November 29 1997 Golden Beach Miami FL Photographed by Mario Testino for Vanity Fair

Madonna by Peggy Sirota 1997

Probably my fav Madonna album and most likely the best work she'll ever do !

William Orbit also recalled during an interview with Q magazine that Madonna recorded Swim 7.15.1997 the day her friend and fashion designer Gianni Versace was killed in Miami, Florida. He also commented that this is probably why the track has an emotional impact.

Gianni Versace was shot dead on July 15, 1997, aged 50, on the steps of his Miami Beach mansion as he returned from a morning walk on Ocean Drive. Usually, Versace would have an assistant from his home walk to the coffee shop to receive his morning papers, but on this morning he was in high spirits and took the chore upon himself. He was murdered by Andrew Cunanan, who used the same gun to commit suicide on a boat a few days later. Police have said they do not know why Versace was killed. "I don't know that we are ever going to know the answers," said Miami Beach Police Chief Richard Barreto.^] Versace's body was cremated and his ashes returned to the family's estate near Cernobbio, Italy.

Q: Swim is all about redemption, but why are you so concerned with it? Have you been that bad?

Madonna: Well it’s not just about me. It’s imploring others to seek redemption too. Because it’s definetly a response to what’s going on in the world as well.

Q: What specifically?

Madonna: [With heavy sarcasm] You mean besides Galliano’s next collection? Well, let’s see. Lots of things concern me. I suppose the main thing is people’s obsession with negativity. People are so bitter and envious of other people doing well. People used to talk to one another and be a lot more resourceful and creative. But television and computers, this instant society we live in, has taken that ability away from most people. There are too many people resigned to their lot in life.

IstenSzek said:

OldFriends4Sale said:

By Rob Sheffield

April 2, 1998

She gets knocked up, but she gets down again: Meet the latest brand-new Madonna, the Chemical Mother.

We've all already forgotten the Sex book, the nose ring, the gold tooth. But we'll always swoon for the lovesick Italian girl who sang "Crazy for You." You can hear that voice on Ray of Light.

http://www.rollingstone.c...t-19980402

what an incredibly back handed, dickish and horribly written 'review' that was

Yeah,that review is hilarious The writer knows that the album is amazing,but he bends over backwards,looking for things to criticize...lol....it's a funny review

Vanity Fair Magazine [United States] (March 1998)

The Ray of Light album

Unreleased demos recorded for the album Ray of Light written with Rick Nowels. The CMRRA has Madonna, Rick Nowels and Greg Fitzgerald.

• Gone, Gone, Gone – Song from the early stages of Ray Of Light in 1997, when Orbit wasn't asked yet for the album. The song appeared on the internet. Sometimes the song is also called Gone Gone Gone (This Love Affair Is Over).
• Like A Flower – CMRRA song registration# 888544. The demo of this song leaked onto the Internet around 2003. It was later given to Italian singer Laura Pausini for her 2004 album Resta In Ascolto (Italian for "Remain listening!") and re-titled Mi Abbandono A Te. ASCAP song registration# 431644652; CMRRA song registration# 1012340. This song was recorded also in Spanish with the title Me Abandono A Ti for the Spanish version of Resta In Ascolto named Escucha (Spanish for "Listen!").
• Revenge – CMRRA song registration# 742435. The song was one of the early demos of the Ray Of Light album from 1997, produced by Greg Fitzgerald and Rick Nowells in late 1997 before William Orbit's involvement in the project "Ray Of Light". In 2002 it was rumored to be the new recorded song from Madonna for the James Bond movie, and the leaked demo even got some airplay. In early 2005 it was also rumoured to be Madonna's new single from her then upcoming album Confessions On A Dancefloor. The song has since been recorded by English singer Sophie Ellis-Bextor, as revealed by Peter Magennis in an interview with Greg Fitzgerald for his July 2008 cover feature for UK magazine, Record Collector (issue #351). A vinyl acetate exists, the version is 3 minutes 45 seconds.

