BrazilianOnRaspberryBeret said: He's not a guy who praises much other artists, but, somehow, I have an intuition that he likes her music. Otherwise, he would have said he disliked t, this he's not affraid to say.

BrazilianOnRaspberryBeret said: Maybe, he's hiding similar feelings about Madonna's work. I'm not saying it will be necessary that she dies before he plays, say, Borderline live, you know...

Taken From Songwriting Interview 1989:

Interviewer: And it was an easy connection from the beginning for the two of
you?

Madonna: Yeah, it was. We started out being real admirers of each other's work.
And, you know, we're already successful so we didn't have to prove anything to
each other. We were on the same level. And I don't think he's had that same
opportunity with other people that he's worked with. Because generally he tends
to dominate everything.

Prince's involvement on '...A Prayer'?

Candy Perfume Girl (which Madonna reportedly described as being about obsession)

has a grunge intro and continues to pair post-modern beeps and beats with old-fashioned electric guitar flare ups.

Young velvet porcelain boy

Devour me when you're with me

Blue wish window seas

Speak delicious fires
I'm your candy perfume girl

Your candy perfume girl
Moist, warm desire

Fly to me
I'm your candy perfume girl

Your candy perfume girl

I'm your candy perfume girl
Candy, candy

Rush me, ghost you see

Every center, my home

Fever steam girl

Throb the oceans
Your candy perfume girl

Your candy perfume girl Y

our candy perfume girl
Candy perfume girl
Did I lie to you?

Candy perfume girl

Did I lie to you?

Magic poison
You're a candy perfume boy

A candy perfume boy

You're a candy perfume boy

You're candy
Candy perfume girl

The sacred nerve is magic poison
Candy, it's candy
I'm your candy perfume girl

I'm your candy perfume girl
Boy, girl Boy, girl Boy, candy

Is there a Susannah Melvoin version of Candy Perfume Girl?

"Candy Perfume Girl" is one of the songs that I wasn't crazy about...until I saw Madonna perform it live on the Drowned World tour.In concert,the song really comes to life.

March 98 Caberet opening, Broadway NYC

SoulAlive said:

"Candy Perfume Girl" is one of the songs that I wasn't crazy about...until I saw Madonna perform it live on the Drowned World tour.In concert,the song really comes to life.

I loved it right away, though I thought it sounded real neurotic too

MTV Video Music Awards: 9.1.1998

Madonna performing a medley of 'Shanti/Ashtangi' and 'Ray of Light' at the 1998 MTV Video Music Awards.

I really love this album, the strange ethereal sound of it and the fact it still sounds fresh 15 years kater. This was definitely the most reinventive of all her reinventions. The singles are very strong and even the rest has a great housey feel to it.

Its a great album and a real career turner for her. Thanks for posting all this stuff. I am still pretty much discovering all of its facets now.

I don't know if it's an "era" or not, but it is one of only two Madonna albums I own a physical copy of. It's a pretty solid listen as an album, as opposed to a lot of her other albums that feel like they have some good singles and some filler. I wish she had continued working with William Orbit, though. That would have made it more of an era.

OldFriends4Sale said:

<< That's a sweet moment. Lenny was into collabo performances around that era, also appearing as guest on several Prince shows.

Cerebus said:

I don't know if it's an "era" or not, but it is one of only two Madonna albums I own a physical copy of. It's a pretty solid listen as an album, as opposed to a lot of her other albums that feel like they have some good singles and some filler. I wish she had continued working with William Orbit, though. That would have made it more of an era.

She did, and we got the shitty MDNA

alphastreet said:

Cerebus said:

I don't know if it's an "era" or not, but it is one of only two Madonna albums I own a physical copy of. It's a pretty solid listen as an album, as opposed to a lot of her other albums that feel like they have some good singles and some filler. I wish she had continued working with William Orbit, though. That would have made it more of an era.

She did, and we got the shitty MDNA

I meant immediately following 'Ray Of Light'. I was surprised they didn't have another go right then. Also, compare the credits for the two albums. 'Ray Of Light' is mostly Madonna and William Orbit. MDNA is about thirty different people.

Cerebus said:

I don't know if it's an "era" or not, but it is one of only two Madonna albums I own a physical copy of. It's a pretty solid listen as an album, as opposed to a lot of her other albums that feel like they have some good singles and some filler. I wish she had continued working with William Orbit, though. That would have made it more of an era.

She did work with William Orbit again after Ray Of Light.He produced "Beautiful Stranger" and three songs on her next album,Music ("Runaway Lover","Amazing" and "Gone").

