Bedtime Stories

Bedtime Stories is the sixth studio album by American singer Madonna, first released on October 21, 1994 by Maverick, Sire and Warner Bros..Records. For the production, he collaborated with Dallas Austin, Babyface, Dave "Jam" Hall and Nellee Hooper with the goal of shifting to a more mainstream sound and toning down his public image, after facing critical and commercial backlash for sexually explicit projects in 1992, especially with the album Erotica and the book Sex. The release of the single "I'll Remember" in March 1994, for the soundtrack of the film With Honors, marked the beginning of this new transformation and continued with Bedtime Stories. Coming from the pop and R&B genres, the lyrics explore themes like love, sadness, and romance, but with a softer, more reflective approach. However, in other songs she addresses the controversy in relation to her previous works, which critics have analyzed as autobiographical. Madonna also wanted to explore British club music, whose genres like dub had gained popularity, so she worked with Icelandic singer Björk.

Overall, the album garnered favorable reviews from critics and music journalists, who praised the artist's voice, production, and songwriting. It was also nominated for the 1996 Grammy Awards in the category of best pop album. From a commercial point of view, it debuted at number three on the Billboard 200 chart and received three platinum records from the Recording Industry Association of America (RIAA). In addition, it entered at number one in Australia and was in the top five in other European countries. In total, it sold an estimated eight million copies worldwide.

Four singles were released to promote the material: "Secret", "Take a Bow", "Bedtime Story" and "Human Nature", the first of which became Madonna's 35th consecutive song. to be among the top ten in the United Kingdom, while the second spent seven weeks at the top of the Billboard Hot 100 count; however, the latter two were unable to match the success of her predecessors. The artist performed "Take a Bow" and "Bedtime Story" at the American Music and Brit Awards, respectively. Added to this, there were plans to go on a world tour, but it finally did not take place because Madonna had obtained the lead role in the 1996 film Evita.

Published at a time when the media and public continued to question the artist's career, they expected Bedtime Stories to be publicized as an apology after all the scandals that had surrounded her in previous years. However, she refused to show remorse and to abandon the sexual provocation of her, claiming that she had been misunderstood. After its release, some media recognized it as one of the best albums of 1994 and Slant magazine included it among the best of the 1990s. In retrospective reviews, numerous critics considered it not just one not only some of Madonna's most notable works, but also some of her most underrated and forward-thinking material.

Background

Babyface, one of the producers Bedtime Stories

In 1992, Sex, a Madonna coffee table book noted for its sexually explicit content and voyeuristic fantasy imagery, was published. At the same time, Erotica , her fifth studio album, was released, and she later starred in the film Body of Evidence . All of these projects caused controversy and received negative criticism from both the media and the singer's fans, who viewed her as a "sexual renegade" and even claimed that she had "gone too far" and that her career was "over". In addition to this, his appearance on the talk show Late Show with David Letterman, in March 1994, was noted for his controversial behavior, as he used foul language that was censored on television, made sexual insinuations and even offered the host one of her panties to smell. This led to the episode being the most censored in the history of talk shows in the United States, although at the same time the program obtained one of the highest audience ratings. In the words of Joe Lynch of Billboard: "For the first time in a decade of stardom, people were no longer shocked by his antics and, worse still,, they were often tired of it." In March of that m In the same year, Madonna performed the song "I'll Remember" for the soundtrack of the film With Honors, which received favorable reviews from critics and was seen as the first positive step of the singer for reconnecting with the general public and redefining her career.

Regarding that period of her career, the artist stated that there was a time when "you couldn't open a newspaper or a magazine and not read something incredibly scathing about me". In an interview with Los Angeles Times, elaborated: «I feel that I have been misunderstood. I tried to make a statement about feeling good about yourself and exploring your sexuality, but people understood that everyone should go out and have sex with everyone, and that I would be the leader of it. So I decided to drop it because that's what everyone ended up focusing on. Sex is such a taboo subject and it's such a distraction that I'd rather not even offer it.” During 1994, Madonna began work on her sixth studio album; To do this, he explored new musical genres such as hip hop, new jack and R&B, sounds that dominated the radio and music charts of that time. In addition, he wanted to "soften" his image and for the songs to have a more romantic style, so he decided to work with well-known producers of these genres and took an image more appropriate for the general public. In this sense, he collaborated with Dallas Austin, Babyface and Dave "Jam" Hall, as well as Britain's Nellee Hooper. It became one of the few times he had worked with well-known producers, his first since Nile Rodgers on Like a Virgin (1984) journals. He described it as "very romantic" and a "combination of pop, R&B and hip hop". In another dialogue with The Face magazine, he explained his main inspirations. behind Bedtime Stories, as well as the reason for working with R&B producers:

I was in a reflective mood. I did a lot of interior searches and I felt romantic when I was doing the album, so I wrote about it. I wanted to work with a lot of different producers. The album by Björk [Debut] was one of my favorites for years, produced brilliantly. And he also wanted to work with Massive Attack, so obviously he was on the list. Nellee was the last person I worked with, and it wasn't until that moment that I understood the sound of the whole album, so I had to go back and redo a lot.

Development and recording

Madonna recorded Bedtime Stories with a smaller team of new musicians and songwriters, with whom she worked for the first time, at nine different studios: Axis Studios, The Hit Factory and Soundworks, located in New York; Chappel Studios (Los Angeles); DARP Studios and Tea Room (Atlanta); The Enterprise (Burbank); The Music Grinder (Hollywood); and Wild Bunch Studios (London) She First she began working with Shep Pettibone, who had co-produced her previous material, Erotica (1992). However, she noticed that they were making the same kind of music from that record, which she didn't like, and she wanted to go back to her "roots"—R&B—so she left the album. project. When Bedtime Stories was released, she thanked Pettibone in the album credits for being "understanding". At the time, she was a fan of "When Can I See You" (1994) by Babyface, and since he wanted "heavy ballads" for his record, he was interested in collaborating with him, whose work with artists such as Whitney Houston, Boyz II Men and Toni Braxton had achieved commercial success. The two worked on three tracks in his studio. in Beverly Hills, of which "Forbidden Love" and "Take a Bow" would end up on the album. Regarding the development of this last song, she recalled that she played the base of some chords and the singer liked it, so they began to write. According to the producer, "It was just a bar and the chords. From there we collaborate and build it. [...] I wasn't thinking so much about the music charts. I think I was more impressed by the fact that I was working with Madonna. At first it was surreal, but then you get to know the person a little bit, you get control back, and then it's just work." Likewise, she expressed that for "Forbidden Love" she listened to the basic track and "everything started to come out", and acknowledged that it had been a "much easier" process than she thought.

