Madison Square Garden, June 10 and 11, was added after the tour began.

Final dress rehearsals were on a soundstage at Hollywood Center Studios. Musical director Pat Leonard (left).

I don't think these costumes made it as far as the actual concerts.

My main instrument for bass, a Moog Source. Programs 6, 10 and 16 are labled for concert songs. It took so long for the pitch to stabilize on this thing, it was the very first piece of equipment brought into each venue and plugged in right away.

Yamaha BB1000S used on "Everybody" and "Material Girl" Octave up strings and whammy bar added after the tour.

One of my cheat sheets for the rehearsals.

High-tech practice gear in my suite at the Four Seasons, Seattle, the hotel for the first venue.

Opening night worksheet.

I found this in my hotel room the day of the opening.

Paul Pesco, one of the two guitarists at sound check for the fourth venue in San Diego. The next six images are from that sound check.

Billy Meyers, one of the two keyboardists.

Madonna and Pat.

My rig, mostly supplied by Yamaha. On top is one of the first Yamaha DX7s. Pedals for volume and a switcher for the three axes. The Yamaha amp sucked and the bass wasn't much better. Tour drummer Jonathan Moffett.

Dave Kobb, an amazing sound man; after a half dozen venues, sound checks became kinda superfluous.

With the crowd still filing in.

During "Material Girl" Madonna threw handfuls of this Madonna money into the crowd. What a coincidence that my brother Phil was on the staff at the Universal Amphitheatre!

The Beastie Boys opened and were hated by the audience and press. The trio didn't seem to give a shit and Madonna was behind them 100%. They were a riot to hang out with.

In Texas on one of the few bus trips, all of them under 125 miles. L-R: Liz (M's personal assitant), a Time magazine reporter, brown-haired person, M, Chris (Ms bro), Freddy (M's manager), and Rusty (tour accountant)

My room, Hotel Iverville, New Orleans.

Royal St., New Orleans

Letter to home.

In Toronto, I talked everyone into posing for a picture that C. Taves shot for me. Standing: James, Pat, Billy, M, Jonathan, BL, Paul. Kneeling Michael and Lyndon. Many of her autographs were actually ghost-signed by her assistant, but I watched as she signed this one for my parents. The signature matches that on the good luck note.

M and Lyndon Baines Johnson. They liked hanging out together at the airports.

James and I went for a walk in Toronto and encountered these Madonna fans outside the hotel, who seemed to assume we had nothing to do with the tour. So, I asked if I could take their picture with my friend.

Then I announced, "He's Madonna's guitar player!"

This worksheet was drawn up before two nights at Madison Square Garden were tacked on.

There were always plenty of great comp seats available to band members and many, like this one, went unused. I took a single one out to the parking lot and spied a very sad looking little girl, apparently with no ticket, being driven away by her mom. I flagged them down, convinced them to open a window, and tossed the ticket into the car.

For what I thought would be only a backup, I asked a photographer in Ohio to shoot a roll of me. She shot James instead. Someday, maybe a decent photo of me on stage will turn up.

About a month after the tour ended, and at the last possible second, Madonna decided to play Live Aid, which, with simulcasts from London and Philladelphia, drew the largest worldwide audience ever.

On a plane flight, Madonna stuck her foot in the aisle and blocked my way to the bathroom, complaining "You take too many pictures!" And she wouldn't budge. At the wrap party, she tossed a glass of water into my lap. I think it's safe to say she was quite happy to be done with me.