On March 19 1989, Madonna’s Like A Prayer stormed on to Australia’s ARIA Singles Chart, entering at #3. It would hit ARIA’s top spot the following week, nudging out The Fine Young Cannibal’s She Drives Me Crazy.
The two songs entered into an extended dance for the pole position, with Crazy reclaiming its spot for two weeks before handing it back again to Prayer. Then back to Crazy. Then Prayer.
Our Aussie mates may be a tad indecisive with their hits–but they sure know how to pick ’em!
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 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 9 2006, Hung Up spent its final week at #1 on the Italian singles chart.
The single topped the chart in Italy for an unbelievable 14 consecutive weeks before finally descending to #2 for the week of February 16th.
The following week of February 23rd, Madonna’s second single from Confessions On A Dance Floor, Sorry, saw her return to #1 on the Italian singles charts for another 3 weeks – while Hung Up hung on at #3.
On February 7 2004, Nothing Fails lived up to its title when it hit #1 on Billboard’s Hot Dance/Club Play chart in the U.S.
Despite being largely ignored by radio programmers, the single nevertheless received strong support from club DJ’s.
The Nothing Fails maxi-single, which also included remixes of Nobody Knows Me, had previously reached the top of the Hot Dance Singles Sales chart in December 2003 before being overtaken by the Britney Spears/Madonna collaboration, Me Against The Music.
Nobody Knows Me reached a separate peak of #4 on the Hot Dance/Club Play chart in 2003 after it was serviced to DJ’s as a promotional single.