lennyleonard

YES.
https://music.apple.com/nz/album/causing-a-commotion-single/1763701702

It's not REMASTERED/BOOSTED/F**ED UP. Thank God.
Sounds gloriously QUIET.

Also hoping to get nice and clean versions of those!
They have uploaded tracks from the German Yellow CD Singles in the past (or at least from the same masters)...

Also hoping to get nice and clean versions of those!
They have uploaded tracks from the German Yellow CD Singles in the past (or at least from the same masters)...

Same source, but poorly remastered for FEL.

I will be happy to have nice, clean versions of the Dub and Movie House Mix!
Those German CD singles from 1995 were muffled and distorted.

The sentiment of both songs are similar, but the lyrical complexity and production are totally different.  Compare "I can't hide my need for two hearts that bleed with burning love that's the way it's got to be" with "you can have the keys to my car, I'll play you a song on my guitar."  One of them is a little more poetic and the other is short, disjointed phrases linked by a lazy rhyme.  Then compare Cherish's nostalgic production referencing 1940's-1950's doo-wop music with generic EDM.  I don't think these two songs could be more different, despite the fact that they're both cloying love songs.

Hmm I have mixed feelings. The last 15 years have undoubtedly been some of the most fascinating in Madonna’s life. Not in terms of music but in terms of what has been going on in her life. Yet I feel we’ve gotten very little in terms of how or who she is. A couple of songs on MDNA and endless lol pop moments of “remember I’m the fucking queen ok” 
I find her post 2005 material quite a bit more difficult to connect to that all the stuff that came before. 
 
A couple of moments of vulnerability.
“Im a stranger in a strange land “
“Forgave myself for being me”
but even those two lines are wrapped in lots of superfluous imagery that is wholly unrelated. 
 
I always noted the ice cold emotionless matter of fact delivery of Miles Aways lyrics marked a shift in her. She’d have sung the shit out of that song a few years before. I dunno maybe it was intentional. 
 
Despite its failures there were a couple of moments on MDNA that invited us in but they were largely tucked away on the bonus CD. Even her dig at Gaga and her Busy Mom anthem IDGAF really only show us she’s in fight mode but wants us to believe she doesn’t care” . For me the lady doth protest too much. Question: Who even is she presenting to us musically anymore? 

well she answered us and said “Bitch I’m Madonna” Ironic since all she revealed was that she drinks beer out of a shoe and gets her freak on. I’ve found the decade + long call backs to former selves and former glories a major distraction technique. She’s hiding. 
Even the roll call of dead contemporaries on a song like Funana should feel sincere and emotional yet feels a bit “weren’t these people great? Did you know they’re dead and I’m still alive?”
Even the seemingly open moment of Joan Of Arc was essentially “can you be nice to me please I’m a legend”. Her defences have been up for years and years now. 
  I’m kinda sad that the music does not show us who she is or what she’s thinking anymore. Like she decided to shut that window on us and I miss that. She’s hiding in plain sight and I don’t think we’ll get anything truly great from her till she decides to reflect and open up to us again and I really, really hope she does because at this time of her life the fruit should be so ripe. It’s the most interesting period. 

All any fan wants from their fave artist is for us to let them in. I think this is largely the biggest issue with the disconnect from some of her long time fans and the GP.
So yes,  of course she gave us so much in the spring and summer of her career but Autumn has seen her retreat to the potting shed and shut the door. I can only hope she’s been busy making emotional jams and pickled hearts so her winter store can keep us well fed.