Other songs from this era:

• Be Careful Written and produced by Madonna and Patrick Leonard only, APRA song id# GW23038624. A possible early version of the song Be Careful (Cuidado Con Mi Corazon) recorded with Ricky Martin and William Orbit, APRA song id# GW1552449. Leonard is not credited on the released Madonna-Orbit version with Ricky Martin but he has his own separate Madonna-Leonard documented entry in the Warner-Chappell publishing database. Oddly, the CMRRA lists them all, along with Susan Leonard, as co-writers together on one song work# 732670. The ASCAP database lists only Madonna and William Orbit as writers, with the song listed as "Cuidado Con Mi Corazon". In September 2010, another supposed demo leaked. This file was titled "Corazon" and contains Madonna singing over typical William Orbit synths. This may in fact be a fan creation and not a real demo recording as the music appears to be sampled from William Orbit's single "Dice" for Finley Quaye in collaboration with Beth Orton.
• [Titles unknown] Madonna's publicist confirmed collaboration with Babyface for the Ray of Light but songs were never used. The exact title names(s) have not been made public. Madonna confirmed that she wrote four songs with Babyface for the album that were all abandoned at an early stage.
• No Substitute For Love The original name for what became "Drowned World/Substitute For Love" with different lyrics, vocal melody and instrumentation. The chorus starting: "Face the truth, no substitute for love". The song is also without the San Sebastian Strings sample of "Why I Follow the Tigers" that is present in the released version. This version has leaked onto the internet.
• Regfresando A Madonna and Patrick Leonard collaboration of unknown origin. Listed in the Warner-Chappell database as Regfresando. Also APRA song id# GW19069760.The never released title might actually be a misspelling for the Spanish word Regresando which translates to English as meaning Returning. Until additional information is provided, the inclusion of the letter f in the original word spelling is thought by many fans to be nonsensical and probably listed incorrectly in the publisher database.

Gone Gone Gone (unreleased)

Needing, needing

All at once comes the silence

Begging, pleading

No more emotional violence

The withdrawal into pain

The result to never need again

Is this love?

I think not

I want out

This love affair is over

Gone, gone, gone

This love affair is over

Gone, gone, gone (This love affair)

It's so sad (This love affair)

What we had Gone, gone, gone

Bleeding, bleeding

Then comes the recognition

Anger seething I don't need your permission
And I don't know who you are

And this thing has gone too far

Is this love?

I think not I want out
This love affair is over Gone, gone, gone

This love affair is over Gone, gone, gone (This love affair)

It's so sad (This love affair)

What we had Gone, gone, gone

You're in too deep

You cannot keep

The promises you made

Our happiness was free

The end of love

The end of the dream
Gone, gone, gone

And I don't know who you are

And this thing has gone too far

Is this love?

I think not

I want out
This love affair is over Gone, gone, gone

This love affair is over Gone, gone, gone (This love affair)

It's so sad (This love affair)

What we had Gone, gone, gone
(This love affair)

Gone, gone, gone

This love affair is over

Gone, gone, gone

Revenge [Outtake]

There is no such thing as revenge

You will not give as good as you got

There is no such thing as an eye for an eye

If you think you're the giver, you're not
There is no such thing as regret

There is no point in placing the blame

Hate destroys the one who hates And everyone suffers the same
What you seeIs not necessarily what you get

Eyes are the window to the sou

lTake your judgements

And let them go
There is only love and respect

To thine own self be true

When you point three fingers,

There are three fingers pointing back at you
What you see

Is not necessarily what you get

Eyes are the window to the soul

Take your judgements

And let them go

Let them goLet them goLet them go
Recognize that God is alive in everyone

Recognize that love lives in us all
What you see Is not necessarily what you get

Eyes are the window to the soul

Take your judgements

And let them go

Let them goLet them goLet them go
What you see

Is not necessarily what you get

Eyes are the window to the soul

Take your judgements

And let them go

Let them goLet them goLet them go

"Revenge"---an unreleased outtake from the Ray Of Light sessions (1997)

OldFriends4Sale said:

• [Titles unknown] Madonna's publicist confirmed collaboration with Babyface for the Ray of Light album but songs were never used. The exact title names(s) have not been made public. Madonna confirmed that she wrote four songs with Babyface for the album that were all abandoned at an early stage.

