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Water From A Vine Leaf

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Originally on THE ELECTRIC CHAMBER album ‘Pieces In A Modern Style’ via N-Gram Recordings, currently unavailable It’s the artist’s project, and they’re in charge. They know what they want, and they just want to know that you’re there.” To that end, Orbit won’t go for a coffee or even to the toilet without letting the artist know first. “I don’t ever want the artist to look up to the control room and see that I’m not there,” he explains. This section of a biography of a living person does not include any references or sources. Please help by adding reliable sources. Contentious material about living people that is unsourced or poorly sourced must be removed immediately. Performance: WILLIAM ORBIT Royal Festival Hall, London. "Performance: WILLIAM ORBIT Royal Festival Hall, London", 'Independent', Monday 24 July 1995.

The one minor brush with the charts was Water From A Vine Leaf, a beautifully shimmering 1993 single featuring William’s then-girlfriend: Beth Orton. “Beth’s music is absolutely extraordinary,” enthuses Orbit. Bassomatic was another of Orbit's group projects. The band recorded house music in the 1990s. The band included vocalist Sharon Musgrave and rapper Steve Roberts, also known as MC Inna Onestep amongst others. [8] For the second album, singer Sindy Finn replaced Musgrave on vocals. [8] Both albums were released by Guerilla Studios, founded by Orbit with Laurie Mayer and Grant Gilbert. William emphasises he’d continued to work during the bad times, stating: “I was never more than 20 yards away from my rig, and I went up a lot of blind alleys. He says: “As much as I love producing, it’d hold me up from the freewheeling life I’m in now. But if I got a call from Cher or Shakira asking to twist my arm, I’d say: ‘I’m twisting it for you already,’ because I’m a pop tart when it comes to working with divas.”

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Working with the biggest names in pop wasn’t slipping away from an outsider’s perspective, and at least Orbit’s imposter syndrome didn’t prevent him from guiding more superb records from megastar names. Continuing his flirtation with out-and-out pop, Orbit teamed up with the UK pop’s answer to Charlie’s Angels SUGABABES and US/Ethopian artist Kenna on this slice of ambient electro R’n’B. Continuing to collaborate with TORCH SONG bandmates Laurie Mayer and Rico Conning, while the ‘Hello Waveforms’ album continued in the chill-out vein of ‘Pieces In A Modern Style’ and even included ‘The Humming Chorus’ by Puccini, prominent vocals were in the mix as well as real strings and brass. Combining modern developments in house music and dub with the feel of SOUL II SOUL, Orbit slotted right into the zeitgeist with ‘Fascinating Rhythm’ featuring vocalist Sharon Musgrave and rapper MC Inna One Step with an uplifting club friendly number that had “pulsating action” and was “breaking into heaven”. BASSOMATIC lasted for just two albums but it cemented Orbit’s position as a studio wizard who understood sound as well as the dancefloor. The success of Ray Of Light propelled William’s career, but he reflects: “I didn’t know how to deal with that level of success. A cleverer person than me would have gone: ‘You’ve won the lottery! You’ve made a record everyone loves and made a shitload of money. Perfume Ranges and Teen Fashion Contests' Took up All Madonna's Time: Producer Sounds off on 'MDNA' Flop". 18 May 2012.

The Mix’ was actually supervised by KRAFTWERK themselves, with the most significant makeover being ‘Radioactivity’ and its additional unsettling machine chant of “TSCHERNOBYL – HARRISBURGH – SELLAFIELD – HIROSHIMA” for an anti-nuclear message highlighting recent atomic catastrophes. For the single release, remixes were farmed out externally and Orbit’s version offered a more preferable electro enhancement than François Kevorkian’s house laden rework. But even Pure Shores for All Saints, not a clue. I remember in the studio thinking: ‘Oh my God, this is a turd. How am I going to deliver this to the label tomorrow?’ I’d been working on it for two months and had totally lost sight of its potential.” However, there’s a passage of such bliss in the opening Melua collaboration, Duende, that only William Orbit at his happiest could make it. “Thank you!” he beams when this is put to him. However, it was within dance-oriented pop that Orbit made his fortune through productions characterised by his trancey soundscapes, sparing fretwork and understated rhythmic construction. He even had a Top5 hit bearing his own name, albeit with a radically different trance remix by Ferry Corsten of ‘Adagio For Strings’ in 2000. In 2000, Orbit continued working for Madonna on her album Music, recorded at The Hit Factory in New York.

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She’s blasted her ears from 35 years of performing on stage, so her headphones are up loud, but her ears are ridiculously good. She’s laser-guided and will spot any tiny sound. M knows how it all works in the studio, the same as she does with TV.

I’d see producers like Nellee Hooper and think: ‘Look at that dude!’ Nellee seemed to party every night in the south of France with a model on each arm. I’d wonder how he found the time to make the actual records. But the simple answer is, none of that matters a jot so long as the records sound good. That’s an incredible honour, but I don’t ask for details! I also get told – especially for Pieces In A Modern Style – that parents play my music to calm fractious children. Find sources: "William Orbit"– news · newspapers · books · scholar · JSTOR ( May 2021) ( Learn how and when to remove this template message)If you’re having a terrible evening when your kids are driving you nuts and my music remotely calms them down, then my work here is done. That’s incredibly precious to hear.” Aspden, Peter (June 22June 2007). " Alluring echoes of Hoxton". Financial Times: FT Weekend, Life& Arts. www.ft.com. Retrieved 7 May 2017. Despite being a competent guitarist, Orbit considered himself unable to play keyboards well and admitted that it was the advent computers in music that allowed him to fully realise his creative potential. I ’ m coming in from the cold,” announces William Orbit, as he prepares to release his first album for eight years. At least William’s production and remixing career continued to thrive, but his eclectic talents were so hard to pin down that, by 1997, Orbit didn’t have a manager.

Madonna is really overlooked as a producer,” Orbit emphasises, pointing out her own vital role in Ray Of Light’s sound has been neglected. “Madonna has never had the time to produce other people, but I learned so much as a producer from her. In the early '90s, Orbit briefly developed a new label which he called N'Gram. During the N'Gram period, he co-directed a showcase of the label at Queen Elizabeth Hall [16] on London's Southbank. The acts included The Electric Chamber (which performed the Pieces album), Strange Cargo, and Torch Song. The Best of Strange Cargos (1996, I.R.S.) – A compilation from Orbit's first three Strange Cargo albums, highlighted by two versions of "Water From A Vine Leaf", another collaboration with Beth Orton William’s freewheeling life includes a new fascination with painting, hence the title of The Painter, which Orbit created the sleeve for.

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During hours of studio time, if something marvellous does happen, you’d better capture it,” he smiles. “A lot of what you hear on Ray Of Light are moments captured when we didn’t really know that the tape was rolling.” William has “masses of DATs” from the album sessions that could go towards a deluxe edition, as Madonna wanted everything to be recorded, which chimed with Orbit’s own ethos. Strange Cargo III is the fourth album by electronic instrumentalist William Orbit. It is the third in a series of similarly titled albums: Strange Cargo, Strange Cargo II and Strange Cargo Hinterland.

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