ChrisK

She got another video call with Terri Joe probably 😆

Which we know already - she's in charge - and thats exactly how it should be. Every project it's her final say, good or bad. Everyone keeps blaming Guy, but no one has evidence to show he's done a bad job - by that I mean - no one really knows what he's pitched to her and what she's agreed to or not agreed to, or changed.
I'm pretty sure he's very much behind the Rio concert - and that has been a huge career triumph! 
 

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

I have always wondered this - I think he worked though for some magazine at the time.
But, you can now book online lol : 
https://ask.loc.gov/recorded-sound/faq/305175#:~:text=Appointments are required for listening,gov%2Frecorded-sound%2F .

Which we know already - she's in charge - and thats exactly how it should be. Every project it's her final say, good or bad. Everyone keeps blaming Guy, but no one has evidence to show he's done a bad job - by that I mean - no one really knows what he's pitched to her and what she's agreed to or not agreed to, or changed.
I'm pretty sure he's very much behind the Rio concert - and that has been a huge career triumph! 
 

Which we know already - she's in charge - and thats exactly how it should be. Every project it's her final say, good or bad. Everyone keeps blaming Guy, but no one has evidence to show he's done a bad job - by that I mean - no one really knows what he's pitched to her and what she's agreed to or not agreed to, or changed.
I'm pretty sure he's very much behind the Rio concert - and that has been a huge career triumph! 
 

I think guy is more a friend than a manager and like @Jackie says - M is always the one in charge here and that’s good and bad - I mean how could anyone manage someone as big as her - she might take advice but in the end she decides everything which is probably why she thought she didn’t need a manager - it’s funny how her career has gone downhill imo since 2008 - she lost a lot of support from people since then and her image in the public has gotten worse and the music quality has been very hit and miss since then too but that’s just my opinion- I’m sure I will be vilified but the numbers don’t lie in terms of record sales - all that’s kept her afloat is the touring which is why she has charged so much for them 

Which we know already - she's in charge - and thats exactly how it should be. Every project it's her final say, good or bad. Everyone keeps blaming Guy, but no one has evidence to show he's done a bad job - by that I mean - no one really knows what he's pitched to her and what she's agreed to or not agreed to, or changed.
I'm pretty sure he's very much behind the Rio concert - and that has been a huge career triumph! 
 

Which we know already - she's in charge - and thats exactly how it should be. Every project it's her final say, good or bad. Everyone keeps blaming Guy, but no one has evidence to show he's done a bad job - by that I mean - no one really knows what he's pitched to her and what she's agreed to or not agreed to, or changed.
I'm pretty sure he's very much behind the Rio concert - and that has been a huge career triumph! 
 

Yes, he was behind the Rio Concert.  He does a lot of the huge business dealings for her.  And as long as he is making her cash, she isn't going to fire him.  He's only awful to some fans because her career isn't going the way some want it to be.  They assume it's his fault when we know she has the last word.  He's even stated that many times.  The thing is, Guy isn't like the past managers... he's mainly her "business manager".  He gets things done.  His job is to make her money.  And anyone who has been a fan since the beginning should know Madonna is an astute business woman herself.  She goes where the money is. 
I do not think Guy is a bad manager.  And I agree, Madonna should be and IS in charge. It's her career. She knows what she wants.  That's a huge difference between a lot of other musicians and her.  A lot of musicians aren't able to manage their career on their own. They need other people to help get things done.  And while I'm sure there is a lot of delegation going on in Madonna's career, you can bet she's the one who is giving out the orders. 
I'm sure she knows not everything she's done has been the best for her career, but in the long scheme of things, she's done pretty damn well. She's still one of the biggest sought out mega stars out there... especially when there aren't many "mega stars" left.  Also, I know that the music industry isn't as kind to older musicians, so the usual avenues to get artists played and popular is harder for older artists, no matter how great their work is.  There are plenty of older artists still making great music. In fact, the Rolling Stones last album is fantastic and I have not doubt that if they were under 30, that album would be played all over radio and been even more successful than it has been. 

Which we know already - she's in charge - and thats exactly how it should be. Every project it's her final say, good or bad. Everyone keeps blaming Guy, but no one has evidence to show he's done a bad job - by that I mean - no one really knows what he's pitched to her and what she's agreed to or not agreed to, or changed.
I'm pretty sure he's very much behind the Rio concert - and that has been a huge career triumph! 
 

McDonald's maybe?
 

If MDNA's lead single had been Love Spent things would have felt so much different.
Listening to the demos its such a mix of Britney and Rihanna. 
I actually love Some Girls.
Love Spent, I'm A Sinner, Some Girls,  would have been a good singles run (possibly Falling Free / Gang Bang double A as a fourth)
With GMALY a Super Bowl exclusive. Masterpiece a standalone single for the film and those two songs included on the deluxe as a bonus. It still wouldn't make the album any better as a whole but at least the best work would have been showcased.

AGREE

She is there:
https://recordstoreday.com/Artist/14391617
But maybe is from last time?