One of the songs that Madonna and Babyface recorded is called "Don't Talk To Strangers".It was described as a wistful ballad similiar to "Take A Bow".Babyface was understanding when Madonna decided to go in a different direction."Madonna doesn't need to repeat herself",he said.

"Like A Flower"---an unreleased outtake from the Ray Of Light sessions,1997

There's a hole in my heart
No one else can fill it
There's a feeling I have
No one can replace
There's a taste in my mouth
No one else can give me
There's a song that I hear
No one can erase
Why would I want them to
I'm still looking back at you
Why would I want them to be you
You'll always be a part of me
What you love can never let you go
You'll always be inside of me
Like a flower you grow
There's a strange melody
Sends me straight to heaven
There's a voice in my head
No one else can hear
There's a prayer that I say
Always brings me closer
To the presence of you
To always have you near
No one can take your place
I'm still looking at your face
No one can take the place of you
You'll always be a part of me
What you love can never let you go
You'll always be inside of me
Like a flower you grow
Like a flower you grow
Why would I want them to
I'm still looking back at you
Why would I want them to be you
You'll always be a part of me
What you love can never let you go
You'll always be inside of me
Like a flower you grow
You'll always be a part of me
What you love can never let you go
You'll always be inside of me
Like a flower you grow
Like a flower you grow

"No Substitute For Love"---early demo version of "Drowned World/Substitute For Love",1997

I'm seriously digging Gone Gone Gone, that is nice, I could see it as a Bside for Ray of Light, the feel is different. It's A side worthy just I don't think it would fit in the flow of RoL. She could still release that one

Revenge sounds like a forshadow of something on Confession, love it. I'm converting them now heehhehe

I just noticed the others you've(SoulAlive) posted, gotta check those out too. LOVE outtakes

OldFriends4Sale said:

I'm seriously digging Gone Gone Gone, that is nice, I could see it as a Bside for Ray of Light, the feel is different. It's A side worthy just I don't think it would fit in the flow of RoL. She could still release that one

I agree...out of all the ROL outtakes,this one is the strongest.

OldFriends4Sale said:

I just noticed the others you've(SoulAlive) posted, gotta check those out too. LOVE outtakes

I love outtakes,too This was such an inspired period for Madonna.It's interesting to hear the tracks that got left behind.

OldFriends4Sale said:

Revenge sounds like a forshadow of something on Confession, love it. I'm converting them now heehhehe

"Revenge" is OK.I think it probably needs a little more work.The song has alot of potential.

It's amazing how "No Substitute For Love" (which isn't very exciting) was re-worked into the amazing track that it became.The early demo must have been before William Orbit came onboard.

SoulAlive said:

It's amazing how "No Substitute For Love" (which isn't very exciting) was re-worked into the amazing track that it became.The early demo must have been before William Orbit came onboard.

lol I know, when I was listening to it, I said it sounds like their first attempt at putting the words in lyrical form

very interesting hearing the transition

SoulAlive said:

OldFriends4Sale said:

Revenge sounds like a forshadow of something on Confession, love it. I'm converting them now heehhehe

"Revenge" is OK.I think it probably needs a little more work.The song has alot of potential.

Yeah, but it has a nice feel to it already, some of these she should rework, and release

SoulAlive said:

OldFriends4Sale said:

I just noticed the others you've(SoulAlive) posted, gotta check those out too. LOVE outtakes

I love outtakes,too This was such an inspired period for Madonna.It's interesting to hear the tracks that got left behind.

yes she had a good run throught the 1990's, a 2nd SuperStardom period

continuing to live a life that is touchable, makes the difference, she's still very much down2earth

love going on a journey with an artist

SPIN (April 1998): Madonna just made her most daring album in years

Thirty-nine-year old Madonna Louise Ciccone could easily have hacked out an album of Babs-and-Celine-style schmaltz and laughed all the way to the ashram. Instead, says Barry Walters, she delivered Ray Of Light, the riskiest, most revealing record of her career.

When a musician rooted in an underground sensibility achieves massive success, she has three options: She can stick to what she knows until the public grows bored and inspiration dries up, she can maintain her popularity by sucking up to the latest commercially guaranteed corny-ass formula, or she can leap into the aesthetic unknown, hoping that her instincts carry her and fans follow.

