On January 26 1998, Madonna was interviewed by Ian “Molly” Meldrum in Los Angeles, California as part of the promotional campaign for her upcoming album, Ray Of Light.
The interview aired in early March as an Australian television special sponsored by Warner Music Australia.
On December 26 1998, the fourth single from Madonna’s Ray of Light album, The Power of Good-Bye, peaked at #2 on the United World Chart.
Billboard’s Larry Flick had this to say about the single release of The Power of Good-Bye in the September 12, 1998 issue of the magazine:
Next to the title track to Madonna’s glorious Ray of Light opus, this is the tune that radio programmers and diehard fans have long been clamoring to be released as a single. With a little help from co-producers William Orbit and Patrick Leonard, the diva brilliantly nestles a dewy love ballad within a cutting-edge electronic pop framework. You can listen to this track a dozen times and still pluck something new from the richly layered arrangement, which is anchored by a crisp shuffle beat and sweetened by occasional orchestral string flourishes and contrasting acoustic guitar strumming. All the while, Madonna performs with a confidence that allows her to flawlessly merge a widened vocal range with a considerable dose of raw emotion and soul. Although this gem would find instant success on its own, look for The Power of Good-Bye to be bolstered by its prominent play during the hotly anticipated new WB TV series Felicity.
On September 22 1998, The Power of Good-Bye was released as the third North American single from the Ray Of Light album. It was the fourth single in international markets that opted to release Drowned World/Substitute For Love as the album’s third single.
In the UK, the release was promoted as a double A-side single with Little Star.
The Power Of Good-Bye was written by Madonna & Rick Nowels and was produced by Madonna, William Orbit & Patrick Leonard. An earlier demo version of the track, believed to have been produced by Madonna & Leonard prior to Orbit’s involvement in the project, leaked in 2002.
On July 9 1998, Madonna was featured on the cover of Rolling Stone magazine.
David LaChapelle was the photographer for the photo shoot.
On June 23 1998, the music video for Ray of Light was released by Warner Reprise Video as a limited edition video single of 40,000 VHS copies. It sold 7,381 copies within its first month of release, becoming one of the best-selling video singles of the Nielsen SoundScan era. Madonna’s previous video single release, Justify My Love, which predated SoundScan, was certified quadruple-Platinum by the RIAA (for shipment of over 200,000 copies).
The reason behind Ray of Light being issued as a video single were twofold. Madonna was very pleased with the outcome of her first collaboration with director Jonas Åkerlund and her record company felt that there would be enough interest to warrant its commercial release. Secondly, Warner’s marketing team correctly sensed that the song’s then-experimental sound would be a tough sell at radio, so the decision was made to pull out all the stops to ensure the release outperformed on the sales chart. Another prong in this strategy was the inclusion of album outtake Has To Be as the b-side to the two-track single, while excluding it from the maxi-single in an attempt to persuade fans to purchase the single in multiple formats. The strategy proved successful, with the song’s number-five debut and peak on the Billboard Hot 100 mainly due to its sales strength. According to Billboard, the music video single boosted its first-week sales by roughly 7%, helping it to secure its place in the top-five.
Shortly after Ray of Light‘s release as a video single, Billboard magazine published an article musing on whether renewed interest in the relatively obscure format could ever prove lucrative for the music industry. A video buyer for a major retail chained remarked:
“Madonna’s Ray of Light video single is a success because she has a fervent fan base. There are very few artists with videos that consistently get people’s attention, but Madonna is one of those artists. It’s too early to tell if there’s a true market for video singles. Right now, it seems like record companies are trying video singles to see what happens. I think we’re going to see the lines becoming more blurred in how audio and video singles are marketed.”
Indeed. Within the next five years (and two Madonna video singles later), the emergence of online file sharing would obliterate the physical singles market in North America, and video streaming sites would soon spell an end to the prospect of marketing music video singles as a physical format. In digital form, however, music video singles may be selling in larger numbers than ever due to increased availability through iTunes. Strangely, however, sales of music videos through iTunes are not reported to Billboard and no longer count towards a single’s chart position (reportedly due to iTunes’ monopoly on digital sales of the format), while streams of music videos through sites like YouTube and Vevo are used in Billboard’s chart methodology.
On June 11 1998, Ray of Light became Madonna’s highest debuting single, peaking at number-five in its first week on the Billboard Hot 100 in the U.S.
The title-track from her seventh studio album was present for a total of twenty weeks on the Hot 100, and placed at number seventy-five on the year-end chart. Much of its chart success was due to strong sales, while on the Airplay chart it fizzled out at number twenty-six. The remixes earned Madonna another number-one on the Hot Dance/Club Play chart, spending four weeks at the top spot and seven weeks in the top-five.
Outside the U.S., the Ray of Light single reached number-three in Canada, number-two in the UK, Italy and Finland, and number-one in Spain.
On May 29 1998, Madonna visited The Oprah Winfrey Show to promote her album, Ray Of Light.
Madonna sat down for a lengthy interview and performed two songs from her new album, the title track, Ray Of Light, and Little Star – both for the first time on television.
The episode marked Madonna’s second visit to Oprah, following a 1996 appearance to promote her film, Evita.