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 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.”
On January 5 1995, Madonna’s fabulous Bedtime Stories album was certified platinum (for shipment of 1 million units).
Barbara O’Dair reviewed the album for Rolling Stone magazine:
After the drubbing she has taken in the last few years, Madonna deserves to be mighty mad. And wounded anger is shot through her new album, Bedtime Stories, as she works out survival strategies. While always a feminist more by example than by word or deed, Madonna seems genuinely shocked at the hypocritical prudishness of her former fans, leading one to expect a set of biting screeds. But instead of reveling in raised consciousness, Bedtime Stories demonstrates a desire to get unconscious. Madonna still wants to go to bed, but this time it’s to pull the covers over her head.
Still, in so doing, Madonna has come up with some awfully compelling sounds. In her retreat from sex to romance, she has enlisted four top R&B producers: Atlanta whiz kid Dallas Austin, Kenneth “Babyface” Edmonds, Dave “Jam” Hall and Britisher Nellee Hooper (Soul II Soul), who add lush soul and creamy balladry. With this awesome collection of talent, the record verily shimmers. Bass-heavy grooves push it along when more conventional sentiments threaten to bog it down. Both aspects put it on chart-smart terrain.
A number of songs — “Survival,” “Secret,” “I’d Rather Be Your Lover” (to which Me’Shell NdegéOcello brings a bumping bass line and a jazzy rap) — are infectiously funky. And Madonna does a drive-by on her critics, complete with a keening synth line straight outta Dre, on “Human Nature”: “Did I say something wrong?/Oops, I didn’t know I couldn’t talk about sex (I musta been crazy).”
But you don’t need her to tell you that she’s “drawn to sadness” or that “loneliness has never been a stranger,” as she sings on the sorrowful “Love Tried to Welcome Me.” The downbeat restraint in her vocals says it, from the tremulously tender “Inside of Me” to the sob in “Happiness lies in your own hand/It took me much too long to understand” from “Secret.”
The record ultimately moves from grief to oblivion with the seductive techno pull of “Sanctuary.” The pulsating drone of the title track (co-written by Björk and Hooper), with its murmured refrain of “Let’s get unconscious, honey,” renounces language for numbness.
Twirled in a gauze of (unrequited) love songs, Bedtime Stories says, “Fuck off, I’m not done yet.” You have to listen hard to hear that, though. Madonna’s message is still “Express yourself, don’t repress yourself.” This time, however, it comes not with a bang but a whisper.
On November 29 1994, the second single from Madonna’s Bedtime Stories album, Take A Bow, was released. The song was written and produced by Madonna and Babyface.
In Steve Sullivan’s Encyclopedia of Great Popular Song Recordings Volume 2, he reviews the hit single:
On June 30 1997, Madonna began recording sessions for what would become her Ray Of Light album at Larrabee North Recording Studios, Universal City, Los Angeles.
Madonna had already spent several months writing songs and producing demos with Patrick Leonard, Rick Nowels and Babyface (although none of the Babyface material would make the final cut) by the time she entered the studio with co-producers William Orbit and Marius De Vries. Leonard would return to the project to assist with arrangements, earning him a co-producer’s credit on four of the album’s tracks. Madonna would add lyrics and melody to at least a half-dozen previously composed Orbit demos during these sessions as well, with six of their songs making the final track list.