"This Used To Be My Playground" - Madonna, 1992

Good old Madonna.  Singer, actress, provocateur and pop icon.  She was busy forging her reputation as such in 1992, working on her acclaimed record Erotica.  She also co-starred in a blockbuster movie, A League of Her Own.  The combination of these two elements produced the subject of today's analysis, "This Used To Be My Playground."

Madonna was asked to contribute a song to the movie.  Upon this request, her collaborator Shep Pettibone, wrote a demo for Madonna to work with.  The recording of the final product was tumultuous, and required a quick rewrite of the score while the orchestra waited in the recording studio, threatening a huge price tag. [1]  In the end, we get a no.1 hit single, but it got there in an unlikely manner.

Due to some contract limitations, "This Used To Be My Playground" does not appear on the League of Her Own soundtrack.  Instead, you would have found it on the Barcelona Gold 1992 Olympic soundtrack!?! [2]  Despite this limitation, Madonna hit no.1, breaking her tie with Whitney Houston to become the female with the most no.1's, at the time.

August 8th, 1992:  "This Used To Be My Playground" by Madonna slides into no.1 for 1 week!

The form of this one is simple, yet not without a few quirks.  The intro, led by a keyboard melody, is 8 measures in 4/4 followed by a single measure of 2/4, hence the 8.5 label.  We get cooking right away with the chorus, which for the first two iterations, is immediately followed by a 4 measure post-chorus (PC).  When we hear the chorus later on, we get the 8 measure version, repeated three times in a row with alternate lyrics.

The verses are an unusual 14 measures in length.  They consist of a repeated 4 bar section followed by 6 additional bars.  The bridge is a hybrid of the verse and chorus, using familiar combinations of chord sequences under a string soli.  The song ends definitively with a 4 bar section of new-ish material.  

Breaking this down to a simplified form, it's really just ABAB, interrupted by a short C, followed by repeats of the A section.  This is easy enough to comprehend and a sensical song structure to build from.  As mentioned, it seems to have been tracked live, at least in the strings, which puts it in slightly different air when listening, at least for me.  

 

Chord Progressions

Like a good thesis statement, the intro provides us a context for all of the harmonic sequences to come. The keyboard presents some thick harmony with a melodic line harmonized in 6ths.  G minor tonality is recognized right away, moving between Gmin and F/G, yielding some lush ballad chords.  

Intro - meas. 1-4

The progression takes us to unexpected territory in measure 4, a place we never return to, going to the parallel G major.  The first 4 measures work out to be:

Gmin  F/G    /  -%-  / EbMaj7   Dmin7   /  Gsus   G
i       bVII    /            / bVI             v          /  I

The next 4.5 measures traverse the same ground, bringing in an additional chord to close things out.  We also see some of the melodic lines shift lower in measure 6, below.

Intro - Meas. 5-9

The progression for measures 5-9 here works out to be:

Gmin  F/G    /  -%-  / EbMaj7   Dmin7   /  Cmin11
i       bVII    /            / bVI             v          /  iv  (vi/Eb)

The chorus emerges out of the 2/4 measure, blurring the tonal center with Ebmaj7.  As Madonna's vocal enters, the pacing slows down briefly before picking up again, weaving in and out of G minor.  

Ebmaj7  /   -%-  / D7sus  / Gmin  /  Gmin7/C   / F  F/Eb   / Bb/D   /  Gmin
bVI       /           /   V        /    i         /   iv (V/F)     / bVII       / III (v)  /   i

There are a couple of lush chords that help provide an atmosphere.  D7sus, D-G-A-C, is a very open sound, functioning like V7 and giving less of a pull to Gmin with 2 common tones (G and D) while A and C both want to resolve to Bb.  There's also Gmin/C, which similar to D7sus, functions like a C7sus, C-F-Bb-D-G...

The C7sus, then, functions like V of F, which is where we end up.  Once there, we get a nice descending line F-Eb-D.  On the D, the Bb triad on top now acts like a D7#9b13, D-Bb-F, which leads back to G minor.  The slow tempo, sparse melody and lush keyboard and string arrangement masque some of the complexity.  In any case, it flows nicely.

The chorus leads directly into a post-chorus, the additional 4 measures after the first two chorus sections.  Here, we retread some progressions just heard and introduce a new cadence.  The C7sus sound of Gmin7/C leads to F, followed by the descending bass line once again.  This time, the D7 hangs in the balance, waiting to resolve back to Gmin....

