On March 21 1994, Madonna’s I’ll Remember (Theme From With Honors) music video premiered on MTV.
The video was directed by Alek Keshishian. The androgynous portrayal of Madonna in the video, was appreciated critically for breaking gender barriers.
On March 17 1994, the music video for I’ll Remember (Theme From With Honors) premiered on BBC1-TV’s Top Of The Pops in the UK.
I’ll Remember began as a collaboration between Richard Page (of 80’s band Mister Mister) and Patrick Leonard. Leonard had been asked by Madonna to score Alek Keshishian’s film With Honors, and had also been collaborating with Page on an upcoming Toy Matinee album. When Leonard played an early demo of I’ll Remember for Madonna, she loved it and decided to record it with new lyrics she had written. The song was produced by Madonna & Patrick Leonard, with Page providing additional backing vocals.
Madonna had previously crossed paths with Richard Page when he presented her with a trophy at the 1987 American Music Awards.
On December 6 1994, Madonna’s Take a Bow was released (as a physical single). Take A Bow was selected to be the second single from Madonna’s sixth studio album Bedtime Stories.
The ballad was written and produced by Madonna and Babyface.
Billboard Single Reviews gave the song a very positive review:
The follow-up to the top five smash Secret is a plush pop ballad that pairs La M with the red-hot Babyface, who has become best friend to many a diva in recent times. As close to perfect as top 40 fare gets, this single has a delightful, immediately memorable melody and chorus, engaging romance-novel lyrics, caressing live strings, and a lead vocal that is both sweet and quietly soulful. A lovely way for the singer to close ’95 — and one more good reason to investigate her essential Bedtime Stories collection.
On December 5 1994, Madonna began filming the music video for Bedtime Story at Universal Studios in Los Angeles, CA.
The video marked her second collaboration with director Mark Romanek and featured cinematography by Harris Savides. To assist in the process of developing her ideas for the video into something more tangible, Madonna again turned to storyboard artist Grant Shaffer, who had previously collaborated on her videos for Deeper And Deeper and Rain.
Madonna recalled the inspiration for the video in an interview with Aperture magazine:
“My Bedtime Story video was completely inspired by all the female surrealist painters like Leonora Carrington and Remedios Varo. There’s that one shot where my hands are up in the air and stars are spinning around me. And me flying through the hallway with my hair trailing behind me, the birds flying out of my open robe – all of those images were an homage to female surrealist painters; there’s a little bit of Frida Kahlo in there, too.”
The effects-laden video was shot over six days and has been noted by Madonna as being one of the more grueling video shoots of her career. Filming of a scene that featured Madonna bathing in blue-coloured water yielded unexpectedly colourful results; when Madonna emerged from the water, she later recounted, it quickly became apparent that her skin had been temporarily stained blue.
Fortunately any on-set difficulties were not evident in the final product. Following several months of post-production work, the video’s stunning surrealist imagery was enthusiastically received by viewers upon its release in March, 1995.
A very special thank you to artist Grant Shaffer for generously sharing a selection of his original storyboards used in the development of the Bedtime Story video! We’d like to invite readers to check out more of Grant’s art on his official website – including his sketches for Deeper And Deeper, Rain and Madonna’s Japanese Takara commercial.
On October 25 1994, Madonna’s sixth studio album, “Bedtime Stories” was released by Maverick Records. The album was produced by Madonna with co-producers Nellee Hooper, Dave Hall, Dallas Austin and Babyface.
When the self-orchestrated media onslaught that accompanied the release of her previous album “Erotica” largely overshadowed the brilliant work it contained, Madonna took a decidedly subdued approach when it came to promoting “Bedtime Stories.” Interviews conducted for its release were mostly in print with a greater emphasis being placed on music – it seemed as though Madonna had little patience at the time for interviewers who insisted on turning her private life into headlines.
