"Love Don't Live Here Anymore" is a song written by Miles Gregory. Madonna had originally covered "Love Don't Live Here Anymore" for her second studio album, Like a Virgin (1984). The song was a favorite of Madonna, so when in 1995 she released the ballad compilation album Something to Remember, she included a reworked version of "Love Don't Live Here Anymore" produced by David Reitzas. The version was released as the second single from the album in North America and the third single in Europe and Australia.
The 1995 remix was quite different from the 1984 version. It began with the sound of violins and Uilleann pipes, followed by Madonna beginning the first verse. As the song progresses, the sound of the violin fades in and the drum machine starts, and the piano is played along with it. As the chorus is sung the third time, a bass drum is also added in the flow. The violin again fades in as Madonna sings "Through the windmills of my eye, Everyone can see the loneliness inside me." Near the end, she utters the chorus a number of times, emphasizing on the word "anymore" and the phrase "live here anymore". It ends with the Uilleann pipes fading out.
The music video was directed by Jean-Baptiste Mondino and shot on March 4, 1996, at the Confitería El Molino in Buenos Aires, Argentina, during her day off from filming Evita. Maria Gallagher was the producer, with Jean-Yves Escoffier serving as director of photography. It was a Bandits Production.
The video features Madonna at the empty suite of an abandoned hotel, a similar setting to her "Like a Virgin" music video. It was shot in a single frame, with the camera approaching Madonna, as she stands behind a pillar. She rotates around it and sings the song, as air blows through the room. The video ends with Madonna looking up towards the camera the last time, and then closing her eyes. It was treated with sepia color. Carol Vernallis, author of Experiencing music video: aesthetics and cultural context felt that the video was a good example of how image can direct the viewer's attention towards the shift in instrumentation and arrangement of the song. She noted the aimless movement of the camera towards her as "bringing focus to the main subject, with the viewer's attention fully captured." File Hashes
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