Dear Jessie

Last updated

"Dear Jessie"
Dear Jessie Madonna.png
Single by Madonna
from the album Like a Prayer
B-side "Till Death Do Us Part"
ReleasedDecember 4, 1989
Recorded1988
Studio Johnny Yuma (Burbank, California)
Genre
Length4:20
Label
Songwriter(s)
Producer(s)
  • Madonna
  • Patrick Leonard
Madonna singles chronology
"Oh Father"
(1989)		"Dear Jessie"
(1989)		"Keep It Together"
(1990)
Music video
"Dear Jessie" on YouTube

"Dear Jessie" is a song by American singer Madonna from her fourth studio album Like a Prayer (1989). It was released as the fifth single from the album on December 4, 1989, by Sire Records. Written and produced by Madonna and Patrick Leonard, the song was inspired by Leonard's daughter Jessie. The release of "Dear Jessie" was limited to the United Kingdom, certain other European countries, Australia and Japan. The track is composed more like a children's lullaby rather than a pop song, and features strings, synthesizer and strummed acoustics. A change in tempo occurs during the breakdown, where instrumentation from trumpets is included. Lyrically, the song evokes a psychedelic fantasy landscape, in which pink elephants roam with dancing moons and mermaids.

Contents

Upon its release, "Dear Jessie" received mixed reviews from critics, who felt that the fantasy imagery of the song was overdone, but complimented its composition. Other reviewers likened the song to the music of the Beatles. The track was a moderate success commercially, reaching the top 5 in the United Kingdom and Ireland and the top 20 in Germany, Spain and Switzerland. The music video of "Dear Jessie" combines live action and animation, portraying a young girl waking up in bed and interacting with fantasy characters. Madonna appears in the video only as an animated, Tinker Bell-type fairy.

Background

When Madonna started work on her fourth studio album, Like a Prayer in 1988, she was in an emotional state of mind following her split from Sean Penn, her 30th birthday and unfavorable reviews for her acting endeavors. [1] She had certain personal matters on her mind that she thought could be the musical direction of the album. [2] As Madonna considered her alternatives, producers Patrick Leonard and Stephen Bray experimented with instrumental tracks and musical ideas for her consideration. [2]

One day, while recording of the title track was going on at Johnny Yuma Studios, Leonard went to pick up his daughter Jessie from school. Since his wife was out of town, he brought Jessie to the studio. [3] Madonna, who was initially angry with Leonard for his late arrival, struck up a rapport with Jessie. She commented: "It was like as if I was my mother and [she] was me. We were playing in our backyard again." [3] Witnessing their connection, Leonard approached Madonna with a song he had written for his daughter, titled "Dear Jessie". Madonna changed some of the lyrics and agreed to record the track for Like a Prayer; it was finished within the next three days. [3]

"Dear Jessie" was released as the fourth single from Like a Prayer in Europe, while it served as the fifth single from the album in Australia and Japan; it was never released in the United States. [4] The single cover used a photo from 1987, taken by Herb Ritts. [5] It showed Madonna in bed, clutching a bed sheet to her bosom and sporting a pair of Minnie Mouse ears. The photo was a reference to the early criticism of Madonna's work, when reviewers had described her voice as "Minnie Mouse on helium". [3]

Composition

Gnome-mime-sound-openclipart.svg
Dear Jessie
A 26–second sample of "Dear Jessie" where Madonna sings the chorus. It illustrates the string arrangement, and the second set of vocals interwoven with those of Madonna's, singing the words "La-la" in repetition. The sample ends with the strummed acoustics starting in the second verse.
Problems playing this file? See media help.

According to Rikky Rooksby, author of The Complete Guide to the Music of Madonna, "Dear Jessie" sounds more like a children's lullaby than a pop song. [4] A baroque pop and psychedelic pop song, [6] [7] [8] it begins with the sound of strings, ushering a joyous melody, with Madonna singing in a full voice. The verses are sung without any background vocals to accompany Madonna's voice. However, in the chorus, when she sings the lines, "Pink elephants and lemonades, Dear Jessie hear the laughter raining on your love-parade", a different set of vocals are interwoven with hers, continuously chanting the words "La-la". [4] Synthesizer and strummed acoustics are added during the second verse, followed by the repetition of the chorus, when a change in tempo and time signature occurs, followed by the sound of a child's laughter. [4]

