On this day: April 6: Borderline (1984), Vogue (1990) enters Billboard single chart


April 06, 1984
"Borderline" enters the Billboard singles chart
Cover art for 7" U.S. vinyl single
Single by Madonna
From the album Madonna
B-side: "Think of Me", "Physical Attraction"
Released: February 15, 1984
Format: CD single, 12" maxi single, 7" single
Recorded: February 1983
Genre Pop, dance-pop
Length: 5:18 (album version), 3:59 (radio edit)
Label: Sire Warner Bros.
Writer(s): Reggie Lucas
Producer(s): Reggie Lucas
"Borderline" is a song by American recording artist Madonna from her self-titled debut album. It was released on February 15, 1984 as the fifth single from the album, by Sire Records. Written and composed by producer Reggie Lucas, the song received remix treatment from Madonna's then boyfriend John "Jellybean" Benitez. She used a refined and expressive voice for the song. Its lyrics dealt with the subject of a love that is never fulfilled and was written as a rebellion against male chauvinism.
Contemporary critics and authors applauded the song, calling it harmonically the most complex song from the Madonna album and complimenting the dance-pop nature of the song. "Borderline" became Madonna's first top ten hit on the Billboard Hot 100, peaking at number ten. In the United Kingdom it reached number two after it was re-released as a single in 1986. Elsewhere, the song reached the top 10 or top 20 of a number of European nations while peaking the singles chart of Ireland. The song was placed at 84 on Blender magazine's "The 500 Greatest Songs Since You Were Born", while Time included it on the critic list "All-Time 100 Songs".
The accompanying music video portrayed Madonna with a Latin-American man as her boyfriend. She was enticed by a British photographer to pose and model for him, but later returned to her original boyfriend. The video generated interest amongst academics, who noted the use of power as symbolism in it. With the video, Madonna was credited for breaking the taboo of interracial relationships and was considered one of her career-making moments. The release of the video on MTV increased Madonna's popularity further. Madonna has performed the song on her Virgin Tour (1985) and the Sticky & Sweet Tour (2008), where a punk-rock version of the song was performed. "Borderline" has been covered by a number of artists, including Duffy, Jody Watley, Counting Crows and The Flaming Lips.
In 1982, Madonna was working with producer Reggie Lucas on her debut album. She had already composed three songs, when Lucas brought one of his own composition to the project and called it "Borderline". However, after recording the song, Madonna was unhappy with the way the final version turned out. According to her, Lucas used too many instruments and did not consider her ideas for the song. This led to a dispute between the two. After finishing the album, Lucas left the project without altering the songs to Madonna's specifications. Hence, Madonna brought her then boyfriend John "Jellybean" Benitez to remix "Borderline" and some of the other recorded tracks.
"Borderline" ushered a change from the normal vocal tone expressed by Madonna in her songs. A sentimental track, the song talks about a love that is never quite fulfilled. According to author Santiago Fouz-Hernández in his book Madonna's drowned worlds, the lyrics of the song like "Something in way you love me won't let me be/I don't want to be your prisoner so baby won't you set me free" depicted a rebellion against male chauvinism. Madonna used a refined and expressive voice to sing the song, backed by Lucas's instrumentations. Considered as the best example of the working relationship between Lucas and Madonna, he pushed her to find emotional depth in the song. Although sounding icy, the chorus is contemporary in style and the vocal range for this song, was later used by Madonna as her own personal range through her whole music career. It opens with a keyboard rich intro played on a Fender-Rhodes Electric Piano and a catchy synth melody provided by Fred Zarr. Bass player Anthony Jackson doubled Dean Gant's synth bass to provide a solid and more complex texture.
The chords in the song were inspired by Seventies disco sound in Philadelphia as well as Elton John's musical style during the mid-seventies. The chord sequences cite from Bachman-Turner Overdrive's song "You Ain't Seen Nothing Yet" while the synth phases display her typical musical style. The song is set in common time with a moderate tempo of 120 beats per minute. Madonna's vocal range spans from F♯3 to B4. The song follows in the chord progression of D–C–G in the first verse to Bm–Em–A–F♯ in the pre-chorus, changes to A–F♯–Bm–A–E and G–D–A in the chorus.
