JOHN CAMERON'S MUSICOLOGY
EPISODE X: Madonna (91 Ð 93)
by John Cameron

This Used To Be My Playground
Vogue, Justify My Love
Erotica, Deeper & Deeper, Bye Bye Baby, Rain
Where Life Begins
Bad Girl (ÒDrunk GirlÓ/ ÒCheatÓ)
Waiting/ Did You Do It
In This Life
Fever/ Goodbye To Innocence/ Up and Down


By the arrival of the nineties, Madonna was one of the biggest stars in the world. Having created an exceptional discography, accompanied with groundbreaking videos, spectacular live performances and an incredible catalogue of men.
Now was the perfect time to put together a compilation of her greatest hits. But of course, this is Madonna. It couldnÕt be JUST a greatest hits album.
She recruited Shep Pettibone, who had remixed a few of her songs during the 80Õs for single releases, to rework seventeen songs from her back catalogue. Some of these would feature new composition or be a rejig from the multitrack masters, mixed utilizing new 3D audio technology, ÒQ-SoundÓ. This included their most recent original collaboration, the blockbuster ÒVogueÓ.
Vogue
During the year before, Warner Brothers record label asked Pettibone if he would be interested in working with Madonna on new original music, rather than just remixing. With 2 weeks and a budget of $5000, this is what he came up with.
A pulsating rhythm and scattering almost percussive-like synths, in a bed of even more synthesized strings. It wasnÕt atypical of what Shep was doing at the time, but it does have an ambience of class, which would later be emphasized by its ÒGolden age of HollywoodÓ themed lyrics.
Madonna would review the music he submitted and would be on a plane to New York, carrying her freshly-written lyrics. Standing a closet that had been refurbished to a recording booth, she delivered her lines in single takes.
ÒVogueÓ is engrained in culture, a pop standard both sonically and visually. The initial plan was to include it as the B-Side to an upcoming sing from her previous album. Obviously, such a track deserves the spotlight it received. Vogue would sell 6 million copies in 1990 and hit number one in thirty countries.
It would be added to the movie soundtrack for ÒDick TraceyÓ at the last minute, but it does arguably work so much better on ÒThe Immaculate CollectionÓ, in the context of the preceding songs, building from the classics of the eighties, to the now.

Justify My Love
Just three days before ÒThe Immaculate CollectionÓ was delivered, one of its new tracks, ÒJustify My LoveÓ would be released as a single.
Produced by Lenny Kravitz and Andre Betts, the sampled Public EnemyÕs ÒSecurity of The First WorldÓ, who sampled James BrownÕs ÒFunky DrummerÓ and added a bass to create an early example of the Trip-Hop genre.
The songÕs lyrics were primarily written by Ingrid Chavez, who would later have to sue before she was officially credited.
MadonnaÕs vocal delivery is a reflective indication of what she would do next, despite not her own words. The direction of her path was firmly pointed.
The music video would also establish such themes, with its sexual content being too hot for television. A controversy firmly addressed.

This Used To Be My Playground
Having already challenged censorship, resulting in commercial succession, it seemed fitting of what came next. A coffee table book of softcore pornography, titled ÒSexÓ and an album of accompanying themes, titled ÒEroticaÓ.
With ÒSexÓ already in the works, Madonna recruited Shep Pettibone and Andre Betts as the primary producers of the album. Their typical production style did differ, but the approach was the same, at the insistence of Madonna.
"EroticaÓ would push the boundaries of what could be written about in pop music. ItÕs subject matter though, would overshadow the quality of work that the project is. Those who listened, were rewarded with an experience of quality, diversity and revolution.

