On March 21 2012, a William Orbit interview by Larry Flick to promote the release of MDNA aired on Sirius radio.
Madonna was also interviewed by Flick, although her spot aired a few days earlier.
On August 20 2001, Sal Cinquemani published this review of Madonna’s MUSIC album in Slant magazine:
After her hugely successful and critically-lauded Ray Of Light, Madonna could have gone in one of several possible directions: (1) a more hardcore trance route, enlisting a world-class DJ like Sasha (who remixed a few tracks from Ray Of Light and whom Madonna allegedly dismissed after collaborating on several tracks early in the recording process of this new album); (2) staying in safe territory by writing and recording once again with William Orbit, the mastermind behind Ray Of Light; or (3) a weird, more experimental direction, commissioning someone like French electronica guru Mirwais Ahmadzai. Madonna once told producer Shep Pettibone “You can never do the same thing twice…ever,” but two new collaborations with Orbit, “Runaway Lover” and “Amazing,” prove that when you do, it will probably be completely uninteresting. “Runaway Lover” sounds like a Ray Of Light outtake with uninspired couplets like “It doesn’t pay to give away what you lack/You’ll never get your money back.” But amid the clichés, Madonna throws in profound food for thought like “You get your education from your lovers.” “Amazing” is incredibly catchy and has a Supremes-like melody but that’s where it ends. The track borrows the drum loop Orbit used in “Beautiful Stranger” (which was originally the loop from his “Ray Of Light” remix), and proves that he may not have had enough tricks up his sleeve for an entire new album anyway (and perhaps Madonna knew that).
As such, Madonna enlisted Mirwais for most of the rest of the album in question, Music. The title track, a retro hands-in-the-air club song reminiscent of Debbie Deb’s “When I Hear Music” and Madonna’s own “Into The Groove,” is the singer’s best dancefloor-beckoning track since “Vogue.” She sings “Music makes the people come together” like a track off of her debut album, and as an added bonus she uses words like “bourgeoisie” and “acid-rock” with equal abandon. If you can get past the initial horror of hearing Madonna’s voice get the Cher “Believe” treatment on “Nobody’s Perfect,” another Mirwais collaboration, you’ll find a brilliant song full of genuine sorrow. The track opens with an intentionally imperfect and somber “I feel so sad,” and it is indeed believable. Lyrics like “What did you expect? I’m doing my best” are sung with an intriguing juxtaposition of human emotion and mechanically detached vocalizations. Though hard to swallow at first (like most on the album), the track is one of the singer’s best creations. With its distorted vocals and grinding electronic burps, “Paradise (Not For Me)” is another distinctive Mirwais production. At a turning point in the song, Madonna awkwardly struggles to speak the words “There is a light above my head/Into your eyes my face remains” while strings swell and bring the song to a climax. It is at this point that “Paradise” resembles the cinematic grandeur of tracks like “Frozen,” and it is also one of the few moments throughout Music that recalls the spiritual introspection of Ray Of Light.
Two tracks take a striking folk direction. “I Deserve It” finds Madonna once again singing with a warm yet detached voice, but this time her vocals are completely untouched by effects. “Gone” ends the album and is possibly one of Madonna’s best performances. In the vein of “Live To Tell,” the song seems to sum up everything Madonna has tried to tell us about being the most famous woman in the world. Earlier attempts have seemed obvious and sometimes trite (“Goodbye To Innocence,” “Survival,” “Drowned World”), but this song seems to be particularly telling. It is also, perhaps, the most human she has ever been. Self-deprecation and vulnerability have never been Madonna’s strong-suits, but the way she sings “I won’t let it happen again/I’m not very smart” could make you wonder. Music seems more like a collection of songs than a cohesive album, and it is an unexpected answer to Ray Of Light. But strangely, in an attempt to make a “fun,” less-introspective album, Madonna has revealed more of herself than ever. No longer shrouded with pedantic spirituality, she has become even more human, exposing her fears on tracks like “Nobody’s Perfect” and “Paradise,” her soul on “Don’t Tell Me” and “What It Feels Like For A Girl,” and revealing her joys on “Impressive Instant” and “Music.”
On April 8 1999, American TV newsmagazine Entertainment Tonight (aka ET) revealed the title of the new song Madonna had recorded for the Austin Powers: The Spy Who Shagged Me soundtrack: Beautiful Stranger.
Beautiful Stranger launched to radio in mid-May and quickly became a sizeable summertime hit along with the Maverick Records issued soundtrack album which landed in North American record stores on June 1st, 1999.
On March 13 1999, Madonna’s The Power of Good-Bye, fell to #63 on the Billboard Hot 100 Single Sales chart, spending its final week on the chart (after 22 weeks).
The Power of Good-Bye was written by Madonna and Rick Nowels. The song was produced by Madonna, William Orbit, Patrick Leonard with string arrangements by Craig Armstrong.
Rick said this of the hit song:
“The lyrics to The Power Of Good-Bye are stunning. I love Madonna as an artist and a songwriter… She is a wonderful confessional songwriter, as well as being a superb hit chorus pop writer… She doesn’t get the credit she deserves as a writer.”
On February 24 1999, Madonna performed Nothing Really Matters at the 41st Annual Grammy Awards. Madonna also took home 4 Grammies:
On February 23 1998, Frozen was released by Maverick records as the lead single from Madonna’s seventh studio album, Ray of Light. The song was written by Madonna & Patrick Leonard and was produced by Madonna, Leonard & William Orbit.
Madonna has mentioned that she considers Frozen as part of a thematic trilogy with The Power Of Good-Bye and To Have And Not To Hold. In an interview with Barry Walters for Spin magazine, Madonna commented on the inspiration behind the song:
“I was so obsessed with the movie The Sheltering Sky and that whole Moroccan/orchestral/super-romantic/man-carrying-the-woman-he-loves-across-the-desert vibe. So I told [Patrick Leonard] that I wanted something with a tribal feel, something really lush and romantic. When he started playing some music, I just turned the DAT on and started free-associating and came up with the melody.”
Initially unsure of which song should be released as the album’s first single, Madonna was eventually convinced by Warner Bros. executives that Frozen would be a perfect way to bridge the Adult Contemporary leanings of her most recent hits (Take A Bow, You’ll See and the singles from Evita) with the more cutting-edge, electronic sounds of Ray Of Light.