Music video

"Borderline" was filmed on location in Los Angeles, California from January 30 to February 2, 1984 and was the first video that Madonna made with director Mary Lambert, who would later also direct the videos "Like a Virgin", "Material Girl", "La Isla Bonita" and "Like a Prayer". Author Allen Metz noted how the video portrayed Madonna's then "burgeoning star quality". It is regarded as one of her career-making moments when the video was started to be shown on MTV. She acted as the girlfriend of a Hispanic street guy who is picked up by a British photographer who publishes her picture on a magazine cover. The portrayal of the street life and high-fashion scene in the video was a reference to Madonna's life in the gritty, multiracial streets and clubs that she used to haunt while her career was beginning as well as the world of popularity and success she was experiencing at that moment. The storyline involved her being emotionally torn between the photographer and her boyfriend. Madonna's boyfriend in the video is portrayed as Latino and her struggles with this relationship depicted the struggle Hispanic women faced with their men. Lambert said that there was "no formula" used when making the 'Borderline' video and that they were "inventing it as we went along." In the January 1997 issue of Rolling Stone, Lambert described the video and its plot as, "Boy and girl enjoy simple pleasures of barrio love, girl is tempted by fame, boy gets huffy, girl gets famous, but her new beau's out-of-line reaction to a behavioral trifle (all she did was to spray-paint his expensive sports car) drives her back to her true love."
The video narrative weaved the two relationship stories in color and black and white. In the color sequence, Madonna sings, flirts and seduces the Hispanic guy who becomes her boyfriend. In the black-and-white sequence she poses for the photographer, who also courts her. The video had Madonna in her usual sense of style in those years and wore her hair in a haystack, lace gloves, high heeled boots with thick socks and her trademark boy-toy belt. She changes from one shot to another in color as well as black and white while wearing an unusual array of clothes including crop-tops, T-shits, vests and sweaters coupled with cut-off pants and jeans as well as a couple of evening gowns. Posing for the photographer, Madonna looks towards the camera with challenge in her eyes thus depicting sexual aggression. At one moment in the video, she starts spraying graffiti over some lifeless classical statues thus portraying herself as a transgressor who breaks rules and attempts at innovation. With the video Madonna broke the taboo of interracial relationships. Although at first it seems that Madonna denies the Hispanic guy in favour of the photographer, later she rejects him thus implying her desire to control her own sexual pleasures or going over the established pop borderlines with lyrics like "You just keep on pushing my love, over the borderline". The contrasting image of Madonna, first as a messy blonde in the Hispanic sequence and later as a fashioned glamorous blonde, suggested that one can construct one's own image and identity. Portraying herself as a Hispanic also had the clever marketing strategy of appealing herself to Hispanic and black youths thus breaking down racial barriers.
After its airing "Borderline" attracted early attention from academics. They noted the symbolism of power in the two contrasting scenes of the video. The British photographer and his studio is decorated with the classical sculptures and nude statues holding spears in a phallic symbol. In contrast, phallic symbols portrayed in the Hispanic neighbourhood included a street lamp which Madonna embraces and a pool cue held erect by Madonna's boyfriend. Author Andrew Metz commented that with these scenes, Madonna displayed her sophisticated views on the fabrications of feminity as a supreme power rather than the normal views of oppression. Author Carol Clerk said that the videos of "Borderline" and "Lucky Star" established Madonna not as the girl-next-door, but as a sassy and smart, tough funny woman. Her clothes worn in the video were later used by designers like Karl Lagerfeld and Christian Lacroix in Paris Fashion week of the same year. Professor Douglas Kellner in his book Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern commented that the video depicted motifs and strategies which helped Madonna in her journey to become a star.
Track listings and formats
US 7" single
"Borderline" (Edit) – 4:02
"Think of Me" – 4:55
UK 7" & Limited Edition picture disc
"Borderline" (Edit) – 4:02
"Physical Attraction" (Edit) – 3:56
UK 12" single
"Borderline" (U.S Remix) – 6:57
"Borderline" (Dub) – 5:48
"Physical Attraction" (LP Version) – 6:42
Germany / UK CD Maxi Single (1995)
"Borderline" – 5:17
"Borderline" (U.S Remix) – 6:57
"Physical Attraction" (LP Version) – 6:42
US 12" maxi single
"Borderline" (New Mix) – 6:57
"Lucky Star" (New Mix) – 7:14
US 12" promotional maxi single
"Borderline" (New Mix) – 5:29
"Borderline" (Instrumental) – 5:48
Australian 12" single
"Borderline" (U.S Remix) – 6:57
"Borderline" (Edit) – 4:02
"Borderline" (Dub) - 5:48
German 12" single
"Borderline" (U.S Remix) – 6:57
"Borderline" (Dub) – 5:48
"Physical Attraction" (full-length version) – 6:42


April 06, 1990
"Vogue" enters the Billboard singles chart
Single by Madonna
From the album I'm Breathless
B-side: "Keep It Together" (Single Remix)
Released: March 20, 1990
Format: Cassette, CD, CD maxi, 7", 12"
Recorded: December 1989 – January 1990
Genre: Dance-pop, house
Length: 4:50
Label: Sire, Warner Bros.
