Live to Tell

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"Live to Tell"
Madonna, Live to Tell single cover.png
Single by Madonna
from the album True Blue
ReleasedMarch 26, 1986
Recorded1985
Genre Pop
Length
  • 5:51 (album version)
  • 4:37 (single version)
Label
Songwriter(s)
Producer(s)
  • Madonna
  • Patrick Leonard
Madonna singles chronology
"Gambler"
(1985)		"Live to Tell"
(1986)		"Papa Don't Preach"
(1986)
Music video
"Live to Tell" on YouTube

"Live to Tell" is a song by American singer Madonna included on her third studio album True Blue (1986), and in the 1986 film At Close Range . A pop ballad with torch influences, its lyrics talk about deceit, mistrust and childhood scars. Originally conceived as an instrumental by producer Patrick Leonard for the score of Paramount's film Fire with Fire (1986), it was rejected by the studio, who deemed it unfit for the movie. Leonard then presented the track to Madonna, who decided to use it for At Close Range, which stars her then-husband Sean Penn. She wrote the lyrics, came up with a bridge and a few melodies of her own, and co-produced the track alongside Leonard.

Contents

In the United States, “Live to Tell" was released on March 26, 1986, in anticipation of the film's release in April; it also serves as the lead single for True Blue. In Australia and most European countries, the song's release date was April 14. Upon release, it was lauded by critics, who applauded Madonna's vocals and deemed it a highlight in True Blue. In retrospective reviews, it has often been referred to as one of her finest ballads. Additionally, "Live to Tell" was commercially successful, becoming Madonna's third number-one in the US Billboard Hot 100 and her first number-one on the Adult Contemporary chart.

The music video, directed by James Foley, shows the singer in a more demure, toned-down appearance, inspired by actresses such as Grace Kelly, intercut with clips from At Close Range. Madonna has sung "Live to Tell" on four of her concert tours, the most recent being the Celebration Tour of 2023―2024. The song's performance on 2006's Confessions Tour caused controversy, as it had the singer hanging from a mirrored cross simulating a crucifixion; religious groups condemned the number as an act of hostility toward the Roman Catholic Church. Madonna responded by saying that her main intention with the performance was to bring attention to the millions of children dying in Africa. "Live to Tell" has been covered by a handful of artists, particularly for tribute albums.

Background

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"Live to Tell" was conceived as an instrumental by Patrick Leonard (left) for the 1986 film Fire with Fire . When Paramount rejected the track, Madonna decided to use it on At Close Range , a movie starring actor Sean Penn (right), her husband at the time.

In June 1985, Madonna wrapped up the Virgin Tour, her first concert tour. The tour's musical director was producer Patrick Leonard, who'd previously worked on the Jacksons' 1984 Victory Tour. [1] Following the Virgin tour, Madonna asked Leonard if he wanted to continue working with her and he accepted. [2] They met at a barbecue in his house, where he showed her a song he'd created in his studio called "Love Makes the World Go Round", that Madonna then sang at the Philadelphia Live Aid benefit concert on July 13. [1] [3] Around the same time, the singer married actor Sean Penn, whom she met in the set of the music video for her single "Material Girl". [4]

Leonard, by his part, was trying to break into film scoring. [1] [2] He was presented the script to Paramount's 1986 film Fire with Fire by his manager —who also represented the movie's director Duncan Gibbins— and came up with the instrumental for "Live to Tell". [5] [2] When he submitted the track for Paramount's approval, he told executives he'd be able to get Madonna to write the lyrics. [2] The studio, however, rejected the track, believing it didn't fit with the film's theme. [6] After Madonna heard Paramount had turned down the track, she decided to use it as the end credit song in a movie that Penn was working on, titled At Close Range . [2]

According to Rikky Rooksby, author of The Complete Guide to the Music of Madonna, the singer wrote the lyrics "on the spot", coming up with a bridge and a few melodies of her own. [2] [7] She recalled: "Sometimes when I'm writing songs, I'm just channeling [...] [The lyrics are] kind of inspired by [At Close Range] and family secrets and the things that make you who you are, but you don't necessarily want to share". [8] She then recorded a demo and played it to James Foley —director of At Close Range— and Penn, who allegedly "loved it". [6] [2]

Penn telephoned Leonard, who was working with Michael Jackson on some transcriptions for his album Bad (1987), asking him to come to Foley's home. When the producer got there, Penn asked him who would sing the track, since it was written from a man's perspective. [5] Leonard, who loved the "vulnerability" of Madonna's demo, convinced her to sing "Live to Tell" herself, even using the vocals from the demo instead of recording new ones. [5] As for why he chose to do this, the producer explained: "It was so innocent and so shy. It's as naive, as raw as can be and that's part of what gave ['Live to Tell'] all its charm". [6] "Live to Tell" was the second song Madonna and Leonard worked on together, following "Love Makes the World Go Round". [1]