Through Babyface, Madonna met Austin, who had gained recognition for producing Oooooooohhh... On the TLC Tip (1992) and The Pendelum Vibe (1994).), the debut albums by TLC and Joi, respectively. According to the singer: «I wanted to know "who is he? Who produced it? How did this happen?'". The two created three tracks, "Secret", "Don't Stop" and "Sanctuary"; the first was originally produced by Pettibone on a demo under the title "Something's Coming Over Me". However, Austin rearranged the score entirely, for which he received credits along with Madonna, and the final version was titled "Secret". For "Survival", the album's opening track, backing vocalists Donna De Lory and Niki Haris were contacted to provide harmonies. De Lory stated that the sessions took "a couple of hours" and there were no repeats, adding that "by the time you walked into [the studio], she was already giving you the lyric sheet. That was the atmosphere, we didn't come just to hang out. It's fun, but we're here to work and do this."

According to author and biographer Lucy O'Brien, while Madonna wanted to make an "impact" in the soul music market, her work with R&B producers he had "underestimated his vocal limitations." At the time, his voice was not "powerful enough" to hit the notes, so looking for another "taste" for the album, he decided to explore British club music, whose genres such as dub had gained popularity with artists like Björk and the bands Massive Attack and Soul II Soul. In this way, she collaborated with European composers and producers specialized in electronic music, among them Marius de Vries and Hooper, who liked the singer for her "very European sensibility" and whom she recognized as her greatest influence on her music. the overall result. The three met in Los Angeles, and recording sessions took place at Chappell Studios in Encino during the summer of 1994. There, Madonna and Hooper produced "Survival", "Inside of Me", and "Bedtime Story". », co-written by Björk. About the latter, Madonna contacted the Icelandic through her connections with Hooper and de Vries and proposed to write a song for the album. Although she did not consider herself an admirer of the singer's music, she accepted the proposal and delivered a demo called "Let's Get Unconscious" to the producers, who modified several parts - for which they received credits as authors - and the final version It was titled "Bedtime Story". Working with various people, de Vries expressed that "one had to be careful that [the record] didn't end up sounding too out of focus", although he acknowledged that it was Madonna, determined to create her album "what as perfect as possible", which kept an "overview" and the result was a "fairly coherent" sound.

Composition

Meshell Ndegeocello appears in the third song, "I'd Rather Be Your Lover"

Icelandic singer Björk was one of the composers of "Bedtime Story"

From a musical point of view, Bedtime Stories presented a remarkable change compared to their previous work, Erotica. It is an album of pop and R&B genres set to hip hop rhythms. According to Sheryl Garratt of The Face, it presents a more mature sound, “ with more polished soul/swingbeat” drums and bass, rather than the house beats of Erotica. Similarly, Joe Lynch of Billboard noted that the music and lyrics were "softer" and that Madonna focused on autobiographical subject matter, a view that other critics shared. to the sequencing of the songs, with the goal of creating a "really cohesive album". He stated that they all reflected something in his life, "whether it's an experience I had or am having. They are a reflection of my current state of mind.” She added, “Lyrically and thematically, I would describe most of the songs as romantic and thoughtful. Result of my state of mind during the last years. When I was doing Erotica, I was practically working on my book Sex at the same time. At that time I was interested in exploring eroticism and my sexual fantasies. I am now exploring romance. Musically, Erotica was more club/house and had a somewhat industrial vibe. This is the other side of love. I think love is erotic and romantic". At this point, the lyrics are more about romance, loss of unrequited love, depression, loneliness and mourning, although religious and spiritual aspects are also explored, especially on "Secret" and "Sanctuary". On other tracks such as "Survival" and "Human Nature", there is a defensive and sarcastic attitude around the criticism he faced for previous projects, and it is "a direct response to his detractors".

"Survival", the first song, is a "sweetly funky number" that conveys "a sketchy story of her punishment from the media and her feelings leading up to the release". It begins with the verse I'll never be an angel / I'll never be a saint, it's true / I'm too busy surviving / Whether it's heaven or hell and the lyrics allude to the single "Live to Tell" (1986), along the lines I'm gonna be living to tell, with vocals in double tracking and harmonies. Madonna states that she does not have time to behave properly because she is "too busy surviving", for that reason "she will never be an angel or a saint". The singer emphasized more rhythmic sounds and He reduced the low sounds, in order to please the musical trend of the time. With multiple hooks, it is about survival and contains dualities such as heaven-hell, up-down, angels-demons. "Secret" opens with her singing voice over an acoustic guitar and a wah-wah effect, before kicking off a "retro" and "sparse" rhythm section. This is followed by a descending chord sequence, and around the minute the percussion comes on and Madonna sings the refrain Something's coming over me while the sound of the strings backs up her voice.. During the bridge, another wah-wah guitar solo is added along with the strings, and near the end the melodies add a higher harmony to add variety. The simple lyrics feature a mix of longing, melancholy, spirituality, humanity, and self-empowerment. The voice remains at the center of the production, as she recites lines such as happiness lies in your own hand. Throughout the song, she also repeats My baby's got a secret, although it is never revealed what that secret may be. "I'd Rather Be Your Lover" opens with a four-chord riff and is performed in a < i>tempo moderately slow; in the lyrics, Madonna desires the unattainable through "negotiation processes": I could be your sister, I could be your mother, We could be friends, I'd even be your brother. During the bridge, Meshell Ndegeocello does an eight-bar break and raps Tell me what you want / Tell me what you need. Madonna's voice, in the foreground, is juxtaposed with Ndegeocello's rap verses and ends by asking Are you surprised? From the genres trip hop and new jack swing, is compared to tracks from the album Dummy, by the band Portishead, and uses a sample of "It's Your Thing", performed by Lou Donaldson