Writer(s): Madonna Shep Pettibone
Producer(s): Madonna Shep Pettibone Craig Kostich (exec.)
"Vogue" is a song by American singer-songwriter Madonna from her soundtrack album I'm Breathless (Music from and Inspired by the film Dick Tracy) and was released on March 20, 1990, by Sire Records. Madonna was inspired by vogue dancers and choreographers Jose and Luis Xtravaganza from the Harlem "House Ball" community, the origin of the dance Vogue, and they introduced "Vogueing" to her at the New York City club "Sound Factory". Jose Xtravaganza is featured in the Historic Art Documentary How Do I Look, directed by Wolfgang Busch. The song also appears on the 1990 greatest hits compilation The Immaculate Collection and Madonna's third greatest hits album, Celebration.
"Vogue" is an upbeat dance-pop and house song. Noted to contain influences of deep house, it is a contemporary track which followed the trends of dance music in the 1990s; nevertheless, it has strong influences of 70s disco within its composition. The song also contains a spoken section, in which the singer namechecks various golden era Hollywood celebrities. Lyrically, the song is about enjoying oneself on the dance floor no matter who one is, and it contains a theme of escapism. Critically, "Vogue" has been met with appreciation ever since its release; reviewers have praised its anthemic nature, calling it a funky and catchy song, and listed it as one of the singer's musical highlights. Critics also noticed that the song, which bears strong resemblances to classic disco music, was still successful despite the genre's commercial death several years before. The song also won several music awards. Commercially, the song remains one of Madonna's biggest international hits, topping the charts in over 30 countries, including Australia, Canada, Japan, the United Kingdom and the United States. It became the world's best-selling single of 1990, selling over six million copies.
The music video for "Vogue", directed by David Fincher, showed Madonna paying homage to numerous golden era Hollywood actresses. Shot in black-and-white, the video takes stylistic inspiration from the 1920s and 30s; in it, Madonna and her dancers can be seen voguing different choreographed scenes. Critics noted the way in which Madonna used her postmodern influence to expose an underground subcultural movement to the masses. The video has been ranked as one of the greatest of all times in different critic lists and polls, and won three awards at the 1990 MTV Video Music Awards out of a total of nine nominations.
Madonna has performed the song in five of her tours, as well as the 1990 MTV Video Music Awards and at her performance during the half-time show of Super Bowl XLVI. The song has also been covered numerous times by different artists, such as The Chipettes in their album Club Chipmunk: The Dance Mixes; it also featured on the soundtrack of The Devil Wears Prada, as well as in "The Power of Madonna" episode of the Fox show Glee. Writers and critics have noted the video and the song's influence in bringing an underground subculture into mainstream popular culture through the postmodern nature of her power and influence, as well as the way in which it followed a new trend in which dance music enjoyed widespread popularity. The song, which has been included in several critic lists as one of the greatest of the decade, as well as its accompanying video, have been attributed as bringing voguing as well as house music mainstream, with the former becoming one of the decade's major dance crazes.


In late 1989, after the album Like a Prayer had spawned three U.S. hits—the title track, "Express Yourself" and "Cherish"—and a top-five European single in "Dear Jessie", its fourth US single, "Oh Father", stalled at number 20 in the charts. Perhaps to ensure that the last single release of "Keep It Together" would fare better on the charts, Madonna and producer Shep Pettibone decided to compose a new song to be placed on the flipside of "Keep It Together" and quickly produced "Vogue". The song and video were inspired by the dance of the same name, performed in New York clubs on the underground gay scene, in which dancers used a series of complex hand gestures, body poses and movements to imitate their favourite Hollywood stars (see the list of the names of the Hollywood stars below), as well as the cover models from Vogue magazine. In the film Paris is Burning (film), Luis Xtravaganza explains that original dance form as a way of performing rivalries and take-downs on the dance floor through gender play and irony.
