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POLL: What should have been the fifth single from "Bedtime Stories"?

What should have been "Bedtime Stories"'s fifth single?   97 members have voted

  1. 1. What should have been "Bedtime Stories"'s fifth single?

    • Survival
      12
    • I'd Rather Be Your Lover
      5
    • Don't Stop
      18
    • Inside Of Me
      14
    • Forbidden Love
      31
    • Love Tried To Welcome Me
      10
    • Sanctuary
      7

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56 posts in this topic

15 hours ago, vocalism said:

Because Shep is a house producer and most of the work together was house-oriented. I'm not saying she couldn't have made an R&B album with him, but clearly someone at some point suggested she work with some big names in the genre. I love the album and I'm not calling her "sell-out," but let's be honest here. She wouldn't have made an album with the Boyz II Men, Mariah Carey, and TLC's producers if Erotica had been a runaway smash. 

As for the electronic part, I already stated why. I'm not saying she set out to make an electronic album and ended up with an R&B one (she clearly intended to make an R&B album) - but I'm saying that I believe that, commercial interest aside, she probably would have made something more like Bjork's Debut. She gushed about that album and Nellee Hooper, who made a name for himself with Massive fucking Attack. She was hardly as enthusiastic about the other producers on the album. Also, she dropped R&B like a hot potato and instead made ROL.

"Confessions" sold 12 million copies worldwide, and she followed that up by making her next album with Missy Elliot, Gwen Stefani, Nelly Furtado and Justin Timberlake's producers ...

Also, M didn't drop R&B for electronica quite so quickly or cleanly. She dabbled in a half dozen different genres in 1994-95 and, post-"Evita," she said she'd begun work on her next album with Babyface. Considering Babyface's history, it's safe to assume she began 1997 planning on another R&B album. She abandoned that project to work with Pat Leonard. And then she left Leonard to work with Orbit.

Anyway, I'm not saying you're wrong when you say that electronica was her main interest at this time. I'm just saying what we know of this era doesn't really prove or disprove that, and neither of us can read M's mind to say what she really wanted to do in 1994. And, to me, I never got the sense that her real passion was any one genre over another. "Bedtime Stories" brings in a lot of producers and she's spoken out several times about how hard that album was to make. To me, this era has always seemed very conflicted artistically. It always seemed to me that she wasn't sure what to do next, and that she had many interests musically, and so she decided to try and do it all -- hooking up with old friend Leonard for a straight pop ballad on "I'll Remember," pursuing both harder-edged R&B with Austin and smoother R&B with Babyface, introducing electronica to her catalogue on "Bedtime Story," going full trip-hop on "I Want You," and then cutting a Spanish acoustic ballad on "You'll See." She ran through a half dozen different sounds in a year and a half before settling into the recording and production of "Evita," and she would only return to electronic music in 1997 after starting work with Babyface and Leonard. To me, it seemed to me like 1994-97 had a lot of soul searching, and so she was willing to experiment more with her music here than in any other period of her career, and that she really only embraced electronica when she found Orbit.

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How "Forbidden Love" wasn't released as a single I'll never understand. Radio would have been all over that! Add to that the fact that Madonna was wanting a piece of the R&B charts. Madonna made an an album with some GREAT R&B songs but instead released "Bedtime Story" as a single? Yes, I LOVE that song & video but it's NOT R&B. By summer of 95',  Boyz II Men, Whitney, Mariah, Janet Jackson, Toni Braxton, R. Kelly, Salt N Pepa, Aaliyah, Xscape, Jodeci, Dr. Dre, Snoop Dog, etc etc.. were dominating radio airplay. I can see why Madonna wanted to stand out from the rest by releasing "Bedtime Story" as a single (and that's why I LOVE her). And while she released "Human Nature" (AWESOME, criminally under-rated R&B) as a single, I'm not convinced her heart was really into the R&B groove. I think the only reason Madonna made an R&B influenced album was because of the "disappointing" sales of "Erotica" & pressure from record label.