As Madonna finishes singing the intermediate lines, "Close your eyes, sleepy-head, It is time for your bed, Never forget what I said, Hang on...", a trumpet starts playing alongside the main rhythm. The breakdown has the feel of Spanish music, with the glissando evoking the string arrangements. [4] This is followed by the bridge and the chorus being repeated twice. "Dear Jessie" ends with all instrumentation and vocals fading out, except the orchestra, which is equalized to make it sound very thin and trebly, as if coming out from a distorted radio. [4] The lyrics encourage the young girl Jessie to use her imagination. It summons up a psychedelic landscape, where pink elephants roam with dancing moons and mermaids. It references fairy-tale characters and creates an image of children playing with each other. [9]

According to the sheet music published by Warner/Chappell Music, "Dear Jessie" is written in the time signature of common time, with a tempo of 120 beats per minute. Normally written in 4⁄4, the song has a change in time signature after the second chorus, changing it to 3⁄4. [10] It is composed in the key of D major, with Madonna's voice ranging from C3 to D5. The song's chord progression follows a sequence of Bm–A–Bm–D–A in the verses and changes to D–Bm–G–A–D in the chorus. [10]

Critical reception

Author Santiago Fouz-Hernández commented in his book Madonna's Drowned Worlds that to him the song felt like a trepiditation of Madonna's thoughts about what might be termed "girlhood" and on a broadscale, on "feminity". [11] Christopher P. Andersen, author of Madonna: Unauthorized, described "Dear Jessie" as "a wistfully psychedelic confection of carousels and pink elephants", adding that "the song harkens back to the lullabies your mother must have sang to you". [12] Robin Anne Reid, author of Women in Science Fiction and Fantasy: Overviews, complimented the fact that "although the sort of fantasies that [Madonna] conjures might trend towards the kinky and sexual, she can also delve into a world of mermaids, fountains of youth, leprechauns and magic lanterns as is evident by 'Dear Jessie'." [13]

"Dear Jessie" has been compared by reviewers to work of the Beatles. The Beatles arrive at JFK Airport.jpg
"Dear Jessie" has been compared by reviewers to work of the Beatles.

Lucy O'Brien, author of Madonna: Like an Icon, characterized the song as "harkening back to a childlike innocence", but felt that Madonna overdid the elaborate fantasy imagery. O'Brien preferred Madonna's later attempts to sing lullaby-like songs on her albums Bedtime Stories (1994) and American Life (2003). [9] Edna Gunderson from USA Today called the song a "sugary lullaby", while opining that it would not go down as one of Madonna's well-remembered songs. [14] The Chicago Tribune 's Ian Blair described the track as "bouncy" and praised the soothing quality of the music's composition. [15] Richard Harrington from The Washington Post deduced that with the song, Madonna was harkening back to her own maternal emotions, the feelings she could not receive from her own mother, due to her untimely death. [16] Reviewing the Like a Prayer album, Mike Mentos from Los Angeles Daily News was not impressed with "Dear Jessie" and commented that "Madonna's voice possesses neither the control, power nor emotion to carry neo-baroque experiments like 'Dear Jessie' and 'Oh Father'." [6] Sal Cinquemani from Slant Magazine called it a "bittersweet reminder of the ephemerality of our innocence and imagination [...] this non-U.S. single is a testament to the magic of Madonna’s collaboration with composer/producer Patrick Leonard". [17]

A number of reviewers have compared "Dear Jessie" to the work of the Beatles. Allen Metz, one of the authors of The Madonna Companion: Two Decades of Commentary, described the composition of the song as "pastel-pretty, [and] richly orchestrated". He felt that the song would have fit better on the Beatles' 1969 soundtrack album, Yellow Submarine . [18] The Beatles' influence was also noted by Stephen Holden from The New York Times , who labeled "Dear Jessie" a "stylish swatch of late Beatles-style psychedelia". [7] Joey Levy from Spin characterized "Dear Jessie" as "amazing", describing his reaction to the song as "Wow! This is neat!" He added that the song sounded like Prince singing for the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band . [19] Kevin Phinney from the Austin American-Statesman compared the song to the solo work that Beatles' member John Lennon did later in his career. Phinney wondered how Madonna was able to come up with the song, since most of the tracks from Like a Prayer are full of innuendo and double meanings. [20]

