On April 9 1995, Madonna’s Bedtime Story single peaked at number five in Australia, where it stayed in that position for three weeks. It fell out of the top ten in the fifth week, and eventually exited the charts after a total run of nine weeks, falling to 44 on its last week in the charts. Sal Cinquemani of Slant Magazine praised the song, claiming that the song had unfulfilled potential and that it “could have been the next Vogue“.
On April 8 1999, American TV newsmagazine Entertainment Tonight (aka ET) revealed the title of the new song Madonna had recorded for the Austin Powers: The Spy Who Shagged Me soundtrack: Beautiful Stranger.
Beautiful Stranger launched to radio in mid-May and quickly became a sizeable summertime hit along with the Maverick Records-issued soundtrack album which landed in North American record stores on June 1st, 1999.
On April 7 1990, Madonna’s Vogue single was briefly reviewed in Billboard magazine.
Vogue’s early release to radio and the addition of its music video to MTV’s playlist were also noted in the same issue.
On April 6 1990, Madonna’s Vogue maxi single was released.
Here is the allmusic.com review of the maxi single:
Vogue, the first single from Madonna’s Dick Tracy-inspired 1990 album I’m Breathless, was arguably one of her crowning artistic achievements (both song-wise and video-wise), one of the biggest all-time house music hits (spending three weeks atop the U.S. pop charts), and her second proper U.S. maxi-single release. The single includes four versions: the single version, the 12″ version, the Bette Davis Dub, and the Strike-A-Pose Dub. The song’s most definitive version, that being the album/video version, is not on the single. The single version, where she asks “what are you looking at,” begins with drumbeats and goes straight into the song, as opposed to the album version’s minute-long introduction. Besides the different intros, however, the rest is the same. The 12″ version is, naturally, quite longer, and just as good. The “Bette Davis Dub” begins with the extended album intro, but, save for the chorus and the “rap,” is virtually instrumental, as is the last mix, which cleverly uses samples from Like a Virgin. This disc’s main selling point is the fact that it’s a collection piece, and for collectors and diehards, it’s nice to have the single edit and 12″ mix. But if one is a casual fan, go with the album version.
On April 5 2011, Madonna’s publicist Liz Rosenberg released this statement:
“In recent days a number of wild and totally false rumors about Madonna’s philanthropy–spread by bloggers and tabloids–have begun appearing on the internet. As we have said previously, Raising Malawi is currently undergoing a series of positive changes in an effort to serve more children. Neither Madonna nor Raising Malawi is being investigated by the FBI or the IRS. It is unfortunate that people have chosen to say things about Raising Malawi and Madonna that are not true. Madonna remains committed and focused on what matters helping the children of Malawi.”
Happy Easter Everyone! Eggs-press Yourself!
On April 3 1993, Fever entered the UK Singles Chart at its peak position of number-six. Without the support of a proper music video at the time of its release (Warner UK instead issued a rarely seen compilation video of previous clips), the single spent only six weeks on the UK charts, dropping to number-seven the following week.
Strangely, Madonna did eventually decide to film a video for the song in late April – nearly a month after its release in Europe. By the time the video premiered during the second week of May, Fever was spending its final week on the UK Singles Chart.
In North America the remixes for Fever had been issued commercially on Madonna’s previous international single, Bad Girl. Fever was also serviced to clubs as a promotional single in its own right, but it was not promoted to radio despite the video being added to into rotation on MTV and MuchMusic. While the release of the music video managed to coincide with Fever’s single week atop the Hot Dance/Club Play chart, its number-one status had already been confirmed several days prior to the clip’s debut, making the video’s intended purpose and the timing of its release all the more puzzling.
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