After presenting the song to Warner Bros. executives, all parties involved decided that the song was too good to be wasted on a B-side and that it should be released as a single. Although the song itself had nothing to do with Madonna's then-upcoming Disney movie Dick Tracy, it was included on the album I'm Breathless, which contained songs from and inspired by the film. Madonna altered some of the suggestive lyrics because the song was connected to the Disney film via soundtrack.
"Vogue" is a dance-pop and house song with visible influences from disco music. The song has also been noted by Allmusic critic Stephen Thomas Erlewine to have a "deep house groove" and to have a "throbbing beat" by Mark Coleman of Rolling Stone. J. Randy Taraborrelli, in his book Madonna: An Intimate Biography, wrote that the song was a "pulsating dance track". According to sheet music published at Musicnotes.com at Alfred Publishing, the song is written in the key of A♭ major, has a tempo of 116 beats per minute, and in it, Madonna's vocal range spans from C4 to E♭5. Lyrically, song has a theme of escapism, and talks about how any person can enjoy himself. Later on, the song has a rap/spoken section, in which Madonna names numerous "golden era" Hollywood celebrities.
The lyrics of the song's rap section features the names of 16 stars of the 1920s, '30s, '40s and '50s. Ordered as sung in the song, they are Greta Garbo, Marilyn Monroe, Marlene Dietrich, Joe DiMaggio, Marlon Brando, Jimmy Dean, Grace Kelly, Jean Harlow, Gene Kelly, Fred Astaire, Ginger Rogers, Rita Hayworth, Lauren Bacall, Katharine Hepburn, Lana Turner and Bette Davis. When the song appeared on March 1990, 10 of the 16 stars were stilling alive. As 2014, the only star that stills alive is Lauren Bacall after Brando's death on 2004. The estates of the 10 stars mentioned in the song by their full name (Davis, Dean, Dietrich, DiMaggio, Garbo, Harlow, both Kellys, Rogers, and Turner) each received a royalty payment of $3,750 when Madonna performed "Vogue" at the Super Bowl XLVI halftime show.
"Vogue" contains samples of some songs from the disco era. The bassline is from "Love Is the Message" by MFSB. The horns and strings appear in the song "Ooh, I Love It (Love Break)" by the Salsoul Orchestra. Some vocal samples from "Love Break" are used in the dub version.
Chart performance
After its release, "Vogue" reached number one in over 30 countries worldwide, becoming Madonna's biggest hit at that time. It was also the best-selling single of 1990 with sales of more than two million, and has sold more than six million copies worldwide to date. In the U.S., massive airplay and sales demand in response to the popular music video in April 1990 made way for "Vogue"'s number 39 debut in the week of April 14. The song shot to number one on the Billboard Hot 100 in its sixth week on the chart, displacing Sinéad O'Connor's four-week run in the top spot with "Nothing Compares 2 U". The song also reached number one on the Hot Dance Club Play chart, remaining there for two weeks. On June 28, 1990, "Vogue" was certified double platinum by the Recording Industry Association of America (RIAA) for sales of two million copies of the physical single across United States. To date, it remains Madonna's best-selling physical single in the country. After digital sales began in 2005, "Vogue" has sold additional 311,000 digital downloads, according to Nielsen SoundScan.
"Vogue" was also a huge success in Europe by topping the Eurochart Hot 100 Singles chart for eight consecutive weeks. In the United Kingdom, the song knocked Snap!'s "The Power" off the number one slot and stayed there for four weeks, continuing a trend of club/pop crossovers going to number one. It was helped in the UK by multi-formatting. As well as the 7, 12, CD and cassette singles, the label released four limited editions: 12 with Face of the 80s poster, 12 with 'X-rated poster and an extra remix on the b-side, 7 picture disc and 12 picture disc. According to The Official Charts Company, the song has sold 505,000 copies there and is her 11th biggest selling single in the UK. Released as a double A-side to "Keep It Together", "Vogue" also topped Australian Kent Music Report chart for five weeks running. The success of "Vogue" boosted the sales of the album I'm Breathless, and combined with Madonna's Blond Ambition Tour, generated massive publicity for the movie Dick Tracy.