"Don't Stop", the fourth track with hip hop characteristics, has a twang bass overlaid with strings that repeat and accompany the riffs in gestures sharps and glissandi. The rhetoric is displayed through Madonna's commands: Don't stop doin' what you're doing' baby, don't stop, keep movin' keep groovin'. "Inside of Me" opens at the same tempo as "Don't Stop", with guitars, sustained strings, a thumping bass and keyboards in the jazz style, while the artist sings in a "broken" register. The lyrics are interpreted as a "post-breakup lament" and as an apprenticeship to take care of her memory, when she sings Even though you're gone, love still carries on. However, it was also analyzed as a dedication to her deceased mother - which the singer herself confirmed in some interviews - specifically in the lines When my world seems to crumble all around / And foolish people try to bring me down / I just think of your smiling face. The strings and the sample of a saxophone make "Inside of Me" a direct continuation of "Erotica", with an interval in which the sound of the drums subsides and her voice is exposed. On "Human Nature", the sixth track, she confronts machismo and those who « condemned» in the verses And I'm not sorry, I'm not your bitch, don't hang your shit on me, while whispering the hook express yourself, don't repress yourself, a reference to his single "Express Yourself" (1989). It deals explicitly with the "media frenzy" he had to endure from the media and the "contempt" he feels for his critics. It consists of a four-chord sequence with heavy bass and drum loops, and sings in a nasal tone reminiscent of 1990s soul style. Along with "Survival", became a vehicle for her to express her frustrations regarding the controversies surrounding her.

The lyrics of "Forbidden Love", a soul ballad, compare rejection to an aphrodisiac and dismiss any relationship untouched by taboo. Composed in a minor key and with whispering voices—one of them is by Babyface—it has a string section on the bridge and recounts the desire for what is forbidden. The instruments are kept to a minimum to emphasize the vocals, and the song ends slowly fading out. "Love Tried to Welcome Me", another "poetic" ballad with flamenco influences, is inspired by a stripper the singer met at a club. and fetishizes rejection. The first 42 seconds consist of a string section and acoustic guitar phrases and then the verses begin. The song projects a subdued, self-confessional mood; she states that she is "drawn to sadness" and that "loneliness has never been a stranger". At the beginning of "Sanctuary", which features techno influences, she recites a line from the poem Vocalism, by Walt Whitman: Surely whoever speaks to me in right voice, him or her I shall follow. Lyrically, he equates love and death and confesses to her lover how much it comforts her. The ending joins with the beginning of the next track, "Bedtime Story", which begins with its chords and the verse Today is the last day that I' m using words / They've gone out / Lost their meaning. Of an electronic genre and with a psychedelic atmosphere, it is described as a "hymn to the joys of unconsciousness and a rejection of the supposed limitations of reason and language". The word traveling is repeated throughout the theme, functioning as a lyrical hook and a "central" metaphor. album ends with "Take a Bow," an orchestral pop and R&B ballad "with a Japanese touch" from Kyū Sakamoto's "Sukiyaki" (1961). The chorus expresses the theme of saying goodbye to a lover who failed to appreciate her. The title matches the verse all the world is a stage and everyone has their part, a reference to the line from William Shakespeare's As You Like It: "The world is a great theatre, and men and women are actors".

Title and post

The album's title comes from the song of the same name, co-written by Björk and originally called "Let's Get Unconscious". The singer thought Bedtime Stories would be a good name because all the songs were "bedtime stories, like a tale, a story to tell". Academic Georges-Claude Guilbert, author of Madonna as Postmodern Myth (2015), felt that this was a play on words: «As its title indicates, the bed is, in fact, at the center of Bedtime Stories. Madonna refers to both (possibly erotic) bedtime stories and (erotic) stories that take place at bedtime (in bed); often fairy tales (pun intended). In a way, [the album] is really a book of stories that you can tell your kids at bedtime. It may help them dream of being Madonna or having her. For Bedtime Stories, sexuality is also explained to children: Madonna has always thought that children should be better informed on that aspect." Similarly, Rikky Rooksby, author of The Complete Guide to the Music of Madonna (2004), indicated that both the title and the "sexual" theme of the songs are what one would expect from the successor to Erotica , although he noted that the singer "apparently he saw it more as a love and romance album". In this regard, he hesitated for a moment to change the name, since the public could again see "innuendos and artifices" where at no time was it intended, as believed that the name meant "songs for sex time." However, she eventually gave up on such an idea and concluded: «Everyone would start accusing me of being a slut again. So I thought, 'fuck it, that's a beautiful title'".

As part of the activities with America Online and CompuServe, Warner Bros. previewed the release of Bedtime Stories through an audio message that was made available exclusively online in September 1994, a rare occurrence. at the time, as less than 15% of adults in the United States had access to the Internet. Addressed to her fans, the singer began by saying, "Hello, all of you netizens. Welcome to the '90s version of privacy: you can hear me, you can even see me, but you can't touch me!" In addition, subscribers to both computer services could listen to a snippet of the first single, "Secret", access the Disc information and see the cover. Released on CD and cassette by Maverick, Sire and Warner Bros., the first release date occurred on October 21, 1994 in most European countries, as well as Australia. and New Zealand. Three days later, it went on sale in the United Kingdom and, on the following date, in the rest of the world, with the exception of Japan, which was not available until November 5 through Warner Music Japan. On August 12 and 19, 2016, it was reissued in the United States and the United Kingdom, respectively, on 180-gram vinyl, this time under the Rhino Records label, while in Australia, New Zealand and the rest of Europe, on the 26th of that month.

Cover Page

For the album cover, Madonna was inspired by the style and image of actress Jean Harlow

Under the artistic direction of Fabien Baron, the Bedtime Stories cover photos were shot at the Eden Roc Miami Beach Hotel in August 1994 by French fashion photographer Patrick Demarchelier. Madonna also worked with stylist Sam McKnight, who recalled that it was a "simple" session, with less than fifty people, on the artist's birthday, so it ended quickly, since she had to attend her party that night on the town. For the photos, she sported raised eyebrows and was inspired by the image and style of American actress Jean Harlow. The cover was posted online in September 1994 along with the audio message from Madonna and the preview for "Secret". Michael R. Smith of The Daily Vault called it "colorful" and noted that it was one of the highlights of the release. In his review to Demarchelier's life and career, Valentine de Badereau described it as "unforgettable".