From a certain point in her career on, she defaulted to what became the industry norm: the actual writers getting only part of the credits, or sometimes none at all (Max Blagg with Sky Fits Heaven, for example; they settled for him being paid for letting her use his lines, and getting no writing credit, but she couldn't release it as a single) in a sort of a "do you want to have a song of yours in a record that's gonna do numbers and be attached to a big name, or not?" kind of deal... not saying that it's in bad faith, but... when basically all the powerful and prominent singers in the industry do this, why would any of them try to be the fair one, and give up on some royalties' bucks?
Curtiss Maldoon (writer of Sepheryn, which was the basis for ROL) once said: "I was a bit annoyed at first because Madonna wanted 30 percent just for changing a couple of lines, but then I realized that 15 percent of millions is a lot better than 100 percent of nothing. I did very well out of it. It's been a life-changing experience. I'd say I'm financially secure for at least the next five to 10 years as a result of 15 percent of one track by Madonna."
From a business perspective, giving up on (at least some part of) their writing credits is not only tempting (in the case of starting artists, it's promised as a way to help launch their careers), and for olders ones, like Curtiss Maldoon, it's a source of income. I mean, we're long past the days when albums sales actually made the bulk (or any lol) of the money, and what they make from streams is actually offensive. Since the most money for these big artists was made through touring (which does not make a big profitable margin as it did 1 or 2 decades ago), I think that compensates for that, though... don't know how it works in other countries, but I know that here in Brazil you need to submit a form with the songs played/sung, so that they calculate how much you have to pay for the writers... on a long thread about the TGS concerts here, they mentioned that for just that minute and something that she sang The Girl From Ipanema, Tom Jobim was paid a good amount of money... and considering that it's usually calculated by the attendance, you see that replacing I Will Survive and DCFMA for EY and Music in the Rio concert was not only an artistic, but a business choice as well...
Sorry, went on many tangents here, but it's because this writing credit debates usually get to my mind... just because big artists have their names on the credits (and sometimes before the people who actually did the bulk of the work) it doesn't mean a lot... is it ethical that M does this? Very likely not. Is she the only one or was she the first to do this? Absolutely not. Is the music industry going to change to tendency? Also not. If anything, it might actually get "worse".

From a certain point in her career on, she defaulted to what became the industry norm: the actual writers getting only part of the credits, or sometimes none at all (Max Blagg with Sky Fits Heaven, for example; they settled for him being paid for letting her use his lines, and getting no writing credit, but she couldn't release it as a single) in a sort of a "do you want to have a song of yours in a record that's gonna do numbers and be attached to a big name, or not?" kind of deal... not saying that it's in bad faith, but... when basically all the powerful and prominent singers in the industry do this, why would any of them try to be the fair one, and give up on some royalties' bucks?
Curtiss Maldoon (writer of Sepheryn, which was the basis for ROL) once said: "I was a bit annoyed at first because Madonna wanted 30 percent just for changing a couple of lines, but then I realized that 15 percent of millions is a lot better than 100 percent of nothing. I did very well out of it. It's been a life-changing experience. I'd say I'm financially secure for at least the next five to 10 years as a result of 15 percent of one track by Madonna."
From a business perspective, giving up on (at least some part of) their writing credits is not only tempting (in the case of starting artists, it's promised as a way to help launch their careers), and for olders ones, like Curtiss Maldoon, it's a source of income. I mean, we're long past the days when albums sales actually made the bulk (or any lol) of the money, and what they make from streams is actually offensive. Since the most money for these big artists was made through touring (which does not make a big profitable margin as it did 1 or 2 decades ago), I think that compensates for that, though... don't know how it works in other countries, but I know that here in Brazil you need to submit a form with the songs played/sung, so that they calculate how much you have to pay for the writers... on a long thread about the TGS concerts here, they mentioned that for just that minute and something that she sang The Girl From Ipanema, Tom Jobim was paid a good amount of money... and considering that it's usually calculated by the attendance, you see that replacing I Will Survive and DCFMA for EY and Music in the Rio concert was not only an artistic, but a business choice as well...
Sorry, went on many tangents here, but it's because this writing credit debates usually get to my mind... just because big artists have their names on the credits (and sometimes before the people who actually did the bulk of the work) it doesn't mean a lot... is it ethical that M does this? Very likely not. Is she the only one or was she the first to do this? Absolutely not. Is the music industry going to change to tendency? Also not. If anything, it might actually get "worse".