SoulAlive said:

Cerebus said:

I don't know if it's an "era" or not, but it is one of only two Madonna albums I own a physical copy of. It's a pretty solid listen as an album, as opposed to a lot of her other albums that feel like they have some good singles and some filler. I wish she had continued working with William Orbit, though. That would have made it more of an era.

She did work with William Orbit again after Ray Of Light.He produced "Beautiful Stranger" and three songs on her next album,Music ("Runaway Lover","Amazing" and "Gone").

I was so sure he was on Music too on several tracks, but my memory failed me! Amazing has aged really well, and Gone was touching.

SoulAlive said:

Cerebus said:

I don't know if it's an "era" or not, but it is one of only two Madonna albums I own a physical copy of. It's a pretty solid listen as an album, as opposed to a lot of her other albums that feel like they have some good singles and some filler. I wish she had continued working with William Orbit, though. That would have made it more of an era.

She did work with William Orbit again after Ray Of Light.He produced "Beautiful Stranger" and three songs on her next album,Music ("Runaway Lover","Amazing" and "Gone").

All amazing songs. Even 3 off the 4 best songs in MDNA are Orbit's: I'm a Sinner, Falling Free and mainly Love Spent. (The 4th is Beautiful Killer by Martin Solveig).

Do I know you from somewhere?
Why do you leave me wanting more?
Why do all the things I say
Sound like the stupid things I've said before?

(Put your hand on my skin)
(Put your hand on my skin)
(Put your hand on my skin)

Kiss me, I'm dying
Put your hand on my skin
I close my eyes
I need to make a connection
I'm walking on a thin line
I close my eyes
I close my eyes

[chorus]

Touch me, I'm trying
To see inside of your soul
I've got this thing
I want to make a correction
I'm not like this all the time
You've got this thing
You've got this thing

[chorus]

Kiss me, I'm dying
Put your hand on my skin
I close my eyes
I need to have your protection
I close my eyes
I close your eyes

(Kiss, kiss, kiss me)

[chorus, repeat]

Kiss me, I'm dying
Touch me, I'm trying, ohhh
I'm not like this all the time
I'm not like this all the time

Put your hand on my skin
Put your hand on my skin
Put your hand on my skin

Touch me, I'm trying, ohhh
Put your hand on my skin
Put your hand on my skin

I'm not like this all the time
I'm not like this all the time
I'm not like this all the time

Fan Art

Yep, I know about the Music tracks with William Orbit, too. But that's still not the point I was making regarding 'Ray Of Light' not being an "era". 'Ray Of Light' was a conscious decision to make an album that sounded like that after attempting to work with other songwriters/producers. It sounds so focused because it is. It's not a group effort. It's nearly all Madonna and Orbit. Yes, they worked together again in the future (although I believe some of the immediate stuff was leftover ideas that weren't finished or didn't fit on 'Ray Of Light'), but they didn't ever do anything that was a tightly focused genre wise as that first album. 'Music' (which I like) has songs on it from a bunch of different writers and producers. 'MDNA' has even more. What I'm trying to say is that if the two had worked together consistently for a few years (or more), over the course of at least three albums (or more), they could have actually created an "era" within the longer timeline of Madonna's career. As things turned out, musically and thematically, 'Ray Of Light' is more of a blip in her career; Madonna's IDM/electronic album (NOT EDM, that's more what she ended up doing eventually). It's a great blip, for sure! But she definitely hasn't approached that level of focus on a full-length recording since it's release.

Also, this...

Could have been posted already, but I didn't see it. Great work from Madonna and Chris Cunningham at the height of his video directing power. Wish they had worked together again, too.

Frozen was one of her best videos ever. Beautiful work. Ray of light's video stands for the same.

Im a non-English natural speaker, someone who lives in an english-speaking country could answer this? Regarding Frozen... I think SOMETIMES that it's lyrics sound a little tacky and that the songs is overdramatical. Does that seem to someone else? But it's just sometimes, nothing definitive. I think some nuances of a given language, especially when spoken/sung/declaimed are more perceptible to a natural speaker.

Cerebus said:

Yep, I know about the Music tracks with William Orbit, too. But that's still not the point I was making regarding 'Ray Of Light' not being an "era". 'Ray Of Light' was a conscious decision to make an album that sounded like that after attempting to work with other songwriters/producers. It sounds so focused because it is. It's not a group effort. It's nearly all Madonna and Orbit. Yes, they worked together again in the future (although I believe some of the immediate stuff was leftover ideas that weren't finished or didn't fit on 'Ray Of Light'), but they didn't ever do anything that was a tightly focused genre wise as that first album. 'Music' (which I like) has songs on it from a bunch of different writers and producers. 'MDNA' has even more. What I'm trying to say is that if the two had worked together consistently for a few years (or more), over the course of at least three albums (or more), they could have actually created an "era" within the longer timeline of Madonna's career. As things turned out, musically and thematically, 'Ray Of Light' is more of a blip in her career; Madonna's IDM/electronic album (NOT EDM, that's more what she ended up doing eventually). It's a great blip, for sure! But she definitely hasn't approached that level of focus on a full-length recording since it's release.