Marie Claire magazine claimed that Madonna had left behind the dominatrix with the gold tooth” persona from Erotica in favor of a more “subtle” style for this occasion. He noted that her makeup was designed to flatter rather than intimidate, the "tousled" hair suggests she's just had a pillow fight rather than a bondage session, and that banal negligee looks straight out of the years. 1950". The packaging of the disc featured a white plastic digitray that contained the CD, while the cover was made of light blue paper with a velvety texture. During an interview with the artist for the magazine < i>Q, British journalist Paul Du Noyer gave a detailed description of his makeover with the album:

Madonna looks older and younger than in photos and videos: a little more wrinkled and possibly tired, but also less mature and elegant. His attitude is quite a teenager, not a fatal woman. He seems willing to do mischiefs, and yet he is quite aware of his power. At the same time, his frankness is almost innocent. These combinations are strange, and give her the air of a prematurely intelligent girl. His current style is [...] Jean Harlow and Angela Bowie. She's not captivating, but she's certainly beautiful. He carries the ring in the nose that so upset Norman Mailer in a recent interview. If you saw her on the street, you'd think she looks like a girl who looks a little like Madonna.

Promotion

Simple

Madonna performing the first single of the album, “Secret”, during one of the concerts of the Drowned World Tour of 2001

"Secret" was released as the album's lead single on September 20, 1994. It peaked at number one in Canada, Finland, and Switzerland, and was in the top ten in other music markets, including the United States, where it peaked at number three on the Billboard Hot 100 chart. In the United Kingdom, it was Madonna's 35th consecutive single to reach the top ten of the UK Singles Chart, a record that began with "Like a Virgin" (1984). and that no other artist has surpassed in the history of the British list. For the video clip, filmed in black and white and directed by Melodie McDaniel, the singer wore light blonde hair and dark makeup; in it, he walks through the streets of Harlem and performs the song at the Lenox Lounge club. "Take a Bow" was released on December 6, 1994. From a commercial point of view, it reached number 16 in the UK. Kingdom, which meant the end of the aforementioned record, although, on the contrary, it became her most successful single in the United States, staying seven weeks at the top of the Hot 100 - the most for Madonna - and nine on the Adult Contemporary radio chart. In addition, it was her eleventh and twenty-third single to reach the top spot and top five on the main chart, respectively—a record for a female artist at the time—and replaced Carole King as the songwriter with the most number one hits. Michael Haussman directed the music video, shot in Ronda and at the Antequera bullring in Spain. The singer, whose style was inspired by the 1940s, plays the "abandoned" lover of a uncle rero—starring Spanish actor and bullfighter Emilio Muñoz—who longs for her presence with "tears of heartbreak."After its premiere on MTV, it sparked controversy as activists and animal rights organizations accused it of glorifying bullfighting.

"Bedtime Story", the third single, was released on February 13, 1995 in Australia and Europe and on April 11 in the United States. In the latter country, it only reached number 42, from in such a way that ended her record of 32 consecutive top forty singles, which had begun with "Holiday" in 1983. Had she been in any of those positions, Madonna would have been the third woman in the "era." of rock” with the most hits in the top 40, after Aretha Franklin and Connie Francis. Lack of physical sales and airplay on radio stations prevented it from entering the top forty. Mark Romanek directed the music video, which at the time was the most expensive ever on a budget of five million dollars. It presents surreal and new age images and influences from the works of artists such as René Magritte, Remedios Varo, Frida Kahlo and Leonora Carrington, among others. "Human Nature" was released as the fourth and final single from the album on May 5, 1995, in Europe and Australia, and a month later in the United States. It reached number eight in the United Kingdom and the top twenty in other countries, while in the US, it peaked at number 46 on the Hot 100, although it achieved better reception on the Dance Club Songs chart at number two. The video, directed by Jean-Baptiste Mondino, features Madonna dressed in latex and black leather, while her dancers try to catch her with a rope.

Public appearances

Madonna singing the simple “Human Nature” (left) and "Take to Bow" (right) on the MDNA (2012) and Rebel Heart Tour (2015-2016), respectively

To start publicizing the material, advertisements were aired on TV channels proclaiming that there would be "absolutely no sexual references on the album", to which Madonna commented: "Not because I'm embarrassed. Not because it has changed. Not because I have a different outlook on life. I've consumed that... genre, if you will. I'm a new me! I'll be a good girl, I promise.” After its publication, she gave some interviews to international publications as part of the album's promotion. One of her first appearances was in Paris, where actress Ruby Wax interviewed her and discussed the record. However, Wax later criticized the meeting as she felt intimidated by Madonna's entourage and that "nerves got the best of it". of her, forcing her to ask questions that, in her words, didn't make sense or seemed to bother the singer. Accompanied by Babyface and a full orchestra, she performed "Take a Bow" for the first time at the American Music Awards. on January 30, 1995. The singer expressed that she had "never been so nervous before", and Babyface stated, "That was crazy to me. I was like, 'You're Madonna! You're on stage all the time!"". In November 2014, Erin Strecker of Billboard called it one of the twelve best performances in awards history.

On February 18, 1995, he arrived in Europe to promote the album; that same day, he appeared on the German television show Wetten, dass..?, where he gave an interview and performed "Secret" and "Take a Bow". Two days later, he presented "Bedtime Story” at the 15th Brit Awards; She wore a white Versace gown and waist-length extensions and was joined by a trio of satin-clad dancers.Madonna had invited Björk to take part in the performance, but she declined the offer; about this, she commented: "She was supposed to have her personal number and call her, but it just didn't feel right to me. I would love to accidentally meet her, drunk in a bar. It's just that formality that confuses me." On February 22, she sang "Take a Bow" along with Babyface at the Sanremo Song Festival, wearing a long evening gown and her hair in a bun; At the end of the presentation, he thanked the audience in Italian and received a standing ovation. To promote the premiere of the "Bedtime Story" video clip, MTV aired a special titled Madonna's Pajama Party on March 18, held at New York's Webster Hall in front of 2,000 people; the singer then read the children's story Miss Spider's Tea Party to viewers while leaning on a huge bed. Producer and DJ Junior Vásquez played tribal and trance remixes of the song, described by Billboard's Larry Flick as "edgy"., the video premiered as a musical short in three different Odeon Cineplex theaters: at the Broadway Cinema in Santa Monica, at the Chelsea Theater in New York and at Chicago's Biograph Theater.

