On November 16 1996, Madonna’s You Must Love Me debuted at #22 on the Billboard Hot 100 in the USA. You Must Love Me was the first single released from the EVITA soundtrack. The track was written by Andrew Lloyd Webber and Tim Rice.
Jay’s Note: The success of this single is proof that Madonna’s power over radio and sales was un-stoppable. Imagine a song like this becoming a hit at radio and retail today? Not possible!
On November 15 1993, Madonna’s Bye Bye Baby was released as the sixth and final single from the Erotica album. The single was released to coincide with the start of the Australian leg of The Girlie Show World Tour. In addition to Australia, Bye Bye Baby was also given a limited release in Germany and Japan.
Bye Bye Baby was written by Madonna, Shep Pettibone and Anthony Shimkin and was produced by Madonna and Shep.
Official remixes for Bye Bye Baby include:
- N.Y. Hip Hop Mix – 3:51
- California Hip Hop Jazzy – 3:43
- Madonna’s Night On the Club – 5:16
- Rick Does Madonna’s Dub – 6:20
- House Mix – 3:50
- Madonna Gets Hardcore – 4:24
- Tallahassee Pop – 3:48
On November 14 2004, Madonna was featured on the cover of Roland Users Group magazine, with the headline, “Six Roland Synths Hit the Road in Style.” The article discusses some of the talented keyboardists (Marcus Brown and Mike McKnight) who toured with Madonna during her Re-Invention World Tour, and how the music was put together for the show.
Here’s some snippets from the article (interview by Greg Rule with Marcus Brown and Mike McKnight):
A person doesn’t just fall into a high-profile tour like this. What steps led you to getting the gig with Madonna?
Mike: Back in 1990 I was taking piano lessons from John Novello, and one of his students was working in Freddie DeMann’s office — Madonna’s manager back then. She gave John and I the heads-up about the auditions. John went in to audition as a keyboardist, and I got hired as a programmer/offstage keyboardist/sequencer guy. I got the gig mainly on the word of mouth that I could play keys offstage and sequence extra musical parts. I had just finished Earth, Wind & Fire before her tour geared up.
Originally it was supposed to be only a few background vocals, and repetitive keyboard and percussion parts in the computer — an Atari 1040 ST running Dr T’s sequencer. I was hired basically during the first week of band rehearsals, and I took the gig, since it looked like I wouldn’t have to go nuts with sequencing all of the parts from the multitracks. Wrong! During my first meeting with her she made it very clear she wanted everything in the computer. Back then all I had was an Atari 1040 and six 8MB samplers for playback, so while three were playing, three were loading up for the next song. It was nuts, but I pulled it off, and have been there for every tour since.
Marcus: I’d been working in England with Richard Ashcroft from The Verve. He’d done the support slot for Madonna when we she’d come to town a few years prior. Also, Steve, the drummer in Madonna’s band, had worked with Richard, so there was a bit of a connection there. When she was putting the band together for the Drowned World tour, my name came up, and that’s pretty much how it happened. No audition; I didn’t have to stand there and play Chopin or anything like that [grins]. I think it was more or less taken for granted that I could play.
With this kind of job, you have to get on with the people you work with, so a lot of it is about style and personality as well. We all came from a similar place. I was familiar with Steve’s work, and [musical director] Stuart Price’s as well, so it all came together nicely. I basically walked in and we got on with it. We started right away.
Describe steps you went through leading up to launch of the Re-invention tour.
Mike: I began programming for this tour while I was out on the road with Mariah Carey — just putting the files in order, making sure I had all the parts I needed. Stuart Price and I got to L.A. a week before rehearsal to begin putting together the arrangements. Stuart is a very good remixer and musician, and M expected him to “re-invent” many of her big hits from the ’80s and ’90s for this tour. I jumped in where I was needed, but Stuart did most of the arrangements. My main job was to put all of the possible versions into the computer for fine-tuning and rehearsal with M. She would come in and sometimes love the direction and sometimes would suggest other directions, and she usually wanted to hear her “vision” right away, which made my job “interesting” at times, but we got through it. She’s tough but fair, so it wasn’t too bad really.
Were strong sight-reading skills required for this gig?
Marcus: We haven’t typically had the music written out, unless something got thrown at us quickly, in which case we had a pile of those guitar chord-books for grabbing a basic chord structure.
The main way we’ve approached the tracks is … Stuart creates a sort of remixed version of a song in his studio, and plays it for Madonna. If she likes the version, he separates the parts into a multitrack session, and then we stand around and say, “Okay, I’ll do that bit, you do that line there, Steve can handle this part. etc.” We’d basically strip away as much as possible from the mix, and perhaps only leave a couple of little things here and there that we couldn’t physically do. Then we start getting sounds together and rehearsing the song.
Mike, You’ve been Madonna’s “right-hand man” on every tour for 10-plus years. What things have you learned that are invaluable to your survival on this gig?
Mike: Just to be prepared for everything. I have to have several versions of each song ready, as well as to be constantly thinking ahead to what she might ask for to spice up the arrangement. It’s important to have backups in several places, and to keep every variation ready just in case she decides to go back a version or two. In short — just think ahead and pay attention.
Final thoughts about life on the road with perhaps the most famous woman in the world?
Mike: Madonna is the ultimate touring experience; nobody else even comes close. She hires the best people, and the tour is run like a well-oiled machine with none of the stupidity I’ve become accustomed to on other tours. She works everyone very hard, but she expects as much of herself as anyone else on tour, so it’s cool. It just doesn’t get better than this.
On November 13 1997, the Rolling Stone magazine Women of Rock issue, featuring Madonna, Tina Turner and Courtney Love was released.
The photoshoot took place on October 21, and according to Madonna, the ladies had fun figuring out what music to listen to during the shoot:
“There was a bit of a skirmish over who was going to play what. We finally agreed that every other CD was mine and every other CD was Courtney’s and we sort of went back and forth. But the ultimate song that we ended up dancing to all the time was the MC stereo remix of the Tricky song, which is a very good song to dance to.”
Tina had this to say about working with Madonna and Courtney:
“It was like working with kids. You know I’ve always had Ikettes for dancers, so they were pretending a few times that they were my dancers. They had all kinds of pretence going on, but it was always built around me being the mother of the two in some kind of way. In terms of ‘Tina is this and we are that,’ and I was laughing the whole time, honestly. If the photograph comes out with me really laughing seriously, it was because of their reaction to each other. It was wonderful.”
On November 12 1984, Madonna’s Like A Virgin album was released by Sire Records. The album was re-released worldwide in 1985, to include the bonus track, Into the Groove.
The original track listing for Madonna’s second album included:
Like A Virgin
Over & Over
Love Don’t Live Here Anymore
Dress You Up
The cover sleeve and album insert images were shot by Steven Meisel. The first shot in this post was used for the album cover. The rest of the photos in this post are outtakes from the same photo shoot.
On November 10 1998, Madonna met her favourite actress of all-time, Jeanne Moreau, during an interview on the TF1 French series Sacrées Femmes. During the show Madonna promoted the Ray Of Light album with a performance of Drowned World/Substitute For Love. The show also included the following guests: Jean Paul Gautier and Patricia Kaas.
Madonna tweeted the following on July 31 2016 about that special meeting:
“Remembering this magnificent day when I first met my favourite actress Jeanne Moreau. She died today. There was no one like her.”