Why do I think American Life is the Anti - Madonna album?
While I've grown to love the record I think it's a really hard album to digest. The music is spiky uninviting and aggressive. In your face. There's something quite punk about it. It lacks a certain musicality the same way punk music did.  It's her least melodic record for sure but as well as this the album lacks harmonies which I think is intentional as maybe Madonna felt she had none in her life at the time. Go listen again you'll be shocked how little there is even on choruses. There's a couple in the acoustic bit of the title track and Intervention. 
Instead of using traditional harmonies on most tracks, they opt for a quite aggressive double track lead vocal scenario. When you think of harmonising to any song on the album it's hard to think of any natural fits. Even on the acoustic ballad X-Static process. The few selected harmonies are presented almost like other thoughts she is having, happening at the same time as the main melody, rather than an actual harmony. They aren't synced and in one verse all the harmonies even waltz off into different lyrics, making it sound confused or distracted "i'm not myself myself right now"
I say it's the anti Madonna album because here was always a warmth to Madonnas music where it felt like there was a more positive resolution to the songs or record. American Life is so icy and cold and that's seemingly on purpose. It's a pure midlife crisis album and a major turning point in Madonnas career. She's miserable and in some cases moaning on pretty much every track. There's a sadness and bitterness about everything and the listen leaves you a bit depressed rather than uplifted or emboldened. I have always suspected that much of the album was driven by Madonna potentially miscarrying a child around that time, or being unsuccessful at conceiving again ? I don't know if this is true but she clearly wanted more children after Rocco, and David came very quickly afterwards,
There's lots of doom mongering negative language. Nothing Fails, Die / I'm So Stupid / Intervention / Nobody Knows Me / Easy Ride. The miserablism of the title track and Hollywood. There is so much confusion. There was a time I was happy in my life, Do You Think I'm Satisfied, I forgot that I was special too, 
There are so many questions in the lyrics or lines that hedge bets and leave room for failure or the inevitability of pain or loss or failure
Should I lose some weight? Do you think I'm satisfied? This type of modern life, is it for me? This time it's got to be good How could it hurt you when it looks so good? Oh, mother why aren't you here with me? I guess I'll die another day? Jesus Christ will you look at me? Don't know who I am , Don't really know if I should give a damn I'm gonna wake up, yes and no I want to let go of all disappointment, that's waiting for me The use of the word Don't & No. No-body, no-thing, lost and life / living happens often enough. Fear makes a few appearances or is at least a theme.
"Dont want my dreams adding up to nothing" "I lost my memory in hollywood" "And I know, I know, There is nothing to fear".. (the second "I know" almost trying to convince herself) "I lost my reputation bad and good" "I have lost my illusions" "When I get lost in space" "Nothing fails, no more fears" I've climbed the tree of life" "Nobody knows me" I'm just living out the American Dream, and I just realized that nothing is what it seems "I used to live in a funny dream" "I've had so many lives" "I've got to calm him down now, I've got to save his life" "cause I used to live in a tiny bubble" Now I'm gonna try to improve my life" "No ones telling you how to live your life" "say hello to your life now you are living" "Nobody else could ever take the place of you" "What I want is to live forever"  
Mother & Father is talking about the loss of her mother AND as a result of her mother dying she lost her father too. Intervention is about losing herself and sense of identity. Even the love song Nothing Fails is a double negative In its wording. "Makes me wanna pray you'll always be here" gives a sense of foreboding...Something doomed perhaps. The album is her most self reflective and self critical. 
The self reference with the use of the word "I" is phenomenal. Just look at the lyrics. American Life. Nobody Knows Me and Die Another Day pretty much start every line with I. The amount of songs that begin with I. If not the verse the chorus. 
Verse:
I Tried To Be A Boy I Lost My Memory In Hollywood I'm So Stupid I've Had So Many Lives I'm In Love With You You Silly Thing I Got To Save My Baby I'm Not Myself When You're Around I'm Gonna Wake Up Yes And No I Want The Good Life Chorus
I go round and round just like a circle I got to give it up find someone to love me I guess I'll Die Another Day and I know that Love will keep us together I got you under my skin and if it's not "I" it's "Me"
Lots of use of the word "don't" too, another negative phrase.
I don't want, no lies I don't watch TV Dont want my dreams adding up to nothing Don't know who I'm supposed to be Don't really know if I should give a damn Push the button, Don't push the button Don't try to tempt me I dont want an easy ride When you're around I don't know who I am I'm not myself and I don't know how Even the tracks that didn't make the album offer the same similarities as the above tracks
It's So Cool:
Do you realize you pay the price? Do you know the cost of all your vice? Do you really know God's intention? Do you ever ask what it's all for? Isn't this the best thing you ever had? Set The Right:
Don't push me to the left Don't push me to the right I have learned Nothing is for free gather top your dreams just to stay alive Many examples of duality of things. There's also lots of questioning, both sides of the argument, second guessing and evaluation. Analyse this indeed.
Push the button, don't push the button.  I tried to be a boy, I tried to be a girl I tried to be a mess, I tried to be the best I'm not a Christian, I'm not A Jew I've had a million visions bad & good I'm bored with the concept of wright & wrong How can it hurt you when it looks so good adding up to nothing There are too many options, there is no one solution Sometimes it's such a pleasure, sometimes I want to tear it all down I always wish that I could find someone as talented as you, but in the process I forget that I was special too nobody else could ever take the place of you, nobody else could ever hurt me like you did I'm gonna wake up, yes and no I want the good life, but I don't want an easy ride  
Some of these examples hold better than others but my point is it illustrates a picture of negativity. Which Madonna has never been about. She and her music have represented positivity, control, ambition, empowerment, life affirming and inspirational messages. This whole record is none of that. If anything is looking at the dark underbelly or drivers of the positive things in her life through the lens of fear and questions of self worth.
It's also the first time she ever refers to herself as a victim in Mother & Father
"I made a vow that I would never need
Another person ever
Turned my heart into a cage
A victim of a kind of rage"
This is unprecedented and a real insight in the mindset of her as a child and beyond. Madonna would never wish to be seen or to present herself as a victim. In fact for all the comparisons to Marilyn Monroe Madonna was once quoted as saying. 
"Marilyn Monroe was a victim; I’m not" or something to that effect.
 