Critical reception
"Vogue" has received generally positive reviews from critics. Allmusic critic Stephen Thomas Erlewine claimed that the song was "Madonna's finest single moment" and that it had an "instantly memorable melody". In a review of The Immaculate Collection, Stephen Thomas Erlewine also claimed that the song was "sleek" and "stylish". Jose F. Promis, in another Allmusic review, claimed that "Vogue" was a "crowning artistic achievement". In a 1990 review of I'm Breathless, Mark Coleman from Rolling Stone wrote that, whilst the song initially sounded "lackluster", within the album's context, it "gains a startling resonance". Sal Cinquemani of Slant Magazine, in his review of the album as a whole, claimed that whilst the "hugely influential" song initially sounded "grossly out of place", it turns out to be "a fitting finale" for I'm Breathless. Jim Farber from Entertainment Weekly, in a relatively negative review of I'm Breathless, asserted that the "finale of Vogue" is "the sole bright spot". J. Randy Taraborrelli, in his book, Madonna: An Intimate Biography, wrote that the song was a "funky, uptown anthem celebrating the art of 'voguing'", as well as that the rap section "is still one of Madonna's greatest camp musical moments".
Bill Lamb from About.com commented that the song is " possibly the most perfect dance song Madonna, the most successful dance artist of all time, has ever recorded." He placed "Vogue" at number 10 in his list "Top 10 Pop Songs of 1990" and 17th in "Top 100 Pop Songs of the 1990s." In 2003, Madonna fans were asked to vote for their Top 20 Madonna singles of all-time by Q-Magazine. "Vogue" was allocated the #14 spot. In 2007, VH1 ranked fifth the song on its list of "Greatest Songs of the 90s". Slant Magazine listed "Vogue" as tenth "Best Singles of the '90s" as well as third in their list of the "100 Greatest Dance Songs".
"Vogue", on addition, has received numerous accolades. It won the 1991 Juno Award for Best Selling International Single, as well as winning the American Music Award for Favourite Dance Single. The song, based on the 1990 Rolling Stone Reader's Poll Awards, was voted Best single. The song was also ranked as the fourth best song of 1990 on that year's Pazz & Jop poll by The Village Voice.
Music video

The video was directed by David Fincher and shot at The Burbank Studios in Burbank, California on February 10–11, 1990. According to Lucy O'Brien in her book Madonna: Like an Icon, the video was brought together after a "huge casting call" in Los Angeles where hundreds of different sorts of dancers appeared.
Filmed in black-and-white, the video recalls the look of films and photography from The Golden Age of Hollywood with the use of artwork by the Art Deco artist Tamara de Lempicka and an Art Deco set design. Many of the scenes are recreations of photographs taken by noted photographer Horst P. Horst, including his famous "Mainbocher Corset", "Lisa with Turban" (1940), and "Carmen Face Massage" (1946). Horst was reportedly "displeased" with Madonna's video because he never gave his permission for his photographs to be used and received no acknowledgement from Madonna. Some of the close-up poses recreate noted portraits of such stars as Marilyn Monroe, Veronica Lake, Greta Garbo, Marlene Dietrich, Katharine Hepburn, and Jean Harlow. (Additionally, several stars of this era were name-checked in the song's lyrics.) Several famous Hollywood portrait photographers whose style and works are referenced include George Hurrell, Eugene Robert Richee, Don English, Whitey Schafer, Ernest Bachrach, Scotty Welbourne, Laszlo Willinger, and Clarence Sinclair Bull.
The video features the dancers for Madonna's then-upcoming Blond Ambition Tour. The choreography was set by "Punk Ballerina" Karole Armitage. The video world-premiered on MTV on March 29, 1990.
There are two versions of the video, the regularly aired television music video, and the 12" remix, which is the extended version over three minutes longer.
The black-and-white video, set in Art Deco-themed 1920s and 30s surroundings, starts off showing different sculptures, works of art, as well as Madonna's dancers posing. Along with this are images of a maid and a butler cleaning up inside what seems to be a grand house. When the dance section of the song starts, Madonna turns around, and, similarly to the lyrics, strikes a pose. The video progresses, and images of men with fedoras, Madonna wearing the controversial sheer lace dress and other outfits, follow. As the chorus begins, Madonna and her dancers start to perform a vogue dance routine, where she sings the chorus as her dancers mime the backing vocals. After this, other scenes of Madonna in different outfits and imitations of golden-era Hollywood stars progresses, after which there is a scene with Madonna's dancers voguing. Finally, after this scene, Madonna can be seen wearing her iconic "cone bra", after which she also performs a dance routine with a fellow dancer. As the rap section begins, different clips of Madonna posing in the style of famous photographs or portraits of Hollywood stars, begins, ultimately followed by a choreographed scene with her dancers and backup singers.
