Full List Of Unreleased Madonna Songs, The ultimate reference guide

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svperstar
Posted: Dec 29 2003, 08:33 AM

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This was all posted at dot a few months ago, but the fact that dot is now going
away is not very comforting. Whose to say that the archives will still be availa
ble for public access?
Therefore, the content of that thread, which is informative (and perhaps crucial
for the really high-key collectors), is being transmitted here.
I'll also have the time here to sort the list out and make it easier to read, bu
t for now this will work.
svperstar

Posted: Dec 29 2003, 08:35 AM

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Part 1: The Early Years

1980 (I LIKE) LOVE FOR TENDER Emmy band demo distributed on TDK cassette recorde
d at The Music Building
1980 ARE YOU READY FOR IT Early studio recording with the band Emmy
1980 BELLS RINGING Emmy band demo distributed on TDK cassette recorded at The Mu
sic Building
1980 CRIMES OF PASSION Original pre-fame demo remains unreleased, "Pre-Madonna"
indie issue uses 1996 re-constructed instrumentation
1980 DROWNING Emmy band demo distributed on TDK cassette recorded at The Music B
uilding. Madonna & Stephen Brays favorite at the time.
1980 LITTLE BOY Early studio recording with the band Emmy, surfaced on bootleg
1980 NO TIME (FOR LOVE) Emmy band demo distributed on TDK cassette recorded at T
he Music Building
1980 REMEMBERING YOUR TOUCH Early studio recording with the band Emmy
1980 SHINE A LIGHT Early studio recording with the band Emmy, surfaced on bootle
g. A Favorite of Steve Bray's.
1980 SAFE NEIGHBORHOOD (usually referred to by its incorrect title, "SHIT ON THE
GROUND" - Early studio recording with the band Emmy, surfaced on bootleg

1980 SUNSHINE Apparently this is another "Breakfast Club" track sung by Madonna.
It's never been released by Receiver Records. Unconfirmed early studio recordin
g with the band Emmy. Media rumor. However, peter_magennis@hotmail.com notes tha
t the track 'Sunshine' isn't an early demo with The Breakfast Club. He says that
this track is actually just Madonna singing (kinda outta tune) over "Let The Su
n Shine In" by the Fifth Dimension in the movie "A Certain Scarifice". This is t
rue; Madonna did sing part of that song in a rare out-take of the movie (a porti
on of which was broadcast in the Robin Leach special "Madonna Exposed") and this
track has also been circulating on various "early era" bootleg CDs, but it's al
so quite possible that there really is a song called "Sunshine" that has nothing
to do with "A Certain Scarifice". If anybody out there has any more info on thi
s, please let me know!
1981 GET UP From 4 song demo recorded with Gotham Management at Media Sound. To
see the original studio "mixing notes" for this song, click here
1981 HIGH SOCIETY (SOCIETYS BOY) From 4 song demo recorded with Gotham Managemen
t at Media Sound. To see the original studio "mixing notes" for this song, click
here
1981 LOVE ON THE RUN From 4 song demo recorded with Gotham Management at Media S
ound. To see the original studio "mixing notes" for this song, click here
1981 TAKE ME (I WANT YOU) From 4 song demo recorded with Gotham Management at Me
dia Sound. To see the original studio "mixing notes" for this song, click here
1982 AINT NO BIG DEAL (REMIX) Remix by Jellybean Benetiz abandoned when "Holiday
" was selected for Madonna's 1st album
1982 AINT NO BIG DEAL 24 track studio demo is "lost" says collaborator Stephen B
ray. Different than version on indie release "Pre-Madonna".
1982 AINT NO BIG DEAL Version produced by Mark Kamins for Madonna's 1st album wa
s rejected
1982 EVERYBODY (REMIX) Remix by Jellybean Benitez used during Madonna club perfo
rmances, never released says Stephen Bray.
1982 SHAKE YOUR HEAD 1983 Was (not Was) produced pre-fame Madonna vocal replaced
w/ Ozzy Osborne on album "Born To Laugh At Tornadoes". Confirmed by Was(not Was
) UK media interviews. New 1990's remix by Tommy Musto featured Kim Bassinger fo
r Europe only.
------------------------------------------------------------------------------ 1982 WE LIVE IN A HOUSE Cassette on file at Library of Congress PAU-1-843-482. W
ritten by Joshua J Braun, Madonna L Ciccone, Janis Galloway. Date created 1982,
but not filed until 1994. Origin unknown. Vocal by Joshua Braun. Bruce Baron rec
ently listened to this track at the Library of Congress, and he writes: When I f
irst found this title in the LOCIS database, I was skeptical of it's true nature
for three reasons: 1) It is registered as a written collaboration between Madon
na and J.Braun aka J. Galloway who I have never heard of before in her career hi
story. 2) No vocalist is listed 3) Date of creation listed is 1982, but the date
of registration is 1992. Because of these unusual circumstances, I included it
in the listing of unreleased recordings but not in the text of last years Goldmi
ne article I suspected that it might be a rap song that used an early-era Madonn
a song sample (such as "Everybody")which was not identified in the registration.
My guess was wrong. It is actually a previously unknown pre-Warner Brothers rec
ording with a full Madonna lead vocal !!
The label is hand written on a TDK SA90 cassette. Her vocal is in the style of h
er Breakfastclub & Emmy periods. The song seems to be a social statement about t
he ignorant masses who remain at home rather than to pay attention to the world
around them outside. It's not very catchy and the chorus something like: "We Liv
e In A House, and people just don't care" "We Live In A House, they don't go any
where" Madonna screams a backing vocal at one point: "You can't come into my hou
se" The guitar sounds are a little like the B-52's meets New Order and the Ramon
es. When I interviewed Stephen Bray last year, I asked him about this song. He h
ad never heard of it, and did not know who Braun or Galloway was in Madonna's pa
st. If it was done prior to Bray's arrival in New York, the songs origin could a

ctually be older circa 1979-1980. This song represents a portion of Madonna's ea

rly NY time period with a collaborator that was not previously known to the publ
ic.
------------------------------------------------------------------------------ 1983 SIDEWALK TALK (Demo produced with Stephen Bray, Madonna on all vocals. Rele
ased version done with Jellybean & Catherine Buchanan). Demo on file Library of
Congress PAU-1-925-241. Bruce Baron recently visited the Washington DC Library O
f Congress, hoping to hear this version with Madonna on ALL vocals, but unfortun
ately this submission was made later than I expected to find (on Jan 21st 1987).
The tape I requested features the single mix which peaked in the teens on the A
merican Billboard HOT 100 chart. It first appeared on the American dance chart a
few years before this as a Jellybean 12" single. The date of creation is 1983.
This song was written by Madonna, but the lead vocal is actually by Catherine Bu
chanan on all released commercial versions. Madonna does the backup vocals. I wa
s hoping to hear the demo version with Madonna on the lead vocal, but this was n
ot it. Stephen Bray does own a copy of this (co-produced by him and not Jellybea
n), but for now it remains unheard by the public.
svperstar

Posted: Dec 29 2003, 08:36 AM

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Part 2: First Album/Like a Virgin Era

1983 PHYSICAL ATTRACTION (Version credited to Madonna as the sole songwriter). B
ruce Baron requested to hear this track at the Washington DC Library of Congress
, and was hoping to hear a different version of this song. He requested this ite
m because it credits Madonna as the sole songwriter. Stephen Bray also thought t
hat Madonna wrote this song. The commercial releases that we are all familiar wi
th credit producer Reggie Lucas as the sole songwriter. Either there was a major
clerical error, or Madonna gave up the credit to Lucas for some kind of special
arrangement. This item was not available on tape to listen to, but remains on m
icrofilm from the sheet music sent in by Warner Brothers. The words are exactly
the same as the released version, and clearly credit Madonna as the songwriter.
It refers to her spoken portion of the song as a "rap" (ha ha). This entry is fr
om Feb 22nd, 1983 (date of work creation 1982) and seems to be from the period o
f her first three 12" single releases. This is when she was published by Only Ch
ild Music before her co-publishing deal for Webo Girl was created when Warner Br
os picked up the option for her first album. The ownership was transferred to Wa
rner Bros and Webo Girl on April 25th 1983 with the registration of PAu-506-929
which I did not request. It also credits Madonna as the songwriter. Curiously an
other registration PA-210-598 credits Reggie Lucas as the sole song writer and w
as registered May 14th 1984 for a date of creation in 1983. This is a published
work registration (PA-), not an unpublished (PAu-) and is actually a copy of the
12" single with "Burning Up" on the other side that was issued for sale. It cla
ims the date of publishing as Feb 1st 1983. Sounds like something for the lawyer
s to sort out ?
------------------------------------------------------------------------------ -