While we wait, I found the old Bruce Baron interview/notes:
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 unreleased 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 evolve into anything found on the released album. It's NOT very catchy, and needs more development. The lyrics are strings of cliche phrases about an obsessed person. A main lyric reads; "I know you're love is bad for me, but I won't give up until 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 breathing noises. The recording of this song on file at the copyright office has some 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 very good. 
------------------------------------------------------------------------------ --
1994 I WILL AWAYS HAVE YOU Early Madonna and Shep Pettibone production of what later became "Inside Of Me". Registered at Library Of Congress cassette on file PAU-1-889-251. This is probably the best of the abandoned Shep Pettibone co-productions 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 album, but he does in the Warner-Chappell Publishing Co database. This early version 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 performed like a mid-tempo power ballad in the style of "Crazy For You", and "You'll See" using a strong clear vocal. I think that it is better than "I'll Remember" done with Pat Leonard a few years before. With a little polishing "I Will Always Have 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 also wants the object of the song to "remember me". 

During my listen at the LOC copyright office I observed a sound during the middle 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 similar to the one used in "Rescue Me", but more subtle. I also need to stress the difference 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 Have 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 versions. Lets now bow our heads and pray for it's use as a maxi-single bonus track at some point in the future.
1994 SOMETHINGS COMING OVER ME Early version of "Secret" started with Shep Pettibone, later finshed with Dave Hall. Confirmed by Library Of Congress. Cassette on 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 version of "Secret" seems slow and boring compared this early demo of which I enjoyed a great deal. Shep would be justified for being a little pissed of for not being in the album credits for this song. It's about a 50% re-write of the released version (it's actually the other way around). Parts of the verse lyrics and verse melody are the same or similar. The chorus melody and arrangement are totally different: "Somethings Coming Over Me(Over Me)(Over Me)(Over Me)" The bridge is 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 "Love To Love You Baby". Then Madonna speaks "I see your love coming down, let it wash all over me" Obviously we know what she is talking about? Then the music starts back up into the main hook as the climax. Her vocal is clear and strong. It could easily be used on a vault collection as an item of interest with it's original demo music intact if the parties involved could agree in the future. According to the Warner Chappell database, Shep does get money as a co-author for the released version of "Secret". He just does not appear in the album credits other than the "Thank you for understanding".
I could not find the notes on the others - the way Bruce describes, IWHY and SCOM- both sound like great opportunities!  Bring It - maybe not.

Ok - I'm not going to debate - but the actual listing was shared.

I have always wondered this - I think he worked though for some magazine at the time.
But, you can now book online lol : 
https://ask.loc.gov/recorded-sound/faq/305175#:~:text=Appointments are required for listening,gov%2Frecorded-sound%2F .

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 …

While we wait, I found the old Bruce Baron interview/notes:
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 unreleased 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 evolve into anything found on the released album. It's NOT very catchy, and needs more development. The lyrics are strings of cliche phrases about an obsessed person. A main lyric reads; "I know you're love is bad for me, but I won't give up until 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 breathing noises. The recording of this song on file at the copyright office has some 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 very good. 
------------------------------------------------------------------------------ --
1994 I WILL AWAYS HAVE YOU Early Madonna and Shep Pettibone production of what later became "Inside Of Me". Registered at Library Of Congress cassette on file PAU-1-889-251. This is probably the best of the abandoned Shep Pettibone co-productions 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 album, but he does in the Warner-Chappell Publishing Co database. This early version 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 performed like a mid-tempo power ballad in the style of "Crazy For You", and "You'll See" using a strong clear vocal. I think that it is better than "I'll Remember" done with Pat Leonard a few years before. With a little polishing "I Will Always Have 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 also wants the object of the song to "remember me". 

During my listen at the LOC copyright office I observed a sound during the middle 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 similar to the one used in "Rescue Me", but more subtle. I also need to stress the difference 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 Have 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 versions. Lets now bow our heads and pray for it's use as a maxi-single bonus track at some point in the future.
1994 SOMETHINGS COMING OVER ME Early version of "Secret" started with Shep Pettibone, later finshed with Dave Hall. Confirmed by Library Of Congress. Cassette on 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 version of "Secret" seems slow and boring compared this early demo of which I enjoyed a great deal. Shep would be justified for being a little pissed of for not being in the album credits for this song. It's about a 50% re-write of the released version (it's actually the other way around). Parts of the verse lyrics and verse melody are the same or similar. The chorus melody and arrangement are totally different: "Somethings Coming Over Me(Over Me)(Over Me)(Over Me)" The bridge is 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 "Love To Love You Baby". Then Madonna speaks "I see your love coming down, let it wash all over me" Obviously we know what she is talking about? Then the music starts back up into the main hook as the climax. Her vocal is clear and strong. It could easily be used on a vault collection as an item of interest with it's original demo music intact if the parties involved could agree in the future. According to the Warner Chappell database, Shep does get money as a co-author for the released version of "Secret". He just does not appear in the album credits other than the "Thank you for understanding".
I could not find the notes on the others - the way Bruce describes, IWHY and SCOM- both sound like great opportunities!  Bring It - maybe not.

IWAHY - was an early version of inside of me - but Bruces' description it sounds like a different song with a different meaning, just with similar lyrics. 

Ok - I'm not going to debate - but the actual listing was shared.

check page 1

I mean, they could Kylie has been popping out tension reissues like candy lol But, in all seriousness, I agree,

I know - I can't wait!