Madonna Live Cd

[Enrique Vasquez]

Iam by no means a Madonna fan--nothing against her, she certainly doesn't lack for talent or drive--but there's something about this one track of hers that has really haunted me over the years. Just continuous moments of beauty.

I usually have been dismissive of Madonna (as I am with most pop tarts), but her Ray of Light album has a perpetual place on my playlist roster. The synth programming and the vocals are quite impressive to me.

I still remember points he made in the articles. One about sonic variety - can't remember if it was the Roland D50 or an Oberheim midi rack thing - but he said about getting a library with thousands of sounds only to find that after auditioning them, he felt like he'd heard not lots of different colours or flavours, but lots of different shades of the same colour or flavour. Like lots of different "reds". The point was - mix it up a bit, different sound sources and maybe a bit of live magic thrown in with the electronics.

There was another one about have a "go to" writing patch that gets you started - think his was piano-ish with a pad from the Oberheim. This is from memory - I've moved around and no longer have the magazines.

My favourite (and I think this was PL and not Freff) was entitled something like "the other side of the control room." It was about just hitting record (in those days midi) when you sit down for a practise, rehearsal, noodle, whatever - and stop worrying about setting tempos in your sequencer or looking at the screen. Just play and practise or play and create - and let the box capture the stuff you think ...oh that's good, what did I do there...The point being that if you always have your keyboards and racks set up in the control room - maybe you might think about trying the other side of the glass in the live room - for a different perspective - and you won't be as tempted to watch the bars drawing on the monitor.

Anyway, Live To Tell - good track. Think I remember Bill Frisell Doing a nice cover of it when he came to the Guiness Spot one year in the Belfast Festival. Off to google and see if he recorded it up and it's on something he put out.

Another Madonna dismisser here until I heard a cut off of Ray Of Light and had to immediately go buy the CD. I had assumed that I simply had temporarily succumbed to the corporate mainstream brainwashing, but I still have this recording in my guilty pleasure play list.

Live to Tell is my favorite Madonna song, but Ray of Light is by far my favorite Madonna album and the only one I can listen to from beginning to end. I wished that she had worked with William Orbit again but they seemed to have a lot of battles over that album.

I love Toy Matinee but Patrick didn't write that, that was Kevin Gilbert's work he wrote the lyrics and music. Just because someone's name is on the credits doesn't mean they authored it. I have seen more than one movie soundtrack CD where the producer(s)'s name were on every song credit only due to contract obligations (read: greedy).

Agree with you that someone's name on the credits never ensures actual contribution - Madonna appears not to have written music or lyrics for Live to Tell (the topic at hand), just as (I've heard...) Johnny Carson had nothing to do with penning the Tonight Show theme - other than demanding 50% credit for giving the opportunity to Paul Anka. Show biz "arrangements" been going on a loooong time.

Let go of the Madonna version. It's beautiful and it's been done and redone. This song is way strong enough to stand up to different interpretations and instrumentations. I'd love to hear the late Johnny Cash sing it, with a viola doing double-stops for the intro. Bring us yours...

The pads sound like they're DX7/TX816 layered with an analog synth. Can't seen to positively tell which one(s) though [update: I just remembered Leonard used the Roland MKS-80 Super Jupiter heavily]. I know Leonard was a fan or Roland Jupiters and SCI Prophets around that time. In the mid '80s, the role of analog synths was more to give the DX7 additional depth and color, rather than stand out as a featured sound.

If someone has time, maybe they can track down a cached copy of this 1991 article on Patrick Leonard that shows up when searching Sound On Sound's website. I thought I remembered it so looked, but I don't own the hardcopy anymore so can't upload it myself:

Patrick Leonard has a surprisingly low profile for the producer and co-writer of many of Madonna's biggest hits, but his production work and nascent solo career suggests that wider recognition is on the way. Paul Tingen meets a man of many talents and strong views.