In January 1995, the Italian newspaper Corriere della Sera reported that the artist would perform in that country as part of a world tour to promote Bedtime Stories in May- June or September-October of that year. However, two months later, the singer and her manager Freddy DeMann canceled all plans after she landed the leading role of Eva Perón in the film Evita, by Alan Parker. Her publicist, Liz Rosenberg, had considered "a shorter tour" due to filming, but Madonna stated, "I've waited years for this role, and I have to put all my concentration on it. I love touring and I'm really looking forward to coming out with this album. But I can't, I would go from months of touring straight to shooting: I would feel exhausted and tense. It wouldn't be good for the movie if I couldn't deliver the maximum of my energy." Despite this, Madonna included the singles in the repertoire of her following world tours: Drowned World (2001), Re-Invention (2004), Sticky & Sweet (2008-2009), MDNA (2012), Rebel Heart (2015-2016) and Madame X (2019-2020).

Critical reception

Overall, Bedtime Stories garnered favorable reviews from critics, academics, and music journalists. Stephen Thomas Erlewine of Allmusic gave it four stars out of five and called it a "warm album, with deep rhythms and sweetly vibrant". Sal Cinquemani of online magazine Slant also gave it four stars. of five, calling it "a concept album [...] that unfolds like a musical fairy tale". Regarding the lyrics, the journalist noted that, on this occasion, the singer "seemed more interested in literature and human psychology than in sexual biology". Paul Verna of Billboard commented that she "sticks to a pop formula that produces many hits, with little excess baggage". with the clarity he once had in store for his sexual troubles." Robert Christgau chose "Don't Stop" as the most outstanding, writing of the record: "[A] beguiling self-love over the best tracks that fame can buy". Called "sweet and polished", Johnny Dee of NME wrote that it was their "most enduring LP to date". Stephen Holden of New York Times named it "easily [his] best album" and concluded that it was "a beguiling blend of smooth hip hop and bittersweet ballads". Pareles, from the same newspaper, noted that many of the songs had "pentatonic melodies", making them "concise and seemingly inconclusive, with a melancholic undertow; the tone is soft, with touches of abundance". In their biography of the singer, Borja Prieto and Natalia Flores expressed that it was a "relaxed, sweet and even cheesy" album.

Overall, Madonna's voice received critical acclaim. For Greg Kot of the Chicago Tribune, the "relaxed" funk rhythms allowed him to get "the most out of his limited voice". Tony Power of magazine >Blender, noted that "Take a Bow" featured their "best performance" and praised the "great" rhythms and samples by Hooper, Austin, and Babyface. J. D. Considine, in his opinion for the newspaper The Baltimore Sun, acknowledged that despite the fact that the album did not have much "scandalous" content, on this occasion the singer's audacity had more to do with the music than with the lyrics. The journalist called her voice the "biggest strength of the album" and delivered some of the "greatest performances of her career". The bass, which was less high-pitched than on previous records, suited the hip hop arrangements well, and his voice "makes these bedtime stories worth staying up for." Sal Cinquemani concluded that he never she had previously sounded "more emotionally vulnerable or intellectually connected" than on this record. For Stereogum's Tom Breihan, "[Bedtime Stories] is nowhere near the Madonna's best album, but its classy mix of R&B and club music works much better than it probably should." In contrast, in mixed opinion, Barry Walters of the San Francisco Examiner noted that Madonna's interpretation of the new jill swing was "rich in sonic sophistication", however, it did not possess the s "vocal skills to make the melody of a song radiate like gospel".

The production also received favorable reviews. For example, Allmusic's Erlewine argued that Madonna wanted listeners to recognize that her music was not "one-dimensional", and she succeeded in doing so thanks to the album's production, as she "provides her music more human and open." her; it's even seductive". Barbara O'Dair of Rolling Stone acknowledged that, thanks to the work of the producers, "the album really shines" and admitted that Madonna created "extremely attractive sounds". As a rating, he gave it three and a half stars out of five. Stan Hawkins, a musicologist at the University of Leeds, praised the "slickly produced mix of dance and hip hop styles on '90s". Michael R. Smith of The Daily Vault gave it an "A-" and approved of the singer's decision to work with "a group of the best producers in R&amp;amp;amp;quot;;B", resulting in an album with "softly melodic" tunes, including "Bedtime Story", which he picked as the standout. Chris Willman of the Los Angeles Times gave it two stars and a half of four: he praised the work of Austin and Hooper and, although he found it the least "remarkable" of all their records, he remarked that it was not necessarily the least of them, as it had a "pleasant and consistently relaxing" feeling and none of the songs "swelled unnecessarily above the average tempo". We had several albums and seemed "remarkably close in spirit" to her debut album, emphasizing dance rhythms and pop melodies.

Another constant theme in the reviews was the comparison with its predecessor, Erotica, in terms of production, sound and style. In this way, Jim Farber, from Entertainment Weekly, opined that in the latter the artist had explored the dark and low rhythms of the dance genre of underground gay culture. , while Bedtime Stories "replaced Madonna's gay allegiances with her obsession with black culture". J. Randy Taraborrelli, author of Madonna: An Intimate Biography of an Icon at Sixty (2018), praised it for being "considerably tamer in style than the ethereal sound and sexually explicit content" of Erotica, noting the "sharp instincts" of the film. singer about where pop music was headed. Greg Kot of the Chicago Tribune noted that it was a "welcome change" from the "raucous scandals" of the 1992 album, and that Madonna was at the time "more relaxed and seductive on the new album." He concluded that it was his "most irresistible guilty pleasure". Barry Walters of the San Francisco Examiner remarked that he abandoned the provocation of the past and devoted himself to much more subtle aspects of love on his "simplest album, as likable as his predecessor was brave". Brett Callwood of the Metro Times acknowledged that after he successfully shocked the world with Erotica , he "definitely smoothed things over" in this record, which was notable because Madonna allowed a bit of experimentation, such as on the "incredible song of the same name". softer", with "soulful" ballads and "minimalist" pop hits, after he fully exercised the overtly sexual themes with his earlier material. People opined that "after a cold disco cocktail, techno and S&M, which didn't pan out so well with her fans, Madonna has returned to her pop roots to p to produce a victorious album». Francesco Falconi, author of Crazy for Madonna. The Queen of Pop (2017), considered that the R&B sound was "perfect to cool down the tone of Erotica and veer towards a different sound and a less provocative image". In addition, he observed that there was greater attention to the lyrics and music and that the atmosphere in the material was "refined and glamourous". For Eduardo Viñuela, one of the editors of Bitch She& #39;s Madonna: The Queen of Pop in Contemporary Culture (2018), in this material the interpreter took refuge "in the connection with art to try to leave behind the controversies" of Sex and Erotica.