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On 20/3/2017 at 4:18 PM, runa said:

FL is not my favorite (I prefer Sanctuary over FL) but I think it's the best single choice

I prefer Sanctuary as well, but definitely FL woukd hsve been a good single choice. Weird how LDLHA became a single off STR, but then FL didn't but it was included? I think releasing it as a cross promotion of both BS/STR might've been a good segue of both projects.

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6 hours ago, material_boy said:

"Confessions" sold 12 million copies worldwide, and she followed that up by making her next album with Missy Elliot, Gwen Stefani, Nelly Furtado and Justin Timberlake's producers ...

Also, M didn't drop R&B for electronica quite so quickly or cleanly. She dabbled in a half dozen different genres in 1994-95 and, post-"Evita," she said she'd begun work on her next album with Babyface. Considering Babyface's history, it's safe to assume she began 1997 planning on another R&B album. She abandoned that project to work with Pat Leonard. And then she left Leonard to work with Orbit.

Anyway, I'm not saying you're wrong when you say that electronica was her main interest at this time. I'm just saying what we know of this era doesn't really prove or disprove that, and neither of us can read M's mind to say what she really wanted to do in 1994. And, to me, I never got the sense that her real passion was any one genre over another. "Bedtime Stories" brings in a lot of producers and she's spoken out several times about how hard that album was to make. To me, this era has always seemed very conflicted artistically. It always seemed to me that she wasn't sure what to do next, and that she had many interests musically, and so she decided to try and do it all -- hooking up with old friend Leonard for a straight pop ballad on "I'll Remember," pursuing both harder-edged R&B with Austin and smoother R&B with Babyface, introducing electronica to her catalogue on "Bedtime Story," going full trip-hop on "I Want You," and then cutting a Spanish acoustic ballad on "You'll See." She ran through a half dozen different sounds in a year and a half before settling into the recording and production of "Evita," and she would only return to electronic music in 1997 after starting work with Babyface and Leonard. To me, it seemed to me like 1994-97 had a lot of soul searching, and so she was willing to experiment more with her music here than in any other period of her career, and that she really only embraced electronica when she found Orbit.

I totally agree. Especially with your last graph. But I do think that the artistic conflict was rooted in her personal attraction toward European/electronic music and her more commercial instincts to do what was popular in order to maintain her commercial appeal in the U.S. To me, working with David Foster after BS was an extension of that. Foster had produced The Bodyguard soundtrack and worked with Celine Dion, who was ruling the charts at the time. Adult contemporary ballads were cut from the same cloth as those Babyface jams - Toni Braxton, Whitney, Mariah, Celine, etc. Not only did she follow-up the biggest U.S. hit of her career with a ballad ("You'll See"), but it also served as a transition to Evita. There's no doubt that there were things she was interested in besides making electronic music in 1995. That conflict can also clearly be seen in STR, where she collaborated with Massive Attack on "I Want You," which was intended to be the first single from that album before they decided to go with the more accessible (but gorgeous) YS instead. Madonna isn't just one thing, and she has many interests, but I still believe that all of those things aside, if someone said "Whatever you release next will be the biggest hit of your career, so what do you want to do?" she would have made ROL or something like it.

For the record, I think this also applies to what happened in 2003 - 2008. I think COADF was a reaction to the failure of AL. And I think HC was a reaction to the fact that COADF wasn't as huge a hit in the U.S. as it was in Europe. There's a lot of talk on this board about how the world is much more than just the U.S., but when you break down the numbers (or, say, you're M's American manager, or M's American record label), the U.S. is simply the most important music market. Period. There's no doubt that M liked JT's album and Timbaland's work. Who didn't? But that album was BS all over again. She was likely feeling pressure (from herself and her camp) to make a hit.

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"Inside Of Me"......that song is so beautiful,so mesmerizing and yet so sad.I think it's one of the best songs on the album.

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FB is crushing the competition. As it should be.

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