as a replacement, hahaha).

Wasn't it done after the album sessions?

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No!

Well, recently i'm being such a flop fan having so many things confused in my head that maybe. But i always thought that she did this for the TB sessions!

Well, if not, she could have had this one as a new track for YCD!

Or for her best movie ever!

madona2.jpg

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No!

Well, recently i'm being such a flop fan having so many things confused in my head that maybe. But i always thought that she did this for the TB sessions!

Well, if not, she could have had this one as a new track for YCD!

Or for her best movie ever!

madona2.jpg

Well I don't know either, too lazy 2 check...I was just thinking of the picture of her with the PDP hair in the studio with Nick.

I also loooooove this:

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Guest Rachelle of London

Sounds very LAV and wasn't TB all about her being in love and celebrating love, well thats how Ive always seen it

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Oh, i don't want Supernatural in LAP! Has absolutely nothing to do with any song! Cherish fits because it's a moment of joy in her spiritual journey.

But Supernatural is about her fucking a ghost!

Well, if she had implied that she was fucking an apostol... well, it would have fitted.

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Guest Rachelle of London

Well I don't know either, too lazy 2 check...I was just thinking of the picture of her with the PDP hair in the studio with Nick.

I also loooooove this:

Hahahaha that muppet Gary Marlow ended up singing this

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Sounds very LAV and wasn't TB all about her being in love and celebrating love, well thats how Ive always seen it

Yes, but Jimmy Jimmi is about James Dean going all crazy and crashing his car. nothing to do with a celebration of love.

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Hahahaha that muppet Gary Marlow ended up singing this

He was made to. He writes in his autobiography (yes, i read it, haha. twice! I love it, it's very funny and touching) that he was absolutely tied with his first solo album, it was a nightmare ! The record company trying to launch him in American and being all dorks thinking that this Madonna song would fit! He did what he could!

He even explains how he had to sing this song in that Clive Davies party he gives just before the Grammys. He was ready and suddenly... they played the Calderone mix, 9 minutes long! He tells that he had to go around the stage trying to dance and to remember where the DJ had placed his random lines!

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I don't think it was recorded in time for TB. I think that ETYBMY and Spotlight were both recorded deliberately for You Can Dance. She only wanted one song and chose Spotlight. So she gave Each Time to Nick Kamen. I prefer ETYBMH and wish she'd kept it for herself.

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I don't think it was recorded in time for TB. I think that ETYBMY and Spotlight were both recorded deliberately for You Can Dance. She only wanted one song and chose Spotlight. So she gave Each Time to Nick Kamen. I prefer ETYBMH and wish she'd kept it for herself.

It was recorded during the TB sessions, but didn't make the cut. Thank goodness because "as is" it doesn't sound up to par to what was included on TB, even with "Jimmy Jimmy" and "Love..." coming off as the weakest tracks. I think Nick's version sounds better than Madonna's, but then again, hers was in demo format, so who knows if she would have punch it up more.

As for "Love Won't Wait"... I love her version best. I wish she had released it and had a hit with it rather than Gary, even though he did a nice job with his version.

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ETYBMH and Spotlight were both recorded for "True Blue" but left off.

As for LWW, Madonna ended up receiving just 5% credit for the track. To apologise to Shep for scrapping all of the material they'd worked on for "Bedtime Stories", she relinquished 90% of her publishing, leaving herself with just 5% on tracks like LWW, "Something's Coming Over Me", "Bring It", "Goodtime", "I Will Always Have You (Inside Of Me)", and "Tongue Tied", even though they were all true collaborations (remember that Shep was furious about being kicked off the project - Tony Shimkin made reference to this when he discussed why Shep ended up with a belated credit for "Secret" (although it needs to be highlighted that he receives no royalties for this, as he was never given publishing credit for the track. It's a similar situation to Madonna's "Additional Lyrics" credit on "Papa Don't Preach" - she doesn't receive a cent for publishing/songwriting for that track. In effect, it's a "non-profitable" credit).

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Well I don't know either, too lazy 2 check...I was just thinking of the picture of her with the PDP hair in the studio with Nick.

I also loooooove this:

never heard this before, its fucking DREADFUL :lmao:

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ETYBMH and Spotlight were both recorded for "True Blue" but left off.

As for LWW, Madonna ended up receiving just 5% credit for the track. To apologise to Shep for scrapping all of the material they'd worked on for "Bedtime Stories", she relinquished 90% of her publishing, leaving herself with just 5% on tracks like LWW, "Something's Coming Over Me", "Bring It", "Goodtime", "I Will Always Have You (Inside Of Me)", and "Tongue Tied", even though they were all true collaborations (remember that Shep was furious about being kicked off the project - Tony Shimkin made reference to this when he discussed why Shep ended up with a belated credit for "Secret" (although it needs to be highlighted that he receives no royalties for this, as he was never given publishing credit for the track. It's a similar situation to Madonna's "Additional Lyrics" credit on "Papa Don't Preach" - she doesn't receive a cent for publishing/songwriting for that track. In effect, it's a "non-profitable" credit).

Since only one of those tracks was released, whether her percentage is 5% or 90%, it doesn't really make any difference if they're just demos that aren't released, does it?

I love ETYBMH and think it should have been on TB. Jimmy Jimmy should have stayed as a b-side. It just breaks the flow with its manic keyboards.

I think Your Honesty should have been on BS and possibly LWW although I'm not a huge fan of it.

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I would have loved if this had been on True Blue. Maybe in place of White Heat which I've never liked and always found dragged the album down a bit as it's not as 'poppy' as the other tracks. There's no question that she could have done it justice and would almost certainly have been another top 5 hit for her.

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I would have loved if this had been on True Blue. Maybe in place of White Heat which I've never liked and always found dragged the album down a bit as it's not as 'poppy' as the other tracks. There's no question that she could have done it justice and would almost certainly have been another top 5 hit for her.

I like White Heat, I think it could have been another big hit from True Blue.

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Since only one of those tracks was released, whether her percentage is 5% or 90%, it doesn't really make any difference if they're just demos that aren't released, does it?

I love ETYBMH and think it should have been on TB. Jimmy Jimmy should have stayed as a b-side. It just breaks the flow with its manic keyboards.

I think Your Honesty should have been on BS and possibly LWW although I'm not a huge fan of it.

Your Honesty is a very weak track, in my opinion. Maybe because it was released so late and sounds so dated, but i don't think it's good enough to be an album track. LWW has a simmilar vibe to Don't Stop and it's far superior. With a stronger production and some Niki and Donna would have been really good.

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Since only one of those tracks was released, whether her percentage is 5% or 90%, it doesn't really make any difference if they're just demos that aren't released, does it?

True, although if anyone ever decides to record the completely unknown tracks (i.e. "Bring It" and "Goodtime"), Madonna will lose money (but I'm sure she wouldn't care - her name would still appear on the credits).

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