On December 13 2003, “Nobody Knows Me (P. Rauhofer, Above & Beyond, Mount Sims Mixes)” hit #4 on Billboard’s Hot Dance Music/Club Play chart in the US.
The track from American Life had been serviced to clubs as a promo-only 12-inch, with the remixes being issued commercially in North America as part of the Nothing Fails maxi-single.
(Thanks to ElOr98 for sharing the video!)
((and to aviddiva for making it!!))
On December 5 1992, Madonna’s Deeper and Deeper single was the week’s Hot Shot Debut entry on the Billboard Hot 100 in the U.S., bowing in at #38.
Pop radio had taken an immediate liking to Deeper and Deeper upon the album’s release, with some stations choosing to spin it in favor of the album’s darker lead single, well ahead of its official promotional launch. The support wasn’t unanimous, however, as Madonna was facing a severe public backlash following the release of her Sex book and the forthcoming release of the film Body Of Evidence.
The fact that Deeper and Deeper managed to climb to #7 on the Hot 100 amidst a tidal wave of contempt is a true testament to song’s irresistible appeal.
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 7 1998, The Power of Good-Bye advanced one position to #13 in what would be its final bulleted week on the Billboard Hot 100 in the U.S. The single would nonetheless manage to sneak its way up to #11 on November 28th, sans bullet. It is worth noting that one of the most significant changes to eligibility rules in the Hot 100’s history at the time took effect during the single’s initially rapid ascent, causing an immediate rush of non-commercially released radio hits to storm the chart and seemingly disrupt the ballad’s momentum.
A decision by Warner Bros. to withhold a maxi-single release for The Power Of Good-Bye in the U.S., compounded by the lack of any non-album content on the standard single despite earlier reports, suggests that the changes to the Hot 100 may have created a larger ripple than Warner had anticipated. Including the Oprah performance of Little Star, as previously reported in Billboard, or even the Dallas Austin remix of The Power Of Good-Bye on the b-side certainly would have given fans more incentive to pick up the 2-track single in the U.S.
It’s difficult to fully frown on Warner Bros.’s seemingly uncontainable enthusiasm for the brilliant remixes of Ray Of Light‘s fourth single, Nothing Really Matters, despite the highly unconventional timing of servicing them to clubs six months ahead of their commercial release.
On October 25 2004, it was announced that Madonna would lend her voice to the cast of the animated film Arthur and the Invisibles (then titled simply Arthur), written & directed by French filmmaker Luc Besson.
The film tells the story of ten-year-old Arthur, who, while trying to save his grandfather’s house from developers, goes on a treasure hunt in the land of the Minimoys, a tiny people living in coexistence with nature, informed The Malaysia Star. According to ABC News, Arthur was adapted from a series of children’s books written by Besson, who also wrote the screenplay for the movie. Madonna was said to be voicing the part of Princess Selenia, a character who travels with Arthur to a mysterious forbidden city where an evil being dwells. “The recording is being done at the moment,” a source was quoted by ratethemusic as saying.
Madonna had previously collaborated with Besson earlier in 2004 when he directed her music video for Love Profusion. She was also in the midst of writing songs for a proposed musical film to be directed by Besson, but she later withdrew from the project after being dissatisfied by the finished screenplay.
On October 6 1982, Everybody – the debut single by Madonna – was released by Sire/Warner Bros. Records in the U.S. on 7″ and 12″ single formats.
After signing Madonna on the strength of a 4-track demo tape she had recorded with Steve Bray, Sire Records’ Seymour Stein initially suggested Ain’t No Big Deal as lead single backed by Everybody, but the latter track ended up being featured on both sides (the North American 12″ single was backed with an extended dub version, while the U.S. 7″ included a radio edit with a unique instrumental edit on the flip).
Written by Madonna and produced by Mark Kamins, Everybody would resurface in the summer of 1983 as the closing cut on Madonna’s self-titled debut LP.
Happy 40th anniversary, Everybody! And thank you Madonna for 40 years of musical magic!
Dance and sing, get up and do your thing!
On September 11 2000, Madonna’s Music single hit #1 on the Top Canadian Singles chart in RPM magazine. The single spent an incredible nine weeks at #1 on the chart, making it Madonna’s biggest hit during the RPM chart era in Canada.
Music also holds the distinction of being the final song ever to reach the top of the RPM Top Canadian Singles chart, as the magazine ceased publication during the song’s ninth week at #1. RPM served as the voice of the Canadian music industry and its official chart authority for over thirty-five years.
Madonna’s Music album also hit #1 on RPM’s Top Albums chart during the first two weeks of October, 2000.
In an unusual move, Warner Canada chose to issue the Music single commercially in three different CD configurations: a two-track with non-album b-side Cyberraga, a standard CD maxi-single with full-length remixes, and finally as a set of remix edits – something that would more commonly be reserved for radio in promo-only form.
Both the song and much of the album of the same title bore the fruit of Madonna’s first collaboration with French electronic artist, Mirwais Ahmadzaï. His second solo album, Production, released a few months earlier, featured Madonna’s Paradise (Not For Me) – which would also resurface on Music.
Mirwais worked with Madonna collaborators Jean-Baptiste Mondino (Naïve Song) and Stéphane Sednaoui (Disco Science & I Can’t Wait) on music videos for the Production album, while the latter director also photographed its cover. Madonna, meanwhile, selected Mondino to shoot the cover of her Music album and to direct the video for its second single (Don’t Tell Me).
Several years before directing her Fever video, Sednaoui first captured Madonna as a photographer on the set of the Justify My Love video – directed by Mondino.
Today In Madonna History 