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Classic Pop Magazine - "Madonna recorded a collaboration for "The Painter" of W. Orbit" + Interview W Orbit about ROL and Madonna


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Sep/ Oct 2022 Issue

classic-pop-magazine-sep-oct-2022-cover.

from William Orbit " The Painter" review

"Madonna recorded a potential 
collaboration for The Painter, but 
has yet to give permission to use 
their song. Orbit says it could 
have dominated this album, and 
it’s easy to hear what he means. 
Rather than an easy return full of 
big names, the record shines as 
a unifi ed vision."

 

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2 hours ago, Askeroff said:

Sep/ Oct 2022 Issue

classic-pop-magazine-sep-oct-2022-cover.

from William Orbit " The Painter" review

"Madonna recorded a potential 
collaboration for The Painter, but 
has yet to give permission to use 
their song. Orbit says it could 
have dominated this album, and 
it’s easy to hear what he means. 
Rather than an easy return full of 
big names, the record shines as 
a unifi ed vision."

 

Thank you for sharing!

I have always enjoyed the post-ROL collabs between M and Orbit. Very interested in hearing this song (and if it was a new song or reworking of a previous song)

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  • Askeroff changed the title to Classic Pop Magazine - "Madonna recorded a collaboration for "The Painter" of W. Orbit" + Interview W Orbit about ROL and Madonna

There s also big segment in his interview of working with Madonna on ROL

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William’s production and remixing career continued to thrive, but his eclectic talents were so hard to pin down that, by 1997, Orbit didn’t have a manager. “One fi rm I saw were so rude,” he frets. “When I phoned them back, I could hear the boss stagewhisper: ‘Tell him I’m not in’.”

Two months later, still without a manager, William was in Los Angeles producing Ray Of Light with Madonna. Madonna’s previous album Bedtime Stories was co-produced with Nellee Hooper, whose career Orbit had looked at in envy at the time. “I’ve never had an abundance of confi dence in my artistry,” William admits. “Imposter syndrome has been with me all along. I don’t think I’m a real musician, because I need notes written in Sharpie to tell me what to play on the piano. I’m good on guitar, but I’ve always felt a fake. “I’d see producers like Nellee Hooper and think: ‘Look at that dude!’ Nellee seemed to party every night in the south of France with a model on each arm. I’d wonder how he found the time to make the actual records. But the simple answer is, none of that matters a jot so long as the records sound good.

Thats how I finally feel about my own records now. Who cares about the musicianship? All that matters is what comes out of the other end. As for living a lifestyle like Nellee had? I’ve got as much glamour in my life as I want.” That balance between glamour and toil was epitomised by working with Madonna on one of the all-time great pop albums.

“Madonna is really overlooked as a producer,” Orbit emphasises, pointing out her own vital role in Ray Of Light’s sound has been neglected. “Madonna has never had the time to produce other people, but I learned so much as a producer from her. She’s blasted her ears from 35 years of performing on stage, so her headphones are up loud, but her ears are ridiculously good. She’s laser-guided and will spot any tiny sound. M knows how it all works in the studio, the same as she does with TV. What I learned from her was to keep batting away. I like to dive around from song to song, but Madonna would make me finish the song I least wanted to work on. She’s brilliant at just getting things done.”

William is surprised that Madonna is starting to work on reissues, beginning with the recent compilation Finally Enough Love, noting: “Madonna just doesn’t look back. Everyone mentions glorious moments to her, and her attitude was always: ‘Oh, that old thing? Great, but I’m doing something new.’ The remix by Sickick on TikTok of Frozen that Madonna embraced was exciting, because I’ve got half an eye on doing a Dolby Atmos mix of Ray Of Light.” William has “masses of DATs” from the album sessions that could go towards a deluxe edition, as Madonna wanted everything to be recorded, which chimed with Orbit’s own ethos. “During hours of studio time, if something marvellous does happen, you’d better capture it,” he smiles. “A lot of what you hear on Ray Of Light are moments captured when we didn’t really know that the tape was rolling.”

The album’s legendary title track is “one big jam,” according to Orbit: “Madonna likes things very planned out, whereas my whole life is one big improv session. The synth in Ray Of Light was jammed and Madonna was loving it. She started jamming this insanely brilliant vocal, two semitones above her normal range. I got that tape out again recently. At the end, M is so delighted with what she’s done that she cracks up and starts singing the chorus as an opera: ‘Aaaand I feeeel!’ I could do an hour-long radio show on just that song. Madonna would rag me all the time in the studio, and it’s all on tape. I’d love to do an edit of her best insults at me! Her workrate, though – it’s second to none.” The success of Ray Of Light propelled William’s career, but he refl ects: “I didn’t know how to deal with that level of success. A cleverer person than me would have gone: ‘You’ve won the ottery! You’ve made a record everyone loves and made a shitload of money. Stop right now with all the remixes. Get a plan together to take it to the next level.’ But I never did. I let it slip away.” Working with the biggest names in pop wasn’t slipping away from an outsider’s perspective, and at least Orbit’s imposter syndrome didn’t prevent him from guiding more superb records from megastar names. “I’m very confident in having an answer ready in the studio,” he reasons. “I’ve been confi dent in my creativity since forever. But whether anyone else will get it? No. I knew some songs were great when I was making them: Water From A Vine Leaf, Ray Of Light. But even Pure Shores for All Saints, not a clue. I remember in the studio thinking: ‘Oh my God, this is a turd. How am I going to deliver this to the label tomorrow?’ I’d been working on it for two months and had totally lost sight of its potential.”

