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True Blue (Madonna)

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#Love Makes The World Go Round 4:27
 
#Love Makes The World Go Round 4:27
 
==Album Background==
 
==Album Background==
On March 6, 1986, at the Kensington Roof Gardens in London, during a press conference for Shanghai Surprise, Madonna confirmed that she was working on a new album named "Live to Tell" (which would be later changed to "True Blue")
 
 
She collaborated with Stephen Bray (who had worked on the preceding "Like a Virgin") and with The Virgin Tour's musical director Patrick Leonard. Leonard recalled in 1992: ''"I was down in the basement with these idiot muso friends, working on a tune. She liked it. And that ended up being one of the tracks on True Blue."''
 
 
Madonna wrote or co-wrote every song, although her involvement on ones such as "Papa Don't Preach" and "Open Your Heart" was limited to adding lyrics. She was also credited with co-producing every track.
 
 
The album was recorded from December 1985 to April 1986, during the first year of Madonna's marriage to American actor Sean Penn. She dedicated the album to Penn, ''"The coolest guy in the universe."''
 
 
By experimenting with her image, adopting a more 'traditional' look, and incorporating classical music in her songs, Madonna tried to appeal to an older audience who had been sceptical of her music.
 
 
Deemed Madonna's most girlish album yet, "True Blue" deals with Madonna's view of love, work and dreams as well as disappointments.
 
 
According to Madonna, the title was from a favorite expression of her then husband Penn and his very pure vision of love. The album was her "unabashed valentine" for Penn. Most of its songs reflect this idea although each was developed separately.
 
 
The first track, "Papa Don't Preach", was written by Brian Elliot, who described it as "a love song, maybe framed a little bit differently".
 
 
The song is based on teenage gossip Elliot heard outside his studio, which had a large front window that doubled as a mirror where schoolgirls from the North Hollywood High School in Los Angeles regularly stopped to fix their hair and chat.
 
 
"Open Your Heart" was the first cut recorded for the album, as early as December 1985 and ultimately made it to the final released tracklist; it was originally intended for Cyndi Lauper.
 
 
The third track "White Heat" was dedicated to actor James Cagney and named after the film of the same name from 1949. Two quotes from the original soundtrack were included in the song.
 
 
The fourth track "Live to Tell" was written by Patrick Leonard for the soundtrack of Paramount's romantic drama film "Fire with Fire" but after the company declined it, Leonard showed the song to Madonna.
 
 
She decided to use it for At Close Range, the new film of her husband Penn. Madonna made a demo of the song; when the film's director, James Foley, heard it, he asked Leonard to write the score for the film, as suggested by Madonna.
 
 
"True Blue" was the first album where Madonna included Spanish themes as evident in the song "La Isla Bonita".
 
 
The song was written for Michael Jackson's Bad album, but he had turned it down. While working with Leonard, Madonna accepted it in Jackson's place and re-wrote the lyrics, earning herself a co-writing credit.
 
 
Madonna described it as her tribute to the "beauty and mystery of Latin American people."
 
 
Originally intended as the first single, "Love Makes the World Go Round" (which was first performed at Live Aid a year earlier, in July 1985) closes the album. The song recalled the antiwar music of the '60s.
 
 
===Composition===
 
===Composition===
Musically, "True Blue" was a different direction for Madonna. Her previous efforts had her singing in a high pitched voice. With this album, Madonna toned it down for a more bubblegum-pop voice.
 
 
The songs on the album reflect this and a number of instruments were used in the songs to bring out the different moods which the lyrics emphasized.
 
 
"Papa Don't Preach" features acoustic, electric, and rhythm guitars, keyboards, and string arrangements. The song samples Beethoven's Appassionata sonata. A continuous percussion filled structure was used in "Open Your Heart".
 
 
The sampling for "White Heat" of the film's quotation was included with speech and gunshots. It is an uptempo dance song with synth bass and double-tracked vocals supported by male voices in the chorus.
 
 
''"I don't write dance music and I don't see it as contributing to the cultural growth of the world,"'' grumbled Pat Leonard in 1992. ''"At the time we were doing the groove stuff on the True Blue album, it was semi-innovative. There wasn't a precedent that made you gag. God forbid that I might have contributed to the mess we're in now."''
 
 
On ballads like "Live to Tell", there is background instrumentation from a keyboard, a synthesizer, a funk guitar and a mix of synthesized and real drumming.
 
 
"Where's the Party" is a standard dance track with arrangements of bass drums, synthesizer, clattering rhythms and a remixed approach to the whole composition.
 
 
The title track featured instrumentation from a rhythm guitar, a synthesizer, keyboards, and drums for the bassline, with a backing track that employed a chord progression commonly used in doo-wop, Cuban drums and Spanish guitar, maracas and harmonicas are used in "La Isla Bonita".
 
 
"Jimmy Jimmy" has an early '60s pop influence, its lyrics a tribute to film star James Dean.
 
 
Lyrically, "True Blue" reflects Madonna's ideas about love.
 
 
"Where's the Party" tells of a working girl enjoying the dancefloor after work. "Jimmy Jimmy" talks about Madonna's admiration for the neighbourhood bad boy.
 
 
The Spanish "La Isla Bonita" and "Love Makes the World Go Round" deal with escapism from normal life, with the latter talking about anti-war and anti-poverty and using Latin drums and samba-influenced rhythms.
 