1984 ANGEL Confirmed original Madonna demo produced with Stephen Bray. Released
version was produced by Nile Rodgers on the "Like A Virgin" album.
1984 CRAZY FOR YOU Unreleased version produced by Jellybean prior to arrival of
the arranger. The arranger of the song (Rob Mounsey) recently spoke with Bruce B
aron, and adds these interesting notes about "Crazy For You": "I know that there
was a previous version produced by Phil Ramone, who somehow got maneuvered out
of the gig by Jellybean. I've worked a great deal with Phil since then, and he s
eems very resentful about it, but I don't really understand what happened. Jelly
bean was persuaded by Michael Ostin of Warners that, since the song was a ballad
, he needed an arranger. So Michael brought me in, since he was familiar with me
from my production/arranging work with Michael Franks. Basically, the track was
created by drummer Stephen Bray and myself. I wrote out an orchestral arrangeme
nt as if a real orchestra were going to perform it, and then overdubbed it mysel
f line by line, mainly on my old Roland Jupiter-8 with a custom analog CV breath
controller. I also used two Yamaha DX-7s MIDI'd together and each distorted wit
h its own little green Ibanez Tube Screamer stomp box (the distant sliding third
s in the intro and midway in the verses). Jellybean wasn't around for much of th
is, which all happened at Sigma Sound in NYC. Jellybean's main contribution seem
s to have been the "Bong bong bong" carillon background vocals. He was Madonna's
boyfriend at the time, and she had just broken with "Like a Virgin". The oboe s
olos were Madonna's idea, and a good idea too. They were performed by the late G
eorge Marge, the greatest studio double-reed player of his time, whose untimely
death shortly afterward saddened us all. Madonna, as I understand it, never like
d the song and didn't want to record it."
------------------------------------------------------------------------------ 1984 DESPERATELY SEEKING SUSAN Never released title track from the film written
by Michael Bramon & produced with Stephen Bray. Different than "Into The Grove".
Existence confirmed by Bray. The actual writer of this song (Michael Bramon) ha
s recently (late August, 2001) emailed me, and give me a lot of into about this
track, since he wrote it! He writes:
It was written in 1984, not 1985. Stephen Bray did not write it. My sister, Risa
Bramon (see her Filmography at http://www.imdb.com, as well as mine), cast Mado
nna into Desperately Seeking Susan back in the day. In fact, the really interest
ing thing about that was that Susan Seidelman and Risa got stuck casting that ro
le originally and Risa called me one day and said "Hey Michael- you know I'm cas
ting Desperately Seeking Susan, my first movie, u know, with Rosanna Arquette, a
nd we're looking for a cool weird East Village kind of girl that could play a sm
all role in the movie. And since you know all those kind of people- maybe you ca
n recommend someone- u know someone funky, maybe a singer like Lene Lovich or An
nie Golden from The Slits. We tried our Annie but she isn't right for it. She's
too old." Well, the first thing out of my mouth was- "How about that new singer
Madonna- the chick who used to hang around Danceteria and shit. You know the one
on MTV now." Risa replied, "Madonna, yeah! She sings. This is great. I gotta ge
t hold of her manager. Thanks Michael (to which she promptly hung up the phone o
n me). Any ways, when Madonna was cast into the role and they were all looking f
or music for the film (in fact Seidelman asked Madonna for a song- not the other
way around), Madonna and Stephen Bray put together at the last second, "Get Int
o The Groove," and I submiited "Desperately Seeking Susan" (formerly called "Tra
gic Camera") with local NYC singer Juliette Hanlon singing. Madonna heard it and
recorded a rough vocal.
By the way, I played a band member in the movie (see credits). After Desperately
Seeking Susan became a hit, Risa got a call to do her third film, "At Close Ran
ge" with Sean Penn and Chris Walken attached to the movie. Madonna called me to
ask me if I'd heard that Risa was doing a new movie with Sean Penn. I hadn't eve
n heard yet, and here was Madonna already aware! Amazing. I said I would check i
nto it. I called Risa and she said yes it was going to happen. I told her that M

adonna called me and had asked me to ask you to arrange for her to meet Sean "on
the set." Risa laughed and said she's called Madonna herself. And that's how th
at all really went down- because I think Madonna was shooting the video for " Ma
terial Girl" at the time and Madonna actually excused herself from her set to go
over to the At Close Range set to meet Risa and "arrange to meet Sean." Which s
he did and the rest is history. Bizarre.
Yet, another, anecdote related to this- at the press screening for At Close Rang
e, which I was at here in NYC, one of the actresses who Risa had put into the mo
vie came over after the movie to our row of seats in the theater and asked Risa
what she thought of the movie. Risa replied (and I was standing right there) "I
was very disappointed, I thought it was nothing more than Sean Penn *******ating
himself." The actress walked down the theater to where Madonna and Sean were st
anding getting ready to leave the theater. She whispered somthing to Sean, and I
remember Sean whipping around and glaring at Risa and me and then marching out
of the theater. The next day, Risa called me from Paramount (where she was casti
ng the Whoopie Boys) her voice shaking and told me that Sean had just called her
and threatened to break her legs if he'd heard her say any more crap to anyone
about the movie! I offered to beat him up (for real- I was ****ing livid). She t
old me that wasn't necessary, but did say that Sean told her that her and Madonn
a were in love and that it seemed that because it seemed to him that Madonna had
a strange respect and facination with Risa- that he didn't want Risa talking or
communicating with her again! And this is exactly what came to be, because Mado
nna and Risa wouldn't talk to each other again for years until Madonna suddenly
called Risa out of the blue during the pre-casting of EVITA to beg Risa to intro
duce her to Alan Parker (for whom Risa has done a few movies, like Angel Heart).
This whole thing really hurt Risa because Risa had been a big influence on Mado
nna during the Desperately Seeking Susan phase and Risa and Madonna knew it- In
fact there was Madonna pre-Risa and Madonna post-Risa. 2 different people. I rem
ember Madonna always asking Risa tons of questions- like to a big sister. I reme
mber Risa screaming at Madonna (Risa's a screamer), in public places and at the
Furco offices where I would go during pre-production (as I was invloved with the
movie too to a samll extent). On several occassions Risa chided Madonna about "
needing to grow up" and I remember Madonna always telling me that Risa was an am
azing person, one of the few people she had ever had respect for.
Anyways- after Sean had forbade Madonna from talking to Risa- Madonna edned up r
unning nearly everyday around the NYC reservoir in Central Park with Risa's cast
ing partner and best friend, Billy Hopkins.
------------------------------------------------------------------------------ 1984 GAMBLER Confirmed original demo produced with Stephen Bray not Jellybean.
1984 LIKE A VIRGIN (REMIX) Remix by Nile Rodgers shelved infavor of remix by Jel
lybean Benitez as reported in Rodgers interview late '80s.
1984 OVER AND OVER Confirmed original Madonna demo produced with Stephen Bray, r
eleased version was produced by Nile Rodgers on "Like A Virgin" album.
1984 SHOO BE DOO Confirmed original Madonna demo produced with Stephen Bray. The
released version was produced with Nile Rodgers.
1984 UNCONFIRMED TITLE Recorded at the same session as demos for "Gambler", "War
ning Signs", "Shoo-Bee-Doo" says Stehen Bray. Title of song not recalled by Bray
.
------------------------------------------------------------------------------ 1984 WARNING SIGNS (Song never used for Vision Quest Soundtrack, Madonna demo wr
itten & produced with Stephen Bray). Listed at Library Of Congress as Pau-590-96
2. Bruce Baron notes that this song was registered on Feb 21st 1984, and is clea
rly marked on Warner Bros Pub sheet music as being for the "Vision Quest" soundt
rack. The original sheet music was discarded, and a copy has been retained on mi
crofilm at the copyright office. The song starts with a Madonna spoken intro: "I
see danger up ahead." The song continues with music: "Warning (echo), Warning (

echo)" The chorus: "Warning I see danger up ahead. I can see it in your eyes, an
d it's really no surprise. Because - I can see your warning signs". Unfortunatel
y, no recording was available to listen to. This was probably the biggest disapp
ointment during my visit. I do know that Stephen Bray has preserved a copy of th
is collaboration, but he doesn't know why it was dropped from the film soundtrac
k. It was written during the same recording session as "Gambler" and "Shoo-Be-Do
". I recall back in the day when this missing "Vision Quest" soundtrack cut was
the ONLY known unreleased Madonna song to exist. I have researched it since the
early days for MLC, The Madonna Fanzine. The bootleg market tried to pass off ILevels "Lies In Your Eyes" as this missing track on some of her first bootleg vi
nyl issues. We now know this to be fake. This was long before MP3's, Napster, CD
-R's and white label remixes. What a difference 15 years can make !!
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Posted: Dec 29 2003, 08:38 AM

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Part 3: True Blue/Who's That Girl

1985 GET UP STAND TALL Registered seperately from "White Heat" at Library Of Con
gress. Written by Pat Leonard, Madonna. Cassette on file PAU-828-147. Bruce Baro
n recently heard this track at the Washington DC Library of Congress, and he not
es that this was probably one of the first songs recorded for the "True Blue" al
bum with Pat Leonard since it registered as being from 1985. From what I can tel
l it is exactly the same as the album version of "White Heat" including the Jame
s Cagney sample. I could not determine any differences during my listen. The tit
le is obviously different, but not a typo. That's how it was sent in, and is cle
arly marked on the label. The name of the song must have changed at a later date
prior to the albums release. The other side of the tape contains a recording of
"Dangerous" PAu-828-146 which is a Leonard production of a non-Madonna song wit
h a male vocalist. I originally thought that Madonna might appear on this track,
but it is unrelated.
------------------------------------------------------------------------------ 1985 UNCONFIRMED TITLE Madonna wrote for French singer Nathalie, as reported in
Biography by Mark Bego. Existence never confirmed.
1986 EACH TIME YOU BREAK MY HEART Madonna demo written & produced with Stephen B
ray. The rare thing about this song is that it was recorded with Madonna as the
lead vocalist. Nick Kamen's voice is not heard on the song. Madonna disposed of
this track because it was given and written for Nick Kamen.
1986 JIMMY JIMMY Confirmed original Madonna demo written & produced with Stephen
Bray. Different from released version.
1986 TRUE BLUE Confirmed original Madonna demo written & produced with Stephen B
ray, different from the released version.
1986 VERDARAMENTE TRISTE (True blue in Spanish) - It is unknown whether there ac
tually is a recording of this song sung in Spanish, or if it's simply confused w
ith the Argentina promo-only 7" single of the record, in which the title is spel
led out as "Verdaramente Triste" (although the song is entire in English on the
record).