Chart performance

In the United Kingdom, "Dear Jessie" debuted at number nine on the UK Singles Chart, for the issue dated December 16, 1989. After two weeks, it reached a peak position of number five on the chart, staying there for another two weeks. It was present on the UK Singles Chart for a total of nine weeks, and was certified silver by the British Phonographic Industry (BPI) for shipment of 200,000 copies of the single. [21] [22] According to Official Charts Company, the song has sold 255,000 copies in the UK as of August 2008. [23] In Australia, the song reached number 51 on the ARIA Singles Chart, remaining there for two consecutive weeks. [24] On the international chart for Japan, "Dear Jessie" reached the top 40, but could not move up above number 25. [25] In Germany, the song reached a peak of number 19 on the chart, but it remained within the German Top 100 for a total of 19 weeks. [26] In Ireland, the song reached a peak of number three, remaining on the chart for a total of six weeks. [27] The song failed to reach the top 20 in Austria, and was present on the chart for two weeks. [28] It also failed to reach the top ten in Spain and Switzerland, reaching a peak of number 17 and number 16, respectively. [29] [30] "Dear Jessie" entered the Dutch Top 40 at number 37, ultimately reaching a peak of number 25. [31] On the Pan-Eurochart Hot 100 Singles, compiled by Music & Media, "Dear Jessie" peaked at number nine. [32]

Music video

The music video was produced by Animation City, an animation company in London, England, and was directed by Derek Hayes. The video is mainly animated and does not feature Madonna, except as the cartoon fairy Tinker Bell. [33] [34] Along with Hayes, there were six animators who worked on creating the fantasy imagery. [33] It was included on the 1990 promotional-only video compilation She's Breathless. [35]

The video opens with a shot of a young girl sleeping in her bed. As the music starts, rays of light emanate from the bedside radio with cartoon violins playing the music. The sun rises inside a picture on the wall and the girl wakes and starts playing with her doll. A fairy goes around tapping all her toys on the floor and a large, golden teapot comes alive and shoots a rainbow from its spout. A cartoon version of the girl then slides along the rainbow and, interpreting the lyrics of the song, catches a falling star and rides over the moon.

By the second verse, pink elephants float over the girl's bed and an animated fairy version of Madonna emerges from the picture and winks. She takes the girl through another picture, displaying mythological and fairytale beings such as dragons, princes and unicorns as well as a castle where Madonna dances with the moon. An underwater scene with mermaids and fish follows, then a parade of all the girl's toys around her room. As the song wraps, the fairy taps on the girl and causes her to yawn. She falls asleep again and her toys go back to being as they were. The violins and the instruments gradually fade inside the radio and the song ends.

Track listing and formats

  1. "Dear Jessie" (LP version) – 4:20
  2. "Till Death Do Us Part" (LP version) – 5:09
  1. "Dear Jessie" (LP version) – 4:20
  2. "Till Death Do Us Part" (LP version) – 5:09
  3. "Holiday" (12-inch version) – 6:20

Credits and personnel

Credits and personnel adapted from Like a Prayer album liner notes. [40]

Charts

Certifications and sales

Certifications and sales for "Dear Jessie"
RegionCertification Certified units/sales
United Kingdom (BPI) [22] Silver255,000 [23]

See also

Related Research Articles

<span class="mw-page-title-main">Who's That Girl (Madonna song)</span> 1987 single by Madonna

"Who's That Girl" is a song by American singer Madonna from the soundtrack of the 1987 film of the same name. Written and produced by Madonna and Patrick Leonard, it was released in Europe as the soundtrack's lead single on June 29, 1987 and in the United States on 30 June 1987. An uptempo pop song, "Who's That Girl" continued the singer's fascination with Latin pop, a genre she had previously explored on her single "La Isla Bonita". It features instrumentation from drums, bass, and trumpets, and has lyrics sung both in English and Spanish. While shooting for the film, then called Slammer, Madonna had requested Leonard to develop a song that captured the nature of her character; the producer worked on a demo and, afterwards, Madonna added the lyrics and decided to rename the song, as well as the film, to "Who's That Girl".

<i>Like a Prayer</i> (album) 1989 studio album by Madonna

Like a Prayer is the fourth studio album by American singer-songwriter Madonna, released on March 21, 1989, by Sire Records. It saw the singer reunited with Patrick Leonard and Stephen Bray, with whom she had collaborated on her previous studio album True Blue (1986), and the soundtrack to the 1987 film Who's That Girl; artist Prince also collaborated on the record, co-writing and co-producing one of the tracks alongside Madonna. Her most introspective release at the time, Like a Prayer is a pop record with elements of rock and dance pop. Its lyrics deal with personal themes she had been too afraid to approach up at that point: her Catholic upbringing, her troubled marriage to actor Sean Penn, the death of her mother, and her relationship with her father.

