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 werenÕt 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 MadonnaÕs magnum opus, ÒLike a PrayerÓ would be the albumÕs 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 wouldnÕt be the only one. For the Ò12Ó Extended RemixÓ and Ò12Ó Dance MixÓ, Shep Pettibone and Junior Vasquez would change, alter and amp-up the bass and drums, making the trackÕs 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 ÒDub BeatsÓ mix (along with a sample of his PrinceÕs then-unreleased song, ÒBob GeorgeÓ from the legendarily bootlegged ÒBlack AlbumÓ).
Bill Botrell, another frequent collaborator of MadonnaÕs would remix "Like A PrayerÓ for the Ò12Ó Club VersionÓ, which would begin like the Pettibone/ Vasquez mixes, but the transition into the ÒDub BeatsÓ remix, sans PrinceÕs guitar and sample.
Another mix worthy of praise, is Shep PettiboneÕs Ò12" Dance MixÓ. It retains almost no non-vocal elements from the original (aside from a few synth stabs) and would form the basis for MadonnaÕs performances of ÒLike A PrayerÓ during that era.
To truly highlight ÒLike a PrayersÓ gospel nature, yet another remix would be added to the single release. The ÒChurchapellaÓ retains small instrumental elements like the layers of synths and Latin-inspired percussion, but itÕs a showcase of MadonnaÕs 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?
ÒLike a PrayerÕsÓ single would reach number one in every chart around the world worth of mention. ItÕs controversial music video certainly helped, but the song by itself is an indisputable masterpiece and itÕs multitude of mixes are just a great as the original.

Spanish Eyes
The track that would ultimately close out the album, Ò(Pray For) Spanish EyesÓ is a display of MadonnaÕs seldom acknowledged vocal adaptability.
Touching on musical elements explored with a previous hit, ÒLa Isla BonitaÓ, both Patrick and Madonna would heavily incorporate prominent characterises of Latin Pop to match the songÕs 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, thatÕs a literal interpretation of the lyrics Ð 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 isnÕt obvious by an analysis of the lyrics.
With that said, the ÒLike A PrayerÓ 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 wouldnÕt 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 ÒCherishÓ exists.
ItÕs not at all profane, requiring sexually-minded interpretation or is at all contentious. ItÕs 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 ÒPossessive LoveÓ, 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 Òone of the most retarded songs IÕve ever writtenÓ. And even at the time, expressed reluctance over the idea of itÕs inclusion.
But ÒCherishedÓ would be released as the third single from ÒLike A PrayerÓ and reach number one in several countries, as well as charting highly in others. While the general public seem to disagree with MadonnaÕs conflicted feeling about its inclusion, it's success certainly justified itÕs place.

Promise To Try
With the working title ÒLittle GirlÓ, ÒPromise to TryÓ 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 whoÕs lost a parent. The yearning of a relationship, that can now only be had metaphysically, manifesting itself just in oneÕs own mind.
Madonna maintains a consistent child-like vocal throughout, with just a piano backing and string swelling at various points Ð almost score-music like. The instrumental touches on the emotion of the listener as much as MadonnaÕs performance.

Til Death Do Us Part
Originally recorded under the working titles of ÒOut of TimeÓ and then, ÒState of MatrimonyÓ, ÒTil Death Do Us PartÓ was one of the earliest song titles to be leaked out to the press Ð thanks to MadonnaÕs highly publicised divorce from Sean Penn.
After filing for divorce twice and a police report filed against PennÕs 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 itÕs subject matter significantly stands out when observed.
The song articulates various forms of spousal abuse Ð 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, itÕs 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.
ÒTill Death Do Us PartÓ 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 BeatleÕs track titled ÒDear PrudenceÓ. In response, Madonna replied with ÒHow about ÒDear JesseÓ, making reference to LeonardÕs 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 isnÕt 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 itÕs 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 ÒSpeed The PlowÓ, the official dates taking place between early May and late August Ð 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 couldnÕt negotiate time with Madonna during ÒSpeed The PlowÓ, one artist would...

