Fans say the footage is mostly Buenos Aires, so it is not an unreleased video from last October. It was probably put together as a "gift for the fans" from DVD footage to give some exposure for the second leg of the tour and the upcoming DVD.

Also, Warner already pulled it back:

I wanna listen to Celebrate.

the miles away vid http://www.madonnaonline.....asp?#5674
[Edited 6/6/09 1:59am]

personally, i lost interest in it completely.

Found this on a Madonna forum, an interesting and quite surprising interview with Patrick Leonard from 1991:

Respecting himself After working with Madonna, Pat Leonard is on his own

Hugh Hart, a Chicago free-lance writer.. Chicago Tribune (pre-1997 Fulltext). Chicago, Ill.: Jan 13, 1991. pg. 3
Copyright Chicago Tribune Co. Jan 13, 1991

When Pat Leonard was kicked out of Park Ridge's Maine East High School in the mid-'70s, he was a rebellious teenager who thought everybody else had their heads screwed on backward.

"They didn't feel I was cooperating," he says. "It was too big a school to be a musician who didn't want to do anything but music. I figured, `All these people are jerks, and I'm a genius.' "

Fifteen years later, Leonard is having the last laugh. After being Madonna's musical alter ego for four years, the 34-year-old keyboardist-composer-producer has become one of the hottest behind-the-scenes music talents in Los Angeles.

"I'm over the Madonna thing and sick of hearing about it," he says by phone from his own 48-track recording studio in Los Angeles, where he lives with his wife and three children. "At some point, what she's doing crosses the line into sensationalism, and it's not art or entertainment anymore."

Still, Leonard says he's proud of the work he produced with her. While she has relied on other composers for most of her dance tracks, several of Madonna's most substantial songs, including "Like a Prayer" and the majestic "Live to Tell," have featured Leonard's soaring melodies.

For Madonna's albums "True Blue," "Like a Prayer" and "Dick Tracy," Leonard hired the musicians, programmed the tracks, played keyboards, wrote and arranged the music, and supervised the singing, but he felt left out of the final product.

"I'd get into the heat of writing with her, then at some point realize, `Wow, this isn't my record.' You wake up the next morning and hear a dance mix by someone you never met, it's kind of shocking. I felt a little like Dorothy in Oz; maybe I was a little naive. It's totally her right; it's her picture on the cover. But working with her, I learned the difference between what is my record and somebody else's."

These days, Leonard is more interested in talking about his band, Toy Matinee, whose debut on Warner/Reprise reflects his roots in the progressive rock sound he used to play in his first Chicago band, Trillion.

"The music that most influenced me was played by virtuosos whose songs expressed ideas and emotion," Leonard says. "From Led Zeppelin and Pink Floyd all the way through Genesis, Gentle Giant and Jethro Tull, what turned me on about that music was a certain feeling of risk and adventure. Getting that feeling again is part of what this group is all about."

Replete with tempo changes, modulations, lots of chord changes and disparate styles ranging from clarinet swing band to baroque piano breaks, the album shows off Leonard's wide-ranging musical skills, which he has developed since he was a 3-year-old learning classical pieces by ear that his older sister played for him.

By age 9, Leonard was accompanying his saxophone-playing dad at gigs in Mundelein supper clubs. Around the time he left high school, Leonard formed Trillion, which released two records on Mercury. In 1982, he led an instrumental trio called Soft Machine. In the early '80s, Leonard fell into the lucrative advertising jingle scene after taking a crash course in sight reading music at Roosevelt University.

Leonard says that by 1984 he had "learned enough humility" and decided to move to Los Angeles. After three auditions he became not only keyboardist but also musical director for the Jacksons.

This career leapfrog was followed by another when Madonna's manager asked Leonard to put together her new show. "I wasn't interested at all," Leonard says. "To me she was just someone who rolled around in her underwear. But they said, `Just meet her.' So I did, and she was just so headstrong and focused. She said, `You can put the whole thing together.'" So Leonard relented and began writing songs with Madonna during her "Like a Virgin" tour.

Since breaking with Madonna in 1988, Leonard has been working on movie sound tracks, a solo instrumental pop-jazz album produced by Chick Corea, and collaborations with Robbie Robertson; Roger Waters (formerly of Pink Floyd); and a young singer named Schascle.

"I love working with people who are brilliant at what they do," Leonard says. "It's so exciting to read Roger Waters' lyrics, and to be able to help form this into something finished."

mmmh, so he had bitter feelings. but he continued working with her, though,

I'd love to read more about Pat, Steve and Madonna's working approach.

Since almost all of her producers feel nearly betrayed or sucked out I figure they did most of the work and think they don't get enough credit for that.

I just can't imagine they all get sick just because Madonna decides to work with others.

But at the end of the day his songs for Madonna made him known and rich.

^It's just that he probably didn't like the "manufactured" music of Shep's house beats, as he was always about real instruments. Madonna basically wrote out the album versions of LAP & EY from history, and since the Shep mix of EY was the main version, Stephen was always bitter.