1986 WORKING MY FINGERS TO THE BONE Confirmed song never used, Madonna demo writ
ten & produced with Stephen Bray circa "True Blue" album. Never filed copyright.
------------------------------------------------------------------------------ 1987 BABY LOVE Some fans believe that Madonna recorded demos for several Stephen
Bray songs including Regina's "Baby Love" which was later recorded by Dannii Mi
nogue. This is not true. Bray explained that during this time period Madonna wou
ld not have done anything that didn't have her name on it somewhere. Since she h
ad no part in writing this song, she did not participate in the recording of the
demo or any other Bray song written for The Jets, EG Daily, Royalty or Kylie Mi
nogue.
------------------------------------------------------------------------------ 1987 CAN'T STOP Confirmed original Madonna demo written & produced with Stephen
Bray, different from released version.
------------------------------------------------------------------------------ 1987 CAUSING A COMMOTION Confirmed original Madonna demo written & produced with
Stephen Bray, different from the released version.
------------------------------------------------------------------------------ 1987 LOVE OVER THE TELEPHONE Unused song, supposedly written with Don Johnson. T
he only information about this song was found in media articles (most notably a
French magazine), but it's not known if it was ever actually recorded. Supposedl
y, it is still unreleased apparently because of 'copyright complications'. Don J
ohnson's and Madonna's record companies were both said to be fighting for copyri
ght of the song. This is the french magazine interview: "And what about your rec
ording project with Don Johnson?" Madonna: "We have already written the words bu
t we've been working over the telephone because I've been in New York and he's b
een in the series Miami Vice in Florida. Now we must work together in the studio
and the song can then be released. The title is Love Over The Telephone...".
------------------------------------------------------------------------------ 1987 SPOTLIGHT Bray confirmed original demo written & produced by Madonna and St
ephen Bray. Different than released version remixed by Jellybean. Library of Con
gress registers 1985 PAU-716-379, and then a revision to music & lyrics 1987 PAU
-1-924-278. Bruce Baron recently listened to this track at the Washington DC Lib
rary Of Congress, and he writes: This was the first Madonna related tape that I
listened to on June 12th, 2000 in Washington DC. It was one song on a SIM C90 au
dio cassette. I selected the item as part of my 24 requests to review because I
was aware of several different registrations for the same song from searching LO
CIS on-line at http://lcweb.loc.gov/copyright/rb.html This entry is the first en
try created in 1984 and registered in 1985. It is credited to Curtis Hudson alon
e. No mention of Madonna. It is the original demo version of the song and probab
ly the version Madonna first heard before making revisions with Stephen Bray. I
viewed it as a great opportunity to see if it was a true re-write or just Madonn
a taking credit. The 1987 released "You Can Dance" version that we are familiar
with was written by Madonna, Stephen Bray and Curtis Hudson (a writer from "Holi
day"). This was submitted as PAu-924-278 on Jan 27th, 1987 referencing a change
of lyrics. I did not request the 1987 submission, only the unknown 1985 version.
This song is a basic demo approximately 8 tracks. The vocal is performed by a f
emale vocalist, probably Lisa Stephens the other "Holiday" co-writer. Her vocal
is flat, strong, clear and deeper than Madonna's which sounds child-like in comp
arison. The instrumental sound is a near re-write of Holiday featuring nearly id
entical chords and rhythm guitar. It's kind of odd to hear it this way. It has a
funkier groove instead the bubblegum pop sound that was developed for Madonna's
version. The lyrics and melody line have been substantially re-written (approxi
mately 60%) while keeping the same theme. The chorus is totally different and su
ng in a different rhythm. On Madonna's version, everything is often drawn out in

to long sounds: "Spot-liiiighhht" or "Shine br-iiight" etc.... On the original v

ersion, each syllable above falls on a different note, and nothing is drawn out:
"Spotlight shine on me, spotlight shine on you. Be what you want to be, do what
you want to do." and "Spotlight shine so bright, spotlight shine tonight". When
listening to the whole song, in my view the changes made justify the credit tha
t Madonna and Bray took when they recorded it circa the "True Blue" album sessio
ns.
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Part 4: Like a Prayer/I'm Breathless

1988 BY ALIEN MEANS Confirmed as written by Prince Rogers Nelson), published by
Controversy Music. Supposedly sent to Madonna after Blonde Ambition Tour. May or
may not have been recorded by Madonna. Prince demo cassette on file Library Of
Congress PAU-1-152-963. Bruce Baron recently listened to this track at the Washi
ngton DC Library Of Congress, and he writes: This is actually an unreleased Prin
ce (The Artist) tune supposedly sent to Madonna for recording consideration. I d
o not recall the exact source of this rumour, but it has been around for years,
and was supposedly inspired by the 1990 Blonde Ambition Tour. It has never been
established that Madonna actually recorded it with Prince or on her own. The Pri
nce collectors usually have lots of bootleg unreleased tracks, but this one had
never surfaced in the collectors market. Many are the demos he had sent to other
female vocalists which he did quite often. Therefore I decided to request a lis
ten at the copyright office to check it out. If this demo had been sent to me fo
r consideration, it would be like the same feeling as receiving a totally "WRONG
" piece of clothing as a birthday gift from a relative. "Thanks, it's - neat". T
he song appears to be about asking young people not to commit suicide: "Explore
the interplanetary space between your mind. Don't go out by alien means". The in
strumentation is a wild blend of guitars and percussion. Not much of a melody, b
ut Prince in full form. His vocals are just as insane with multi-layered falsett
os and voices. The date of creation on the registration is actually 1988, so thi
s could not have been inspired by the 1990 BAT. It could be possible that it ori
ginates circa the Prince/Madonna duet "Love Song" and was then sent to her later
? How much truth there is to this story we may never know, but this song did not
make me think of Madonna when I heard it.
------------------------------------------------------------------------------ 1988 EXPRESS YOURSELF Original Madonna demo written & produced with Stephen Bray
. Bray considers this to be better than released version.
1988 FIRST THERE'S A KISS Song never used, Madonna demo written & produced with
Stephen Bray for "Like A Prayer" album. Existence confirmed with Bray, but never
filed copyright. This track was supposedly rejected from the "Like A Prayer" al
bum. It is a song about safe sex and aids and again surfaced unofficially. It is
also said to be on the same Japanese promo (or more likely a bootleg) as "Love
Attack".
1988 KEEP IT TOGETHER Confirmed original Madonna demo written & produced with St

ephen Bray. Different from the released version.