Erotica
The albumÕs title track, ÒEroticaÓ had its beginnings with producer Junior Vasquez under the title ÒLove HurtsÓ. Its first verse is mostly the same to what would end up in what it would become, even down to the vocal delivery. The real change begins with the chorus. The second verse, is also completely different, asserting the hierarchy in the described situation. The third verse reverts to familiarity.
Its repetitious instrumental may reflect an attempt to have the lyrical content as the main point of focus; when it was decided that Shep Pettibone would be the primary producer of her next project, their early versions of the revamped song would continue along similar lines.
Dubbed as ÒYou Thrill MeÓ by fans, it utilises a basic drum pattern and more prominent bass rhythm, with a sample of ÒJungle BoogieÓ by Kool & The Gang during its new chorus. This production more closely reflects the penultimate version of the song, with significant changes to the instrumental from what had been worked on with Vasquez.
The album version of ÒEroticaÓ would, for the most part, maintain the verses envisioned from its inception, but would dispense of the choruses tried and tested as ÒLove HurtsÓ and ÒYou Thrill MeÓ. What replaced them would be catchier and more provocative.
The desired reaction was achieved, to the extent that usage of one of the samples, "El Yom 'Ulliqa 'Ala KhashabaÓ would spark a lawsuit. The looped part translates from Arabic to Òhe crucified me todayÓ. The sampleÕs religious literalism juxtaposing the songÕs sexual mysticism.
The composition is comparatively fuller than the earlier versions, even without PettiboneÕs attempts to add strings to the song, which were quickly dismissed by Madonna.
The track wouldnÕt just be realised with what appeared on the album. Accompanying Madonna's Sex book, would be a single-track CD, yet another experience of the song, simply titled ÒEroticÓ. This would be released a day following the album. The mix is more unconventional. The bass is removed during the spoken section and the vocal is dry, gaining subtle reverb only when singing. As far as the lyrical content is concerned, it is mostly the same, with a few S&M-related lines added throughout, possibly to appropriate it more with its literary material.

Deeper and Deeper
Another fairly complete track presented to Madonna, was ÒDeeper and DeeperÓ. A Philly house club-banger, with some Flamenco influence. A combination that one paper, stretches the imagination.
The song was presented fairly complete, allowing Madonna to either custom-write or adapt her own lyrics to the instrumental track.
Despite doing most of the background vocals herself on the album, for ÒDeeper and DeeperÓ, she employed the talents of her tour back-up singers, Donna De Lory and Niki Haris Ð mixing them together with her own on the refrain.
The most radical change from the original backing track was the instrumental bridge, which was a simple continuation of the rest of the song, with some emphasis on the house-style piano.
As Madonna and assisting engineer Tony Shimkin were transferring the demo version to a new multitrack in preparation for mixing, Shimkin was messing around on his acoustic guitar, playing a Spainish style lead. Madonna loved it and insisted on adding it to the song, to the initial resistance of Tony and Shep.
To maximise the Flamenco feel and keep it consistent with the rest of the track, they added castanets and violas throughout The subtle fusion worked.
The impromptu customisation didnÕt end there. During production, Pettibone was singing lines from their first collaboration together, ÒVogueÓ. They ran with the mash-up and payed homage towards the end of the song on the released version.

Bye Bye Baby
Along with the albumÕs title track, another in the first group of songs worked on at Shep PetttiboneÕs New York house studio was ÒBye Bye BabyÓ, third on the album and the fifth and final single.
The songÕs evolution wasnÕt overly significant throughout production, although its beginnings were of course less refined than what was released. The first day demo gives us an insight, beginning with its prominent rhythmic structure and not much else. Comparing the two side by side, weÕre able to hear the additions of an organ and jarring samples. The preliminary version was dubbed to the tape with too much input, thus the prevalent distortion.
Like itÕs rhythmic foundation, another prominent feature that was consistent from its inception, is the lead vocal. The performance that appears on the album, is what was laid to tape for the demo. This includes the high-pass filter applied to her voice to give it a radio-quality like effect, which is also how it was committed to tape.
Where the repetition of the chorus occurs on the original, making the song slightly unvaried, at a later point in production a bridge was added.
There was also the incorporations of spoken sections and harmony vocals on the chorus and bridge. Elevating it to a more conventional song structure.
The ending would also be altered after the production demos, to maintain the songs momentum, without too much reiteration.

