Today in Madonna History: May 15, 2015

On May 15 2015, Madonna’s Ghosttown (from the Rebel Heart album) hit the top spot on Billboard’s Dance Club Songs chart for the week ending May 30th.

Ghosttown became Madonna’s 45th #1 hit on the chart. She had this to say to her fans about the success of the song:

“Thanks to all my fans on & off the dance floor, I’ll always be your partner.”

Today In Madonna History: April 29, 1989

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On April 29 1989, Madonna’s Like A Prayer enjoyed a second (of three) weeks at #1 in the USA.

Today in Madonna History: April 22, 1989

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Starting April 22 1989, and continuing for the weeks of April 29, May 6, May 13, May 20 and May 27, Madonna’s Like A Prayer album became and remained the number-one album in Canada!

Today in Madonna History: February 1, 1997

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On February 1 1997, Evita – The Complete Motion Picture Soundtrack peaked at #2 on the Billboard 200 album chart in the U.S. Meanwhile across the pond, the soundtrack simultaneously shot to the #1 position on the UK album chart. It had initially peaked at #6 in the U.S. and at #7 in the U.K. upon release in November, 1996.

The surge in sales was largely attributed to the film’s wide release in January and the heavy promotional push that accompanied it, along with the interest generated by the soundtrack’s second single, Don’t Cry For Me Argentina.

Today in Madonna History: January 17, 2006

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On January 17 2006, Madonna began filming the video for Sorry in London.  The music video was directed by Jamie King.

Sorry was promoted as the second single from Confessions On A Dance Floor. The #1 dance/club hit was written and produced by Madonna and Stuart Price.

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Today in Madonna History: October 9, 1989

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On October 9 1989, Madonna’s Cherish spent the first of two weeks at #1 on Canada’s Top 100 Singles chart.

Today in Madonna History: October 7, 2000

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On October 7 2000, Madonna’s MUSIC album debuted at #1 in the USA with sales of 420,000 copies.

Dimitri Ehrlich from Vibe described the album as “a masterpiece of brilliantly arranged keyboards, futuristic drums, and electronica dressings. With folky acoustic guitars and a vaguely spiritual bend to her lyrics (like those on Ray of Light), it’s a weird and fresh-sounding album.”

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