Composition and release

Musically, "Live to Tell" has been noted a "dark", "moody" and "atmospheric" pop ballad with torch influences. [9] [10] [11] [12] According to the sheet music published by Alfred Publishing Inc., it is written in the key of F major, set in the time signature of common time, with a moderate tempo of 112 beats per minute. [13] Madonna's vocals are "throaty", with her range spanning almost one octave from F3 to D4. [14] [13] The lyrics are "vague but portentous", nodding at "some kind of emotional apocalypse". [2] Music writer Dave Marsh held that the song speaks about "the complexity of deceit and mistrust", while according to Allen Metz and Carol Benson ―authors of The Madonna Companion: Two Decades of Commentary― and Boston.com 's Scott Kearnan, it is about "childhood scars" and "bearing the burden of some enigmatic secret and coping with a painful past", which may or may not involve abuse. [15] [16] [7] [17]

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'Live to Tell'
30-second sample of "Live to Tell". Madonna sings the chorus with "throaty" vocals, while instrumentation is provided by a synthesizer that alternates between the tonal keys of D and F. [7]
Problems playing this file? See media help.

Madonna herself, however, said that the lyrics to "Live to Tell" deal with "being strong, and questioning whether you can be that strong but ultimately surviving", further adding that it's one of her songs that "sums up all of my yearning and a lot of my pain". [7] She again discussed the song's meaning during a 2009 interview with Rolling Stone : "I could say that ['Live to Tell'] was about my childhood, my relationship with my parents, my father and my stepmother. But maybe not. It could be about something in an F. Scott Fitzgerald novel or a story that I heard once. [...] It's not necessarily autobiographical". [18]

The song begins with the sound of "big drums", "gasping keyboards" and "blippy little oscillations". [2] Madonna sings on the opening line, I have a tale to tell/Sometimes it gets so hard to hide it well. [19] As she begins to sing, she "temporarily slips outside" F3 and sings over a new bass pedal of C major. [20] She goes back to F3 on the chorus: A man can tell a thousand lies/I've learned my lesson well/Hope I live to tell the secret I have learned. [20] [21] In the pre-bridge dissolve, where "only the dramatic waves of synth remain[s]", Madonna "gently reintroduces herself to the melody"; If I ran away, I’d never have the strength to go very far/How could they hear the beating of my heart/Will it grow cold?/The secret that I hide/Will I grow old?/How would they hear?/When would they learn?/How would they know?, she sings. [21] Electric piano and a "touch of heavy metal guitar strains" are also present throughout the song. [7]

In the United States, "Live to Tell" was released on March 26, 1986, prior to the release of At Close Range on April 18, and almost three months before True Blue —released on June 30. [22] [23] In Australia, New Zealand and most European countries, a release was issued on April 14. [24] [25] [26] [27] [28] Afterwards, "Live to Tell" was included on three Madonna compilation albums: The Immaculate Collection (1990), Something to Remember (1995), and Celebration (2009). [29] [30] [31]

Critical reception

"Throughout her career, Madonna has occasionally reasserted herself as an artist by releasing a dramatic ballad that proves that behind all of the contrived controversy and manipulation, she's a genuinely talented singer. 'Live To Tell' was the first of these reminders. [...] Showing off her newly developed lower range, which would quickly become her strongest vocal asset, [she] delivers one of her all-time strongest vocal performances, singing the slightly melodramatic lyrics with just the right blend of restraint and emotion. ['Live to Tell'] belongs at the top of any reasonable list of big '80s ballads".

—AllMusic's Stewart Mason reviewing "Live to Tell". [11]

"Live to Tell" has been lauded by critics since its release. From AllMusic, Stephen Thomas Erlewine deemed it a "tremendous ballad that rewrites the rules of adult contemporary crossover". [32] Stewart Mason from the same portal said it was "unlike anything [Madonna] had recorded up to that point". [11] "Live to Tell" was acclaimed by the Record-Journal 's Jim Zebora, who gave True Blue an overall negative review: "[An] absolutely marvelous [song] [...] [with an] enchanting melody and arrangement, [and] captivating lyric[s]". [12] Cash Box magazine called it a "restrained yet emotionally powerful ballad." [33] On her review of True Blue for Yahoo!, Stacy Mannion classified "Live to Tell" as a "powerful [...] strange, but beautiful" ballad with a "bluesy feel". [34] Erika Wexler from Spin , described it as "dense with dramatic mystery", and highlighted the way in which the singer "very theatrically conveys a dreamy fatalism". [9]