Rain
Initially written for a musical adaption of ÒWuthering HeightsÓ by Alek Keshishian (who directed MadonnaÕs ÒTruth or DareÓ film), ÒRainÓ became possibly the most radio and family friendly single on the album.
Heathcliff is characterised as an enigmatic, power-driven and cruel figure. In spite of that, his attachment to the female character, Kathy, is unwavering and his gestures of such are a strange romance, yet alluring.
madonna recorded her lead vocal over ShepÕs instrumental, and a mixdown was completed in November of 1991. Just under a month later, she would add the harmony vocals and much later, the backgrounds, taking the vocal mix to a more striking performance.
ÒRainÓ would be remixed by Daniel Abraham for the single, giving it a more contemporary sound. This mix removes the scattered rhythms to a more natural sounding drum track and replaces most of the synthesizers present on the album version.
While it did enter the charts and peak at number 5 in Australia, itÕs one of a few examples of depth the album has to offer. Not every track is related to the themes of the sex book and for those that bother to notice, are left with gems like "RainÓ.
Where Life Begins
Up to this point in the album, itÕs perhaps easy to forget that Shep Pettibone and Tony Shimkin wouldnÕt be the only producers.
Madonna had worked with Andre Betts a couple of years earlier on the very controversial ÒJustify My LoveÓ. The lyrical content and musical feel of that song is something of a precursor to ÒEroticaÓ and while the Pettibone sessions mean that finding a place for other producers was getting tight, she sought after Betts for his contributions.
ÒWhere Life BeginsÓ is their first collaboration that appears on the album and the first they wrote together during the sessions.
Beginning with a jazzy introduction to an rÕnÕb infused rhythm, it would almost seem as though the profane content was given a rest. At least, until the lyrics begin.
Throughout a series of metaphors, Madonna gives detailed direction, along with the pros and pros of oral sex.
While none of the four Betts songs featured on the album would be released as singles, ÒWhere Life BeginsÓ would probably had been the best candidate, although even with its creative poeticisms, thereÕs only so much you censor a song.

Bad Girl (ÒDrunk GirlÓ/ ÒCheatÓ)
ÒBad GirlÓ takes its place as the sixth track on the album and arguably a break from the more sexualized and danceable material.
The song was originally going to be called ÒDrunk GirlÓ and before that, had the working title ÒCheatÓ. Its production didnÕt change significantly from ShepÕs original instrumental, but there still are a few interesting versions.
The original demo is essentially the same as the released version, however she repeats the first verse where the second would later be. This seems to suggest the songs wasnÕt written on a whim like many of the others at this time.
Another oddity is whatÕs been labelled as the Òguitar demoÓ, featuring a distorted guitar overdub from Paul Pesco. It begins during the second verse, which at this stage of production, still hasnÕt had its lyrical update. Listening to it, itÕs easy to tell why it didnÕt make the final cut, not really adding anything to the ominous feel of the song and its character, if anything, it got in the way.
In an era full of iconic styles and performances, the one that stands out the most is probably ÒBad GirlÓ performed on Saturday Night Live. Madonna sits on a chair with her band behind her, belting out the full range and emotions that seem to be present on the original.
The performance is perfect Ð and the only time ÒBad GirlÓ has been performed live.

Waiting/ Did You Do It
"Deeper and DeeperÒ wouldnÕt be the only track to reference something from MadonnaÕs back catalogue.
Utilizing the beat from Joe TexÕs ÒPapa Was ToÓ and lifting a horn sample from Tom Scott and The LA ExpressÕ ÒSneakinÕ in the BackÓ, Andre BettÕs builds the rhythmic structure for ÒWaitingÓ. Adding a bass and synths, the basic instrumntal was complete. This would also contain a vocal sample from their previous hit, ÒJustify My LoveÓ.
While another good candidate for a single release, it would have a new life as a b-side, in a remixed form featuring rapper, Everlast. The rhythm track is different, but not too far from the originalÕs style. Much like ÒRainÓ, itÕs an alternate take on the song without the removal of what made the original great.
Andre BettÕs and MadonnaÕs relationship became more playful as the album sessions continued. As Betts and fellow musicians were waiting for her to arrive at the studio for a revision of ÒWaitingÓ, he decided to freestyle a rap over the songÕs instrumental.
The lyrics are an internal reference to the speculation that Andre and Madonna were having sex.
The track, while containing only a repeated, minimal amount of the primary artist peppered throughout, would have its place on the album, much to BettÕs initial disagreement until a royalties discussion took place. Its spot would grant the album a Parental Advisory sticker Ð yes, even after everything else Ð which is why it was left off of certain versions.
Listening to it in the context of the album; itÕs definitely and oddity. Perhaps it would have critically fared better, had it been regulated as a b-side.