In mixed comments, Troy L. Smith of The Plain Dealer said the album's fault was the "failure to completely conquer 1990s R&B in the same way as that Michael Jackson's Dangerous rose to the top of the new jack swing». Still, he singled out "Bedtime Story" and "Take a Bow" as most notable, with Canadian musician and songwriter Owen Pallett rating it 6.5 out of 10 for Pitchfork ; In his analysis of the tracks, he praised the production of "Take a Bow" and "Human Nature", but criticized the "disappointing" "Bedtime Story" and the "endless" length of "Secret". On a general shot, he called the sound "smooth" and "sultry" and had its "seductive charm", but in the "cunning career of the pop star" it remains a "curious fiasco, an asterisk to its omnipresence, another hot day in a heat wave.” He concluded: «When Madonna plays tourist with the gay culture, with Broadway, with Hollywood, with the jungle of the United Kingdom, she is able to keep things (generally) deferential and even interesting and, many times, achieves transcendence. But here she sounds, sadly, out of place as a songwriter and singer [in] these lackluster attempts at R&B ballads." Jim DeRogatis of the Chicago Sun-Times, who had called it a hit record "Smooth R&B", he claimed that many people "will reject [his] album without even paying attention to it [because] they're just sick of it". that "[we] have already seen Madonna (because this album is Madonna's, right?) closing better concepts, more personal songs and more exciting ballads". Jaime Cristóbal, from the same site, was even more critical; He called it his "weakest" record and admitted that he failed to "focus the sound on anything concrete or particularly bright". Although Tina Maples of the Milwaukee Journal Sentinel singled out "Secret", "Take to Bow" and "Bedtime Story" as the best on the album, he judged the "old clichés" and "bland soul-pop" ballads that confuse sophistication with sleepwalking." In turn, she stated that Madonna was feeling the "consequences" of building a career based on scandals.

Néstor Villamor of the Spanish online newspaper The Objective wrote that although it "did its job" after the "failure" of Erotica, the result was "a collection of expendable subjects" with which "time has not been kind". Steve Morse, for The Boston Globe, called it "drab" and "listless" and criticized its lack of "life". and the "extravagant stamp" of his early materials. He added that it was a trip "to nowhere" and the fun Madonna used to have was gone on "this downtempo record", as she now seemed lost and with nothing to say. Allen Metz and Carol Benson, authors of The Madonna Companion: Two Decades of Commentary (1999), opined that "instead of representing a bold new direction for Madonna, Bedtime Stories hardly takes any chances on the in the slightest [since] it offers neither the pop epiphany of Like a Prayer nor the shameless revelry of [their] dance hits." Finally, Jim Farber of Entertainment Weekly stated that her fans may still "crave the euphoric optimism of her early hits, and even open-minded listeners may find the new tracks work less as individual songs, [...] he can deny that Madonna is still advancing and crossing barriers, this time helping another type of black music to penetrate more of the mainstream culture. Apparently the most shameless exhibitionist in pop still has something to reveal."

Commercial reception

In the United States, Bedtime Stories debuted in the third position of the Billboard 200 list, behind Murder Was the Case by Snoop Doggy Dogg (up) and II of Boyz II Men (low)

In the United States, Bedtime Stories debuted at number three on the Billboard 200 on November 12, 1994, with 145,000 units sold in its first week, behind Murder. Snoop Doggy Dogg's Was the Case (197,000 units) and Boyz II Men's II (159,000 units). Although the debut was 15% lower than Erotica (1992), which entered in second place with 167,000 copies, its time on the chart eventually outsold its predecessor. After Madonna's performance at the American Music Awards, sales increased by 19%. It remained a total of 48 weeks and in the 1995 annual list it ranked number 28. During that year alone it sold 1.1 million copies in the country, and in November 2005 it obtained three Platinum by the Recording Industry Association of America (RIAA), representing three million certified units. As of December 2016, it had sold 2,336,000 copies according to N ielsen SoundScan, a figure that does not include sales from clubs such as BMG Music Clubs, where a further 195,000 were registered. After being released on vinyl, it sold just under a thousand copies and entered at number 19 on the Vinyl Albums chart of < i>Billboard on September 3, 2016. In Cash Box magazine's Top 100 Pop Albums chart, Bedtime Stories entered at No. the issue dated November 12, 1994, behind Murder Was the Case; in December 1995, it placed 30th on the year-end list.

In Canada, it charted on RPM and The Record. In the first, it entered the fourth position on November 7, 1994; it was a total of 32 weeks until June of the following year, where it was located for the last time at number 93, and was the 48th and 41st. most successful album of 1994 and 1995 in the country, respectively. For the second, it debuted at number eight on the issue dated November 19, and seven days later, it rose to number seven. On December 19, Canadian Recording The Industry Association (CRIA) certified it two-platinum for 200,000 units sold; according to Warner Music Canada, sales totaled 250,000 during that year. In Australia, it debuted at the top on November 6. and it was 30 weeks in total; by the end of the year, it was the 36th most successful album. After selling 140,000 copies, it was certified platinum by the Australian Recording Industry Association (ARIA). It had minor success in New Zealand, as it entered at number five on November 20 and only stayed nine weeks on the chart. On the Japanese album chart, it debuted at tenth position on the November 19 issue and later peaked at seventh; month, the Recording Industry Association of Japan (RIAJ) awarded it a platinum record for 200,000 copies sold. The same certification was received from Pro-Música Brasil, for 250,000 units, and from the Recording Industry of South Africa (RiSA) for 50,000; in the latter country, the material reached twelfth position. For its part, the Argentine Chamber of Phonograms and Videograms Producers (CAPIF) certified it with two platinum plates after having distributed 120,000 records in the nation.