Both a sense of defiance and a hint of impatience with society’s intolerance to her boundary-pushing provocations carried over into the work itself, most notably with album opener, “Survival” and the sardonically biting “Human Nature.” But such sentiments were balanced with songs that were perhaps more personal and more poetic than she had offered on previous albums, with the possible exception of “Like A Prayer”. Feelings of longing, loneliness and loss – along with early glimpses into spiritual rediscovery – are at the emotional heart of the record, with songs like “Love Tried To Welcome Me” and “Sanctuary” containing some of her most ambitiously inspired lyrics, expanding on written works by George Herbert, Carson McCullers and Walt Whitman.
Perhaps the album’s most notable triumph is for Madonna as record producer, as she successfully manages to design an overarching flow that seamlessly bridges the styles of her various collaborators and co-producers. Indeed, “Bedtime Stories” is a body of work that is much more successful as a whole than it is broken down into individual tracks, which may explain why it is frequently overlooked in comparison to her more singles-driven albums of the previous decade. Even the record’s mega-hit, “Take A Bow” hasn’t maintained the traction in the realm of public consciousness that some of her earlier and later hits have managed to do. But when played from start to finish, “Bedtime Stories” remains surprisingly relevant through its subtleties and nuances – aptly demonstrating that even for Madonna, sometimes less is more.
“So here’s my question –
Does your criticism have you caught up
In what you cannot see?”
On September 27 1994, “Secret” was released as the lead single from Bedtime Stories. Initially credited to Madonna & Dallas Austin upon its release, Shep Pettibone was later given a co-writing credit due to his involvement in the creation of an early demo version of the track entitled “Something Coming Over Me.” The demo – which has been described by the few who have heard it as having a club anthem vibe without the R&B overtones of the Austin version – was submitted by Pettibone to the Library Of Congress for copyright registration but has yet to leak. The released version was produced by Madonna & Dallas Austin, and is the only song on the album to feature Austin’s untouched production work. Austin’s other contributions to the album were either reworked with new production ( “Survival” ) or remixed ( “Sanctuary” ) by Nellee Hooper or Daniel Abraham ( “Don’t Stop” ).
To promote the release of “Secret,” Madonna made her virgin attempt at reaching out to fans and potential listeners via the burgeoning world wide web with a playful audio teaser:
“Hello all you cyberheads! Welcome to the 90’s version of intimacy…you can hear me, you can even see me, but you can’t touch me! Do you recognize my voice? It’s Madonna. Often imitated but never duplicated. Or should I say – often irritated? If you feel like it, you can download the sound file of my new single “Secret” from my new album Bedtime Stories which comes out next month. I just shot the video in New York and will be premiering an exclusive sample of it online, so check back soon. In the meantime, why don’t you post me a message and let me know what you think of my new song. And by the way, don’t believe any of those online imposters pretending to be me…ain’t nothing like the real thing! Peace out.”
While the North American single used only the instrumental version of “Secret” on its flip-side, many other markets, including European territories, were treated to an unreleased outtake from the Bedtime Stories sessions. Perhaps fearing that the distinctly American R&B influence of “Secret” may have had limited appeal in Europe, Warner made the strategic decision to include an added incentive for European fans to pick up the single – undoubtedly spurring an increase in the number of copies exported to North America in the process. Although non-album b-sides are a relatively rare occurrence in Madonna’s catalogue given the large number of singles she has released through the years, “Let Down Your Guard” (written and produced by Madonna & Dallas Austin) is particularly peculiar due to its labeling as a “Rough Mix Edit.” This disclaimer-like appendage seemingly suggests that either Madonna or her record label deemed it necessary to explicitly caution listeners that the song was not indicative of the more polished production work that would be featured on the Bedtime Stories album proper. Indeed, the idiosyncratic nuances of Austin’s production (with its tip-of-the-hat to early Prince material) is largely what makes “Let Down Your Guard” such an unguarded and enjoyable obscurity – rendering its disclaimer redundant.