------------------------------------------------------------------------------ 1988 LOVE ATTACK Song never used, Madonna demo written & produced with Stephen B
ray for "Like A Prayer" album . Existence confirmed by Bray, but never filed cop
yright. This track was supposedly rejected from the "Like A Prayer" album becaus
e it didn't fit the sound of the album. Still unofficially released.
------------------------------------------------------------------------------ 1988 LOVE SONG - Outtake is extended version of collaboration with Prince from "
Like A Prayer" album found on Prince bootleg release "Jewels From The Vault".
------------------------------------------------------------------------------ 1988 POSSESIVE LOVE Madonna demo written with Patrick Leonard given to Marilynn
Martin to record for her 2nd album "This Is Serious".
------------------------------------------------------------------------------ 1988 UNCONFIRMED TITLE (S) Portions of 2-3 other collaborations rumored to be un
finished with Prince from "Love Song" sessions. There may also be others that we
re from the abandoned "From Dusk To Dawn" Prince Soundtrack (unconfirmed)
------------------------------------------------------------------------------ 1989 CHERISH (REMIX) Unreleased dance remix suspected to have been done by Hank
Shocklee & Phil Castellano
------------------------------------------------------------------------------ 1989 DOG HOUSE Existence not confirmed. Unreleased track inspired by Brenda Lee'
s "You're In The Dog House Now" for Dick Tracy "Im Breathless" album. Media rumo
r
------------------------------------------------------------------------------ 1989 QUEEN OF MISERY There seems to some confusion about this song. In an old Ro
lling Stone magazine interview, frequent Madonna collaborator Pat Leonard mentio
ned writting this song with Kevin Gilbert (aka: Hank Panky remixer). From what I
understand this song was written about Madonna, not neccessarily for her to rec
ord. Some fans feel that it may have been offered to her and that a Madonna demo
may exist. I have never found any evidence to support this idea. The song appea
red on the first Toy Matinee album (band featuring Leonard and Gilbert) with no
Madonna participation. This song is about a woman who looks for love through a s
eries of one night stands. You can link to lyrics at http://www.kevingilbert.com
/40abc/misery.html
Kevin Gilbert had a hand in breaking Sheyl Crow as a solo artist (she used to si
ng with Toy Matinee in LA), but he died shortly after her first album took off.
He also worked on Madonna's "I'm Breathless" album.
------------------------------------------------------------------------------ 1989 GOODBYE MY FOREVER FRIEND Unused song, demo recorded circa "Like A Prayer"
album 1989. There does exist a VERY, VERY LOW QUALITY recording of this song (th
ere's no music in it, just Madonna's singing). It definitely sounds like Madonna
to me. The copy I've heard is very muffled and low quality, but I'm convinced i
t's Madonna. The story I was told about this recording is that it was taken from
Madonna's tape player in her dressing room by a theater employee while she was
appearing in "Speed The Plow". If this story is true, shame on them - but we don
't even know for sure if this is Madonna. The original tape was said to have bee
n labeled "To Sean" as if it was going to be sent to him (makes a good story). T
he recording is of poor quality, a simple vocal demo with no music. The melody i
s not well structured and the vocalist drifts off key all over the place. It doe
s sound like Madonna, or at least a good impersonation of her doing a crude demo
. The first part of the lyrics are:

Goodbye to you
Goodbye and farewell
I will miss you
I will miss you
The days wont be the same
The nights full of pain
Why did this happen
Why did this happen - to us
I hesitate to call this an unreleased Madonna song since we are not sure if it's
her, and she never really got to finish it according to the story I heard. This
song does not come close to the quality of her other studio demos, and seems to
be more of a home recording of a preliminary song idea. It remains a curious CD
-R collectable.
1989 MORE "I'm Breathless" album studio rehersal demo surfaced on bootleg 7"
------------------------------------------------------------------------------ 1989 PIPELINE Unused song, existence unconfirmed.
------------------------------------------------------------------------------ 1989 SOONER OR LATER "I'm Breathless" album studio rehersal demo surfaced on boo
tleg 7"
------------------------------------------------------------------------------ 1989 TO LOVE YOU Never released written by Madonna and Andy Palley, existance co
nfirmed at Warner-Chappell Publishing website.
------------------------------------------------------------------------------ 1989 VOGUE PAu-1-331-762 (Alternate version reportedly featured controversial in
lyrics removed for "Dick Tracy" (Disney Film) inspired soundtrack "I'm Breathle
ss"). Mentioned in Interview Magazine 1990. Bruce Baron notes that the tape had
no case to hold it and was sent into the copyright office by Pettibone a few mon
ths before Madonna had her submission sent in my Warner Bros. There is no mentio
n of Madonna even though she's the one singing. In fact, the label says S.Pettib
one as if he is the only performer. The tape was at the end of this song when I
picked it up to discover that Pettibone had taped over a pop-rock male vocal of
another song to recycle this cassette. I was interrupted by the office vacuum cl
eaning service during this one (no joke), so I did not have full attention to th
e recording. From what I can tell, it is nearly identical to the single mix of t
he released version of "Vogue" but it fades out at the ending instead of the col
d ending. It also seems to be missing the whispered "vogue" in parentheses after
the words "come on vogue" (vogue).
------------------------------------------------------------------------------ 1989 WHAT CAN YOU LOSE "I'm Breathless" album studio rehersal demo surfaced on b
ootleg 7"
------------------------------------------------------------------------------ 1990 DICK TRACY Unreleased collaboration with Pat Leonard. Bruce Baron notes tha
t this unreleased track is from the "I'm Breathless" sessions which is music ins
pired by the 1990 film, Dick Tracy. It can be confirmed at the ASCAP database AC
E on the web at http://www.ascap.com as work #340325268. ASCAP is an organizatio
n that collects money from radio play for its members. Madonna belongs to this g
roup with her affiliated Webo Girl Publishing, Inc. This song was written with h
er frequent partner, Patrick Leonard.
svperstar

Posted: Dec 29 2003, 08:39 AM

Defy THIS!
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Posts: 12,245
Member No.: 1
Joined: 14-December 03

Part 5: Erotica
1991 ACTIONS SPEAK LOUDER THAN WORDS Registered seperately from "Words" at Libra
ry Of Congress. PAU-1-605-641. Bruce Baron recently visited the Library of Congr
ess in Washington DC, and he had a chance to hear this track. He writes: I alway
s thought that "Words" and "Thief Of Hearts" were two overlooked potential singl
es from the "Erotica" album, and I was pleased to find a few alternate mixes on
Shep Pettibones copyright submission from Feb 11th, 1992. Date of creation 1991.
He sent in several songs on two tapes (track list to follow). The copyright off
ice calls this the "Rain" album because it was the first song listed on the firs
t tape. I was able to review alternate mixes that I had not requested because th
ey were all together. The "Rain" title was written centered on the title card, w
hile the others below it where written to the left margin of the card. This make
s it look like the title of the collection. I will reference his demo this way i
n the future because of this registration. This "Actions Speak..." registration
is not exactly a different song than "Words". It is the original title name from
the handwritten title card that was used to label the cassette. It is actually
the same song. Two similar versions of "Actions Speak..." were provided. Both we
re without the repeating indian instrument that eight years later seems so annoy
ing in the released version. Instead the synth keys that we are used to hearing
only at the end of the song are used in chorus sound in each chorus. There is al
so a subtle guitar-like sound. The vocal take seemed a little different that the
released recording. It must have been re-recorded later. Additional lyrics incl
ude "Your love is for fools", and "You're so cruel". The backing vocals and brid
ge arrangements are slightly different. These were good !
------------------------------------------------------------------------------ 1991 CHEAT (aka DRUNK GIRL) Library Of Congress PAu-1-605-639. Contains part "Th
eif Of Hearts" lyric, and "Bad Girl". Written by Madonna, Pettibone, Shimkin. He
re are Bruce Baron's research notes on this track: This submission is from a cas
sette tape sent in by Shep Pettibone which features several songs and alternate
mixes from the "Erotica" album. I will provide a complete track listing later. F
rom what I can tell this is exactly the same version as the released version of
"Bad Girl". I didn't notice any changes. The name of the song comes from the han
d written tittles on the tape and is not a typo. This indicates to me that this
is the original song tittle of "Bad Girl" which must have been changed prior to
it's release on "Erotica".
-------------------------------------------------------------------- ----------1991 GET OVER Madonna demo written & produced with Stephen Bray given to Nick Sc
otti to record on his debut Reprise album. Existence confirmed.
------------------------------------------------------------------------------ 1991 SHAME Never released written by Madonna, Shep Pettibone and Tony Shimkin. E
xistence confirmed at Warner-Chappell Publishing website. Also at Library Of Con
gress PAU-1-605-637. Bruce Baron notes that this totally unreleased song is from
the "Erotica" sessions with Shep Pettibone. It's actually very good. It's simil
ar in dance style to that of "Deeper And Deeper", and "Vogue", Perhaps a little
slower. This demo is high enough quality that it could have been sent to another
artist to use (like "Love Wont Wait"). If it had been included on the album, it