Writing for PopMatters , Peter Piatkowski said it was a "simultaneously cold and emotional" song, filled with "maturity and ambition", as well as a "very deliberate effort to present Madonna as a mature and serious artist". [35] According to The New York Times ' Stephen Holden, "['Live to Tell'] proves that vocally Madonna isn't limited to catchy novelties and disco tunes – she can carry off a weightier ballad". [36] In this vein, Allen Metz and Carol Benson felt the "compelling" track "expanded" Madonna's musical horizons, noting that she sings with "moving conviction". [15] Stereogum 's Tom Breihan wrote: "Madonna has never been a powerhouse like Whitney Houston, but she’s a communicator. She speaks volumes with tone and phrasing". [2] Breihan went on to describe "Live to Tell" as "planetarium music [...] pure head-blown '80s sci-fi awe —the kind of wonderstruck synth music that Carl Sagan might've used to soundtrack Cosmos ". [2]

Adam Sexton, author of Desperately Seeking Madonna: In Search of the Meaning of the World's Most Famous Woman, named it a "provocative companion" to "Papa Don't Preach", True Blue's second single, and complimented the production; "[the] music itself suggests a threatened annihilation, a fact that makes it more haunting", Sexton wrote. [37] In The Complete Guide to the Music of Madonna, Rikky Rooksby said it was True Blue's second "strongest track" after "Papa Don't Preach", and compared it to "Luka" (1987) by Suzanne Vega. [7] Reviewing The Immaculate Collection on its 25th anniversary, People 's Drew Mackie said "Live to Tell" was one of Madonna's "better" ballads. [38] While The National 's Saeed Saeed named it an "epic" ballad, Justin Chadwick From website Albumsim referred to it as "gorgeously produced [...] one of the most riveting songs not just on True Blue, but across all of Madonna’s albums". [39] [40]

On her review of Something to Remember, USA Today 's Edna Gundersen deemed it a "moody heart-tugger" that "may be her best song ever". [41] James Croot from New Zealand website Stuff opined "Live to Tell" is a "heart-rending and haunting ballad that Madonna tried to recapture a few times later in her career ('This Used to Be My Playground', 'Take a Bow') without exactly the same kind of impact". [42] One unfavorable review came from Rolling Stone 's Davitt Sigerson, who was not impressed and dismissed the song as a "'Both Sides Now' rewrite". [43] John Leland, writing for Spin, also gave a negative review: "At her best, [Madonna] exudes a sassy, girlish innocence [...] On 'Live to Tell', she's a woman of experience. [...] [But] unlike Sade, she seems to have nothing but a cheap, tawdry tale to tell —and only a cheap, tawdry voice to tell it in". [44]

Recognition

Scott Kearnan named "Live to Tell" Madonna 21st best single and wrote: "With 'Crazy for You', [she] proved she could nail a hit ballad: for teenage girls to slow dance to at prom. But 'Live to Tell' broadened her appeal with adult audiences". [16] Billboard 's Andrew Unterberger, and Entertainment Weekly 's Chuck Arnold, placed it at number 18 and 17 of their rankings, respectively; the former named it "the first truly great Madonna ballad", while according to the latter, it found her "displaying greater depth and maturity than ever before. [45] [46] Louis Virtel, writing for The Backlot, named "Live to Tell" the tenth best song of Madonna's discograph: "Before ['Live to Tell'] she was an armpit-drying urchin in Desperately Seeking Susan ; afterward, she was a serious balladeer [...] [It's] the closest thing Madonna's ever delivered to a 'sonic journey', and it’s beautiful, indigo-tinged adventure in introspection". [47] Jude Rogers from The Guardian placed it nine on her ranking, highlighting its lyrics and referring to it as "the best thing [Madonna's] done in cinema, despite the mediocrity of the film that it's from". [48] "Live to Tell" is a "melodramatic shot of emotion that highlights [Madonna's] signature throaty vocals", as well as her sixth best, according to Glamour 's Christopher Rosa. [14] On Slant Magazine 's ranking, it was allocated on the fifth spot: "Madonna’s first and, arguably, most dramatic reinvention was scored by this spare and haunting ballad [...] [It] features one of [her] richest vocal performances", wrote Sal Cinquemani. [49] Samuel R. Murrian from Parade deemed it Madonna's third best song; her "finest, most emotional ballad [that has] her strongest-ever lyrics". [50] Finally, Enio Chola from PopMatters said it was Madonna's second best song, and wrote:

"'Live to Tell' has held up as the definitive Madonna ballad that perfectly encapsulates who she is as a person, performer, and cultural icon. It is her best ballad, and third-ever US number one single. [...] There’s a vulnerability [in 'Live to Tell'] that [she] rarely exposes regarding her fears as a human being, living up to the career expectations she’s built for herself, and how she compares to those she admires". [21]

Chart performance

On April 12, 1986, Billboard reported that "Live to Tell" was one of the most added songs on radio stations, which gave it an "outstanding" debut on the Hot 100, at number 49. [51] The following week, it debuted at number 28 on both the Hot Adult Contemporary and Hot 100 Airplay charts. [52] On May 10, Billboard announced that "Live to Tell" was the single with the most airplay in reporting radio stations: 229 out of 230. [53] The song reached the top of the Hot 100 on June 7 —becoming Madonna's third number-one in the United States— and spent one week in this position. [54] "Live to Tell" was Madonna's third number-one hit in less than 18 months, as well as her second one taken from a movie, following "Crazy for You". [23] Additionally, the song was a crossover success: It was Madonna's first Adult Contemporary number-one, topping the chart for three weeks. [55] [8] By the end of 1986, "Live to Tell" ranked 12th on the Adult Contemporary chart, and 35th on the Hot 100. [56] [57]

In Canada, "Live to Tell" debuted at number 79 of the RPM singles chart, the week of April 12, 1986, reaching the first spot one month later. [58] [59] It came in second at the RPM year-end singles chart for 1986. [60] In the United Kingdom, the single debuted at the 10th position of the UK Singles Chart on April 26, 1986, eventually peaking at number two one week later. [61] One month later, it was certified silver by the British Phonographic Industry (BPI) for shipment of 331,000 copies. [62] According to Music Week magazine, over 271,897 copies of the single have been sold in the United Kingdom as of 2008. [63] "Live to Tell" also saw success throughout Europe: It reached the first position in Italy and Greece; [64] [65] number two in Ireland and Norway; [66] [67] and number three in Belgium, Denmark, and the Netherlands. [25] [68] [27] [69] In France, the single reached the chart's sixth position, and was certified silver by the Syndicat National de l'Édition Phonographique for shipment of 250,000 copies. [26] [70] In New Zealand and Australia, the song peaked at number 7 and 6, respectively. [24] [28]

Music video

Background

Madonna in Live to Tell Music video.jpg
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For the "Live to Tell" music video, Madonna adopted a new look (left) inspired by Classical Hollywood actresses such as Grace Kelly (right).

The music video for "Live to Tell" was directed by James Foley. [71] It intersperses footage of Madonna singing against a black backdrop, with scenes from At Close Range that "indicate the conflict" Sean Penn's character goes through. [71] [72] According to author Matthew Rettenmund, the video was shot as a "minimalist portrait" of the "new" Madonna. [71] Inspired by the "glamorous" style of the Golden Age of Hollywood and figures like Brigitte Bardot, Grace Kelly and Marilyn Monroe, the singer decided to tone down her appearance; "I got sick of wearing tons of jewelry – I wanted to clean myself off", she explained. [36] [35] In the visual, she dons a "demure" floral dress, while her hair and make up are "elegant, heavy but very tasteful". [35] Additionally, "Live to Tell" marked her first music video to not feature a dance routine, but a "tinge of real-world storytelling", depicting Madonna as a narrator. [73] [72]

Reception and analysis

In Your Neighbor's Hymnal: What Popular Music Teaches Us about Faith, Hope, and Love, Jeffrey F. Keuss wrote: "[T]here is something in that loneliness [from the video] that makes it feel like the most authentic thing [Madonna] has ever done", comparing the shots of her singing alone to Carl Theodor Dreyer's 1928 film The Passion of Joan of Arc , and the cover artwork for Sinéad O'Connor's second studio album, I Do Not Want What I Haven't Got (1990). [74] According to Jeremy G. Butler, author of Television: Critical Methods and Applications, through her singing, Madonna appears to speak to Penn's character, addressing his problems directly like the chorus of a classical tragedy. [72] Peter Piatkowski applauded the "gorgeous and stylish" visual, feeling it "matched the song’s intense moodiness". [35] Tom Breihan said it was the only Madonna video that "gives as much screen time to a mustachioed Christopher Walken as it does to [her]". [2] "Live to Tell" was considered the singer's 17th best music video by Samuel R. Murrian, and can be found on the 2009 compilation Celebration: The Video Collection . [75] [31]