<i>You Can Dance</i> 1987 remix album by Madonna

You Can Dance is the first remix album by American singer and songwriter Madonna. It was released on November 17, 1987, by Sire Records. The album contains remixes of tracks from her first three studio albums—Madonna (1983), Like a Virgin (1984) and True Blue (1986)—and a new track, "Spotlight". In the 1980s, remixing was still a new concept. The mixes on You Can Dance exhibited a number of typical mixing techniques. Instrumental passages were lengthened to increase the time for dancing and vocal phrases were repeated and subjected to multiple echoes. The album cover denoted Madonna's continuous fascination with Hispanic culture.

<span class="mw-page-title-main">Dress You Up</span> 1985 single by Madonna

"Dress You Up" is a song by American singer Madonna from her second studio album, Like a Virgin (1984). It was released as the album's final single on July 24, 1985, by Sire Records. Composed by Andrea LaRusso with lyrics by Peggy Stanziale, and produced by Nile Rodgers, who also played guitar on the track, it was the final song to be added to the album. Rodgers had asked the writers to compose something similar to the work of his band Chic but, due to LaRusso and Stanziale being busy with other projects, the composition took time. When the lyrics were submitted, the producer initially rejected them, as he felt there was no time to compose a melody; Madonna, however, liked the lyrics and convinced him to include the song on Like a Virgin. Musically, "Dress You Up" is a dance-pop song whose lyrics are an extended metaphor for fashion and lust, comparing dressing up with passion.

<span class="mw-page-title-main">Nothing Fails</span> 2003 single by Madonna

"Nothing Fails" is a song by American singer-songwriter Madonna from her ninth studio album, American Life (2003). Written by Madonna, Guy Sigsworth and Jem Griffiths, and produced by the singer along with Mirwais Ahmadzaï and Mark "Spike" Stent, it was released as the third single from the album on October 27, 2003. Originally demoed as "Silly Thing", "Nothing Fails" is a love song which has acoustic guitar chords and a gospel choir appearance. Lyrically, the song discusses a lover who is the one, and how their meeting was not just chance. A number of remixes were done, including one on Madonna's remix album Remixed & Revisited (2003).

<span class="mw-page-title-main">Spotlight (Madonna song)</span> 1988 single by Madonna

"Spotlight" is a song by American singer Madonna from her first remix album You Can Dance (1987). It was released as a single in Japan on April 25, 1988 by Sire Records and Warner-Pioneer Japan. Initially rejected during her True Blue album recording sessions, the song was written by Madonna, Stephen Bray and Curtis Hudson who had presented the original to the singer. The song was remixed by John "Jellybean" Benitez.

<span class="mw-page-title-main">Causing a Commotion</span> 1987 single by Madonna

"Causing a Commotion" is a song by American singer Madonna from the soundtrack album to the 1987 film Who's That Girl. It was released as the album's second single on August 25, 1987, by Sire Records. Its Silver Screen Single Mix later appeared on the EP The Holiday Collection (1991). Written and produced by Madonna and Stephen Bray, the song was inspired by her relationship with then-husband Sean Penn, and his abusive and violent nature. Containing a dance-oriented, up-tempo groove, the song begins with the chorus and is accompanied by a four-note descending bassline and staccato chords in the verses.

<span class="mw-page-title-main">The Look of Love (Madonna song)</span> 1987 single by Madonna

"The Look of Love" is a song by American singer Madonna from the soundtrack to the 1987 film Who's That Girl. It was released as the third and final single from the soundtrack on November 30, 1987, by Sire Records. While shooting the film, then called Slammer, Madonna had requested that producer Patrick Leonard develop a downtempo song that captured the nature of her film persona. She later wrote the lyrics and melody to the backing track developed by Leonard, and the song became "The Look of Love". Madonna was also inspired by James Stewart's performance in the 1954 film Rear Window when writing the song.