would have been too similar in sound to have enough variety on the album with t
he other tracks. I guess this made room for the Andre Betts collaborations. In t
he song Madonna talks down to the object character of the song (or perhaps the l
istener). This is part of the developing Dita persona that we did not get to see
. The song opens with a spoken intro: "Look what you have done with your life, i
t's such a shame". Later she says "anyone can learn to fly" as if she is asking
why haven't you learned yet ? She also says "you're the one to blame". The choru
s starts with "It's a Shaaaaaame" which sounds an awful alot like the song of th
e same title by Monie Love. This is probably the source of the old rumour that t
hey were going to do something together. The similarity ends there, and then it
breaks off into it's own unique melody. It's hard for me to remember the rest of
the lyric for the chorus, because my brain tries to fill in the memory with the
rest of it from the Monie Love song. It sounds that close in that first line on
ly.
------------------------------------------------------------------------------ 1991 WHY ITS SO HARD Original versions included rap by Jamaiki according to Shep
Pettibone article.
------------------------------------------------------------------------------ 1991 YOU ARE THE ONE PAU-1-605-636. Written by Madonna, Shep Pettibone, Tony Shi
mkin. Bruce Baron has listened to this track at the Washington DC Library of Con
gress, and he notes that this is another unreleased song from the "Erotica" sess
ions found on the "Rain tapes". This one could use some more work. It's not that
good, and no surprise that it was abandoned at the demo stage. The sound is ver
y dance/club/house. As with "Shame" it would have been redundant to include it o
n the album. That sound would get old with "Deeper And Deeper", "Fever", "Words"
, and "Thief Of Hearts" on the same album. It's sound it remotely similar to the
released versions of "Goodbye To Innocence". The lyrics a rather forgettable. T
he ones I do recall are "You are the one for me", "I have chosen you".
------------------------------------------------------------------------------ 1992 DEEPER AND DEEPER PAu-1-605-634. According to a Shep Pettibone (Erotica alb
um collaborator) recording industry article , first versions recorded used alter
nate lyrics. Bruce Baron notes that this one isn't all the different from the re
leased version. Again there is a great deal of recorded distortion. Surprising f
or the head of Mastermix productions. This version is missing the latin guitar b
reak which Shep told EQ magazine that Madonna insisted on. This one must be clos
er to his original vision with the house pattern. In that same EQ article Shep a
lso mentioned that "Fever" grew out of the arrangement from the developing "Good
bye To Innocence" which was later abandoned. The great demos of GTI don't sound
anything like the versions of "Fever" that we know. According to the "Rain tapes
", that report does not match up to the evidence that I heard. There must be add
itional versions of GTI? The end of "Deeper And Deeper" is also a little differe
nt using the same lines. It also goes on for a longer period. Unused lyrics in a
n unreleased version of "Deeper And Deeper" include: "I can't keep from falling
in love, and you know it.....I can't keep from falling in love, so I show it."
------------------------------------------------------------------------------ 1992 EROTICA / YOU THRILL ME PAu-1-605-642 (Shep Pettibone Demo Version). These
Pettibone demo versions of "Erotica" are very different from the released album
version. The verse lyrics are mostly the ones that we know from "Erotic" which w
as included in the book "Sex". The chorus is totally different. There is no trac
e of "Erotic, Erotic, put your hands all over my body" that we all know so well.
Instead madonna sings a different line with a different melody in the same type
of voice. She sings, "You are who your are (and I) wouldn't want to change a th
ing (in spite of) all the pain that love can bring (tell me) what can I do? I'm
so in love with yooouuuuu thrill me, surround me you fill me....you send me...yo
u put me in a trance...you fill me, inside me you take me....you thrill me, you
put me in a trance..." At another time she says "you upset me". The word "Erotic

a" appears only in the intro. This is a darker S&M theme than the version that b
ecame the final cut. The instrumentation is approximately the same, but everythi
ng is mixed in a different proportion than the released version. This makes it s
ound kind of odd, and it's a little more generic sounding. The released mix is m
ore unique sounding, more exotic.
------------------------------------------------------------------------------ 1992 THIEF OF HEARTS (Alternate mixes, PAu-605-643). Bruce Baron notes that this
song was not part of his original request of songs to listen to, but was includ
ed on the same tapes as some of those that he did request. It was a nice surpris
e to find. These alternate mixes are not that different from the released verion
s. It does seem to be a different vocal take. Some of the backing vocals are in
a different proportion which sounds kind of funny. This is common on several of
the "Rain tape" demos. It's kind of like when comparing Shep's released remixes
of "Rescue Me" when he reverses the dominance of the high vocal part and the low
vocal part from one mix to the other. Most of the difference is in the arrangem
ent of the intro, the middle break and the ending. In one version the Madonna sp
oken "sit your ass down" ending is at the begining. In another mix that line is
at the end like we are used to, but it is spoken by the voice of a southern blac
k woman (probably a sample from a movie). The recordings of this song have way t
oo much input on the copyright demo and there is a lot of distortion on this cop
y. The scale was way into the red. It's probably not from the master tape, just
the way it was copied. The "new music", "old music" descriptions on the title ca
rd on two of the mixes didn't sound all that different from eachother to me. The
changes were subtle. It could have been labeled incorrectly?
------------------------------------------------------------------------------ 1992 EATING OUT Unconfirmed outtake of released "Where Life Begins" aka "Out To
Lunch" Media Rumor. Supposedly, "Out To Lunch" was the original title of the "Er
otica" song "Where Life Begins". A later title for the song was "Eating Out" (as
mentioned in 'Smash Hits' magazine). The original version of "Out To Lunch" was
said to be about lesbian lust so could be quite different to the used version o
f "Where Life Begins".
------------------------------------------------------------------------------ 1992 FREAK "Erotica" album outtake. Media rumor.
------------------------------------------------------------------------------ 1992 GOODBYE TO INNOCENCE - PAu-1-605-640. Bruce Baron writes: The versions subm
itted by Shep Pettibone on the "Rain" demo tapes are TOTALLY, TOTALLY different
from the release versions that we know of from the "Just Say Roe" collection, an
d the "Rain" B-side remix - TOTALLY different !! They are better !! This was a g
reat surprise because it was not one of the recordings I requested to pull! The
released versions sounded dated back at the time of release with 80's house bein
g taken over by harder techno like "James Brown Is Dead" in American clubs at th
e time. It's also hard to understand the words that Madonna is singing. The demo
versions use the same theme and many of the same lyrics, but everything is swit
ched around. It's a different vocal recording (strong and clear). Much of the so
ng's melody is different including the chorus. The arrangement is pure pop-funkdance, no club remix style here. It's very catchy ! It could use a little fixing
here and there, but when I heard it, I couldn't believe that they didn't finish
it up and use it on the album. Madonna is credited for words alone, and Pettibo
ne/Shimkin are credited for music alone as is the rest of the "Rain" demo collec
tion.
------------------------------------------------------------------------------ 1992 LOVE HURTS Unconfirmed early version of "Erotica" with different lyrics pro
duced with Junior Vasquez. From what I've heard, the track is called "Love Hurts
" and all the music is different -- except the verses are the same as "Erotic" (
the Sex book version). The chorus is "Love Hurts, Love Hurts...Do you remember t

he time, Love Hurts, Love Hurts, when we -- fell in love..." (or something like
that.). Then she does this sing-songy "La-Da-Da-Dee-Da-Da-Da-Da-Da..." I'm sure
it'll never see the light of day, which is a shame because it sounds pretty cool
.
------------------------------------------------------------------------------ 1992 NO ENTRY Unconfirmed throw-a-way from "Erotica" album. Supposedly, Madonna
recorded this before the "Erotica" album and she is said to have even made a vid
eo with Patrick Swayze and Michael J.Fox. The song was dropped after the "Erotic
a/Sex/Body Of Evidence" project got under the way. It was due for Christmas rele
ase. One source claims that a 15-track promo-CD album for "Erotica" exists, and
contains this track, but was never officially released, not even to promote the
EROTICA album. A 15-track "Erotica" album is physically imposible though, becaus
e the 13-track ("clean" version) has a total disc time of 70:30, and the 14-trac
k "nasty" version (with "Did You Do It?") has a total disc time of 75:24). Since
the maximum recording time on a CD is 74 minutes (even though some albums out t
here, such as the 14-track "Erotica" push the limits by a minute or two, it is p
hysically impossible for a 15th track to fit on this album, unless it was litera
lly 30 or 40 seconds in length, which doesn't make sense. And 80-minute CDs didn
't "come out" until years later. Anyhow, this song ("No Entry") was supposedly m
eant to be released on the "Erotica" album, but it was rejected or deleted at th
e very last minute before the release of promos. If this CD really does exist, i
t would most likely be the all-time rarest and most valuable Madonna CD - EVER!
------------------------------------------------------------------------------ 1992 DEAR FATHER "Dear Father" is confirmed (yes that old rumor) to exist as an
unreleased co-write with Andre Betts (Erotica period). Not to be confused with t
he Like A Prayer era "Oh Father".
------------------------------------------------------------------------------ 1992 QUEENS PEARLS Unconfirmed early version of "Queens English" recorded by Lui
s & Jose and released w/ Madonna backing vocals. Media rumor.
------------------------------------------------------------------------------ 1992 SHOW AND TELL Unconfirmed throw-a-way from "Erotica" album. Media rumor. Ho
wever, Peter Magennis <peter_magennis@hotmail.com> mentions that in 1992, NME ma
gazine had a two-part interview for the release of 'Erotica'. The journalist vis
ited Madonna at her New York apartment and listened to some tracks from the (the
n still unreleased) album. One of the tracks was confirmed as 'Show And Tell' an
d was described as a ballad. Perhaps it didn't finish up on the album because it
didn't fit the mood. Madonna can be very selective and quality tracks can be ea
sily discarded if they don't fit in with the tone of the album. A prime example
of her rejection of recorded songs is her last album 'Music' as confirmed by Wil
liam Orbit and Madonna herself. So perhaps this is what happened with 'Show And
Tell'. This is a pity as Madonna obviously liked it enough to chose it as one of
the few taster tracks for the lucky journalist.
------------------------------------------------------------------------------ 1992 THESE BOOTS ARE MADE FOR WALKIN Rumoured Nancy Sinatra Madonna cover circa
1992, demo existance not confirmed, possibly produced with Patrick Leonard. Medi
a rumor.
------------------------------------------------------------------------------ 1992 THIS USED TO BE MY PLAYGROUND According to a Shep Pettibone interview, Mado
nna did a second vocal at the last minute, leaving the 1st version unreleased.
------------------------------------------------------------------------------ 1992 THROB Unused throw-a-way from "Erotica" album (existence unconfirmed). Supp
osedly Written and Produced by Madonna and Shep Pettibone. News of this track su
rfaced around the same time as the "No Entry" track but again it was not release