A naturally restless soul, Madonna couldn’t have selected option number one: she would have gone insane from the repetition. She could have — like plenty of her superstar peers — chosen option two. It would have been easy for the Material Girl to hook up with Puff Daddy, raid her old workout tapes for samples, employ some soon-to-be-shot-at rappers from street cred, and watch the Benjamins march on in. Madonna-meets-Puffy-meets-Ronco-disco-meets the Wu-Tang-Clan? You know the youth of America will be all over that shit.

As much as she’s perceived to be pop’s shrewdest businesswoman, Madonna has rarely taken he most direct route to the bank. Working deviance-phobic nerves with the queer boys and girls of her Sex Book was not exactly playing it safe. There has to be a surer way of getting paid than creating a decade and a half’s worth of gay nightlife soundtracks. She’s obviously made a few unpopular cinematic choices.

So the only real option for the sole ’80s icon still thriving in the ’90s was to make the kind of record she puts on her boom box — a blend of haunted singer/songwriter introspection and beat-savvy electronic exotica that may not play in Topeka, if U2′s Pop is any indication.

In doing so, Madonna still pushes buttons. Just as she once sang that she wasn’t sorry for sharing her erotic fantasies, Madonna does not apologize for turning inward and employing the language she’s learned while journeying to the center of her still-firm chakras. On her new album, Ray Of Light, she sings about karma, quotes mystics, changes Sanskrit as she would in her yoga class, kisses emotionally stunted lovers good-bye, and croons a lullaby to daughter Lourdes as if her warble breathed butterfly kisses. Her brazenvulnerability is destined to be someone else’s touchy-feely-trendy hogwash: Madonna has not lost her ability to endear and annoy, and in its digitized, navel-gazing way, Ray Of Light is Madonna’s most radical, mask-free work.

The comparatively sexless tunes take their time to generate heat, but the sonic bacchanalia crafted by William Orbit [and, on four tracks, by Massive Attack associate Marius DeVries] is as propulsive as her newly bolstered vocal chops are controlled. Despite Ray Of Light’s aural hipness, Madonna asserts sincerity to the point of occasional — and affecting — awkwardness. When she sings to baby Lourdes, You breathe new life into my broken heart, she turns shamelessly sentimental syllable into the spine-tingly stuff of which sweet pop dreams are made.

If it looks like I just got out of bed, Madonna announces as she arrives at her neighborhood coffee shop without a bodyguard, assistant, or publicist, I did. She’s dressed in a nondescript black knit shirt, black pants, and chipped black nail polish. Brown roots inches long lead to a tangled mess of brassy blond. At the end of the interview, Madonna politely refuses the reporter’s request for a snap-shot. Maybe next time when I don’t look like and old sea-hag, she suggests. Throughout the interview, she remains candid, but rarely does the club-queen who would be king lapse into her infamous dis-intensive talk-show persona. She even tried to be kind about Yanni. Sometimes, I miss the old Madonna.

Spin : Why make another album ?

Madonna : Why breathe ? Because I love it. Because I love making music. It’s what I do.

Spin : When I got this assignment, I wondered, “What can I possibly ask Madonna that hasn’t been askes ?” And then I thought, “Music ! I’ll ask her about music !” So, for starters, how was making Ray Of Light different than making your other records ?

Madonna : Well, my daughter came to visit me every day in the studio so there were lots of baby interruptions; that’s new. Mostly, though, I look at more musical chances. I let William play Mad professor. He comes from a very experimental, cutting-edge sort of place, he’s not a trained musician -and I’m used to working with classically trained musicians- but I knew that’s where I wanted to go,so I took a lot more risks Oftentimes the creative process was frustrating because I wasn’t used to it; it took a lot longer than usual to make this record. But I realize now that I need that time to get where I was going.

Spin : What’s the songwriting process like between you and your collaborators ?