In This Life
MadonnaÕs relationships with gay males extended far beyond her fandom.
Martin Burgoyne managed Madonna on her first tour, designed an early album cover and was by her side for much of MadonnaÕs early career, also sharing an apartment.
He supported her after she was raped. And she supported him after he was diagnosed with HIV. Emotionally and financially.
This early exposure to the unbiased tragedy of the disease led her to be somewhat of an advocate for the disease's victims. When asked about Gays and Aids during interviews, she would unremittingly declare her support. It often forgotten how unfashionable it was, even still in the early 90Õs.
The lyrics of ÒIn This LifeÓ is a poetic tribute to those she knew that lost their lives to Aids. Asking the questions applicable to any moderating force, so cruelly taking a life too soon Ð sometimes as a result of their promiscuous actions, other times a result of their expressions of love.
The instrumental track would remain mostly the same from ShepÕs original to what ended up on the album. Though the mix was refined, making the synth strings slightly less prominent as well as the additions of creeping cymbals, discrete horns and symphonic synth overdubs throughout the verses. 
For an album so often accused and remembered for its unapologetic sexual expression, its depth is perfectly articulated in this song. Chipping away at the superficial perceptions of the project and its star, at least for those that listened.
Quite a profound statement, for a song Madonna wrote in just 15 minutes.

Goodbye To Innocence/ Up and Down/ Fever
There would be a handful of outtakes from the ÒEroticaÓ session, with the most notable being ÒGoodby To InnocenceÓ. A lyrical proclamation of self-achieved fame in the face of those attempting to take credit.
The initial versions of the track featured a rapid rhythmic structure, with binary funk licks from guitars and synth stabs. The words are clear and hard-hitting, impossible for the listener to misinterpret the message Ð even during this era.
The song would later be completely re-recorded with a more house-style feel, in a similar vein to the rest of the Pettibone/ Shimkin productions, although arguably sparser. What was the main hook in the previous version, is now subdued, formatted within what could be perceived as the bridge.
Neither version would make it to the final configuration of ÒEroticaÓ, but the second would be released on a compilation year later. But at the time, a 12-minute dub of the remix would be released as a B-Side to the ÒRinÓ single. Titled the ÒUp Down SuiteÓ, it does feature some vocals peppered throughout, but not enough to make it a succinct song.
Despite its checkered history, ÒGoodbye To InnocenceÓ was still important to the album. During the mixing stage, Madonna began to sing the words to Peggy LeeÕs ÒFeverÓ.
ÒFeverÓ would be the final song recorded for ÒEroticaÓ, the fourth single released and the final of three number one hits garnered from the project. As a result of its individual success, a plethora of remixes spawned, with one often being favoured over the original.
Titled ÒEdit OneÓ, this version would also be a remix contributed by Daniel Abraham and featuring specially recorded background vocals by Niki Haris and Donna De Lory. This mix would be utilised for the music video and the performance in the accompanying tour.

Surmise
ÒEroticaÓ was a statement. It showed the world that Madonna could do whatever the fuck she wanted. And fuck whatever she wanted.
The controversy ensured commercial success, with ÒSexÓ selling 150,000 copies in the first day and ÒEroticaÓ now having sold upwards of six million copies. Today, removed from the controversy collectively spurred up by the media and Madonna, the album stands on its own as a peak in a catalogue full of highs.
Its content may still shock some, but thatÕs what great art does. The fact that it can still challenge people is a testament to its cultural necessity. Much like Madonna herself.