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 20 1998, Madonna’s Ray of Light became the #1 dance single on the Billboard Hot Dance Club Songs chart. The hit single remained #1 for 4 weeks!
Ray of Light was written by Madonna, William Orbit, Clive Muldoon, Dave Curtiss, Christine Leach, and produced by Madonna and Orbit. Ray of Light is based on Curtiss Maldoon’s Sepheryn.
“It took a long time to do the album, months. And it wasn’t like we were slacking. We actually did have to work fast, and there were many times when we had to move on. One of Madonna’s favorite phrases was: ‘Don’t gild the lily.’ In other words, keep it rough, and don’t perfect it too much. It’s a natural urge for computer buffs to perfect everything because they can, and we were very wary of that.”—William Orbit on working with Madonna; Keyboard magazine
“Girls, they just wanna have some fun!” From the moment Madonna utters those words on MDNA, it’s clear that she’s trying really freaking hard to have a good time. With dance-music vets William Orbit, Martin Solveig, and Benny Benassi helming her return to the Euro-club stylings of 2005’s Confessions on a Dance Floor, Madge spends nearly half the album insisting that this is the Best Party Ever, from the pom-pom-shaking ”Give Me All Your Luvin”’ to the Mardi-Gras-beads-tossing ”Girl Gone Wild” and stereo-blasting ”Turn Up the Radio.” The album title even suggests that Ecstasy is part of Madge’s DNA.
But while there are a few genuine moments of double-rainbow bliss here (check the ”whoo-ooh!” chorus of ”I’m a Sinner”), there’s also real darkness lurking under the air-popped beats. If Madonna’s sending us a message, it’s this: I spent all year perfecting my cartwheel for the Super Bowl, and now I’m gonna have fun, even if it kills me.
Maybe it’s just that MDNA‘s so hell-bent on showing how much energy the 53-year-old puts into her job. Many songs recap her gold-star résumé referencing her past hits lyrically or musically. ”Girl Gone Wild” shares its sassy legwarmer-disco vibe with 2005’s ”Hung Up,” while ”I’m a Sinner” reunites her with Orbit for a very cool guitar-boosted rave-up that echoes 1998’s ”Ray of Light.”
But all those reminders of her work ethic can feel exhausting. On the ridiculous electro-rap ”I Don’t Give A,” she runs through her insane schedule as a celebrity supermom. Before finishing her power workout, hiring a babysitter, ”tweeting on the elevator,” and riding a helicopter to her divorce lawyers’ office, she has an epiphany: ”Wake up, ex-wife/This is your life.”
Are you listening, Guy Ritchie? Because Madonna’s not done yelling at you. After revealing that she ”didn’t have a prenup,” she gets a decent gold-digger joke into the ABBA-remix-esque strains of ”Love Spent”: ”Frankly, if my name was Benjamin,” she deadpans, ”we wouldn’t be in this mess we’re in.” Less charming is the industrial thumper ”Gang Bang,” where Madonna holds a gun to her lover’s head, demanding, ”Drive, bitch!” True, she also recorded a mea culpa — on ”I F—ed Up” she says ”I’m sorry” in French — but it’s telling that she cut it from the album. Her apology’s just as unconvincing as her Gallic accent.
So it’s surprising that Madonna is at her best on the love songs. The W.E. ballad ”Masterpiece” (which won her a Golden Globe in January) begins with Spanish guitar and a finger-snap rhythm — a refreshing break from the relentless bass throbbing. When she’s singing about a guy who’s as pretty as the Mona Lisa, her voice is lovely. And the synth stomper ”I’m Addicted,” a warm ode to a crush, offers a good excuse to join in when she says, ”I need to dance.” Elsewhere, Nicki Minaj even shows some L-U-V for Lady M, proclaiming, ”There’s only one queen, and that’s Madonna, bitch!” Judging by MDNA, she may be overestimating her idol. But there’s just enough dance-floor bonhomie here to get that catchphrase bedazzled on a few dozen leotards. B-
Spiritual electro? Sacrilicious! I’m a Sinner
A flamenco-style ballad Masterpiece
On November 28 1998, Madonna’s The Power Of Good-Bye hit #11 on the Billboard Hot 100 Singles Chart in the USA. The hit single from Ray Of Light was written by Madonna and Rick Nowels; produced by Madonna, William Orbit and Patrick Leonard.
Rick Nowels had this to say about his experience writing the song with Madonna:
It was a career-changing experience for me. Before that I had always done my co-writing with friends. But working with Madonna. It was the first time I had ever written one-on-one with a great artist/writer. After that I changed gears a little, and now I mostly collaborate directly with artists.
On June 30 1997, Madonna began recording sessions for what would become her Ray Of Light album at Larrabee North Recording Studios, Universal City, Los Angeles.
Madonna had already spent several months writing songs and producing demos with Patrick Leonard, Rick Nowels and Babyface (although none of the Babyface material would make the final cut) by the time she entered the studio with co-producers William Orbit and Marius De Vries. Leonard would return to the project to assist with arrangements, earning him a co-producer’s credit on four of the album’s tracks. Madonna would add lyrics and melody to at least a half-dozen previously composed Orbit demos during these sessions as well, with six of their songs making the final track list.