Madonna : Well, it happens differently every time. In William’s case, he would often given me tapes of snippets he was working on, eight-bar phrases, 16-bar phrases, stripped-down versions of what you hear on the record. And I’d listen to them over and over and it would just inspire lyrics. I’d start writing a little bit and then I’d go back to William say, « Okay, let’s expand on this musical idea. » And as we’d expand on this music, I’d expand on the lyrics. That was true for most everything except for the album’s last track, « Mer Girl ». I decided I would write a song to the music as given to me, and when William asked me if I wanted to do something with it, I said, « I want it just like it is, I want you to put the tape up right now and I’m gonna sing to it .» And did it in one take. For « Frozen », a song wrote with Pat Leonard, I was obsessed with the movie The Sheltering Sky and the whole Moroccan orchestral superromantic man carrying the woman he loves across the desert vibe. So I told Pat that I wanted something with a tribal feel, something really lush and romantic. When he started playing some music, I justed turned the DAT on and started freeassociating and came up with the melody.

Spin : How has you approach to vocals changed with this album ? You seem to be going for a more European approach to singing, almost operatic, less colloquial.

Madonna : I studied with a vocal coach for Evita and I realized there was a whole piece of my voice I wasn’t using. Before, I just believe I had a really limited range and was going to make the most of it. Then I started studying with a coach. God bless her. My secret dream is to sing Italian at songs, so at the end of my lesson my teacher would let me sing Italian operetta. Maybe that affected me unconsciously.

Spin : Ray Of Light is a very soulful record, but it sounds nothing like contemporary soul, a la Mary J. Blige. Have your feelings about black culture and black music changed ?

Madonna : I don’t think that a lot of soul searching is going on in soul music these days, so in that respect it’s pretty disappointed and uninspiring. There are definitely artists whom I respect and admire, but for the most part R&B is not what it used to be.

Spin : Why do you think that is ?

Madonna : There seems to be a certain kind of formula that is getting over right now. No disrespect to Puff Daddy-he’s a real pioneer in a lot of ways- but constantly recycle other people’s music is not very inspiring. You’re just hearing things you’ve already heard before. It makes you want to sing along but you’re not really going to another place with it. As I was driving over here, I was listening to the radio and there was this Stevie Wonder song. Where is somebody who writes like that now ? It’s so sad. I guess Babyface comes closest, but I consider his stuff more pop. I can’t think of anybody who’s as deep and as layered as Stevie Wonder. Instead we get the cartoon version of life : being powerful, rich, and having beautiful woman. I don’t think they’re setting out to push the envelope or take music to another level. It’s about intention.

Spin : How have your intentions changed in making music ?

Madonna : I feel a lot more aware of the influence and the impact I have on people. In the begenning of my career I just did whatever I wanted to and if it made me feel good, If it was fun, that was cool. Now I feel like everybody we do -the movies we make, the music, the stuff that’s on television- affects society in a potent way. I feel a sense of responsability because my consciousness has been raised and I would like it impart the wisdom I have to others without being corny or preachy.

Spin : Do you feel you have been irresponsible before ?

Madonna : To a certain extent, yes. But I guess I’ll chalk that up to youth.

Spin : Was there anything in particular that you feel was irresponsible ?

Madonna : I was guilty of buying into this culture that thrives on ripping other people up, and I regret that, I truly do. People always think that they have to humiliate and denigrate others in order to make themselves appear stronger or better or smarter or cooler, but in the end it has the opposite effect. I’m much more aware now, and when you’re aware you have a responsibility.

Spin : How have you come to this awareness ?

Madonna : It’s just a process, a process of asking questions, making mistakes, and being hurt. My daughter has had a lot to do with it. Having a child and questioning my own mortality and feeling incredibly responsible for someone else’s life and being aware of how my behavior affects her you have to step back and realize that we all affect each other.

Spin : You’re one of the few celebrities who’s grown up in public in a positive way.

Madonna : Me and Michael Jackson [laughs]. Yeah, I guess I have. I look at pictures of myself 15 years ago or watch myself on television or read interviews and I think, « Who is that ? » It’s like looking at your high-school graduation picture and you sit there and go, « What a geek ! Why did I have my hair like that ?»

