Despite a four-week reign at #1 on the maxi-single sales chart (beginning the week of October 5th), a more modest #12 peak on the regular Singles Sales chart prevented Dress You Up from rising above #5 on the Hot 100.
On September 20 1997, the single-disc version of the Evita soundtrack, Music From The Motion Picture Evita, re-entered the Billboard 200 albums chart in the U.S., spending its final charting week at #190.
In the same issue of Billboard, the promo-only remixes of Buenos Aires earned “Hot Shot Debut” status on the Hot Dance/Club Play chart, entering at #35.
On September 1 1990, Madonna’s Vogue spent its final week on Billboard’s Hot Singles Sales chart at #40. The massive hit was present on the U.S. sales chart for a total of twenty weeks, including two weeks at #1 in May of 1990.
Vogue has been certified double-platinum by the RIAA for physical sales of over two million units. In terms of physical sales alone, it remains Madonna’s best-selling single in the U.S.
On August 23 1986, Papa Don’t Preach spent the first of two weeks at #1 on Billboard’s Hot Maxi-Singles Sales chart.
Despite being more of a pop/rock song than a club-oriented cut – both in its original form and in Stephen Bray’s extended remix version – Papa Don’t Preach nevertheless managed to reach #4 on Billboard’s August 30th Hot Dance/Club Play chart due to the massive buzz surrounding the song and its undeniable crossover appeal.
On August 15 1992, This Used To Be My Playground spent the first of three weeks at #1 on the RPM Canadian Top 100 Singles chart. In RPM’s year-end tally of the biggest hits of 1992 in Canada, the hit placed at #8.
This Used To Be My Playground was written by Madonna, Shep Pettibone & Tony Shimkin (although he was not originally credited) and produced by Madonna & Pettibone.
In an interview with the fan site MadonnaTribe, Shimkin recalled a last-minute dash to complete the recording of the song’s orchestral parts:
“When we recorded it with Al Schmidt at Ocean Way studio in L.A., we had a 30-piece orchestra and Jeremy Lubbock did the string arrangements, (but) we never included the demo that had the solo string part in it when we had him chart everything out for the orchestra,” revealed Shimkin. “On the day we were recording, we thought we were done and realized we forgot the solo. I quickly sang the part to the copyist, who then charted it out for the violin players, and they got it recorded with one minute to spare on the clock. When you have a thirty piece orchestra, it can be super expensive to roll into a second hour of their time!”