In Europe, the commercial reception was generally favourable. It entered number two on the UK Albums Chart in the United Kingdom on November 5, 1994 and stayed for a total of 30 weeks. The British Phonographic Industry (BPI) certified it platinum for distribution. of 300,000 copies. It also reached second place in Finland, France, Italy and Portugal, and was in the top five in Germany, Scotland, Spain and Sweden. In other countries such as Austria, Belgium, Hungary and Switzerland, reached the seventh position, while in Ireland and the Netherlands the ninth and thirteenth, respectively. Finally, it reached the second position in the European Top 100 Albums of Music & Media, behind Bon Jovi's Cross Road, and placed at numbers 49 and 33 on the annual charts for 1994 and 1995, respectively. Billboard i> reported that during the first quarter of 1995, Bedtime Stories had sold 1.7 million copies internationally, and in April 1998, the International Federation of the Phonographic Industry (IFPI) awarded it two Platinum Europe awards. Awards for having surpassed the two million unit mark on the European continent. In total, it sold an estimated eight million copies worldwide.

Awards and recognitions

After its release, Bedtime Stories appeared on some lists of the best albums of 1994, such as Billboard (#2 and #10), The Village Voice (26), NME (30) and Slant Magazine, the latter within the honorable mentions. In addition, it was among the counts of the best Madonna albums, retrospective reviews of which were positive. For example, Billboard's Jason Lipshutz ranked it sixth out of the artist's thirteen best, acknowledging that while it hadn't been as explicit as Erotica, it was "not a mea culpa for his polarizing previous project». Instead, he captured the singer "in transition, moving away from explicit sexuality and relying on R&B and ballads, before she dove headfirst into dance music." four years later". He concluded that "Human Nature", "Secret" and "I'd Rather Be Your Lover" were more "interesting than most new jack music released in the mid-'90s" and " Take a Bow" added a "classic ballad" to Madonna's catalogue. Steven E. Flemming, Jr. of Albumism stated that it was the "most moving" in his "profound" catalogue, and that "the Madonna here is it's a little less harsh and much more honest, a necessary contrast from the volatile years of the Sex era." In a ranking of all his studio albums, Samuel Murrian of Instinct, ranked it fifth, concluding that it was her "softest" material, but that it showed some of her "most appealing" songwriting skills. In 2013, Chris Gerard of Metro Weekly considered it his seventh best work, praising its production, singles and Madonna's vocals, calling it "an exquisitely polished collection of pop/R&B songs". It charted on BuzzF. eed (issue 3), The Advocate (6), Spy (7), NME (8), Slencio (8); The Daily Telegraph (9) and Queerty (9); According to reviews, Gabriel Orqueda of Silencio considered it one of his albums that "aged the best", and Priya Elan of NME noted that it was a "powerful mix because it made the sound was his effectively."

The Bedtime Stories era garnered multiple nominations and accolades at various award ceremonies. At the 38th annual Grammy Awards, the album received a nomination for Best Pop Album, though it lost to Joni Mitchell's Turbulent Indigo. Madonna won the Bronze Award for Best Artist. female at the Bravo Otto, held in Germany, and was among the nominees for the same category at the first edition of the Blockbuster Entertainment Awards in the United States, at the Brit Awards and Smash Hits Poll Winners Party in the United Kingdom and at the MTV Europe Music Awards in France. Cash Box named her the most successful solo artist of 1995 on the magazine's pop singles charts, and at that year's VH1 Fashion and Music Awards, she was honored with the Most Fashionable Artist and People's Choice honors. In addition, the singles also garnered distinctions. The American Society of Composers, Authors and Publishers (ASCAP) recognized "Secret" and "Take a Bow" as one of the most streamed songs in America during the 13th ASCAP Pop Music Awards ceremony, held in May 1996. "Bedtime Story" received the same distinction at the ASCAP Rhythm & Soul Awards that same year, while "Human Nature" won Best Dance Song. At the 12th Annual MTV Video Music Awards, Madonna received a total of five nominations for her music video clips. "Human Nature" and "Take a Bow", of which she won Best Female Video for the latter, and "Bedtime Story" was shortlisted for Best International Video at the MuchMusic Video Awards.

Legacy

In the opinion of Stan Hawkins of the University of Leeds, Bedtime Stories has been hailed by critics as a "major point of arrival in the artist's coming of age, planting her firmly within the new fields of song production, composition, and performance. He stated that “the continuous metamorphosis of her identity builds a pluralism that fits the agenda of postmodernism. This means that, in a certain sense, its continuity [in the industry] is assured within a heterogeneous environment that is part of a broader collective social memory." The album marked an "obvious turnaround" in the "long haul" of her career, surprising fans and critics alike. Carmine Sarracino and Kevin M. Scott, authors of The Porning of America: The Rise of Porn Culture, what it Means, and where We Go from Here (2008), pointed out that all those negative criticisms she faced in the early 1990s provoked a "heated" reaction in her, which is why who in Bedtime Stories expresses "apparent surprise that his work, so obviously calculated to provoke, has actually provoked". Fermín Zabalegui, of the Spanish version of GQ, praised his ability to reinvent himself on "so legendary" albums such as Bedtime Stories. According to Eduardo Viñuela, the material presented a "sweetened image of the artist, an inner journey, surreal, mysterious, romantic and open to other cultures". Jamieson Cox of Time called him "underrated", a view shared by Queerty's Graham Gremore, who added that to this day he remains one of the most underrated and underappreciated of his career and deserves more attention. than "he never received". In this sense, Troy L. Smith, of The Plain Dealer, explains that it was overlooked because it was published "among his most controversial work (Erotica) and, possibly, his best (Ray of Light)"...] the passage of time has made it a definitive work in his discography".

For the 20th anniversary of its publication, Babyface told Billboard that he found it quite a "surreal experience" to work on the album with the singer: "Today, when I think about it, it's hard to believe that I even did that with Madonna. It's always nice to be part of an album that's a classic, but you never know when you're part of it at that moment. Only time can tell". Patrick DeMarco of Philadelphia stated that it was not only the moments of "pure pop" that made this record "great", but also cemented the artist "as the icon we know today." Bradley Stern of MuuMuse called it one of his greatest works and one of his most forward-thinking. With respect to new sounds and genres, he observed that if Erotica "was made to challenge society's level of confidence in sexuality, Bedtime Stories expanded all expectations of Madonna's sonic limits". Brendon Veevers of Renowned for Sound called it a "full-fledged pop masterpiece", adding that the songs helped forge the success of Madonna. singer in the mid-1990s, as well as featuring several singles that have since become "some of the most valuable and cherished compositions" of his career. As of April 2020, more than twenty-five years after its publication, the disc reached the first position in the list of iTunes of the United States, thanks to a discount promotion of the store and to an advertising campaign that the fans of the artist organized in the social networks.