Spin : So many of your contemporaries have hit the skids, and even great talents like Prince, Michael Jackson, George Michael, U2, and R.E.M. are not so selling huge numbers, are not getting the same respect they once did. You’re still selling records, still moving ahead creatively. Why is that ?

Madonna : Everybody you mentioned is extremely talented, so I don’t think it has to do with talent. It’s a tricky life we lead. You really have to find that place of caring but not caring what people think. Where you are desirous of things and you want to be successful and you want to make music that reaches people but you also can detach yourself from it. That’s really hard to do.

Spin : How have you managed to do that ?

Madonna : Well, getting the shit kicked out of me on a regular basis is a very humbling experience. >From the very beginning of my career, people have been writing shit about me and saying, « She’s a one-hit wonder, she’ll disappear after a year. » Maybe that’s all been a good thing, because I’ve never felt like my shit didn’t stink.

Spin : You’ve created interesting work with all kinds of different people. -from Babyface to William Orbit, from Shep Pettibone to Davis Foster- and I was wondering what you think you bring to the table ?

Madonna : Angst ! [laughs] I don’t know, a certain vulnerability and a certain strength. I feel like everybody I work with, I push them to another level. When I work with people who seem uptight, I open them up. I try to get them to go off the beaten path, to improvise and throw the rules out the window. When I work with somebody who’s very chaotic and disorganized like William, then I have to opposite effect : I toe the line and become more focused. Crack the whip. William’s a genius, but he’s completely disorganized.

Spin : He told me that he wasn’t really used to being around people.

Madonna : Exactly. It was a kind of a culture shock. We had lots of problems. Things went haywire and everyone got frustrated because we were working with samples and synth sounds and Pro Tools and not with Live misicians, and shit would keep breaking down and nobody would know how to fix it. We’d be sitting there relying on one machine, and I’d be thinking, « This is fucked .» So we had a lots of uphill battles. But we got through it.

Spin : It must have been a real challenge ; here you were, coming off your voice lesson and Evita, and here’s William, who’s not known for working with voices at all.

Madonna :But that’s the beauty of it. What I wanted was his sensibility, the textures, the really high-tech sounds. But William also works from a very melancholy place. I’ve been a big fan of his for years and I just knew our collaboration would be something beautiful.

Spin : How do you pick who you’re going to collaborate with ? I’m sure you could have anyone you want.

Madonna : Well I could, but I always go for the cook in the kitchen [laughs]. I like to work with people who take chances. Usually they’re undiscovered, because once people are successful they don’t like taking risks.

Spin : But you’ve worked with Patrick Leonard all along.

Madonna : Yes, on songwriting, but no production. We write great songs together, but from the production point of view, the music that I listen to comes mostly from England and France, and there’s a certain European sensibility that I couldn’t have gotten from an American producer.

Spin : Why is that ?

Madonna : There’s a greater acceptance of cutting-edge things there. That goes for fashion, film, music. There is a real competitive thing going on in England about who can sell the most records, who can have the biggest box-office receipts. I’m much more inspired by the stuff coming out in Europe than i am out of America.

Spin : Like who ?

Madonna : Bjork, Everything but the Girl, Trickly and Martine.

Spin : What about Bjork attracts you ?

Madonna : She’s incredibly brave and she’s got a real mischievous quality about her. I find her very compelling, really daring.

Spin : How about Everything but the Girl ?

Madonna : There’s a plaintive quality to Tracely Thorn’s voice that I really respond to. And that song, « Missing » ? I know they’ve played the shit out of it and I ‘m over it and everything, but it was such a brillant song.

Spin : Do you have any other current favorites ?

Madonna : I was into the Verve until « Bitter Sweet Symphony » was played on the radio every two seconds. Let’s see, there’s this new group called Air. Their album is fierce. I always respond to songs that have a bittersweetness to them, something haunted, but with a real visceral groove to it. Have you heard the Stereo MCs remix of the Tricky song « Makes Me Wanna Die » ? That is the bomb. I like to put that on in my car and play it so loud that my car is vibrating and you can see the doors bending out.

Spin : Do you remember saying in an interview that techno equals death ?

Madonna : Yes.

Spin : Do you still believe that ?