By Alien Means/ Love Song
PrinceÕs input on the album didnÕt 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 ÒSpeed The PlowÓ, 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 ÒDaisy MillerÓ, ÒLove SongÓ would eventuate, having been born out of those experimental sessions. Prince would play drums, while Madonna experimented with synth lines, thus the trackÕs sparse nature.
In March, Prince would mix together the basic tacks for ÒLove SongÓ - 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 ÒLove SongÓ 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 ÒHung UpÓ 17 years later, she would reuse the line about Òthose who waitÓ.
Prince would also gift Madonna with a track from his endless vault of material, as he would with many artists. Titled ÒBy Alien MeansÓ wouldnÕt sound out of place next to ÒLove SongÓ instrumentally, itÕs lyrical content, asking people not to commit suicide, is a curious topic for what Madonna was singing about at the time. Ultimately, Madonna wouldnÕt 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, ÒOh, FatherÓ.
Madonna is reflecting on the emotional disconnection between her and her father during her upbringing, particularly following her motherÕs 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 albumÕs 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 someoneÕs affecting actions and grow into your own person. This rejection of authority is a consistent theme throughout the album Ð and most likely why it resonates as much today as it did 30 years ago. 

Supernatural
The ÒLike a PrayerÓ sessions wouldnÕt just produce material revolving around relatable themes. An outtake, that would later feature as a B-side to the ÒCherishÓ single, ÒSupernaturalÓ 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 ÒRed Hot + DanceÓ. This ÒOriginal Arms House MixÓ 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, ÒSupernaturalÓ wouldnÕt make an impact with either release and while its subject matter is undeniably ridiculous, it is indicative of MadonnaÕs evolution as a songwriter.

Keep It Together
Prince wouldnÕt be the only secondary producer on the album. Madonna had worked with Stephen Bray since before struck fame. For ÒLike a PrayerÓ she sought after his production to execute what she would describe as Òsort of my tributes to Sly and The Family StoneÓ.
Invoking the sentiments of the classic ÒFamily AffairÓ, ÒKeep It TogetherÓ 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 ÒFamily AffairÓ. Like ÒLike A PrayerÓ, this was uncredited.
The single would offer a plentiful variety of offerings, including Stephen BrayÕs own Ò12Ó MixÓ, enhancing the rhythm tracks and muting parts of the multitrack throughout.
If that wasnÕt enough, Shep Pettibon would contribute two additional mixes. The confusingly titled Ò12Ó RemixÓ 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 ÒTrue BlueÓ - which Pettibone also remixed years earlier.
Shep would also offer another variation of the track in the equally confusingly titled Ò12Ó Extended MixÓ. 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.
ÒKeep It TogetherÓ would score Madonna yet another number one hit. ItÕs subtly explored versatility throughout its remixes and irremovable funk places it as an essential piece in MadonnaÕs catalogue.

Express Yourself
While there are many songs on ÒLike a PrayerÓ that can be described as ÒessentialÓ or a ÒmasterpieceÓ Ð there is one that is indisputably iconic. BrayÕs other contribution, would be the dance-pop perfection known as ÒExpress YourselfÓ.
Sequenced as the second track on the final album configuration, after ÒLike a PrayerÓ, itÕs bombastic brass introductions as well as MadonnaÕs proclamation, ensures the listener that theyÕre 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. MadonnaÕs message is a straightforward decree of assertion in a relationship.
While the album version is excellent, itÕs not the most familiar with the general public. Employed for yet more remixes, Shep Pettibone would create the defining version Ð resembling a precursor of sorts for his MadonnaÕs later hit, ÒVogueÓ.
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 ÒThe Immaculate CollectionÓ, a greatest hits compilation released a year later Ð this would be the prominent iteration of the song played on radio ever since.

Surmise
The ÒLike A PrayerÓ 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 ÒMaterial GirlÓ 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, ÒLike a PrayerÓ became their representation. It spoke for some and informed others.
ItÕs simply one of the most iconic albums by a pop artist that has ever been released.