On March 2 1991, Madonna’s Rescue Me single was reviewed in Billboard magazine.
Despite Billboard’s predictions, with no music video to promote the release, Rescue Me peaked at #9. However, it was also her highest debut on the Hot 100 at the time, entering at #15 due to early adds for the song on radio playlists.
On February 27 1995, Madonna’s Bedtime Stories album was certified double platinum for shipment of over two million units in the U.S.
On February 23 1985, Material Girl made its debut on Billboard’s Airplay chart at #19, while on the Hot 100 the single jumped ahead ten positions from #34 to #24.
Meanwhile, television viewers were getting a double-dose of Madonna as both the Material Girl and Gambler music videos earned “Power Rotation” status on MTV’s weekly monitor.
On February 21 1998, the lead single from Madonna’s Ray Of Light album, Frozen, was reviewed by Larry Flick for Billboard magazine.
On February 17 1996, the maxi-single for You’ll See spent its final week on the Maxi-Single Sales chart in Billboard magazine at #40.
The release had a notably short run on the Maxi-Single Sales chart (by Madonna’s typically high standards), spending only three weeks on the proper chart, after debuting on the Bubbling Under chart at #52. It peaked at #18 on February 3rd.
There are several potential reasons that could explain the low sales of its maxi-single. Ballads, unless heavily and successfully remixed, naturally generated less interest with this format, which was primarily geared towards attracting dance music listeners. Many of Madonna’s ballads were not released in the format for this reason. You’ll See was not given an officially released remix treatment but instead featured a Spanish-sung version of the song, an instrumental version, and a live version of another previous ballad hit, Live To Tell.
Further reducing any incentive to buy the maxi-single was the fact that standard U.S. CD and cassette single inexplicably included three of the four cuts featured on the maxi-single, leaving only the Spanish version as an exclusive track on the latter. One wonders if the inclusion of the live version of Live To Tell on the normally two-track standard single was possibly due to a pressing error that they decided to go ahead and release, since it is not listed on the sleeve but is instead promoted as a nameless bonus track on an outer label affixed to the CD and cassette single cellophane (its inclusion is noted on the physical disc and cassette).
Only one Madonna maxi-single issued in the U.S. had both a shorter run and a lower peak on the Maxi-Single Sales chart, and it was another hit ballad. I’ll Remember spent only two weeks on the chart (plus its first week on the Bubbling Under chart), peaking at #30 on May 21, 1994. Similarly, it was also padded with a live cut. However, it also included some creative reworkings of the track by William Orbit, making the reason for its dismal placement on the chart more perplexing. In terms of contents value, it easily outshines the You’ll See maxi-single.
In Canada, You’ll See was only issued as a CD maxi-single, with no standard single being issued on cassette or CD.
On February 16 1998, the music video for Frozen premiered on MTV at 4 p.m. Directed by Chris Cunningham, the video was filmed in the Mojave Desert in California from January 7th to 10th.
Initially Madonna had considered filming the video in Iceland but decided that a barren desert would create a similarly desolate backdrop, without the added difficulty of filming in extreme cold temperatures. As it turned out, filming in the desert at dusk in January was far from the warm location she had envisioned; low temperatures and an accompanying rainstorm left much of the crew under the weather.
In an interview with MTV News, Cunningham stated that Madonna became interested to work with him after seeing his Aphex Twin-directed music video, “Come to Daddy” (1997). The black goth gown outfit Madonna wears in the video was designed by Olivier Theyskens, and provided by then-new collaborator, designer Arianne Phillips.
On February 13 1999, Madonna’s Nothing Really Matters single was reviewed by Billboard magazine.
The North American two-track single for Nothing Really Matters included the album version of To Have And Not To Hold as its b-side.
Prior to the release of the Ray Of Light album, it was reported that Madonna had fourteen tracks mastered but wanted to cut one, as she felt that thirteen was a lucky number. According to the article, Madonna’s final selection was between two songs: To Have And Not To Hold or Has To Be.
As we all know, Has To Be ended up being cut from the final track list (except in Japan, where it was included as a bonus track).
If you had to choose between including To Have And Not To Hold or Has To Be on Ray Of Light, which song would you include? Keep in mind, your selection should not simply be which individual track you prefer – Madonna would also have had to consider how her choice would affect the overall flow and emotional arc of the album, both musically and lyrically.
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