Madonna Louise Ciccone[a] (/tʃɪˈkoʊni/; born August 16, 1958) is an American singer, songwriter, and actress. Regarded as the "Queen of Pop", she has been recognized for her continual reinvention and versatility in music production, songwriting and visual presentation. Madonna's works, which incorporate social, political, sexual, and religious themes, have generated both controversy and critical acclaim. A cultural icon spanning both the 20th and 21st centuries, the Rock and Roll Hall of Fame called her one of the most "well-documented figures of the modern age" in 2008.[2] Various scholarly reviews, literature, and art works have been created about her along with an academic mini subdiscipline devoted to her called Madonna studies.

Madonna's popularity was enhanced by roles in films such as Desperately Seeking Susan (1985), Dick Tracy (1990), A League of Their Own (1992) and Evita (1996). While the lattermost won her a Golden Globe Award for Best Actress, many of her other films were not as well received. As a businesswoman, she founded the company Maverick in 1992, which included Maverick Records, one of the most successful artist-run labels in history. Madonna's other ventures include fashion brands, written works, health clubs and filmmaking. She contributes to various charities, having founded the Ray of Light Foundation in 1998 and Raising Malawi in 2006, and advocates for gender equality and LGBT rights.

Madonna's father put her in classical piano lessons, but she later convinced him to allow her to take ballet lessons.[11] Christopher Flynn, her ballet teacher, persuaded her to pursue a career in dance.[12] Madonna later attended Rochester Adams High School and became a straight-A student as well as a member of its cheerleading squad.[13][14] After graduating in January 1976, she received a dance scholarship to the University of Michigan and studied over the summer at the American Dance Festival in Durham, North Carolina.[15][16]

In 1978, Madonna dropped out of college and relocated to New York City.[17] She said of her move to New York, "It was the first time I'd ever taken a plane, the first time I'd ever gotten a taxi cab. I came here with $35 in my pocket. It was the bravest thing I'd ever done."[18] Madonna soon found an apartment in the Alphabet City neighborhood of the East Village[19] and had little money while working as a hatcheck girl for the Russian Tea Room, an elevator operator at Terrace on the Park, and with modern dance troupes, taking classes at the Alvin Ailey American Dance Theater, and eventually performing with Pearl Lang Dance Theater.[20][16][21] She also studied dance under the tutelage of the noted American dancer and choreographer Martha Graham.[22] Madonna started to work as a backup dancer for other established artists. One night, while returning from a rehearsal, a pair of men held her at knifepoint and forced her to perform fellatio. She later found the incident to be "a taste of my weakness, it showed me that I still could not save myself in spite of all the strong-girl show. I could never forget it."[23]

In 1979, Madonna became romantically involved with musician Dan Gilroy.[24] Shortly after meeting him, she successfully auditioned to perform in Paris with French disco artist Patrick Hernandez as his backup singer and dancer.[20] During her three months with Hernandez's troupe, she also traveled to Tunisia before returning to New York in August 1979.[24][25] Madonna moved into an abandoned synagogue where Gilroy lived and rehearsed in Corona, Queens.[20][10] Together they formed her first band, the Breakfast Club, for which Madonna sang and played drums and guitar.[26] While with the band, Madonna briefly worked as a coat-check girl at the Russian Tea Room, and she made her acting debut in the low-budget indie film A Certain Sacrifice, which was not released until 1985.[27][28] In 1980, Madonna left the Breakfast Club with drummer Stephen Bray, who was her boyfriend in Michigan, and they formed the band Emmy and the Emmys.[29] They rekindled their romance and moved into the Music Building in Manhattan.[20] The two began writing songs together and they recorded a four-song demo tape in November 1980, but soon after, Madonna decided to promote herself as a solo artist.[30][20]

In March 1981, Camille Barbone, who ran Gotham Records in the Music Building, signed Madonna to a contract with Gotham and worked as her manager until February 1982.[31][32][33] Madonna frequented nightclubs to get disc jockeys to play her demo.[34] DJ Mark Kamins at Danceteria took an interest in her music and they began dating.[35] Kamins arranged a meeting with Madonna and Seymour Stein, the president of Sire Records, a subsidiary of Warner Bros. Records.[34] Madonna signed a deal for a total of three singles, with an option for an album.[36]

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