Live performances

Madonna singing "Live to Tell" from atop a floating box on the Celebration Tour (2023--2024) MadonnaO2171023 (7 of 133) (53269595977).jpg
Madonna singing "Live to Tell" from atop a floating box on the Celebration Tour (2023―2024)

"Live to Tell" has been included on four of Madonna's concert tours: Who's That Girl (1987), Blond Ambition (1990), Confessions (2006), and Celebration (2023―2024). On the first one, she sang the song standing motionless in a single spotlight, dressed in a black ensemble with tassels, golden tips and ribbing, designed by Marlene Stewart. [76] [77] Writing for the Los Angeles Times , Robert Hilburn noted that the artist sang "with a delicate, embracing feeling that few of even her biggest fans would have imagined possible five years ago". [76] By contrast, The Washington Post 's Richard Harrington deemed the number one of the concert's weakest, as he felt the ballad didn't "transition too well" to a stadium. [78] Two different performances can be found on the videos Who's That Girl: Live in Japan, filmed in Tokyo on June, and Ciao Italia: Live from Italy , filmed in Turin on September. [79] [80]

On the Blond Ambition World Tour, "Live to Tell" was performed in a medley with "Oh Father" (1989) and given a Catholic theme: The stage was set up to resemble a candlelit cathedral, while Madonna wore black vestments. [81] [82] [83] She sang knelt down in a prie-dieu, in front of a stained glass cathedral window that was lowered from the ceiling; dancer Carlton Wilborn played a priest Madonna interacted with during the number. [84] [85] Harrington applauded the singer's "impassioned, forceful and direct" vocals. [83] Performances of the song can be found in Blond Ambition Japan Tour 90, taped in Yokohama, Blond Ambition World Tour Live , taped in Nice, and the 1991 documentary Madonna: Truth or Dare . [86] [87] [88]

The performance of "Live to Tell" on the Confessions Tour had Madonna hanging onto a mirrored cross, simulating a crucifixion. [89] She wore purple pants, red blouse, and a crown of thorns. [90] As she sang, "dire" statistics about children dying of AIDS in Africa played on the background screens. [91] While the staff of the Boston Herald singled out Madonna's "authoritative and impassioned" vocals, Leslie Gray Streeter from The Palm Beach Post said that the "preachy" performance "slowed [the concert] down in an unsatisfying way". [92] [93] The Philadelphia Inquirer panned the number for being a "most desperate attempt to shock". [94] The performance from the August 15–16 London concerts was included on the singer's second live album, The Confessions Tour (2007). [95]

On the Celebration Tour, following the performance of "Holiday" (1983), the dancers abandon the stage, leaving just one who falls to the floor in front of Madonna. She "tenderly" covers him with a trenchcoat, giving way to "Live to Tell". [96] Wearing a necklace of Swarovski crystals shaped like teardrops, Madonna sings the track from atop a box that flies over the audience as images of people who died of HIV/AIDS ―including Keith Haring, Herb Ritts, and Freddie Mercury― are projected on drop-down screens throughout the venue. [96] [97] [98] [99] Below her, a clown walks reverently past the photographs, holding a red balloon. [97] Rolling Stone's Kory Grow compared the number to an awards ceremony's in memoriam segment, while Kate Solomon from British newspaper i deemed it "one of the most moving pop performances [I've] ever seen". [100] [96]

Controversy

On the Confessions Tour, Madonna sang "Live to Tell" hanging from a cross; the performance faced backlash from religious groups. LiveToTellFresno2.jpg
On the Confessions Tour, Madonna sang "Live to Tell" hanging from a cross; the performance faced backlash from religious groups.

The song's performance on the Confessions Tour generated a negative reaction from religious groups: German prosecutors in Düsseldorf threatened to sue Madonna for blasphemy, with Protestant bishop Margot Käßmann expressing that, "maybe the only way an aging superstar can attract attention is to offend people's religious sentiments". [101] The Russian Orthodox Church and the Federation of Jewish Communities of Russia (FJCR) described the number as amoral, and urged the public not to attend the concert in the country. [102] The performance done at Rome's Olympic Stadium —located near the Vatican— was condemned as an act of hostility toward the Roman Catholic Church by religious leaders; Italian cardinal Ersilio Tonini considered it a "scandal created on purpose by astute merchants to attract publicity", while Mario Scialoja, president of the country's Muslim World League, noted that it wasn't "the first time [Madonna] stages such an act". According to Riccardo Pacifici, spokesman for Rome's Jewish community, Madonna's actions were "a disrespectful act, and to do it in Rome is even worse". [103] A spokesperson for the Catholic Church in England and Wales said believers would be offended by the number; "the crucifixion is at the heart of the story of God becoming man and suffering to redeem us. To use it as a stage prop is a banal perversion of that magnificent event". [104] By contrast, a pastor from North Denver defended the "powerful and very reverent performance", which "calls the world to take notice that there are 12 million children who are currently orphaned"; he also applauded Madonna for "trying to wake us up to [...] care for those who are most often forgotten". [105] Madonna herself stood by the number, claiming that Jesus wouldn't be mad at "the message I'm trying to send", and released a statement:

I am very grateful that my show was so well received all over the world. But there seems to be many misinterpretations about my appearance on the cross and I wanted to explain it myself once and for all. There is a segment in my show where three of my dancers "confess" or share harrowing experiences from their childhood that they ultimately overcame. My "confession" follows and takes place on a Crucifix that I ultimately come down from. This is not a mocking of the church. It is no different than a person wearing a Cross or "Taking Up the Cross" as it says in the Bible. My performance is neither anti-Christian, sacrilegious or blasphemous. Rather, it is my plea to the audience to encourage mankind to help one another and to see the world as a unified whole. I believe in my heart that if Jesus were alive today he would be doing the same thing.

My specific intent is to bring attention to the millions of children in Africa who are dying every day, and are living without care, without medicine and without hope. I am asking people to open their hearts and minds to get involved in whatever way they can. The song ends with a quote from the Bible's Book of Matthew: "For I was hungry and you gave me food. I was naked and you gave me clothing. I was sick and you took care of me and God replied, 'Whatever you did for the least of my brothers ... you did it to me.'"

Please do not pass judgment without seeing my show". [104] [106]

Covers

In 1992, American guitarist Bill Frisell covered "Live to Tell" in his fourth album, Have a Little Faith . [107] Six years later Blonde Ambition released an EP with 6 different hi-NRG remixes of the single. [108] "Live to Tell" was then covered by American New wave band Berlin for 1999's Virgin Voices: A Tribute to Madonna, Vol. 1; during an interview with CNN, the band's lead vocalist Terri Nunn explained that, "[Madonna]'s influenced a lot of people [...] maybe not me, because I'm not a fan. But a lot of bands are", adding that "Live to Tell" is the only Madonna song that she "would touch". [109]

In 2001, Italian singer Lucrezia made an uptempo dance version of the song —remixed by David Morales— that peaked at number two for two weeks on Billboard's Hot Dance Club Play, and eventually included in the compilation album Logic Pride, Vol. 4. [110] [111] Canadian jazz singer Carol Welsman recorded "Live to Tell" for her eponymous 2007 album. [112] Covers of the song on tribute albums include one by Semi Moore on The Material Girl: A Tribute to Madonna (2000); [113] an instrumental version on The String Quartet Tribute to Madonna (2002); [114] a folk rendition by Winter Flowers on 2007's Through the Wilderness , and a hi-NRG version by Melissa Totten on her 2008 album Forever Madonna. [115] [116] American singer Little Wings recorded "Live to Tell" in 2015, and three years later it was covered by American band Deerhoof for the compilation Post-Trash: Volume Three. [117] [118] American dark wave band Ego Likeness released a cover of the track in 2023. [119] American singer Tori Amos has also covered "Live to Tell". [120]

Track listing and formats

  1. "Live to Tell" (7" Edit) – 4:37
  2. "Live to Tell" (Instrumental) – 5:49
  1. "Live to Tell" (LP Version) – 5:49
  2. "Live to Tell" (7" Edit) – 4:37
  3. "Live to Tell" (Instrumental) – 5:49
  1. "Live to Tell" (LP Version) – 5:49
  2. "Live to Tell" (7" Edit) – 4:37
  3. "Live to Tell" (Instrumental) – 5:49

Credits and personnel

Credits and personnel are adapted from the True Blue album liner notes, and the US twelve-inch single liner notes. [124] [122]

Charts

Certifications and sales

Certifications and sales for "Live to Tell"
RegionCertification Certified units/sales
Brazil—60,000 [151]
Japan—23,850 [152]
France (SNEP) [70] Silver250,000*
United Kingdom (BPI) [62] Silver331,000 [153]

* Sales figures based on certification alone.

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"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".