<span class="mw-page-title-main">Angel (Madonna song)</span> 1985 single by Madonna

"Angel" is a song by American singer Madonna from her second studio album Like a Virgin (1984). It was released on April 10, 1985, by Sire Records as the album's third single. Written by Madonna and Steve Bray, it was one of the first songs developed for the project and, according to Madonna, was inspired by a girl who is saved by an angel, and she falls in love with him. "Angel" was released as a 12-inch single with "Into the Groove" in some countries and charted likewise. A music video was not filmed for "Angel", and instead, a promotional clip comprising segments of her previous videos was released in the United Kingdom.

<span class="mw-page-title-main">Into the Groove</span> 1985 single by Madonna

"Into the Groove" is a song recorded by American singer Madonna, and featured on the 1985 film Desperately Seeking Susan. Written and produced by both Madonna and Stephen Bray, the main inspiration behind the song was the dance floor; the singer wrote it while watching a Latin American man to whom she was attracted. Its instrumentation features synthesizers and drum machines, with Madonna's voice being double tracked on the chorus. Sexual innuendos and undertones are present throughout the lyrics, which are written as an invitation to dance with the singer. Originally written for her friend Mark Kamins, Madonna later decided to use it on the film, as one of the scenes needed a dance song. It was later added to the 1985 international re-issue of her second studio album, Like a Virgin (1984), and in her compilations You Can Dance (1987), The Immaculate Collection (1990), Celebration (2009), and Finally Enough Love: 50 Number Ones (2022).

<span class="mw-page-title-main">Like a Prayer (song)</span> 1989 single by Madonna

"Like a Prayer" is a song by American singer Madonna from her 1989 fourth studio album of the same name. It was released as the album's lead single on March 3, 1989, by Sire Records. Written and produced by both Madonna and Patrick Leonard, the song heralded an artistic and personal approach to songwriting for Madonna, who believed that she needed to cater more to her adult audience. Thematically, the song speaks about a passionate young girl in love with God, who becomes the only male figure in her life.

<span class="mw-page-title-main">Rescue Me (Madonna song)</span> 1991 single by Madonna

"Rescue Me" is a song by American singer Madonna from her first greatest hits album, The Immaculate Collection (1990). Written and produced by Madonna and Shep Pettibone, the song was released as the second single from The Immaculate Collection on February 26, 1991, in the United States, and as the third single on April 7 in the United Kingdom. A dance-pop and gospel-house track, the song is accompanied by the sound of thunder and rain, with the lyrics talking of romantic love rescuing the singer.

<span class="mw-page-title-main">Bye Bye Baby (Madonna song)</span> 1993 single by Madonna

"Bye Bye Baby" is a song recorded by American singer and songwriter Madonna, for her fifth studio album Erotica (1992). It was released on November 15, 1993, as the sixth and final single from the album only outside the US. "Bye Bye Baby" was written by Madonna, Shep Pettibone, and Anthony Shimkin and was produced by Madonna and Pettibone. The song is inspired by Madonna's emotions of that time and her S&M thoughts. Musically, it is a hip hop song, sampling a hook from LL Cool J's track "Jingling Baby", released in 1990. Madonna's vocals were filtered to make them appear as sound coming out from an answering machine. "Bye Bye Baby" features instrumentation from keyboard and lyrically finds Madonna asking questions to a lover she is about to abandon.

<span class="mw-page-title-main">Cherish (Madonna song)</span> 1989 single by Madonna

"Cherish" is a song by American singer Madonna from her fourth studio album, Like a Prayer (1989). It was written and produced by Madonna and Patrick Leonard, and was released by Sire Records as the album's third single on August 1, 1989. "Cherish" was built around the themes of love and relationships, with William Shakespeare's Romeo and Juliet being one of the major inspirations. The track also included a line from "Cherish" by the 1960s band the Association. Musically constructed as a doo-wop-style pop song, it is regarded as a light-hearted track by critics and includes instruments such as a drum machine, percussions, keyboards and a saxophone. Lyrically, it speaks of Madonna's devotion to her lover, and her promise to be always by his side. "Cherish" was included on Madonna's greatest hits compilations The Immaculate Collection (1990) and Celebration (2009).