d or put on the "Erotica" album. Chances of a release now are unlikely because o
f Janet Jackson stole the title for a track on her latest album. It had been str
ongly denied by Janet Jackson that she stole the whole song from Madonna and ins
ists that she wrote her own version.
------------------------------------------------------------------------------ 1992 JITTERBUG - Bruce Baron recently listened to this track at the Library of C
ongress, and he notes that JITTERBUG has no official copyright registration This
one was a major surprise !! In addition to the songs I requested, the tape cont
ained alternate mixes of several songs (to be discussed later) and about 30 sec
to the end of a song called JITTERBUG. It was mostly taped over, but showed up b
etween two of the tracks. It is listed on the handwritten label to the whole tap
e, but it has no copyright registration of it's own. No song writer is listed. I
t was originally spelled with a "G", but was written over darker with a "J" in b
lue ink. It's typical generic Shep dance music with Madonna finishing up with "J
itterbug, Jitterbug". Perhaps it's a cover ? There is not enough to tell... She
stops but the music continues. She says "Ya that one has some good ideas to it".
The music continues, and she says "How long is this one going to go on"?. The m
usic continues and she say "Isn't anyone going to turns this damn thing off"? It
abruptly ends. It seems to just silly studio fun, and not really "Erotica" albu
m material but there was more before Shep recorded over it. He might have a long
er copy on file ?
svperstar

Posted: Dec 29 2003, 08:41 AM

Defy THIS!
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Posts: 12,245
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Part 6: Bedtime Stories/Something to Remember

1993 COMING OUT OF THE CLOSET Rumoured failed collaboration with Michael Jackson
which later became "In The Closet"
------------------------------------------------------------------------------ 1993 THESE BOOTS ARE MADE FOR WALKING IN - Madonna had planned to release a cove
r version for this 60s Nancy Sinatra hit, but Billy Ray Cyrus got there first an
d recorded himself. Apparently Madonna screamed to her staff "he screwed up my p
lans!!! Of course, I would love to sleep with him, but I'd have to slap him arou
nd afterwards..." (see 'For Women' Vol.1 No.4). Apparently Madonna has recorded
the song. However, according to Mathew Russo <matheweme@aol.com>, she never did
that song, and it is only a rumor. As there are MANY about "undone" songs she di
d. There are only about 4 songs in the "vaults" that have never seen light of da
y...and they are poor songs, and only end up as b sides... "Let down your guard"
is an example....only that one did finally come out (as a b side). The artist t
hat sounds a LOT like madonna (at the time) that DID do "These Boots Are Made Fo
r Walkin'" was a actually a group (but it sounds like one peson on vocals) calle
d BOOMERANG. They are a group of 3 women that mimicked themselves after Bananara
ma at that time, but sounded like Madonna....talk about marketing strategies...
------------------------------------------------------------------------------ -

1993 JUST A DREAM Madonna demo written with Patrick Leonard given to Donna DeLor
y to record for her MCA debut album.
------------------------------------------------------------------------------ 1994 BRING IT Registered at Library Of Congress, demo cassette on file PAU-1-889
-252 Written by Madonna, Pettibone. Bruce Baron recently listened to this track
at the Washington DC Library Of Congress, and he writes: This is a completely un
released song from the discarded Shep Pettibone productions for what became the
"Bedtime Stories" album. It was submitted on the same tape as "Love Won't Wait",
"Somethings Coming Over Me", and "I Will Always Have You" This song did not evo
lve into anything found on the released album. It's NOT very catchy, and needs m
ore development. The lyrics are strings of cliche phrases about an obsessed pers
on. A main lyric reads; "I know you're love is bad for me, but I won't give up u
ntil you bring it to me" The musical arrangement sounds very similar to what was
done on "Bye Bye Baby" a few years before on "Erotica". There are also some bre
athing noises. The recording of this song on file at the copyright office has so
me damage on this track. I don't know if it's on the copy itself or the original
master from which it came. We could easily live without it, since it is not ver
y good.
------------------------------------------------------------------------------ 1994 I WILL AWAYS HAVE YOU Early Madonna and Shep Pettibone production of what l
ater became "Inside Of Me". Registered at Library Of Congress cassette on file P
AU-1-889-251. This is probably the best of the abandoned Shep Pettibone co-produ
ctions from the "Bedtime Stories" album. This song later evolved into "Inside Of
Me" which was used on the album. Once again Shep does not get credit on the alb
um, but he does in the Warner-Chappell Publishing Co database. This early versio
n is rather different from the version that we know of as "Inside Of Me". In the
released version Madonna sings against a R&B downbeat in a soft, quiet lullaby
type voice that gives the song a tender quality. On the demo the song is perform
ed like a mid-tempo power ballad in the style of "Crazy For You", and "You'll Se
e" using a strong clear vocal. I think that it is better than "I'll Remember" do
ne with Pat Leonard a few years before. With a little polishing "I Will Always H
ave You" could have easily been an American top 5 hit single. The melody line is
substantially different from "Inside Of Me", but there are often similarities.
Many of the same lyrics are switched around. The words "inside of me" are hardly
used, and Madonna adds "like an angel" after the part where she sings "standing
over me" in a verse found in the released version. The released song's theme is
all about Madonna cherishing the memory of a loved one, but in this demo she al
so wants the object of the song to "remember me".
During my listen at the LOC copyright office I observed a sound during the middl
e break that I don't think that I have heard in any Madonna song - a flute-like
instrument solo.
There is also a finger snap-like sound used throughout the mid-tempo ballad simi
lar to the one used in "Rescue Me", but more subtle. I also need to stress the d
ifference in the melody and arrangement of the chorus. The words "inside of me"
are not really a part of it. The main frame is designed around "I Will Always Ha
ve You" and is definitely a proper song title for this original demo. The verse
lyrics of "I Will Always Have You" are more similar to the released version of "
Inside Of Me." I do recall the lyric about being in "the public eye" in both ver
sions. Lets now bow our heads and pray for it's use as a maxi-single bonus track
at some point in the future.
------------------------------------------------------------------------------ 1994 I'D RATHA B YA LOVA Confirmed outtake of "Id Rather Be Your Lover" featurin
g never released rap by 2Pac Shakur. Song also called "Ratha Be Yo Luva" or "Cou
ldn't Be Your Lover". Found on 2Pac bootleg release "East 2 West" aka "East N We
st" aka "East Meets West".
------------------------------------------------------------------------------ -

1994 I'D RATHER BE YOUR LOVER Early demo produced with Shep Pettibone, later com
pleted with Dave Hall
------------------------------------------------------------------------------ 1994 HONESTY produced by Dave Hall, recorded during the "Bedtime Stories" sessio
ns
------------------------------------------------------------------------------ 1994 KEEP ON Published seperately at Warner-Chappell from "Don't Stop". Same son
gwriters (written by Madonna, Colin Wolfe, and Dallas Austin). This song is conf
irmed as a separate title from the released song "Don't Stop" (Bedtime Stories e
ra). "Keep On" is also listed as a separate entry in the Warner-Chappell databas
e. EMI also shows another entry by the same writers separate from what might be
a variation of "Freedom" called "Your Honesty" (Warner Chappell shows this entry
only as "Honesty").
------------------------------------------------------------------------------ 1994 LOVE WON'T WAIT Madonna demo written with Shep Pettibone given to Gary Barl
ow to record for his 1997 album "Open Road". Madonna demo cassette on file Libra
ry Of Congress PAU-1-889-250 (mp3 file of this demo is floating around on the in
ternet, but please don't ask me for it). Bruce Baron notes that there is no trac
e of Gary Barlow on the original, high-quality Madonna vocal demo. All of the vo
cal arrangements are developed and complete. The lyrics are exactly the same. Al
l Gary had to do was copy everything, and that's exactly what he did for his UK
number one release. Madonna's vocal is clear and strong. I think it's in a highe
r key than Gary's version and her voice sounds a little like the way it sounds i
n the released version of "Deeper And Deeper" that we are familiar with. The ins
trumental music on this demo is not as developed. It's typical Shep Pettibone da
nce style, but it needs more work. It has some cheesy keys that make it sound li
ke soft bubble gum, missing the edge that would be a more typical Madonna signat
ure. Should this song ever turn up on a vault collection this version could easi
ly be striped of the demo music and restructured with modern dance instrumentati
on using Madonna strong vocal. It's easier to understand the words on her perfor
mance compared to Barlow's version. This "demo" is also longer than the finished
Gary Barlow version (the demo is 5:10 and Gary's version is only about 4:20). I
read in several sources that a series of producers was used to work on the Barl
ow version (including Trevor Horn) before the final mix was decided. I think the
phrase was "everyone had their hands in it". It strikes me odd that it was so d
ifficult to record because they had a strong framework to start from. This song
was registered at the LOC Copyright office on August 5, 1994 using one Maxell MS
60 studio quality cassette along with three other songs on the same tape. They a
re all from the abandoned Pettibone productions for the "Bedtime Stories" album.
We will discuss the other songs soon. Also see "Love Won't Wait" (Remix) from 1
997, listed below.
------------------------------------------------------------------------------ 1994 SOMETHINGS COMING OVER ME Early version of "Secret" started with Shep Petti
bone, later finshed with Dave Hall. Confirmed by Library Of Congress. Cassette o
n file PAU-1-889-253. Bruce Baron notes that this is not a typo of a song title
!! This is the original version of what we now call "Secret". It is the original
Madonna/Pettibone demo before she dumped him from the "Bedtime Stories" album.
Forget the strum guitar, the semi-R&B arrangement and Madonna humming the hook,
and the lyric "my baby's got a secret". They do not exist in this early version.
This is a Pettibone co-production and it features a driving drum and bassline,
but it is rather generic and typical like a Cathy Dennis track. The released ver
sion of "Secret" seems slow and boring compared this early demo of which I enjoy
ed a great deal. Shep would be justified for being a little pissed of for not be
ing in the album credits for this song. It's about a 50% re-write of the release
d version (it's actually the other way around). Parts of the verse lyrics and ve