Yes, but I disagree with you in one point, I think Music is every bit as amazing and cohesive as Ray of light, even thought it mixes William Orbit's productions with Mirawais`. It's hard edged electro mixed with folky loose arrangements. And the sadness of I Deserve It is very moody and Ray of light worthy (speaking of it's tone), although it has the style that fits the Music album.

Also, Ray of light was very much Madonna's and Orbit's, but don't forget the songs co-signed by Patrick Leonard, his contributions are very important too. Frozen and Power of Goodbye wouldn't have such anthemic hooks without him.

I'd like to add this: the title tracks of both Ray of light and Music are SO well-crafted electronic dance music and both sound so modern even today. I think they'd sound modern and bold were they released in 2015.

[Edited 4/16/13 19:44pm]

The 1001 Records You Need to Hear Before You Die book review on "Music" is very good describing it's mood and overall style. I looked for it on google but didnt find it. If you have the book, look t up!

[Edited 4/16/13 19:48pm]

BrazilianOnRaspberryBeret said:

Cerebus said:

Yep, I know about the Music tracks with William Orbit, too. But that's still not the point I was making regarding 'Ray Of Light' not being an "era". 'Ray Of Light' was a conscious decision to make an album that sounded like that after attempting to work with other songwriters/producers. It sounds so focused because it is. It's not a group effort. It's nearly all Madonna and Orbit. Yes, they worked together again in the future (although I believe some of the immediate stuff was leftover ideas that weren't finished or didn't fit on 'Ray Of Light'), but they didn't ever do anything that was a tightly focused genre wise as that first album. 'Music' (which I like) has songs on it from a bunch of different writers and producers. 'MDNA' has even more. What I'm trying to say is that if the two had worked together consistently for a few years (or more), over the course of at least three albums (or more), they could have actually created an "era" within the longer timeline of Madonna's career. As things turned out, musically and thematically, 'Ray Of Light' is more of a blip in her career; Madonna's IDM/electronic album (NOT EDM, that's more what she ended up doing eventually). It's a great blip, for sure! But she definitely hasn't approached that level of focus on a full-length recording since it's release.

Yes, but I disagree with you in one point, I think Music is every bit as amazing and cohesive as Ray of light, even thought it mixes William Orbit's productions with Mirawais`. It's hard edged electro mixed with folky loose arrangements. And the sadness of I Deserve It is very moody and Ray of light worthy (speaking of it's tone), although it has the style that fits the Music album.

Also, Ray of light was very much Madonna's and Orbit's, but don't forget the songs co-signed by Patrick Leonard, his contributions are very important too. Frozen and Power of Goodbye wouldn't have such anthemic hooks without him.

I'd like to add this: the title tracks of both Ray of light and Music are SO well-crafted electronic dance music and both sound so modern even today. I think they'd sound modern and bold were they released in 2015.

We'll have to agree to disagree. I don't find 'Music' to be as finely focused as 'Ray Of Light'. Both electronic, yes, but (subtlely) very different in a lot of the execution. The title track to 'Music' for instance, while great, would be completely out of place on 'Ray Of Light'. You've actually hit on it in your description. At it's heart, 'Ray Of Light' is an electronic album. 'Music' moved back towards Madonna's more normal dance floor landscape. She definitely took the reinvention she created on 'Ray Of Light' and went forward with it (hasn't strayed far from it and probably never will), but nothing since is as adventuress and leftfield. It's more straight pop/dance style.

Cerebus said:

BrazilianOnRaspberryBeret said:

Yes, but I disagree with you in one point, I think Music is every bit as amazing and cohesive as Ray of light, even thought it mixes William Orbit's productions with Mirawais`. It's hard edged electro mixed with folky loose arrangements. And the sadness of I Deserve It is very moody and Ray of light worthy (speaking of it's tone), although it has the style that fits the Music album.

Also, Ray of light was very much Madonna's and Orbit's, but don't forget the songs co-signed by Patrick Leonard, his contributions are very important too. Frozen and Power of Goodbye wouldn't have such anthemic hooks without him.