<span class="mw-page-title-main">Oh Father</span> 1989 single by Madonna

"Oh Father" is a song recorded by American singer Madonna for her fourth studio album Like a Prayer (1989). It was released as the fourth single from the album on October 24, 1989, by Sire Records. The song was not released as a single in most European territories until December 24, 1995, when it appeared on the 1995 ballads compilation Something to Remember. Written and produced by Madonna and Patrick Leonard, "Oh Father" concerns the presence of male authoritative figures in Madonna's life, most prominently her father, Tony Ciccone. Madonna's relationship with her father had soured after her mother's death in 1963 and his remarriage three years later. While developing the Like a Prayer album, Madonna was in an emotional state of mind due to her personal problems, which is reflected in "Oh Father".

<span class="mw-page-title-main">Gambler (song)</span> 1985 single by Madonna

"Gambler" is a song by American singer Madonna from the soundtrack album to the 1985 film Vision Quest. The song was written solely by Madonna, while the production was handled by John "Jellybean" Benitez at her request. It was released as the second single from the film's soundtrack album on October 3, 1985, by Geffen Records. "Gambler" was never released as a single in the United States, at the request of Madonna's own Sire Records. The music video of the song is an excerpt from the film.

<span class="mw-page-title-main">Madonna albums discography</span>

American singer Madonna has released 14 studio albums, three soundtrack albums, six live albums, seven compilation albums, and 39 other limited releases. Recognized as the world's best-selling female recording artist of all time by the Guinness World Records, Madonna has accumulated a total record sales of more than 300 million units worldwide, with the International Federation of the Phonographic Industry (IFPI) confirming in 2006, that Madonna's albums alone had sold over 200 million copies worldwide. She is ranked by the RIAA as the best-selling female rock artist of the 20th century and third highest-certified female artist in the United States, with 65.5 million album units. She holds the all-time record for the most number-one albums by a female artist in major music markets such as Australia, Germany, and the United Kingdom.

<span class="mw-page-title-main">Keep It Together (song)</span> 1990 single by Madonna

"Keep It Together" is a song by American singer Madonna from her fourth studio album, Like a Prayer (1989). It was released as the fifth and final single from the album in the United States, Canada and Japan on January 30, 1990, by Sire Records. Written and produced by Madonna and Stephen Bray, the main inspiration behind "Keep It Together" was Madonna's relationship with her family—whom she dearly missed during her divorce from Sean Penn. The song was dedicated to the American band Sly and the Family Stone. The lyrics deal with the realization of how important Madonna's family has been to her life. A pop, funk and deep funk song consisting of an upbeat rhythm and groove, "Keep It Together" features instrumentation from percussion, banjo and a conga.

<span class="mw-page-title-main">Just a Dream (Donna de Lory song)</span> 1993 single by Donna de Lory

"Just a Dream" is a song recorded by American singer Donna de Lory for her eponymous debut studio album (1992). It was released as the album's second single on March 9, 1993, by MCA Records. The song was written and produced by Madonna and Patrick Leonard while composing the former's fourth studio album, Like a Prayer (1989). Since Madonna felt "Just a Dream" would not suit her discography, she gave it to de Lory for recording. After release, the song received mixed review from critics. "Just a Dream" debuted and peaked at number 71 on the UK Singles Chart and reached number ten on the US Dance Club Songs and number 17 on the Dance Singles Sales charts, respectively.