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2 hours ago, Andreo said:

Why, what happened? I'm curious 

eating popcorn GIF

Fighter - the previous admin guy on here says that Ms team reached out to him and warned him the forum would be shut down if anyone leaked that song on Minfinty - he says it was the only time her team ever contacted him ( I’m pretty sure that was the story in a nutshell ) I don’t know what was so special about that song and the dozens of other songs that leaked on here from the same era but would love to know why ??

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23 minutes ago, androiduser said:

yes, in 2022 mentioning an unreleased Madonna song will make it to the cover of Time magazine and be breaking news on CNN.

how about throughout all time william orbit is nothing without Madonna there i said it same with Mirwais no one would have ever ever heard disco science without her. Let's not be modest Madonna MADE both of these producers and you are welcome in advance 

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Sorry but i knew of Orbit and Mirwais before Madonna. For Mirwais because i'm french and Chercher Le Garçon is a classic french pop song from his 80's band Taxi Girl (though i prefer Juste Une Balle Perdue) and Orbit was a prominent name in the late 80's during the Acid House movement with beatomatic. But she made them worldwide famous, that's for sure. 

Imagine for each reissue we get a new song recorded with the producers of the album....

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4 hours ago, Blue Jean said:

He’s saying she hasn’t given permission so he couldn’t include on this album. But she may let him use it later on. (More likely with another project I would think.)

I was talking about a reissue, because it topok 12 years to make another album from Pieces in Modern Style 2... if we have to wait for another project, it won't happen soon, so if she giver her permission, he'd better release it right away !!!

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3 hours ago, Humanfly said:

how about throughout all time william orbit is nothing without Madonna there i said it same with Mirwais no one would have ever ever heard disco science without her. Let's not be modest Madonna MADE both of these producers and you are welcome in advance 

you could say the same about any producer that has worked with any major star. It was a collaboration... Madonna got their sound (that existed in the same form it did before she ever got involved) and they got recognition from the mainstream audience.

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20 minutes ago, androiduser said:

you could say the same about any producer that has worked with any major star. It was a collaboration... Madonna got their sound (that existed in the same form it did before she ever got involved) and they got recognition from the mainstream audience.

I would be curious to see what the other pop artists mentioned in that article's work with Orbit Sounded like! may do some snooping around later. were any of orbits other credits any good? For instance, was his work with Pink or britney regarded the same way Madonna fans or the GP regarded Ray Of LIght? i was just being reactionary with my crazy post earlier but i should take time to..... Inquire Further

 

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1 hour ago, Humanfly said:

I would be curious to see what the other pop artists mentioned in that article's work with Orbit Sounded like! may do some snooping around later. were any of orbits other credits any good? For instance, was his work with Pink or britney regarded the same way Madonna fans or the GP regarded Ray Of LIght? i was just being reactionary with my crazy post earlier but i should take time to..... Inquire Further

 

His work for Madonna and All Saints is regarded as his best work because back then it was still a fresh sound... later on it became same old same old.. the same way his newer work with Madonna is not regarded as innovative or amazing, it's just okay.

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What Nile Rodger, Nelle Hooper or Babyface: the only producer who managed to create a wonderful record from start to finish and who managed to give Madonna the credibility as an artist that she sought so much and never could achieve until then was the master William Orbit with those sounds spectacular and innovative that surprised everyone at the time. That is why I have a deep respect and reverence for this true genius of music because anyone can make music and in the end all the songs of all the artists sound similar and resemble each other but few can do something innovative and differentiate themselves from the rest and most importantly, generate trends and imitation. And William Orbit did it.

That is why If I was sent to live on a desert island forever and only took one Madonna album with me, I would choose Ray of Light without hesitation (although I would like Arioso to be included on the album as well). That is why I am surprised to learn that Madonna does not allow William Orbit to publish that mysterious song that is talked about so much, sinning in a certain way of being ungrateful because none of the producers with whom she worked managed not only to create a successful album for her but also something much more valuable than that: to achieve respect and attention as an artist for her music and not for her lifestyle or her scandals, something that was unfortunately common until then.

madonna-william-orbit-new-album-2012.jpg.a2d642ce45f404481fae05cc1da449ae.jpg

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