Madonna : To a certain extent. There was a type of techno I was listening to had a real emotional void. But I think it’s developed into something else and now there’s feeling and warmth to it. You can attach it to humanity and before I couldn’t. I couldn’t feel anything.

Spin : How do people like William Orbit or Marius DeVries bring warmth to a synthesizer or a machine ?

Madonna : they don’t ; I do. They bring the cold, I bring the warmth [laughs].

Spin : Certain people are going to suggest that ever since you signed Prodigy to maverick you’ve turned into this electronica-head.

Madonna : Veronica Electronica, thanx you very much. My alter ego [laughs].

Spin : What do you think of Goldie?

Madonna : I tried to get him to work on one of the tracks from Ray Of Light. Nellee Hooper played a bunch of early demos for him and he fell in love with « To Have And Not To Hold ». We sent him the master tapes and he said he wanted to work on it by himself and then we never heard from him.

Spin : Fiona Apple ?

Madonna : I love the way she sings. I’m attracted to the dark and she’s dark.

Spin : The Spice Girls ?

Madonna : I like them. I know I’m not supposed to. Every time someone says somethings bad about them, I say « Hey, wait a minute, I was a Spice girl once.»

Spin : How do you feel about New Age music ?

Madonna : Like what ?

Spin : Like Yanni.

Madonna : It’s kind of like the way I feel about beige carpeting. It’s okay, but I don’t want it in my house.

Spin : Do you consider contemporary artists like Bjork and Everything but the Girl your peers ?

Madonna : Well, their music inspires me. Does that make someone my peer ? I don’t know who my peers are, to tell you the truth. I know it’s not Garth Brooks [laughs]. I know I fall into the superstar category, but I don’t feel an affinity with any other music superstars. I’m too left-of-center. I’ll never have mainstream acceptance, never. I’ve had moments of it, fleeting moments, but I don’t think my sensibilities are palatable to the mainstream. I mean, I’m an unwed mother. I’ve kissed girls in public.

Spin : I was playing your back catalog, and it occurred to me that you’ve written some of your best records in the aftermath of painful relationship. Like A Prayer was post-Sean, Erotica was post-Warren. Is performing those songs more difficult than performing the frothier stuff ?

Madonna : No, it feels good. I mean, I feel sad when I’m doing it, but I’m reveling in the sadness. I’m a drama queen ! Melancholy and sadness are great muck to roll around in.

SoulAlive said:

SPIN (April 1998): Madonna just made her most daring album in years

I was just checking this one out.

Erotica probably her most daring and revolutionary period

Ray of Light at this point definately her most Daring album

^^I still have that magazine...somewhere in my closet It was a good interview

SoulAlive said:

^^I still have that magazine...somewhere in my closet It was a good interview

Music always has a way of cementing itself to periods of our lives. Sometimes helping us express things that are happening

Do you have particular memories with this album?

One of my top Madonna albums... During a period when I was still plugged into current music... I'd love to see her do one more whole albym with William Orbitt.

"Has to Be," the b-side of "Ray of Light," is definitely my favorite Madonna b-side.

1. Ray of Light (album version) – 5:19
2. Has to Be (non-album track) – 5:15

EU CD single (9362 44535-2)

1. Ray of Light (album version) – 5:19
2. Has to Be (non-album track) – 5:15
3. Ray of Light (Sasha's Ultraviolet Mix) – 10:43

AlexdeParis said:

"Has to Be," the b-side of "Ray of Light," is definitely my favorite Madonna b-side.

ok, I have the cd single 4 Ray of Light, why don't I have this song,,,,

Thanks 4 updating me

purplethunder3121 said:

One of my top Madonna albums... During a period when I was still plugged into current music... I'd love to see her do one more whole albym with William Orbitt.

I'm with you on that, they did a few songs on the next album together. Would have been cool to see what's the next level they could have taken this

another Confession touched album would definately be hot. Such adult feel

OldFriends4Sale said:

AlexdeParis said:

"Has to Be," the b-side of "Ray of Light," is definitely my favorite Madonna b-side.

ok, I have the cd single 4 Ray of Light, why don't I have this song,,,,

Thanks 4 updating me

You're welcome. It's also on the Japanese version of the album.