I'd like to add this: the title tracks of both Ray of light and Music are SO well-crafted electronic dance music and both sound so modern even today. I think they'd sound modern and bold were they released in 2015.

We'll have to agree to disagree. I don't find 'Music' to be as finely focused as 'Ray Of Light'. Both electronic, yes, but (subtlely) very different in a lot of the execution. The title track to 'Music' for instance, while great, would be completely out of place on 'Ray Of Light'. You've actually hit on it in your description. At it's heart, 'Ray Of Light' is an electronic album. 'Music' moved back towards Madonna's more normal dance floor landscape. She definitely took the reinvention she created on 'Ray Of Light' and went forward with it (hasn't strayed far from it and probably never will), but nothing since is as adventuress and leftfield. It's more straight pop/dance style.

Maybe, but Music's dance songs are not that happy celebration party music (like was most of her uptempo 80s hits and, in a more somber ironic way, her Erotica dance songs). Yes, it's party, but take Impressive Instant, for example. That's very experimental dance music, full of effects. Same production inventiveness you find in the title track itself, although both songs are very different, also produced by Mirwais. And this song (Music) I think is also different from her prior dance hits because it has, among all those electro, bouncing, many layered sounds, a kind of funky, self-assuring simple melody that would not sound strange in Funkadelic's Electric Spanking of War babies. The Orbit penned dance songs (Amazing, Runaway Lover) are exciting but not in the warm congregative way of her 80s dance songs, or even her Confessions songs and later on. I can imagine Holiday or Into the groove in nearly every graduation party, but Amazing, Runaway Lover, Impressive Instant belong more to an oriented club audience, they don't have mass appeal. I guess you'd have to appreciate electronic music in order to aprecciate them. None of them (except music) has the immediacy of a dance-pop sing-along anthem. About the cohesiveness, I know Ray of Light and Music albums are very different, I just said they both sound cohesive works for themselves, separately.

Cerebus said:

BrazilianOnRaspberryBeret said:

Yes, but I disagree with you in one point, I think Music is every bit as amazing and cohesive as Ray of light, even thought it mixes William Orbit's productions with Mirawais`. It's hard edged electro mixed with folky loose arrangements. And the sadness of I Deserve It is very moody and Ray of light worthy (speaking of it's tone), although it has the style that fits the Music album.

Also, Ray of light was very much Madonna's and Orbit's, but don't forget the songs co-signed by Patrick Leonard, his contributions are very important too. Frozen and Power of Goodbye wouldn't have such anthemic hooks without him.

I'd like to add this: the title tracks of both Ray of light and Music are SO well-crafted electronic dance music and both sound so modern even today. I think they'd sound modern and bold were they released in 2015.

We'll have to agree to disagree. I don't find 'Music' to be as finely focused as 'Ray Of Light'. Both electronic, yes, but (subtlely) very different in a lot of the execution. The title track to 'Music' for instance, while great, would be completely out of place on 'Ray Of Light'. You've actually hit on it in your description. At it's heart, 'Ray Of Light' is an electronic album. 'Music' moved back towards Madonna's more normal dance floor landscape. She definitely took the reinvention she created on 'Ray Of Light' and went forward with it (hasn't strayed far from it and probably never will), but nothing since is as adventuress and leftfield. It's more straight pop/dance style.

Maybe, but Music's dance songs are not that happy celebration party music (like was most of her uptempo 80s hits and, in a more somber ironic way, her Erotica dance songs, like Deeper and Deeper). Yes, they're party songs, but take Impressive Instant, for example. That's very experimental dance music, full of effects (maybe her most experimental and adventurous dance song ever). Same production inventiveness you find in the title track itself - although both songs are very different -, also produced by Mirwais. And this song (Music) I think is also different from her prior dance hits because it has, among all those electro, bouncing, many layered sounds, a kind of funky, self-assuring simple melody that would not sound strange in Funkadelic's Electric Spanking of War Babies. The Orbit penned dance songs (Amazing, Runaway Lover) are exciting but not in the warm congregative way of her 80s dance songs, or even her Confessions songs and later on. I can imagine Holiday or Into the Groove in nearly every graduation party, but Amazing, Runaway Lover, Impressive Instant are more oriented to a club audience, they don't have mass appeal. I guess you'd have to appreciate electronic music in order to aprecciate these songs. None of them (except Music, the tiltle track) has the immediacy of a dance-pop sing-along anthem so many other dance songs of hers has (same for Ray of Light, the song). About the cohesiveness, I know Ray of Light and Music albums are very different, I just said they both sound cohesive works for themselves, separately.