On July 25 1990, Warner-Pioneer released Madonna: Blond Ambition Japan Tour 90 on VHS and laserdisc, exclusively to the Japanese market.
The release captured one of Madonna’s performances in Yokohama, Japan in April, 1990 and had previously been broadcast live on Japanese television. Due to heavy winds, no curtains were lowered to hide set changes during this particular open-air concert.
On April 26 1994, The Girlie Show – Live Down Under was released by Warner-Reprise Video on VHS and laserdisc.
The concert – recorded on November 19, 1993 at the Sydney Cricket Ground in Australia – was a re-edited version of the concert special that had aired live on HBO. It was directed by Mark “Aldo” Miceli, who directed the live screens on Madonna’s 1990 and 1993 tours, as well as the Blond Ambition Japan Tour 90 VHS/laserdisc release. The Girlie Show – Live Down Under was nominated for a Grammy in 1995 for Best Long Form Music Video and was also one of the first concerts to be commercially issued on DVD in 1998.
On June 23 1998, the music video for Ray of Light was released by Warner Reprise Video as a limited edition video single of 40,000 VHS copies. It sold 7,381 copies within its first month of release, becoming one of the best-selling video singles of the Nielsen SoundScan era. Madonna’s previous video single release, Justify My Love, which predated SoundScan, was certified quadruple-Platinum by the RIAA (for shipment of over 200,000 copies).
The reason behind Ray of Light being issued as a video single were twofold. Madonna was very pleased with the outcome of her first collaboration with director Jonas Åkerlund and her record company felt that there would be enough interest to warrant its commercial release. Secondly, Warner’s marketing team correctly sensed that the song’s then-experimental sound would be a tough sell at radio, so the decision was made to pull out all the stops to ensure the release outperformed on the sales chart. Another prong in this strategy was the inclusion of album outtake Has To Be as the b-side to the two-track single, while excluding it from the maxi-single in an attempt to persuade fans to purchase the single in multiple formats. The strategy proved successful, with the song’s number-five debut and peak on the Billboard Hot 100 mainly due to its sales strength. According to Billboard, the music video single boosted its first-week sales by roughly 7%, helping it to secure its place in the top-five.
Shortly after Ray of Light‘s release as a video single, Billboard magazine published an article musing on whether renewed interest in the relatively obscure format could ever prove lucrative for the music industry. A video buyer for a major retail chained remarked:
“Madonna’s Ray of Light video single is a success because she has a fervent fan base. There are very few artists with videos that consistently get people’s attention, but Madonna is one of those artists. It’s too early to tell if there’s a true market for video singles. Right now, it seems like record companies are trying video singles to see what happens. I think we’re going to see the lines becoming more blurred in how audio and video singles are marketed.”
Indeed. Within the next five years (and two Madonna video singles later), the emergence of online file sharing would obliterate the physical singles market in North America, and video streaming sites would soon spell an end to the prospect of marketing music video singles as a physical format. In digital form, however, music video singles may be selling in larger numbers than ever due to increased availability through iTunes. Strangely, however, sales of music videos through iTunes are not reported to Billboard and no longer count towards a single’s chart position (reportedly due to iTunes’ monopoly on digital sales of the format), while streams of music videos through sites like YouTube and Vevo are used in Billboard’s chart methodology.