Gmin7/C   /  F   F/Eb  /  D7    /  -%-
iv  (V/F)   /  bVII       /  V7    /  

As the verse drops, the D7 proves to be deceptive, as we once again return to Ebmaj7.  The 14 measure verse takes a couple of twists and turns, visiting some old patterns and introducing more new sequences.  The first four measures repeat, maximizing descending chord roots G-F-Eb-D:

Ebmaj7 / D7sus  Dmin7 /  Gmin  /  Bb/F   ://
bVI       /  V          v         /  i          / III

In measure 9, things start of similarly before the pacing changes and we get to D7sus two beats early:

EbMaj7  D7sus /  D7sus  Dmin7 /  Cmin11  Cmin7  /  Cmin9  Cmin /  Gmin  F/G  /  -%-
bVI        V        /   V           v        /   iv                         /                          /   i        bVII   /

 The descending note theme returns again, this time on Cmin where the piano plays F-Eb-D-C through the shifting Cmin harmony.  The last two measures return to the opening of the intro, something familiar yet slightly unexpected.  

There are a few spots where the basic harmonic patterns are altered even further.  During the bridge string solo, we see:

EbMaj7  /  -%-  /  D7sus  /  Gmin  /   Cmin11  Cmin9  /  F  F/Eb /   Bb/D /  Gmin
bVI        /          /   V        /    i          /    iv             (v/F)   /  bVII     /  III (v) /    i

The outro also features one last new sequence - Ebmaj7 - Dmin7 - each chord last two measures.  It's an interesting move to end on the minor v chord which gives the song a contemplative and melancholy feeling, perfect for the lyrical content and overall vibe.  

Melody

Despite the altered chord voicing and surprising resolutions, Madonna's melody is straightforward and repetitive.  Chorus phrases consistently begin on (2)+ and use similar rhythms and pitches.  The primary sequence of G-D-C-Bb make up a bulk up these phrases, with each resolving to a chord tone, all shared by Gminor.  Even in measure 6 when she sings repeated A's over the F chord, she ends the phrase on a Bb, -3/Gminor.  She finished off the chorus with a final phrase of D-C-Bb, 5-4-3 in Gminor, now an established melodic sequence.    

Chorus + Post-Chorus 1

The post chorus feels very different, entering on beat 1 and settling on C, a first for the vocal melody up to this point.  That is followed by an ascending G minor lick, leading to D.  The final measure is another G minor phrase, this time higher, G-A-Bb-A-G or R-2-3-2-R.  

The chorus undergoes a mutation the second time around.  We get a short countermelody in measures two and three as well as the addition of harmony, similar to the intro piano line, in 6ths.  

Chorus + Post-Chorus 2

There are a couple of cool spots here, including measure 6 where the harmony gets a whole step apart (C/Bb), both chord tones of F/Eb.  The last measure of the post chorus harmony is buried in the mix but hinges on the familiar D-C-Bb grouping.  

The third chorus marks the start of the long ending, repeated 8 measure chorus sections without the post-chorus.  The words change but the harmony remains, thickening the voicing of the counter melody in the second measure.  The last measure takes the familiar note grouping and syncopates it, giving it a sense of momentum leading into the next 8 measure repeat.  

Chorus 3

 The fourth chorus is similar to the third with additional lyric changes.  As it heads into the fifth and final chorus, we see additional vocals added to the mix.  Included with the moving 9th over EbMaj 7, we get another flash of the intro with the descending line Bb-A-G-F; 5-4-3-2 of Eb.  The sustained F is the minor 3rd of D, furthering the case for the function of D7#9b13 where we see D7sus.

Chorus 4 into Chorus 5

Moving ahead to the verse, we see some similarities with the chorus.  The big phrases enter on beat 3 and using short 8th note runs that resolve on chord tones.  The opening notes, D and F are higher than the start of the chorus.  She then returns to the familiar G-A-Bb-A-G lines we saw in the chorus.  That line is repeated, in part in the next measure, leaving off on D-F, like the opening measure.  Like the chords, the next four measures of melody repeat.  

Verse 1

  In measure 10, we hear a descending line, almost opposite of what came in measure 2 of the post-chorus.  This is repeated again in measure 12, ending on a G in measure 13 as the keyboard takes over, revisiting the feel of the opening measures.  

Verse 2 is very similar to verse 1 and like the second chorus, adds in harmony vocals.  The harmony here follows the theme, a 6th lower.  Some of the entrances are slightly different to accommodate changing lyrics.  The last two measures also feature variations by Madonna, singing Bb-A-G over the last Gminor chord and adding a new melody on "I'll never say," similar to the countermelodies used in the chorus.  

Verse 2

The outro features one additional vocal melody before the song ends.  Chorus 5 uses the syncopation seen at the end of chorus 3, adding in a harmony for "free" on Eb chord tones.  She ends with a descending figure, G-F-D-C, bumping back up for D-C.  The last note, C, is minor 7 of Dmin, a sound we have not head sustained during the same for long periods of time.  

Chorus 5 into Outro

The only other section that hasn't been formally mentioned is the bridge which features the strings playing the melody.  Here, we see some familiar melodic groupings (G-A-Bb) presented with new rhythms and articulation over several chords.  The bulk of the melodic content here centers around these familiar notes and is enhanced with added harmonies and arranging between strings and piano.  It works well as a bridge, breaking up the first half of the vocal sections before we get 3 repeated choruses and the outro.

