The actual version was made available on March 6, 2015, whilst its precedent mix was predominantly influenced by disco and house music before being reworked in the album cut.
The recording was generally well received by music critics, with the majority of them comparing it to the singer's previous work on Like a Prayer (1989), Ray of Light (1998) and Confessions on a Dance Floor (2005).
When beginning recording sessions for her then-upcoming thirteenth studio album, Madonna enlisted a large team of songwriters and producers for the project.
[1] During November 2014, a demo of the unfinished "Wash All Over Me" leaked onto the internet,[2][3] resulting in Madonna taking to her Instagram account once again, where she described the situation as "terrorism" and a form of "artistic rape".
[3] In the album's early development stages, Madonna played a handful of unfinished demos to Kanye West,[7] who later agreed to work with the singer on several tracks, including "Wash All Over Me".
Amy Pettifer of The Quietus praised the track for "ha[ving] all the melancholy pleasure of 'The Power of Good-Bye'"; she later stated that "it's older, wiser and more accepting of endings".
[15] Sal Cinquemani, writing for Slant Magazine, noted that the song "return[s] to the lush, spiritual introspection of Ray of Light," further called it "exquisite".
[20] In response to a fan of the singer, Stern agreed that it was "fabulous and very emotional", and opined that "the lyrics are much more intriguing than, say, taking shots of Tanqueray like a girl gone wild.
"[20] Nouse's Jack Elliott applauded "Wash All Over Me", describing it as "a lyrically powerful, yet vulnerable ending to the album that could be interpreted as a track celebrating triumph or defeat.