 
"White Heat" deals with firmness and quotes Clint Eastwood's "Make my day" catchphrase.
 
 
"Papa Don't Preach"'s lyrics talk about a young woman who tells her father that she is pregnant out of wedlock, but is going to keep her baby.
 
 
"Live to Tell" portraits the complexity of deceit and mistrust. The song also is about childhood scars and had an extreme emotional pitch, achieving it in a divine sense.
 
 
The title track had Madonna talking about romance and 1950s inspired girl group pop. The lyrics of "True Blue" are constructed in a verse-chorus form, with the theme being Madonna's feelings for Sean Penn; she even uses the 1929 archaic love word "dear" in the line: "Just think back and remember, dear".
 
 
Madonna expressed her sexual desires in the lyrics of "Open Your Heart" and described the beauty of a Latin paradise in "La Isla Bonita."
 
 
===Packaging===
 
===Packaging===
The album cover for "True Blue" was shot by photographer Herb Ritts. It features a picture of Madonna from the neck up. The main colors in the picture are gray, white and various shades of blue to reinforce the album's title.
 
 
Madonna positioned herself in an elegant pose while wearing pale make up with red lips, tilting back her neck in a swan like pose.
 
 
Jeri Heiden, who was working at Warner Bros. art department, was given the task of editing the photos and making them compatible for appearance in an album cover. She had to work with a total of 60 rolls of photos, each of size 35 mm. Heiden ordered about 30 to 40 test prints from Ritts' studio and made recommendations based on it.
 
 
Several images from the photo shoot were considered for the album cover, some of which later became the single covers for "Papa Don't Preach", "True Blue" and "Open Your Heart".
 
 
The final photo was selected by Madonna, Heiden and Jeff Ayeroff, creative director of Warner Bros. at that time. After the final photo was selected, Heiden commissioned two different versions of the album cover.
 
 
The original image was taken in black-and-white, and Heiden experimented with a variety of treatments of the photo, to go along with the album's title, and finally arrived at the blue toned, hand tinted version of the image.
 
 
The LP and CD album cover for "True Blue" is a cropped image of a longer picture including torso, more of which is seen in the cover of the cassette tape edition, and was also included as a fold-out poster in the initial pressings of the LP.
 
 
A poster of Madonna, mirroring the cover art, was included within the vinyl versions of the album.
 
 
In the US and Canada, the cover did not have any logo, but in the European nations, they were sold with Madonna's name and album title on the cover.
 
 
Heiden explained in an interview with Aperture magazine that they thought it would be "cool" to use a shrink wrap on the US covers, so that when one took it off, there would only be the photo of Madonna.
 
 
For the European nations, Warner felt that the name was needed on the cover, as they did not want to take chance with Madonna's popularity there. The back sleeve and the booklet inside featured the song titles in Heiden's own handwriting.
 
 
About cropping the image for the cassette and the vinyl versions, Heiden said: ''"I think the image became more interesting cropped into a square—and at that time we always started with the album cover configuration. It was like she was floating—her clothing was not visible. She took on the appearance of a marble statue—Goddess like. In the vertical cropping you see her leather jacket and the wall, and it becomes more typical, editorial, earthly."''
 
 
According to Lucy O'Brien, author of Madonna: Like an Icon, the album artwork was on-par with Andy Warhol's concept of pop art.
 
 
She felt that the image was a mixture of innocence and idealism, while incorporating 1950s-style Technicolor and hand tinted color, characteristic of Warhol's silkscreen printed design, prevalent in the 1960s.
 
 
Jeri Heiden, the album's cover designer, commented: ''"She was already highly aware of the value of her image and was in control of it. After I took the photo, it appeared as if she was floating—her clothing was not visible. She took on the appearance of a marble statue, goddess-like."''
 
 
O'Brien felt that the artwork heralded the arrival of a new Madonna, while drawing on the enduring appeal of her celluloid icon Marilyn Monroe.
 
 
According to O'Brien: ''"With this picture, Madonna made explicit the connection between Warhol and herself, the vivid nexus between pop art and commerce. The late 1980s marked a new era of the pop artist as a brand, and Madonna became the first one to exploit this."''
 
 
Erica Wexler from Spin described Madonna on the cover as "like a cobra basking in the hot sun, Madonna on the cover of her new album stretches her profile lasciviously."
 
 
Author J. Randy Taraborrelli commented in "Madonna: An Intimate Biography", that the album cover indicated how True Blue was a vehicle of growth for Madonna.
 
 
He felt that the "washed out color photograph" of her with head tilted back and eyes closed was "understated", especially when compared to the sexier poses she had been associated in the past.
 
 
The album's inner sleeve did not feature any photographs, and instead was dedicated to album credits and the song lyrics, since Madonna wanted to be represented by her songs on "True Blue", not her image.
 
 
Billboard listed the cover at #34 on their article about the "50 Greatest Album Covers", describing it as a striking image of Madonna.
 
 
 
==Chart Performance==
 
==Chart Performance==
 
In the United States, "True Blue" debuted at #29 on the Billboard 200 and reached number one on the issue dated August 16, 1986.
 
In the United States, "True Blue" debuted at #29 on the Billboard 200 and reached number one on the issue dated August 16, 1986.
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