https://www.rollingstone.com/music/music-features/confessions-ii-producer-stuart-price-interview-1235646148/
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“But then when it came to actually being in the studio, we carried that feeling forward.”
“So also liberating yourself of things that you have going on is a powerful feeling as well.”
“So you have to come up with a new spin on what that is, and I think that this is a record that defiantly looks forward.”
“No matter what’s going on, I’m gonna go into that studio.”
“It has harmonically some interesting stuff going on where everything is always ascending.”
“It’s just more that there’s a bond that’s formed by writing together, working together for a long period of time.”
“We could just go in and pull it, and I think that was a different approach to recording, which was really fun.”
“So I think, to a certain extent, that the sound of Confessions is directly the sound of that collaboration.”
“Another cool thing is there’s a box that I built for the studio where it’s like a perpetual recording box.”
“We just acted in the moment and made the music that felt right.”
“Yeah, over the summer, I think the first thing that we did was Club Confessions.”
“How can you take that piece and move it into a section that’s distinctly different from the original, was how that backing track was built.”
“And so “Fragile” happened pretty quick.”
“So one thing that we’d started doing on the tour was making mixtapes.”
“Let’s start from that as the foundation” — which just meant restructuring everything and finding different musicians and different ways to mix and present that show.”
““Good for the Soul” was really a song and a kind of statement, I think, for Madonna — we have elements of extraterrestrial ideas in there, right?”
“That became a really exciting way to work because it broke down that wall between live performance and production.”
“I just loved how she was writing, how she sounded, how the songs were coming together, how much fun it was to do, and how open it was to do as well.”
“They combine the element of Madonna who’s so great in the moment, but also with the preparation and technical perfection of her performance.”
“Ricardo Gomes* 2005’s Confessions on a Dance Floo r got its start on the road, after producer Stuart Price served as Madonna ‘s musical director on two tours: 2001’s Drowned World Tour and 2004’s Re-Invention Tour .”
“The genesis of that is ultimately Madonna saying very curtly, “This needs an injection, this needs a shock.” I’d looked around and gone, “Wow, we really haven’t used a ton of guitar in this record.”
“So there’s a singular focus on creating that music because that music will then dictate all the decisions that are gonna be made about video, about lighting, about choreography.”
“And tours have so many elements to them.”
“It’s really creative, it’s really innovative music, but it also just has incredible feeling and meaning to it.”
“And also the scope of the album as a whole piece, which is this interwoven journey of music and how that comes together.”