rse melody are the same or similar. The chorus melody and arrangement are totall
y different: "Somethings Coming Over Me(Over Me)(Over Me)(Over Me)" The bridge i
s the part that doesn't really work. It's a continuation of the "Erotica" theme.
The music breaks and Madonna wails into sexual moaning like Donna Sommer's "Lov
e To Love You Baby". Then Madonna speaks "I see your love coming down, let it wa
sh all over me" Obviously we know what she is talking about? Then the music star
ts back up into the main hook as the climax. Her vocal is clear and strong. It c
ould easily be used on a vault collection as an item of interest with it's origi
nal demo music intact if the parties involved could agree in the future. Accordi
ng to the Warner Chappell database, Shep does get money as a co-author for the r
eleased version of "Secret". He just does not appear in the album credits other
than the "Thank you for understanding".
------------------------------------------------------------------------------ 1994 UNCONFIRMED TITLE Madonna background song used in her Japanese Takara sake
commercial. Might be titled "Legend". In the recording Madonna sings in the back
ground as a Japanese man talks over her. This makes hearing the few words a litt
le difficult to hear especially on the low quality copies circulating in the col
lectors market. These are some of the words: "How can I be pure; all the strengt
h I have is breaking me, How can I be sure; where's this (unintelligable) taking
me." Later she speaks "I am pure, June Legend." Madonna may not have written th
is song fragment since it is not listed in the Warner-Chappell database as part
of her compositions. They would have documented this since there would have been
revenue generated from it's inclusion in the commercial which aired on TV in Ja
pan. Curiously Warner-Chappell also does not list the "Wonderland" theme as a Ma
donna composition which aired more recently in the United States. This beautiful
one minute clip is supposedly a William Orbit collaboration. It features Madonn
a humming. Melody line is part of songwritting credit in addition to lyrics. Mad
onna should be listed as a co-author at http://www.warnerchappell.com if she had
any hand in writting either of these two short songs.
------------------------------------------------------------------------------ 1995 (?) NEVER TRUST A STRANGER - Supposed duet between Madonna and Babyface. Ba
byface said in a1998 interview that he had written several tracks with Madonna,
which he found very good, but once Madonna started to work with William Orbit sh
e told him, she wouldn't use his songs. He understood she wanted to go into a di
fferent direction. However, last year Raymond <ram.hendriks-peirce@wxs.nl> got h
old of a sheet with single-releases while he was in London. It also mentioned a
duet with Babyface called 'Never Trust A Stranger'. I guess this must be one of
the songs she wrote with Babyface for the album, which later became 'Ray of ligh
t'. As we know now, the Babyface-duet has never been released. On October 22, 20
00, Bruce Baron adds: "Looks like Babyface has switched labels and has changed p
lans from releasing a new album last spring (never happened) to releasing a Grea
test Hits package this November. The unused Madonna collaboration from the first
ROL sessions does not appear to be a part of the new game plan.
------------------------------------------------------------------------------ 1995 I CAN'T FORGET Unreleased collaboration with David Foster. Bruce Baron note
s that Madonna recorded three songs with David Foster for the "Something To Reme
mber" ballad collection. We have only seen two of them released ("You'll See," a
nd "One More Chance"). You can confirm the existence of this third track in the
BMI song search database at http://www.bmi.com This organization collects money
from radio play for it's members. David Foster belongs to BMI. I also got e-mail
confirmation of it's existence from a representative from Peerless Music, David
Foster's music publisher.
------------------------------------------------------------------------------ 1996 DU WIRST SEHEN ("You'll See" in German) - It is extremely unlikely that Mad
onna actually recorded a version of "You'll See" in German, but the song "Du Wir
st Sehen" is copyrighted with both Madonna's name, and the translators. Bo Jense

n <bje@top-toy.dk> notes that the German title was originally spelled "Do Wurst
Sehn" which is definitely NOT correct German (he notes that "wurst" means "sausa
ge" in German!). Bryon Saran <Bryon.Saran@gmx.de> also notes that "Du Wirst Sehe
n" is actually nothing more than a cover version of "You'll See" by German artis
t Andrea Juergens that was released on September 2, 1996. To hear an excerpt cli
p of Andrea's cover, click here. To see the album cover artwork for Andrea Juerg
ens' album, "Wenn ich gluecklich bin" (which translates to "When I am Happy"), c
lick here
------------------------------------------------------------------------------ 1997 I WANT YOU (REMIX) One of several supposed songs officially comissioned and
remixed by Junior Vasquez that remain shelved. A dance remix of this song did e
ventually surface, but rumor has it that it was NOT Junior Vasquez that did the
remix, but rather Julian Hirsch.
------------------------------------------------------------------------------ 1997 LOVE WONT WAIT (REMIX) Confirmed unreleased remix by Tony Moran vocal by Ga
ry Barlow, written by Madonna and Shep Pettibone. Confirmed demo sung by Madonna
only. The Released remixes were done by Junior Vasquez, CUCA, and Monster Maker
s.
svperstar

Posted: Dec 29 2003, 08:41 AM

Defy THIS!
Group: Admin
Posts: 12,245
Member No.: 1
Joined: 14-December 03

Part 7: Ray of Light/Additional Notes

1998 FLIRTATION DANCE Original title for "Skin" listed as secondary cross-ref at
Library Of Congress for that song. Early version may have had alternate lyrics
------------------------------------------------------------------------------ 1998 LIKE A FLOWER - unreleased confirmed title written by Madonna and Rick Nowe
ls (Ray Of Light era). Lyrics include "You'll always be a part of me - what you
love can never let you go - you'll always be inside of me"
------------------------------------------------------------------------------ 1998 GONE, GONE, GONE - unreleased confirmed title written by Madonna and Rick N
owels (Ray Of Light era). Lyrics include: "this love affair.....what we had is g
one, gone, gone"
------------------------------------------------------------------------------ 1998 NO SUBSTITUTE FOR LOVE - unreleased confirmed title from the Ray Of Light e
ra. Almost identical lyrics to the finished version, but the melody and tempo ar
e completely different from the finished album version.
------------------------------------------------------------------------------ 1998 REVENGE - unreleased confirmed title written by Madonna, Rick Nowels, and G
regg Fitzgerald (Ray Of Light era). Lyrics include: "There is no such thing as r
egret, there is no point in placing the blame....hate destroys the one who hates

