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March 2011

The Madonna Timeline: Song #36 – ‘Don’t Tell Me’ – Winter 2001

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

Don’t tell me to stop,
Tell the rain not to drop,
Tell the wind not to blow
Cause you said so…

Tell the sun not to shine,
Not to get up this time, no, no,
Let it all by the way,
But don’t leave me where I lay down.

This takes me back to the end of 2000 and the start of 2001. Madonna, and the hoe-down country image of the Music era, had almost turned me onto country cowboy duds – I distinctly recall trying desperately to find a fitted plaid cowboy shirt, distressed jeans, and, gasp, cowboy boots (even if the lady herself once proclaimed she would never go out with guys who wear them).

 

Tell me love isn’t true
It’s just something that we do
Tell me everything I’m not but
Please don’t tell me to stop.

Tell the leaves not to turn
But don’t ever tell me I’ll learn, no, no,
Take the black off a crow,
But don’t tell me I have to go…

The video for ‘Don’t Tell Me’, directed by Jean Baptiste Mondino (who also did the far more brilliant ‘Open Your Heart’ and ‘Justify My Love’), is a passable bit of start-stop studio magic, notable for Madonna’s whole-hearted embrace of the country look and a bit of line-dancing that she was about to take on the road for her Drowned World Tour later that year. As for the song, it melds the techno-blips and dry vocal style of the Mirwais years with a vaguely country-ish tune written by Madonna’s own brother-in-law Joe Henry.

It’s both puzzling and fitting that this song was written by someone other than Madonna herself; it seems tailor-made for her in the message department, but the abstract lyrics are almost a bit too obtuse for her usual pop poetry. Still, she makes it her own (and almost unrecognizable from its original incarnation as ‘Stop’ performed by Mr. Henry himself).

Tell the bed not to lay
Like an open mouth of a grave,
Not to stare up at me
Like a calf down on its knees.

Tell me love isn’t true
It’s just something that we do
Tell me everything I’m not but
Please don’t tell me to stop.

Tell the leaves not to turn
But don’t ever tell me I’ll learn, no, no,
Take the black off a crow,
But don’t tell me I have to go…

 

It’s a sweetly-stubborn refusal to never stop loving someone, a gentle but determined statement of affection even in the face of rejection – both romantically and in a broader sense. Featuring her tell-tale trademark defiance, a hallmark of any pop performer who manages to last beyond what was then almost two decades, it was, and remains, a shining moment from the Music era.

In addition, ‘Don’t Tell Me’, and Madonna’s performance of it on the David Letterman show, marked her first moment of public guitar playing. Her skills on the instrument grew quickly after that first shaky song, but kudos to her for being brave enough to do it.

 

Don’t you ever
please don’t, please don’t,
please don’t tell me to stop

Don’t you ever tell me (don’t you), ever
Don’t ever tell me to stop.

Song #36: ‘Don’t Tell Me’ – Winter 2001

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The Madonna Timeline: Song #35 – ‘Amazing’ – Fall 2000

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

You took a pretty picture and you smashed it into bits,

Sank me into blackness, and you sealed it with a kiss.

If only I could let you go, why do I need you so?

Neatly dove-tailing with the latest news that William Orbit has scored the soundtrack for her next directorial effort, workingly titled W., ‘Amazing’ is one of the last collaborations Madonna shared with Mr. Orbit. From 2000′s Music, it was one of the only two cuts they produced together for that album.
While the worst of his work with her is treacly and uninspired (‘Time Stood Still’ and ‘Runaway Lover’ for example), the best of it shimmers and soars (‘Frozen’, ‘Ray of Light’ – hell, the entire Ray of Light album).

 

It’s amazing what a boy can do,

I cannot stop myself.

Wish I didn’t want you like I do

Want you and no one else…

A movie score could be the perfect bit of alchemy to set his ambient sonic moodscapes to flight, doing for W. what Trent Reznor did for The Social Network. Of course, this is all guesswork and speculation at this point – Madonna has been characteristically quiet during her creative mode. (Though I wish she would get back into the studio and make some new music.)

You took a poison arrow and you aimed it at my heart,

It’s heavy and it’s bitter and it’s tearing me apart.

If only I could set you free,

You worked your way inside of me.

 

‘Amazing’ is one of the brighter, poppier moments of the Music album, but like most Madonna songs it has an ambivalence that runs throughout it. She was about to marry Guy Ritchie at the time, but based on this song (and the eventual outcome of the marriage) things were not completely smooth-sailing. No one captures that push-and-pull better than Madonna.

It’s amazing… Love you and no one else…

Song #35: ‘Amazing’ – Fall 2000

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The Madonna Timeline: Song #34 – ‘Angel’ –1985

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

The iPod has picked 1985’s ‘Angel’ for the next timeline song – I was ten when it came out. I don’t remember much about when I was ten, except for a handful of Madonna songs. Like most of the ‘Like A Virgin’ cuts, this reminds me of driving in the car with my Mom and my brother – it was his cassette tape, and it was on perpetual play.

Why am I standing on a cloud, every time you’re around?
And the sadness disappears, every time you are near…
You must be an angel, I can see it in your eyes,
Full of wonder and surprise,
And just now I realize…

It is a quintessentially-80’s trifle, all synths and breathy echoes, and Madonna’s delicious laughter. Easy on the ears and the mind, but the perfect microcosmic emoting of the wonder and joy of infatuation.

Walking down a crowded avenue
All the faces seem like nothing next to you
And I can’t hear the traffic rushing by,
Just the pounding of the heart and that’s why…

No one captures the exuberance, and, I would argue, the innocence, of the beginnings of love better than Madonna. Especially at this stage of her career, when all was still shiny and new – she had the perfect grasp of a pop song – centered around romance, founded on a wish and a prayer, and wedded to a catchy melody and driving beat.

Now I believe that dreams come true,
Cause you came when I wished for you.
This just can’t be coincidence,
The only way that this makes sense is that,
Ooh, you’re an angel…

 

Clouds just disappear…

Song #34: ‘Angel’ – 1985

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