<span class="mw-page-title-main">Papa Don't Preach</span> 1986 single by Madonna

"Papa Don't Preach" is a song by American singer Madonna from her third studio album, True Blue (1986). Written by Brian Elliot, it was produced by the singer and her collaborator Stephen Bray. In the United States, the song was released as the album's second single on June 11, 1986, whereas in most European countries, the release was five days later. A dance-pop track with that mixes elements of baroque, post-disco and classical music, its lyrics deal with teenage pregnancy. Elliot wrote it inspired by teen gossip he'd hear outside his recording studio. Originally intended for a singer named Christina Dent, Warner Bros. Records A&R executive Michael Ostin convinced Elliot he let Madonna record it instead. The singer then added and altered a few of the lyrics, and got a songwriting credit.

<span class="mw-page-title-main">Don't Tell Me (Madonna song)</span> 2000 single by Madonna

"Don't Tell Me" is a song recorded by American singer Madonna for her eighth studio album, Music (2000). It was released as the second single from the album on November 14, 2000, by Maverick Records. Madonna co-wrote and co-produced the track with Mirwais Ahmadzaï, with additional writing from her brother-in-law, Joe Henry. Henry originally conceived it as a tango-styled torch song called "Stop"; the demo was later sent to Madonna, who then proceeded to change its musical composition, turning it into a country-dance song. Lyrically, Madonna asks her lover not to control her.

<span class="mw-page-title-main">Material Girl</span> 1985 single by Madonna

"Material Girl" is a song recorded by American singer Madonna for her second studio album, Like a Virgin (1984). It was released on January 23, 1985, by the Sire label as the second single from Like a Virgin. It also appears slightly remixed on the 1990 greatest hits compilation, The Immaculate Collection, in its original form on the 2009 greatest hits compilation, Celebration and Finally Enough Love: 50 Number Ones (2022). The song was written by Peter Brown and Robert Rans, and produced by Nile Rodgers. Madonna said the concept of the song was indicative of her life at that time, and she liked it because she felt it was provocative.

<i>True Blue</i> (Madonna album) 1986 studio album by Madonna

True Blue is the third studio album by American singer-songwriter Madonna, released on June 30, 1986, by Sire Records. In early 1985, Madonna became romantically involved with actor Sean Penn, and married him six months later on her 27th birthday. Additionally, she met producer Patrick Leonard while on the Virgin Tour, and formed a professional relationship with him. The first songs they created together were "Love Makes the World Go Round", and the ballad "Live to Tell", which was featured on At Close Range, a film in which Penn starred. In late 1985, Madonna and Leonard began working on her third studio album; she also enlisted the help of former boyfriend Stephen Bray, with whom she had worked on her previous record Like a Virgin (1984). Titled True Blue, the record saw Madonna co-writing and co-producing for the first time in her career. Inspired by Madonna's love for Penn, to whom she dedicated it, True Blue is a dance-pop album that features influences of Motown sound, girl groups, and Latin pop.

<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">Holiday (Madonna song)</span> 1983 single by Madonna

"Holiday" is a song by American singer Madonna from her self-titled debut album (1983). It was written by Curtis Hudson and Lisa Stevens-Crowder for their own musical act Pure Energy, and produced by John "Jellybean" Benitez. Hudson came up with the lyrics of the song while watching negative news on television, and together with Stevens-Crowder worked on the music. They recorded a demo, which was turned down by their label Prism Records. Afterwards, Benitez pitched the track and offered it to several artists, including former the Supremes singer Mary Wilson, but it was rejected. Around the same time, Benitez was working with Madonna on her album; after realizing they needed a song for the project, Benitez thought of "Holiday" and approached Hudson and Stevens-Crowder.

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

"Crazy for You" is a song recorded by American singer Madonna for the film Vision Quest (1985), written by John Bettis and Jon Lind, and produced by John "Jellybean" Benitez. Released on March 2, 1985 through Geffen Records, it is a pop ballad with torch influences, and lyrics that talk about sexual attraction and desire. Jon Peters and Peter Guber produced Vision Quest, while Joel Sill, Warner Bros. Pictures music vice president, and music director Phil Ramone were in charge of putting together its soundtrack. Sill got in touch with Bettis and Lind, and asked them to write a new song for the film. The duo came up with "Crazy for You" after reading the script, and decided to use it in a scene in which the main characters —Matthew Modine and Linda Fiorentino— dance together for the first time.

<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">Open Your Heart (Madonna song)</span> 1986 single by Madonna

"Open Your Heart" is a song recorded by American singer Madonna from her third studio album True Blue (1986). Written by Gardner Cole and Peter Rafelson, it was conceived as a rock and roll song titled "Follow Your Heart" for singer Cyndi Lauper, although it was never played for her. At the time, Cole's management was working with Madonna's, who were looking for material for True Blue. "Follow Your Heart" was among the songs offered to the singer. She liked it and, alongside producer Patrick Leonard, turned it into a dance song, changed its title and re-wrote some of the lyrics, thus receiving a songwriting credit.