and everyone suffers the same." Other lyrics include: "take the judgements and
let them go." A small snippet of this song first surfaced on the Madonna's Ashra
m web site.
------------------------------------------------------------------------------ 1998 TO HAVE NOT TO HOLD (REMIX) Studio master reportedly sent to Goldie for rem
ixing, but was never returned according to UK media report. Current status unkno
wn.
1998 TO HAVE AND NOT TO HOLD (DEMO) - Different vocal take, and significantly di
fferent music (more of a Latin influence with guitar), and slightly different vo
cals ad-libs at end. Recorded during the "Ray Of Light" sessions, but never rele
ased. Existence confirmed.
------------------------------------------------------------------------------ 1999 ANGEL OF FIRE - As usual this one is part fact and part fiction. Several Ma
riah Carey fan sites have reported that Madonna and William Orbit were recording
a ballad (sometimes incorrectly reported as "Angel Fire") for Carey's forthcomi
ng movie project "All That Glitters". This film is scheduled to begin filming in
late summer 2000. Also see this Mariah fan site: http://wildcathg.tripod.com/se
p99.html
I have read two of the actual media reports in addition to the fan sites and the
correct media report seems to be that this song was written by Mariah Carey and
Patrick Leonard. Madonna and Orbit were later brought in to review the song whi
ch sounds to me more like a consulting session than a co-write. Perhaps they wil
l get some kind of co-production credit, but it's probably not a duet. Mariah se
emed to be uncertain if the song would even be used, but we will know more when
the Soundtrack album is released in 2001. There are also rumours that she has re
corded a cover of "Burning Up" for this film set during the 1980's. According to
Liz Rosenberg (Madonna's publicist, and the ICON (Official Madonna Fan Club)'s
"Validator", "It is not true that Madonna will be contributing a song to the sou
ndtrack "All That Glitters" and she will not be doing a duet with Babyface but t
hey have worked on some stuff together previously which he may be using."
----------------------------------------------------------------------- -------1999 BE CAREFUL (CUIDADO CON MI CORAZON) Pablo Flores and/or Victor Calderone re
mixes: Bruce Baron writes, "Billboard magazine once reported that Pablo Flores w
as remixing the Ricky Martin and Madonna duet "Cuidado Con Mi Corozon". Martin a
nd MTV discussed the changing dates for the video shoot several times, only to h
ave Madonna delay the project over and over until it was time for "Beautiful Str
anger" and "American Pie". Victor Calderone also mentioned in a media report tha
t he was planing to remix "Be Careful" in addition to Madonna's "Skin". To the d
issapointment of both fan groups, neither remix has been released by Martin's la
bel, Sony or Madonna's label, Warner Brothers. It's not certain if they were com
pleted. A few different "DJ" and/or "home made" mixes have surfaced (such as the
"Fin De Siecle" mix, and the "Vocal Edit") - but these are just poorly made mix
es or re-edits, and they are NOT official.
------------------------------------------------------------------------------ In April of 2002, Bruce Baron writes:
I recently found some interesting things in the EMI Music Publishing database th
at I wanted to share exclusively with you. Some are new revelations and others a
re second confirmations of my previously published Madonna research.
"Cyberraga" is titled "Cyber Sadhu" for EMI published co-author Talvin Singh. Pa
trick Leonard and Madonna are credited for an unreleased title called "You'll St
ay" in addition to the previously known, but unreleased "Be Careful". These are
not to be confused with the songs completed with her other collaborators (David
Foster and William Orbit) "You'll See" and "Cuidado Con Mi Corazon". These might
be earlier versions.
The previously known and unreleased "Keep On" written by Madonna, Colin Wolfe, a

nd Dallas Austin is again confirmed as a separate title from the released song "
Don't Stop" (Bedtime Stories era). "Keep On" is also listed as a separate entry
in the Warner-Chappell database. EMI also shows another entry by the same writer
s separate from what might be a variation of "Freedom" called "Your Honesty" (Wa
rner Chappell shows this entry only as "Honesty").
If you explore the EMI database WARNING : Don't confuse "Dancing On The Seven Se
as" in the database as a Madonna song. I think it is a track by OMD using a samp
le of "Lucky Star".
Titles like "Bonita", "Everybody"(not Madonna), "Stay Out Of My Way" and "Spanis
h Fly" among others also appear to be referencing writing credit for Madonna rel
ated samples for her EMI published co-writers like Pat Leonard. Don't be confuse
d by songs written by Madonna Wayne Gacy that might appear mixed in with Madonna
's.
The Warner Chapell database recently listed the previously unknown Shep Pettibon
e/Madonna collaborations "Goodtime" and "Tongue Tied". These were not on file at
the Library Of Congress Copyright Office when I visited back in 2000. Since no
other co-writers are listed, I do not suspect these tunes to be songs by other a
cts that use Madonna composed samples such as "El Paraiso Rico" (La Isla Bonita
sample) found in the same database which clearly shows all of the other songwrit
ers involved. These tunes list only Shep Pettibone and Madonna.
The same is true for "Regfresando" which credits only Madonna and Patrick Leonar
d as songwriters. Speculation: Perhaps this will surface on a release for a new
artist on her latin label Maverick Musica for someone like Jorge Moreno? The tit
le might also be a typo for "Regresando".
If the database is accurate, Madonna retains copyright control along with Mirwai
s for the "Music" album collaborations. No other Madonna collaborator that I hav
e found has done with her this including William Orbit for his collaborations on
the same album according to Warner-Chappell. This "control" allows the writer t
o "approve" how the songs are used by the publisher. From what I understand, Mir
wais can now prevent a song he wrote from being used from this album for whateve
r purpose (TV shows etc..)if he wants to, but Orbit can not even though he also
co-wrote. There are usually lower royalty payments involved for a writer to reta
in copyright control. Madonna's control right is part of her Webo Girl publishin
g deal with Warner Bros.
We know that Madonna's publishing company for her own compositions is Webo Girl
(ASCAP) administered by Warner and that her own record company has a publishing
division. Most have heard of Maverick Music's(ASCAP) 109 titles. Many also know
of another arm which operates as Nomad-Noman(BMI) and has 19 titles. What many d
on't know is that another arm operates as Edinburgh Songs (SESAC) with 43 titles
. ASCAP, BMI, and SESAC are performance royalty collection agencies which operat
e independently.
According to the US Copyright Records, Madonna's publishing company Nomad-Noman
gave (sold ??) publishing control of 938 songs to Warner-Tamerlane Publishing Pu
blishing back in 1999. Downsized!
Also in the public records: Junior Vasquez's real name is Donald Mattern. Shep P
ettibone's real name is Robert Pettibone. Stephen Bray's middle name is Pate. Ma
donna is documented to have been born in 1957, 1958 and 1960!
Patrick Leonard gave his portion of control to "Act Of Contrition" and 162 other
songs to Susan Leonard back in 1998.
Former Madonna manager Freddy Demann got the publishing rights to "Material Girl
" and 5 other songs by the same song writers back in 1990.
"Dress You Up" co-writer Peggy Stanziale had something to do with Victoria Shaw
getting two songs sold to Maverick Music in 1994. Her exact role in this copyrig
ht transfer record is not quite clear to me.
The unreleased Madonna/David Foster collaboration "I Can't Forget" (from the Som
ething To Remember era) can be confirmed to exist at the BMI database. The unrel
eased Madonna collaborations "Cook And F*ck" (instrumental used on the David Let
terman Show) and "Dick Tracy" can be confirmed to exist at the ASCAP online ACE
On The Web database.
According to ASCAP, Shep Pettibone also now gets co-publishing credit on Erotica

's "Secret Garden" in addition to the long known about among fans "Secret". In f
act, both songs until recently were listed in this database under a heading call
ed "Madonna/settlement" along with "Inside Of Me" due to Shep's original demos w
ith Madonna.
Keep in mind that public databases are not 100% correct all the time, but most o
f what I have found over time has been proven true by eventually hearing it myse
lf or by finding a second credible source confirming the same information. The v
ault of unreleased Madonna material continues to slowly crack open! Hopefully we
will someday see some this material released on a future Warner Bros collection
. (hint, hint!)
------------------------------------------------------------------------------ BO JENSEN (bje@top-toy.dk) also shares with us a few other Madonna and Madonna-r
elated songs that haven't been released in any form - all are listed on www.warn
erchappel.com:
AZ SIDE
MADONNA CICCONE, MARCO A. CARDENAS
(Probably just a sample of a Madonna song in this one)
BE CAREFUL
MADONNA (CICCONE), PATRICK LEONARD
(Not the same as the Madonna/rbit composition!!)
BODEGA
MADONNA CICCONE, PAT LEONARD, BRUCE GAITSCH, AARON GOMEZ
EL PARAISO RICO
MADONNA CICCONE, BRUCE GAITSCH, PATRICK LEONARD, CLAUDIA OGALDE, CHRISTIAN KARLS
SON, PATRICK HONESTY, COLIN WOLFE*, DALLAS AUSTIN, MADONNA*
Nikki from Lawrence, Massachusetts notes that this is actually NOT a Madonna son
g (it's by an artist called "Deetah") and also adds these notes about "El Parais
o Rico" that were seen on another web site:
Deetah - El Paraiso Rico
Deetah's debut single "Relax" sampled a Dire Straits guitar riff to great effect
. This song borrows the chorus from Madonna's "La Isla Bonita", but the result i
sn't quite as impressive. Perhaps she should have sampled the Spanish guitar ins
tead (Amir Hussan)
This song samples Madonna's "La Isla Bonita", and to be honest, it's not a patch
on it. The song's a bit boring really, but everyone knows the tune, so it's bou
nd to do well. It doesn't deserve to, mind you. (Lee Knowles)
SPANISH FLY
MADONNA CICCONE, BRUCE GAITSCH, PAT LEONARD, SADAO WATANABE, ROBERT ROSS, JEREMY
GRAHAM
STAY OUT OF MY WAY
MADONNA CICCONE, LENNY KRAVITZ, INGRID CHAVEZ.
Filip Jensen recently discovered that the BMI publishing site lists one song wri
tten by Madonna that hasn't been released (to his knowledge):
Se Dig Om (which is rather odd since this is Danish and means Look Around)
CICCONE MADONA L ASCAP 125053706
EDMONDS KENNETH B BMI 43938075
and the BMI Publishing site lists another unreleased song "To Love You" written
by Andy Paley and Madonna