References

  1. ↑ Rooksby 2004 , p. 30
  2. 1 2 Taraborrelli 2002 , p. 168
  3. 1 2 3 4 Bego 2000 , p. 122
  4. 1 2 3 4 5 6 Rooksby 2004 , p. 35
  5. ↑ Clerk 2002 , p. 76
  6. 1 2 Mentos, Mike (March 19, 1989). "Personal Pain, Growth As Musician Evident On Madonna's 'Prayer'". Los Angeles Daily News . Retrieved December 3, 2011.
  7. 1 2 Holden, Stephen (March 19, 1989). "Madonna Re-Creates Herself – Again". The New York Times . Retrieved December 3, 2011.
  8. ↑ Billboard Staff (August 16, 2023). "Madonna's 100 Greatest Songs (Critics' Picks)". Billboard . Archived from the original on September 23, 2023. Retrieved September 23, 2023. A Beatles-esque psychedelic pop pastiche where baroque strings and George Martin-styled trumpets rub elbows with "pink elephants and lemonade"...
  9. 1 2 O'Brien 2007 , p. 198
  10. 1 2 Cicone, Madonna; Leonard, Patrick (1989). Madonna 'Dear Jessie' Sheet Music. United Kingdom: Warner/Chappell Music. 21475.
  11. ↑ Fouz-Hernández & Jarman-Ivens 2004 , p. 44
  12. ↑ Anderson 1992 , p. 232
  13. ↑ Reid 2009 , p. 155
  14. ↑ Gunderson, Edna (March 20, 1989). "Madonna's 'Prayer': Like a confession". USA Today . Archived from the original on June 19, 2012. Retrieved December 3, 2011.
  15. ↑ Blair, Ian (March 19, 1989). "Madonna, seriously Her new album asserts the power of 'Prayer'". Chicago Tribune . Retrieved December 3, 2011.
  16. ↑ Harrington, Richard (March 12, 1989). "Recordings: Madonna's Power of 'Prayer'; Sorting Out the Pains of the Past". The Washington Post . Archived from the original on March 16, 2013. Retrieved December 3, 2011.
  17. ↑ Gonzalez, Ed (August 1, 2018). "The Beat Goes On: Every Madonna Single Ranked". Slant Magazine. Retrieved May 14, 2019.
  18. ↑ Metz & Benson 1999 , p. 13
  19. ↑ Levy, Joey; Logan, Christian (May 1989). "Spins Platter du Jour". Spin . 5 (2): 80. ISSN   0886-3032 . Retrieved December 3, 2011.
  20. ↑ Phinney, Kevin (March 22, 1989). "'Like A Prayer' gives Madonna a vehicle for confession". Austin American-Statesman . Retrieved December 2, 2011.
  21. 1 2 "Madonna: Artist Chart History". Official Charts Company. Retrieved May 10, 2016.
  22. 1 2 "British single certifications – Madonna – Dear Jessie". British Phonographic Industry.
  23. 1 2 "Madonna: The Official Top 40". MTV. Archived from the original on October 10, 2010. Retrieved December 20, 2010.
  24. 1 2 Ryan 2011
  25. ↑ Okamoto 2006 , p. 441
  26. 1 2 "Offiziellecharts.de – Madonna – Dear Jessie" (in German). GfK Entertainment charts. Retrieved May 10, 2016.
  27. 1 2 "The Irish Charts – Search Results – Dear Jessie". Irish Singles Chart. Retrieved May 10, 2016.
  28. 1 2 "Madonna – Dear Jessie" (in German). Ö3 Austria Top 40. Retrieved May 10, 2016.
  29. 1 2 Salaverri 2005 , p. 90
  30. 1 2 "Madonna – Dear Jessie". Swiss Singles Chart. Retrieved May 10, 2016.
  31. 1 2 "Madonna – Dear Jessie" (in Dutch). Single Top 100. Retrieved May 10, 2016.
  32. 1 2 "Eurochart Hot 100". Music & Media. 5 (1). Amsterdam. January 12, 1990. OCLC   29800226.
  33. 1 2 Metz & Benson 1999 , p. 189
  34. ↑ "Ooo, Baby Baby: Top Songs Inspired by Children". Spinner. AOL. April 12, 2010. Archived from the original on November 17, 2011. Retrieved December 10, 2011.
  35. ↑ She's Breathless (Vinyl, CD). Madonna. Sire Records. WEA Records Pvt. Ltd. 1990. 5392.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  36. ↑ Dear Jessie (UK 7-inch Single liner notes). Madonna. Sire Records. 1989. 922 668-7.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  37. ↑ Dear Jessie (UK 7-inch Picture Disc liner notes). Madonna. Sire Records. 1989. 7599 22653-7.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  38. ↑ Dear Jessie (UK 12-inch Single liner notes). Madonna. Sire Records. 1989. 7599 21421-0.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  39. ↑ Dear Jessie (UK CD Single liner notes). Madonna. Sire Records. 1989. 921 421-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  40. ↑ Like a Prayer (LP, Vinyl, CD). Madonna. Sire Records. WEA Records Pvt. Ltd. 1989. 9 25844-1.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  41. ↑ Nyman, Jake (2005). Suomi soi 4: Suuri suomalainen listakirja (in Finnish) (1st ed.). Helsinki: Tammi. ISBN   951-31-2503-3.
  42. ↑ "Nederlandse Top 40 – Madonna" (in Dutch). Dutch Top 40. Retrieved May 10, 2016.
  43. ↑ "Year End Singles". Record Mirror . January 27, 1990. p. 44.
  44. ↑ "Top 100 Single–Jahrescharts 1990" (in German). GfK Entertainment . Retrieved December 5, 2015.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.