Bridge

Lyrics

Nostalgia is a strong force.  These lyrics attempt to conjure that feeling in the listener.  In the context of aged baseball players reminiscing about their glory days, it succeeds.  Madonna sets the premise up quite clearly: "this used to be my playground," expanding the description by telling us how it was a safe haven of sorts.  As the verses kick in, she puts emphasis on "used to be," desperately trying to hold on to the past, making us question her current situation. 

The chorus rhyme scheme follows ABCB with the post chorus using its own AAB theme.  The verse consists of 3 sets of ABB rhymes, though the second verse deviates from that in the first stanza.  

The line that may best sum up the lyrical content happens in the 2nd verse:

say goodbye to yesterday

those are words I'll never say

While she is attempting to move on and acknowledge the past is gone, she can't bring herself to do it.  This is certainly a relatable sentiment for most people.  We get a little more context to the entire meaning of the song in the outro with the closing lines of the piece:

The best things in life are always free

wishing you were here with me

In 1990 like year before and years to come, people can easily relate to songs about lost love and friendship.  This last line eloquently and simply states this point.

Common Threads

 

What common musical elements do no.1 hits through decades share?  That's one of the mission statements of this project.  After I complete each analysis, I attempt to find some of these common threads.  So far, I have used songs from 2011, 2001, 1991, 1981, 1971, 1961, 1962, 1972 and 1982 to inform this list.  Let's see how Madonna's 1992 contribution stacks up to that list of common musical elements.

Repetitive Melody -  This could be one of the poster children for this category.  She uses many similar note groupings to construct her melodies and these note groups reoccur in multiple sections and within the same section.  This melody, in other words, is very repetitive.  

Hook that Uses Title of the Song - Probably the most identifiable melodic component of the song, for sure.

Stepwise Motion Common in Melody - Lots of 2nds in this one.  There are a few minor thirds at work in the verse, but 2nds are the dominant interval.

+ Use of Vocal Harmony - the harmony and countermelody are important elements of the melodic presentation.

+ New Material at the End - though short, the outro does include a new chord sequence and melody.  It has been a few analyses since this element has shown up!

- Texture Changes - The entire tune uses similar texture throughout.  Yes, there are background vocals and arrangement elements that come and go throughout the song.  There is, however, this hue surrounding the general production that never lifts.  If anything, the intro has its own unique feel, but that never returns.  

- Strong motion of V- I - While there are several V-i resolutions, the quality of the V chord is ever changing.  When we finally do get a solid D7, it resolves EbMaj7.  Therefore, this doesn't quite make the cut. 

Chord Count: 12 -  Gmin, F/G, Gmin7/C EbMaj7, D7sus, Dmin7, D7, Bb/D, Bb/F, F, F/Eb, Cmin.  There would be more if I had counted all the variations on Cmin.  Either way, 12 chords is a lot to hear in a pop song.  Many of these though, are alterations on a base chord, but serve different functions in the grand harmonic scheme.  

Final Takeaways

  Like so many songs I have worked with, I did not like this one during the first few listens.  The keyboard sounds dated it and the over the top orchestra sound puts it in a sonic landscape I don't readily identify with.  I kept listening though.  What I found was a well crafted song with a surprisingly repetitive melody that works over multiple chords qualities.  

I'm not a Madonna scholar by any stretch of te imagination and had little to no recollection of this song.  Her singing did not blow me away and it's very different from some of the more iconic names I have analyzed in the same time period (Mariah Carey, Christina Aguilera , Brandy & Monica).  Despite all of this, I do like the song.  It has a palpable vibe and the hook is enduring, even if nothing else is particularly memorable.  My wife, my litmus test for many songs, somewhat accurately was able to hum the main hook on a cold ask, guided only by the title.  

I'm aware that Madonna has a legacy in pop music and many accolades to her name.  This song though, aside from the pressures in play when it was written, does not seem particularly reflective of those accolades.  If I continue this project long enough, I will no doubt come in contact with Madonna again.  Hopefully, then, I can hear something a little more exciting in the vocal department.

What do you think of "This Used To Be My Playground?"  Did you remember it from the movie?  Does the sound of the track hold up by today's standards?  Leave me a comment!

Up next time, the journey "on the 2's" takes us to 2002.  The song in question, a powerhouse that even I with my Phish colored jam band blinders on, could not escape.  June 29th - August 10th, 7 weeks at no.1, "Hot In Herre" by Nelly dominates the charts!

[1]https://web.archive.org/web/20110830193214/http://www.sheppettibone.com/sp_erotica_diaries.htm

[2] https://www.deseret.com/1992/8/3/18997770/madonna-s-all-over-the-place-but-her-playground-is-not