BEDTIME STORY
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CreditsWritten by Nellee Hooper, Björk and Marius DeVriesProduced by Nellee Hooper and Madonna  SingleNellee Hooper had written this song with Björk and then brought it to Madonna, who recorded it because she thought it was 'astonishing'. It eventually inspired the album title and in the spring of 1995 Madonna released it as third single. The trancy sound can be seen as an early preview of Madonna's electronic pop which she used years later on Ray Of Light. To promote the Bedtime Story single, Madonna held a pyjama party with friends and fans. It didn't boast sales though: the single only reached #42 in the US, ending Madonna's record of 32 consecutive top 40 hits. In the UK it got to #4 and in Australia to #5. The only successful charting was in the Hot Dance / Club Play, where it reached #1. Madonna realized that the song was mostly popular with dance audiences and gave a stunning performance of the fantastic Junior's Wet Dream Remix at the 1995 Brit Awards.VideoThe Mark Romanek video is - like the song - one of Madonna's most experimental. It visualizes the concept of the song, showing images that seem like a dream or some other state of 'unconsciousness'. Madonna - wearing a variety of spectacular blond wigs - floats through the air, gives birth to doves and lays down on a surreal operation table. At the end of the video, her face is shown, with eyes and mouth in switched position, inspired by Frida Kahlo's paintings. The video - with a rumoured budget of $2 million being one of the most expensive music videos of all time - was subject to many discussions among fans. It has earned a place in the Museum of Modern Art in New York City. LyricsToday is the last dayThat I'm using words They've gone out Lost their meaning Don't function anymore Let's Let's Let's get unconscious honey Let's get unconscious honey Today is the last day That I'm using words They've gone out Lost their meaning Don't function anymore Traveling Leaving logic and reason Traveling To the arms of unconsciousness Traveling Leaving logic and reason Traveling To the arms of unconsciousness Let's get unconscious honey Let's get unconscious Let's get unconscious honey Let's get unconscious Words are useless Especially sentences They don't stand for anything How could they explain how I feel Traveling, traveling I'm traveling Traveling, traveling Leaving logic and reason Traveling, traveling I'm gonna relax Traveling, traveling In the arms of unconsciousness Let's get unconscious honey Let's get unconscious Let's get unconscious honey Let's get unconscious And inside We're all still wet Longing and yearning How can I explain how I feel Let's get unconscious honey Let's get unconscious Let's get unconscious honey Let's get unconscious Traveling, traveling Traveling, traveling Traveling, traveling Traveling, traveling In the arms of unconsciousness And all that you've ever learned Try to forget I'll never explain again | |
Carin Goldberg — the art director behind Madonna’s debut album cover — spoke to the Cut about her first experience with the then-unknown pop star. It’s the first question that anybody asks me, even today: What was it like to work with Madonna? People think that maybe something dramatic or interesting or kind of wild might have happened, based on, you know, Madonna’s persona. But I would say that Madonna was probably the easiest job I ever had — the most cooperation from a recording artist I think I ever had. She was a true professional, even at that young age. It was ’83, and at that point I had my own small design firm. Warner Bros. called and asked me to do her cover as a freelance designer. When I got the call, I rolled my eyes, because it was another [musician with a] one-word name. At that time it had become cliché to have a one-word name, because of Cher, so I remember thinking, God, it’s going to be one of those. So I really went into it with very little expec...
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