On January 7 1995, Take A Bow slid to #21 on the UK Singles chart after reaching a peak of #16 on December 24th, 1994.
While Take A Bow remains her longest-running #1 hit in the US, its disappointing UK chart performance marked an end to Madonna’s spectacular run of 35 consecutive top-ten UK singles from 1984’s Like A Virgin to 1994’s Secret. Take a bow, indeed!
On December 30 1989, Dear Jessie peaked at number-five on the UK singles chart. The track was released as the fourth single from Like A Prayer in Europe (with the exception of France which instead opted to service the North American/Japanese fourth single, Oh Father) and as the fifth single in Australia.
Dear Jessie was written and produced by Madonna and Patrick Leonard and was inspired by Leonard’s young daughter, Jessie, with whom Madonna had developed a special connection.
The psychedelia-infused reflection on childhood fantasy and innocence was particularly poignant within the context of the Like A Prayer album’s sequencing, with its segue into Oh Father offering a stark musical and emotional contrast that is perhaps one of the most effective in Madonna’s body of work.
On December 29 2001, megamixes issued to promote Madonna’s second greatest hits collection, GHV2, made their debut on Billboard’s Hot Dance Music/Club Play chart in the U.S. at #29.
Several promo-only singles were issued by Maverick/Warner featuring megamixes by Thunderpuss, Tracy Young and Johnny Rocks with Mac Quayle and charted collectively under the title Madonna Megamix.
An additional marketing push to club DJ’s came in the form of GHV2 Remixed: The Best of 1991-2001 – a promo-only companion collection issued on CD and vinyl that compiled full-length remixed versions of songs featured on GHV2.
On November 17 1984, the title-track and lead single from Madonna’s Like A Virgin album entered the Billboard Hot 100 at #48 – the week’s highest debut – hot on the heels of its commercial release as a 7-inch single in the preceding sales week. A commercial 12-inch single was also issued in North America during the chart week ending November 17th, with Like A Virgin pouncing onto the Hot Dance/Disco Sales chart at #26 in the November 24th issue of Billboard.
Created by the successful pop songwriting team of Tom Kelly & Billy Steinberg and produced by Nile Rodgers, the demo of Like A Virgin – sung by Kelly – was initially introduced to Madonna by Warner Bros. Records’ A&R rep Michael Ostin (son of then-CEO of Warner, Mo Ostin).
In a 2009 interview for Rolling Stone magazine, Madonna recalled her impressions upon first listening to the demos of Like A Virgin and its follow-up single, Material Girl:
“I liked them both because they were ironic and provocative at the same time but also unlike me. I am not a materialistic person, and I certainly wasn’t a virgin, and, by the way, how can you be like a virgin? I liked the play on words; I thought they were clever. They’re so geeky, they’re cool. I never realized they would become my signature songs, especially the second one.”
As audio engineer Jason Corsaro noted in a 2007 interview with Sound On Sound magazine, although she officially ceded production credit to Rodgers, Madonna was actively engaged in all aspects of the recording sessions for the album and title-track:
“Nile was there most of the time, but she was there all of the time. She never left.”
Like A Virgin made a high-profile debut via live performance during the first annual MTV Video Music Awards on September 14th, 1984.
With previous single Lucky Star still ascending the North American charts, however, the official release of Like A Virgin was held back by Warner Bros. Records in a bid to allow the former (along with its parent album) to reach its full chart potential. This strategy proved successful, with Madonna earning her first U.S. Top-5 single with Lucky Star in the October 20th issue of Billboard, while Like A Virgin would reach #1 in the December 22nd issue.
On November 12 1994, Madonna’s Bedtime Stories was the week’s highest debut on the Billboard 200 album chart, peaking at #3 with sales of 145,000 units.
While the figure represented a 15% drop in first-week sales from her previous long player, Erotica, the album proved to be a commercial grower in America – where the runaway success of its second single, Take A Bow, would push its overall U.S. sales tally well beyond that of its predecessor.
Illustrating urban/r&b’s U.S. chart domination at the time, Bedtime Stories was held back from the top spot by the Murder Was The Case soundtrack (performed by Snoop Doggy Dogg) and Boyz II Men’s II.