
On May 6 1995, Madonna’s Bedtime Story single dropped to #52 on the Billboard Hot 100 and completed her incredible run of 32 consecutive Top 40 hits in the USA.


On May 6 1995, Madonna’s Bedtime Story single dropped to #52 on the Billboard Hot 100 and completed her incredible run of 32 consecutive Top 40 hits in the USA.

On April 13 1995, Bedtime Story was released by Maverick/Sire as the third single from the album Bedtime Stories in North America. The song was written by Björk, Nellee Hooper & Marius DeVries and produced by Madonna & Nellee Hooper. In both the U.S. and Canada the single and CD maxi-single were backed by the album opener, Survival.
The commercial maxi-single featured remixes by Junior Vasquez and Orbital. Additional promo-only remixes by Mark Picchiotti & Teri Bristol were also later serviced promotionally to clubs.
Bedtime Story was released in the UK in February following a poor reception to the album’s second single, Take A Bow.
It was the opposite situation in North America, where the third single was delayed for several months due to the prolonged chart-topping reign of Bow. Bedtime Story‘s more experimental, minimalist sound failed to gain traction on U.S. radio but did earn Madonna another #1 hit on the Hot Dance/Club chart.

On February 27 1995, Madonna’s chart topping single, Take A Bow, was certified Gold by the RIAA for shipments of 500,000 copies.
Matthew Jacobs (The Huffington Post) had this to say about Take A Bow:
Take A Bow is Madonna’s most poetic ballad. Much in the way that such hits as Borderline and Into The Groove act as the fuselage of ’80s pop … a lost-love elegy that squares nicely with the burgeoning female singer-songwriter movement of the ’90s. Don’t mistake its sleepy quality for stuffiness. This song is Madonna at her loveliest.

On February 25 1995, Madonna’s Take A Bow hit #1 in the USA on the Billboard Hot 100 chart. The hit single remained #1 for 7 weeks, and became Madonna’s 11th single to top the charts in the USA.
Billboard called the song a “plush pop ballad” that was “as close to perfect as top 40 fare gets.” Adding that the lead vocal was “both sweet and quietly soulful.”