According to Vice magazine journalist Mary von Aue, Bedtime Stories is the "most important" album in their discography. Prior to its release, it had been touted as an "apology for her sexual behavior", with critics hoping that this would be her "return to innocence". Instead, however, Madonna chose to portray herself as an unapologetic figure for previous projects, where she further reacted to the issue of female artists being scrutinized for their sexuality rather than their music, and continued to address her critics and people who had tried to humiliate her for being provocative. Consequently, it was not the exact apology that the public requested, seeing it as her return to a "more confident expression of sexuality" and ignoring the emotional depth of the album. To finish, the journalist added: «Today, Bedtime Stories is not the first album that comes to mind in Madonna's legacy. However, it is the most relevant to many of the cultural discussions that are still going on. Had she accepted the public's demand to apologize, she could have set a dangerous standard for how the public can silence an artist, and would have allowed the categories for female singers to remain in place." Likewise, Bianca Gracie from Idolator noted that the record never let go of its sexual provocation and chose to go against what the media expected of her at the time, namely to apologize. In addition, he described it as one of the greatest musical eras of the singer and the most "subtle", and declared that this more accessible album with a "timeless" sound meant an evolution of Madonna as an artist, which helped her create albums. as Ray of Light years later. She finished:

Bedtime Stories demonstrated that Madonna never lost control. When you listen to the sensual bass tones and influences of R strangerB, you come to understand how perfectly the singer could change her personality without failing to sound genuine. Like many of your albums, Bedtime Stories had an impact on many artists today. But the LP speaks to the new generation that prefers cold electronics and R fakeB instead of the cheerful synthesizers. People like Banks, Tinashe, Jhené Aiko and Rihanna have a sound that mixes glacial voices with a warm and moving production. That's why we should thank Madonna for whispering sweet stories in the comfort of her musical bedroom.

Song List

Credits for samples

• «I'd Rather Be Your Lover» contains a sample de «It's Your Thing», played by Lou Donaldson (original of The Isley Brothers), courtesy of Blue Note Records, a division of Capitol Records, Inc.
• «Inside of Me» contains samples de «Back & Forth», played by Aaliyah, courtesy of Zomba Recording Corp.; «Outstanding», played by The Gap Band, courtesy of PolyGram Special Markets, a division of PolyGram Group Distribution Inc.; and «The Trials of Life», played by Gutter Snypes, courtesy of Liberty Groove Records.
• «Human Nature» contains a sample of "What You Need", played by Main Source, courtesy of Wild Pitch Records.
• «Forbidden Love» contains a sample of "Down Here on the Ground", played by Grant Green, courtesy of Blue Note Records, a division of Capitol Records, Inc.
• «Sanctuary» contains a sample of "Watermelon Man", played by Herbie Hancock, courtesy of Sony Music.

List positioning

Weekly Country (List 1994-1995) Position higher Germany (Offizielle Deutsche Charts) 4 Australia (ARIA) 1 Austria (Ö3 Austria) 7 Belgium (IFPI Belgium) 7 Belgium Wallonia (Ultratop) 29 Canada (RPM Top 100 Albums) 4 Canada (The Record) 7 Scotland (Scottish Albums Chart) 3 Spain (AFYVE) 5 United States (Billboard 200) 3 United States (Cash Box Top 100 Albums) 2 Europe (European Top 100 Albums) 2 Finland (Suomen virallinen list) 2 France (SNEP) 2 Hungary (Mahasz) 7 Ireland (IFPI Ireland) 9 ItalyMusica e dischi) 2 Japan (Dempa Publications Inc.) 7 New Zealand (RMNZ) 5 Netherlands (MegaCharts) 13 Portugal (AFP) 2 United Kingdom (UK Albums Chart) 2 South Africa (RiSA) 12 Sweden (Sverigetopplistan) 5 Switzerland (Schweizer Hitparade) 7

Annual Country (List 1994) Position Australia (ARIA) 36 Canada (RPM Top 100 Albums) 48 Europe (European Top 100 Albums) 49 Finland (Suomen virallinen list) 29 France (SNEP) 44 United Kingdom (UK Albums Chart) 24 Country (List 1995) Position Germany (Offizielle Deutsche Charts) 25 Austria (Ö3 Austria) 50 Belgium Wallonia (Ultratop) 53 Canada (RPM Top 100 Albums) 41 United States of AmericaBillboard 200) 28 United States of AmericaCash Box Top 50 Albums) 30 Europe (European Top 100 Albums) 33 Switzerland (Schweizer Hitparade) 29

Certifications and sales

Country (organism) certificater)	Certification	Certified units/ Sales
Germany (BVMI)	Platinum	500 000
Argentina (CAPIF)	2× Platinum	120 000
Australia (ARIA)	2× Platinum	140 000
Austria (IFPI Austria)	Gold	25 000
Belgium (BEA)	Gold	25 000
Brazil (Pro-Música Brasil)	Platinum	250 000
Canada (CRIA)	2× Platinum	200 000 250 000
Spain (PROMUSICAE)	Platinum	100 000
United States (RIAA)	3× Platinum	3 000 000 2 531 000
France (SNEP)	2× Gold	200 000 277 400
Italy (FIMI)	2× Platinum	210 000
Japan (RIAJ)	Platinum	200 000
United Kingdom (BPI)	Platinum	300 000
South Africa (RiSA)	Platinum	50 000
Switzerland (IFPI Switzerland)	Gold	25 000
Contents
Europe (IFPI)	2× Platinum	2 000 000
World	-	8 000

Release history

Credits and staff

• Recording at Axis Studios, The Hit Factory and Soundworks (New York); Chappel Studios (Los Angeles); DARP Studios and Tea Room (Atlanta); The Enterprise (Burbank); The Music Grinder (Hollywood); Wild Bunch Studios (London).
• Mastering in Sterling Sound (New York).

Performers

• Madonna: Main Artist, Voice
• Meshell Ndegeocello: voice
• Babyface: choirs
• Donna De Lory: choirs
• Niki Haris: choirs

Musicians

Design

• Artistic direction and design in Baron & Baron Advertising
• Fabien Baron: artistic direction, design
• Patrick Li: artistic direction, design
• Patrick Demarchelier: photography

Composition and production

Credits adapted from Allmusic and Bedtime Stories liner notes.