<span class="mw-page-title-main">True Blue (Madonna song)</span> 1986 single by Madonna

"True Blue" is a song by American singer Madonna from her third studio album of the same name (1986). Written and produced by the singer and her collaborator Stephen Bray, in Australia, New Zealand, and most European countries, it was released as the album's third single on September 29, 1986. In the United States, it was published on October 9. A dance-pop song that takes influence from Motown and girl groups from the 1950s and 60s, its lyrics address Madonna's feelings for her then-husband Sean Penn.

<span class="mw-page-title-main">La Isla Bonita</span> 1987 single by Madonna

"La Isla Bonita" is a song by American singer Madonna from her third studio album True Blue (1986). Patrick Leonard and Bruce Gaitsch created it as an instrumental demo and offered it to singer Michael Jackson, who turned it down. When Leonard met Madonna to start working on True Blue, he played the demo for her. Madonna came up with the title, wrote the lyrics and produced the song with Leonard. It is her first song with Latin influences. Its instrumentation features flamenco guitar, Latin percussion, maracas, and includes four lines sung in Spanish. The lyrics talk of an island named San Pedro, whose location has been debated. Madonna said the song was her tribute to Latin Americans.

<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">Take a Bow (Madonna song)</span> 1994 single by Madonna

"Take a Bow" is a song by American singer Madonna from her sixth studio album, Bedtime Stories (1994). It was released as the album's second single on December 6, 1994, by Maverick Records. It is a midtempo pop ballad written and produced by Madonna and Babyface. Following the sexually explicit persona portrayed by Madonna on her previous album, Erotica, she wanted to tone down her image for Bedtime Stories. Experimenting with a new musical direction and a more radio-friendly sound, Madonna decided to collaborate with Babyface, whose work with other musicians had impressed her. "Take a Bow" was developed after she listened to the basic beat and chords of a piece of music composed by him.

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

"Rain" is a song by American singer Madonna from her fifth studio album, Erotica (1992). Written and produced by Madonna and Shep Pettibone, in Australia and most European countries, "Rain" was released as single on on July 17, 1993. In the United Kingdom and the United States, it was issued on July 19, and August 5, respectively. It was then included on Madonna's 1995 compilation, Something to Remember. A pop ballad with elements of R&B, trip-hop, and New-age music, its lyrics liken water and rainfall to the power of love.

<span class="mw-page-title-main">You'll See</span> 1995 single by Madonna

"You'll See" is a song by American singer Madonna from her ballads compilation, Something to Remember (1995). She wrote and produced the song with Canadian musician David Foster. "You'll See" was released on October 23, 1995, by Maverick Records as the lead single from the album. An acoustic pop ballad, "You'll See" features instrumentation from percussion, tremolo guitar and piano, while lyrically it speaks of independence after the end of a love affair.

<span class="mw-page-title-main">I'll Remember</span> 1994 single by Madonna

"I'll Remember" is a song by American singer Madonna for the 1994 film With Honors. It was released by Maverick and Warner Bros. Records on March 8, 1994, as the lead single from the film's soundtrack album. It was a radical change in image and style for Madonna, who had received huge backlash due to the release of her book Sex, the studio album Erotica and the film Body of Evidence. Warner Bros. decided to release the song for the film after noting most of her previous soundtrack singles had achieved commercial success. It utilizes a synthesized keyboard arrangement to bring about a continuously reverberating heartbeat sound. Madonna's voice is supported by backing vocals.

<span class="mw-page-title-main">This Used to Be My Playground</span> 1992 single by Madonna

"This Used to Be My Playground" is a song recorded by American singer Madonna. It is the theme for the film A League of Their Own, which starred Madonna, and portrayed a fictionalized account of the real-life All-American Girls Professional Baseball League. Madonna was asked to record a song for the film's soundtrack. At that time she was busy recording her fifth studio album, Erotica, with producer Shep Pettibone. They worked on some ideas and came up with "This Used to Be My Playground" in two days. Once presented to director Penny Marshall's team, the song was released as a standalone single on June 16, 1992, by Warner Bros. Records. However, it was not available on the film's soundtrack due to contractual obligations and was later added to the Olympics-inspired Barcelona Gold compilation album, released that summer. The song was included on Madonna's 1995 ballads compilation Something to Remember.

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