MTV placed the video at the second on their list of "100 Greatest Music Videos Ever Made" in 1999. In 1993, Rolling Stone magazine listed the video as the twenty-eighth best music video of all-time. Also, the same magazine listed "Vogue" as the #2 music video of all time in 1999 second only to Michael Jackson's Thriller. It was also ranked at number five on "The Top 100 Videos That Broke The Rules", issued by MTV on the channel's 25th anniversary in August 2006. It was the third time Fincher and Madonna collaborated on a video (the first being 1989's "Express Yourself" and the second being 1989's "Oh Father"). About.com listed as the best Madonna video.
There was some controversy surrounding the video due to a scene in which Madonna's breasts and, if the viewer looks closely, her nipples could be seen through her sheer lace blouse, as seen in the picture on the right. MTV wanted to remove this scene, but Madonna refused, and the video aired with the shot intact. The video was edited in Australia for daytime screenings, with the sheer blouse images replaced with slow motion shots of other parts of the video.
"Vogue" music video received a total of nine MTV Video Music Awards nominations, becoming her most-nominated video at the award show. It won Best Direction, Best Editing and Best Cinematography.
With the release of the song, Madonna brought the underground "vogueing" into the mainstream culture. Before Madonna popularized the dance, Vogue was only performed in bars and disco of New York City on the underground gay scene.
Author Lucy O'Brien, in her book Madonna: Like an Icon, wrote a detailed description of the song's influence:
'Vogue' became the Number 1 hit of that summer, played in clubs across the globe, from London to New York to Bali. It rode the crest of the newly emerging dance craze, where club culture, house music and techno met the mainstream. 'Vogue' reflected the new hedonism; positive, upbeat, and totally inclusive.
The song is also noted for bringing house music into mainstream popular music, as well as for reviving disco music after a decade of its commercial death. Erick Henderson of Slant Magazine explained that the song "was instrumental in allowing disco revivalism to emerge, allowing the denigrated gay genre to soar once again within the context of house music, the genre disco became in its second life." Sal Cinquemani of the same publication wrote that the song was "making its impact all the more impressive (it would go on to inspire a glut of pop-house copycats) and begging the question: If disco died a decade earlier, what the fuck was this big, gay, fuscia drag-queen boa of a dance song sitting on top of the charts for a month for?"
Vogue has become the inspiration for popular flash mobs around the US. From professional dancers to the residents of the Kayenta arts community, the song has encouraged daring and creative people to spontaneously unleash their attitude to the delight of unwitting bystanders. (Wiki)
Track listing
US 7" single, Cassette single / Japanese 3" CD single (5439-19863-7/4 / WPDP-6227)
"Vogue" (Single Version) – 4:19
"Vogue" (Bette Davis Dub) – 7:26
UK / European 7" single, Cassette single (W9851, W9851C)
"Vogue" (Single Version) – 4:19
"Keep It Together" (Single Remix) – 4:31
US CD maxi-single (7599-21513-2)
"Vogue" (Single Version) – 4:19
"Vogue" (12" version) – 8:25
"Vogue" (Bette Davis Dub) – 7:26
"Vogue" (Strike-A-Pose Dub) – 7:36
US 12" maxi-single (7599-21513-0)
"Vogue" (12" version) – 8:25
"Vogue" (Bette Davis Dub) – 7:26
"Vogue" (Strike-A-Pose Dub) – 7:36
UK CD single, 12" single, 12" Picture Disc / European CD single, 12" single (W9851CD, W9851T, W9851TP / 7599-21525-2/0 )
"Vogue" (12" Version) – 8:25
"Keep It Together" (12" Remix) – 7:50
UK Limited Edition 12" with X-Rated poster (W9851TX, 7599-21544-0)
"Vogue" (12" version) – 8:25
"Vogue" (Strike-A-Pose Dub) – 7:36
Japanese CD EP (WPCP-3698)
"Vogue" (12" version) – 8:25
"Vogue" (Bette Davis Dub) – 7:26
"Vogue" (Strike-A-Pose Dub) – 7:36
"Hanky Panky" (Bare Bottom 12" Mix) – 6:36
"Hanky Panky" (Bare Bones Single Mix) - 3:52
"More" (Album Version) - 4:58





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