In summary: If the "absolutely no regrets" //door slam// was the sound of Madonna 1.0 slamming the door (or coffin lid) and walking away from the fearless, bolshy incarnation of herself and first decade of her career (83-93), before her introspective decade (94-04), then American Life is the sound of Madonna exhuming the coffin, looking at the corpse of her former self and having a good think about why she did what she did, where it's bought her, why the fuck she did what she did, and what's next.
American Life is Madonna falling out of the centre of the whirlwind of her career, sitting in the quiet eye of the storm and looking at the madness she has created around her. She's going to war with herself, maybe she's tired of her self. (Army fatigues anyone?). Deconstructing, analysing herself, her past, her present and what she wants her future to look like, and she sits mustering the strength to throw herself back into the whirlwind again, but first  deciding if she even really wants to...but she will, and she does because she doesn't want an Easy Ride.  
Interestingly Easy Ride is the song that closes the album after she decided she'll Die Another Day. A joyless, droll, glitchy funeral march of a song. The sound of a never ending round and round of Madonna's Catholic guilt driving her to keep lashing her own back with a cat'o'nine tails. The female embodiment of Flagellant monk forming mortification of the flesh by whipping their own skin with instruments of penance. Fascinating really. I think she left a lot of herself behind before she jumped back into that Maelstom and for me it was the second death of the Madonna we knew and loved, submitted to record before the commercial backlash. An act of self sabotage?
It's a record that is so opposed to the Madonna brand musically and thematically. And in true ying and yang fashion it's the first album we saw her brand being exploited with the singles all being heavily corporately sponsored. Mini Cooper / Gap / Estee Lauder.
So yeah..that's why, (for me anyway)...it's the anti Madonna album.

Somethings Coming Over Me being about Ingrid shooting her load over Mothers face was not on my Infinity Bingo Card today but here we are …

@BoyToyMark For example, this is 'Beat Goes On' with less compression than the CD version: 
 

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Lets see, hopefully they haven't missed the boat!

LET"S GET FUCKING CONCIOUS!!!!!! 

Very good remixes... I love 'I'm a Sinner.' Well, I love the entire MDNA album except for a couple of really bad songs.
I detest Interscope. They ruined 'MDNA' with bad promotion and singles. Well, at least we have the tour (although it's horribly edited and mastered).

IF HE DOES LIKE FRENCH KING OF ROMANCE LÉO HÉLIOS, WHY NOT???

This is the hidden content, please Sign In or Sign Up LÉO, JE T'AIMERAI TOUJOURS...

now we need to know what response Pat had for why the fuck she would do that, then, because... she did it lol

“Point of view” is sung with different  timing on the two different versions. I wouldn’t say it was a re recording probably just a different take that was used. 

The dolphins in Cherish:
 

So I mixed this and remastered it later 

This is the hidden content, please Sign In or Sign Up   Dress you up may come next! Maybe not stem mixed or maybe yes but we'll see! 
Enjoy! 
Please DO NOT quote link or I will remove it

The dolphins in Cherish:
 

The dolphins in Cherish:
 

The dolphins in Cherish:
 

The dolphins in Cherish: