Stacy Anderson of Pitchfork stated that the pop stars "meet at a lower creative common denominator than they've enjoyed lately" while adding that the song has "distinct flatness". such is the vastness of the space between the singers present". Vulture 's Craig Jenkins wrote that the single "blends styles that sound fine alone but struggle to jell together. The song received a lukewarm reaction from critics. "Don't Call Me Angel" is a pop and trap song with "lightly hip-hop-infused production". The song was written by Grande, Alma-Sofia Miettinen, Ilya Salmanzadeh, Del Rey, Max Martin, Cyrus and Savan Kotecha. It’s been important to me all my life.Grande, Cyrus, and Del Rey had collaborated on the theme song for the 2019 film Charlie's Angels. “I use it in all of my work,” Madonna says. Ultimately, however, she realized her affinity with movement was a super power. At one point I was like, ‘Oh my God, all those years, I wasted dancing and all those dance classes and all the blood, sweat and tears.’” “I had no intention of ever becoming a singer, making records, but things just happened and opportunities presented themselves to me. “It’s my first love, I left home to become a dancer,” she says. “I just remember how all the songs I write with Pat Leonard begin with me sitting next to him playing the piano.”įrom 1982’s “Everybody” to 2022’s “Frozen” remixes, the one constant in Madonna’s iconic career is the hold she has on clubland. It was a watershed moment.” Her memories of the “Frozen” recording session are less specific. Life looked so different to me and I’ll never be the same.
I made that record when I had just given birth to my daughter, my first child. “It comes from my ‘Ray of Light’ record, which I’m really proud of,” Madonna continues. “I don’t want to sound arrogant, but it’s timeless.” “I realized that ‘Frozen’ is a brilliant song,” she says.
It’s great to work on an album and spend time creating a masterpiece, but I love the instant gratification of doing something and just putting it out.” Unsurprisingly, working on the “Frozen” remixes sparked nostalgia. “I love to work, but it just takes so long in between records. “And I don’t have any problem with a lot of work,” she emphasizes. “There’s a formula - work on a record for six months to a year, then mixing it and making videos and marketing it and then releasing it and then going on tour to support it. “It’s refreshing for me because I’ve been doing this for so long,” she says. When asked if she enjoys the new, anything-goes musical landscape where projects are seemingly completed and released in real time, Madonna doesn’t hesitate.
#DONT CALL ME UP REMIZ FULL#
“To come full circle with the person who created the remix in the first place.” “It was all a pleasant surprise for me,” she says. “So he sent me his version of the song and I was blown away by it.” Not only was she impressed by his voice and songwriting prowess, she also appreciated the symmetry. “I was thinking of other artists initially, but then I said, ‘Okay, let me hear what you got,’” Madonna says. “And I just thought Shake was a really good choice for the second one.” When it came time for remix number three – AKA “Frozen on Fire” – Sickick put his hand up. “I also wanted to represent the LGBTQ community,” she says. I really love her music and I wanted to work with a female.” There was another reason for selecting the young Eminem collaborator, who has a new album coming on Def Jam next week. “He always plays music for me,” Madonna explains. “I always get good responses.” As for 070 Shake? That was facilitated by mutual friend Mike Dean. “But I always have to preface the DM with, ‘I realize this is a really shit way to try and connect with somebody, unprofessional possibly, to work together.’” However, no one leaves Madonna unread.
“I’m probably one of the very few people that uses DMs to actually work with people,” Madonna quips. We were already listening to Afrobeats before it suddenly became super popular, which was just shocking to all of us.” So she decided to reach out to Fireboy DML in the most modern way imaginable: “I DM’ed him.” Some are Nigerian, some are from the Congo, some are from Ghana. “I have a lot of African staff that live in my house. “I live in a very musical household and we’ve lived all over the world,” Madonna says. “I wanted to show how accessible the song is, how relevant you can make it depending on who’s doing their spin on it,” she says, so an Afrobeats artist was at the top of her list. So she set about curating three remixes from artists that come from different genres, nationalities, and backgrounds. “My lucky number is three,” Madonna says.
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