I don't think they get sick because Madonna works with others, but this was a case of altering their work. Like even on ROL, Madonna, Orbit and DeVries completely changed "Skin" which was a Patrick composition. That's why I doubt they will ever work together again, since Madonna doesn't need his "sound".

Of course, he got rich because of Madonna songs, that's why he didn't work with other big pop artists. After that he was just more interested in making music than producing hits, I guess.

Not all of her producers were bitter though, the "hitmaker" ones always had nice things to say about her, William Orbit remained humble and a fan, Mirwais recently showed some huge ego, but he was not bitter about Madonna at all. Stuart did not like Pharrell's stuff, but he never dissed Madonna either, and Stuart definitely got a LOT of spotlight, for the comeback single "HU" and for being on 3 tours, if anyone, it's Stuart who should be the most thankful for all the exposure he got from working with Madonna.

LiveToTell86 said:

so what, Stephen and Pat were unoriginal producers. The did solid work, but nothing more.
And what's the problem with changing a song's production?


From my understanding that Substitute For Love demo was written by Pat. It's an awful production, with bird sounds and stuff.

I bet Joe Henry doesn't complain about the HEAVY altering of his songs as well.

^Am not sure about the Pat credit for NSFL, if it was the case, he'd be credited on the album.

I agree with you, they were songwriters, but not producers, so they just had a different view on pop music, that's all. Changing production, I mean that it's Shep's version that became the popular version of EY and Stephen didn't get recognition for his original work.

Joe Henry got rich because of royalties of "Don't Tell Me", still among the 15 most played Madonna songs on US recurrent radio.

here's a recent interview with william orbit (may 09)..kinda cool...he talks a little bit about the ROL sessions and some nice things about her..


http://www.bbc.co.uk/radi...kins_orbit

The webmaster of Madonna Tribe says that a new Madonna single won't come out till late August and it might not be "Revolver" after all.

LiveToTell86 said:

well, Celebrate would be okay as well. I imagine it to be an amazing song.

LiveToTell86 said:

i don't think he's bitter. he is one only one from the 80s she returns to work with from time to time. I think he was trying to distance himself from her to promote his own stuff.

Madonna doesn't take kindly to backstabbing or people who dis her publicly, hince the reason we will never see her onstage with Niki.

and i'm starting to believe more and more that she was a ghost writer in her brothers book.

the article is from Jan 91, around the time of the whole Justify My Love/Truth or Dare media circus. I'm sure he was tired of having to answer questions about her that he more or likely couldn't answer because of her iron clad confidentiality agreements.
[Edited 6/9/09 0:26am]

ehuffnsd said:

yeah, you got a few points. Probably he was pissed by what she was doing at the time, hence the "attention" remark.

They still work together, didn't they write for the 2004 musical, Bon D'Accord?

Pat also wrote the score for I Am Because We Are

graecophilos said:

I'm not certain the excat name of the musical but she was at one time working on a project with Joe Henry and Pat. That's where Jump, Hung Up, The Devil Wouldn't Reconinze you and a couple others got their start.

ehuffnsd said:

Hello Suckers

What do people reckon on the merchandise for this summer's Sticky & Sweet Tour?? I hope we get some near gear, and the t-shirts will have to be changed at least as the ones from last year had "2008" on them.

madonnatribe bout Revolver

It's done for the Madonna GH collection and it will be on the album but it might not be a single or at least not the first single...

So, supposedely there will be only two new songs on the GH, Revolver and Celebration?

And Broken might be in the movie? Oakenfold's been doing a lot of movie soundtracks.

Broken does sound like a dark ballad anyway.

There were 2 musicals. The first was Hello Suckers! which was mostly done with Patrick Leonard. It was 1920s sounding, so that's why Pat was asked, it was probably similar to I'm Breathless, and Madonna couldn't have done an album like that with an electronic producer, only with someone like Patrick, who studied music and proved himself with "real instruments" music.

The other was a Luc Besson musical, that's where "Jump", "How High" and supposedly "Hung Up" come from. Not sure about the latter, because Madonna said Stuart gave her the instrumental, she wrote the song in 15 mins and that's when she decided she wants an all dance album with Stuart. But it's possible the music by Stuart was submitted while Madonna was trying out concepts for the musical.

Madonna herself stated "Devil..." was written by her for Hello Suckers!, but it's Joe Henry who's credited, even though she stated a lot was written with Patrick and some with Mirwais. But it's possible she was mixing up the sessions, because I read some fansite saying the Luc Besson musical was meant to be a journey through time (which was erroneously reported for the Re-Invention Tour) and "Devil..." was meant to represent the 20s while "Hung Up" the 70s.

