I'll Never Love Again" – Lady Gaga, Natalie Hemby, Hillary Lindsey& Aaron Raitiere (songwriters) (2019) William / Orbit (2002, Universal) – U.S. two-disc publishing CD set to support William Orbit's publishing catalogue [32] William’s freewheeling life includes a new fascination with painting, hence the title of The Painter, which Orbit created the sleeve for. 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. Things came to came to fruition when a friend wanted to start a recording studio. That venture eventually became Guerilla Studios which has now been based in various locations over the past three and a half decades.

Imposter syndrome has been with me all along. I don’t think I’m a real musician, because I need notes written in Sharpie to tell me what to play on the piano. I’m good on guitar, but I’ve always felt a fake. From THE HUMAN LEAGUE’s final Virgin album, ‘The Stars Are Going Out’ was a good tune from Oakey and Co that was one of four mixed by William Orbit in a bitty collection that also contained two songs produced by Martin Rushent and one by ex-ZTT cohort Bob Kraushaar. Strangely though, there appeared to be little of Orbit’s distinctive magic audible in the end result. It had been an unhappy time, as Orbit preferred to work without any of the band present, something they had not been prepared for. a b c "The Official Charts Company: William Orbit". Official Charts Company . Retrieved 29 April 2011.Not officially released, alternate demo version available on the CERAMIC HELLO album ‘The Absence Of A Canary V1.1’ via Vinyl On Demand Aware of the difference between his success as a megastar producer for the likes of Madonna, Blur and Britney Spears, and the eclectic nature of his career in ambient, rave and classical music, William smiles: “People always introduce me as: ‘He’s sold x million records,’ but my own music is pretty niche.

Currently working on a piano-based version of The Painter in the vein of his classical epic Pieces In A Modern Style, Orbit is determined to enjoy himself much more this time round. “I’ve had a lot of new acts in my life,” he summarises. A co-write with the one-time princess of pop, ‘Alien’ highlighted Britney’s feelings of loneliness. However, a vocal warm-up recording without her characteristic electronic treatment was leaked onto the internet, prompting Orbit to say in defence of the starlet: “Whomever put this on the internet must have done so in a spirit of unkindness, but it can in no way detract from the fact that Britney is and always will be beyond stellar! She is magnificent! And that’s that.” Ewing, Jerry (26 September 2023). "William Orbit to perform with Hawkwind at the Royal Albert Hall". Louder Sound . Retrieved 28 September 2023. 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.Bassomatic's biggest hit single was "Fascinating Rhythm" in 1990, which reached No. 9 on the UK Singles Chart, and performed well on the UK Dance Chart. [ citation needed] Stop right now with all the remixes. Get a plan together to take it to the next level.’ But I never did. I let it slip away.” 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 Orbit confirmed for first London Electronic Arts Festival. "Georgio Moroder and William Orbit confirmed for first London Electronic Arts Festival", 'Indie London', Nov 2013. I’ve put myself in a slightly crass position with my new record, though, of thinking I’d like to get people to hear my stuff beyond the niche.” Tall and slim, he looks at least a decade younger than 65, with the air of a successful academic rather than a rave survivor. William and Laurie Mayer met in London’s 80s squat scene, forming ambient band Torch Song.While the singles Funky Love Vibrations and Science And Melody were solid bangers, the public seemed confused over what Bassomatic wanted to be. 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. Orbit had created remixes for Madonna previously such as those of " Justify My Love" and " Erotica" but did not meet her personally until 1997. That summer and autumn, they worked together and produced her multi-Grammy/award-winning seventh album Ray of Light. The album took four months to record and it was the longest she ever spent recording an album. It was released on 22 February 1998.

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. 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. 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.” The album was performed, produced and mixed by William Orbit at Guerilla Studios, London. Mark Rutherford and Sugar J co-performed "Deus Ex Machina" with William Orbit, with Rutherford also co-writing the song. Rico Conning contributed flexible bleeps and roadhouse piano on "Time to get Wize", spiky piano and strings on "The Story of Light" and additional programming on "A Touch of the Night". [ citation needed]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. Orbit made four albums in the Strange Cargo series of aural travelogues, critically acclaimed but failing to match the success of fellow ambient travellers The Orb or The KLF.