"Voices" is based on "Is This Love", which sounds like it could have been written for Hello Suckers! or for American Life. In "Voices" only the Justin company is credited, without Joe Henry or Patrick. Fans still assume "Is This Love" was done with Patrick, however, I really can't imagine Madonna robbing him like that when a full verse and part of the chorus was lifted into the new song. It just wouldn't make sense, unless Patrick did not want to give his name for "Voices", lol!

Unfortunately I guess we'll never knew about these musicals, they were pushed aside by the RIT and while Madonna keeps on using lyrics, I doubt even she remembers the details. A Patrick Leonard interview could be interesting though.

Niki Haris recently gave an interview, saying that they all knew DWT would be their last tour together, it was too exhausting for her. She said Madonna and her always remained sisters.
[Edited 6/9/09 6:01am]

graecophilos said:

They might use 3 songs, we can't know.

I seriously doubt it's a ballad, it was done with Oakenfold in a short span of time, plus she still seems to be obsessed with dance music. You say it sounds like a dark ballad because you associate to "Frozen".

The movie thing was a fan speculation that got spread everywhere, even though there was no hints about Madonna ever contributing to that movie, fans just made that up because Guy Oseary is the producer of the soundtrack.

LiveToTell86 said:

In one of these musicals,Madonna was to play a character who is in a coma (?) or lying on her deathbed.As she lies there,she sees her entire life in a series of musical sequences.From various decades.Like you say,"Hung Up" represented the 70s.

Would be Chrismas for me if all the songs written for Hello Sucker would leak. Where's Odewos atm? She didn't post anything since late 2008!!!

SoulAlive said:

Interesting, didn't know the story was that. Well, Madonna hated it anyway (Observer 2005 interview):

"And that song made up my mind in which musical direction to go in. Until then I had done an entire soundtrack to a musical called Hello Suckers, and that didn’t pan out because I decided I didn’t want to do it. Then I decided to write a musical with Luc Besson, with him doing the screenplay. So I started a whole new chunk of songs, and then I read the script and I hated it, and I thought, “That’s crap, let’s scrap that”. And then I was exhausted. We finished the tour, and my record company was like, “You owe us an album”, and I was, “I don’t have any more ideas, I’m tapped out”. So I came over here to work experimentally, and because that song turned out so great, I said, “OK, that’s it, I’m making all dance music”."

I'm thinking that,at the end of the musical,we see Madonna's funeral.Everyone is all sad and crying,but she jumps out of the casket and screams...


"Hello,Suckas!"

LiveToTell86 said:

If Patrick only did the music for the songs and Madonna and Joe did lyrics it's possible Patrick doesn't recieve credit because the song now has the sound of JT and Timbaland all over it. I'm guessing his contributions to the songs were scrapped.

LiveToTell86 said:

funny when it was first announced and she didn't know about she was acting very catty about it.

ehuffnsd said:

of course the two choruses sound simliar, after all they feature the same lyrics.

but the melody is not the same. if you would not know they are linked lyricaly, or with Madonna - would you have realized it.

graecophilos said:

the lyrics have always been Madonna when it comes to her work with Pat. If Madge went with JT and Timabalands version of the songs than Pat doesn't get credit if they changed the melody and the music. it's not robbing pat of his due it's just his input wasn't included therefore he doesn't get credit.

Similar to the Bedtime Stories tracks done with Shep that were reused and rearranged with other people.

ehuffnsd said:

bnut shep got paid for Secret (and maybe Inside Of Me). I believe on GHV2 he even got credits.

I'm not sure if Madonna would leave out Patrick Leonard of all people only because the melody is somewhat different. It's not completely different though, it's just sung a bit faster. While we don't know the original version of "Devil...", I'd say Justin altered the melody a lot more in that one, because some of it is typical Justin melodies and very different for Madonna. But yeah, Joe Henry might be responsible for words as well, not just melody.

I think it's possible that Madonna wrote "Is This Love" all by herself on the guitar, she writes lyrics alone most of the time, and that song is not exactly something extraordinary.

As for Shep, in a recent interview, Tony Shimkin, Shep's assistant confirmed that Shep was unfairly asking for credit for the BS songs, because Madonna only re-used bits and pieces of the lyrics, but nothing from the music, even though in Erotica diaries Shep explicitly claims that he's only responsible for the music. Weird that he only noticed the whole thing in 2001, he probably needed the money (even though he got a mention in BS album credits). He did not get credited in GHV2, but in the promo remix album GHV2 Remixed he did, also for "Inside Of Me" & "I'd Rather Be Your Lover" on Warner Chappell, the song database.

Something slightly related, while "Hey You" is lyrically based on "Keep The Trance", the melody is totally different and of course the music as well, in the Live Earth CD/DVD both Mirwais & Pharrell got credited, so not sure why Pat wouldn't be for "Voices". On the other hand, for some reason, on Warner Chappell, Madonna is the only credited writer for "Hey You"... Fans also say that Monte Pittman was not credited for "Oh Dear Daddy" or the first version of "I Love New York", even though Madonna wrote them with him.