Not surprising, and totally understandable. Seems like the tour's off, for now at least. We wish peace to the world, and healing to the org's many friends in France. Posted by netzverwalter in Concerts (137 comments)
Get this album! Visit her site http://www.judithhill.com...ory/news/. Album available via Tidal and iTunes, link on page 2 of the thread. Posted by bashraka in Associated artists & people (71 comments)
Headline appearance at charity concert. Free live stream on Tidal for all. See here for details ...
MODERATOR UPDATE: Although originally billed as headlining at this concert, Prince's name was removed, and he did not perform Posted by Papaj in Concerts (248 comments)
Multi-platinum music icon Prince, and global music and entertainment platform TIDAL, today confirmed that the next release from the entertainer will be exclusively on TIDAL on September 7, 2015. Read all about it here. Posted by Papaj in Prince: Music and More (524 comments)
Prince has a new album coming! It's called "The Hit & Run" and will feature a new version of "This Could Be Us" as well as the new single "HARDROCKLOVER" and more. Posted by Blixical in Prince: Music and More (663 comments)
“ Live, he's better than ever. Plus, Sheila grabs his package something severe, and he's like embarassed and nod his head but the show must go on, - America, Nice, Palais de Verdure 1986, and if only the world had been exposed to more moments where he plays something else than guitar or keyboards. Had he released a proper "Sign Of The Times - Live", I mean the whole set, [Edited 7/12/15 2:57am]
So I dunno.
There's so many peaks I think the question is useless.
I can't compare 1986 Head to 1987 If I Was Your Girlfriend,
or 1988 Bob George / Anna Stesia / The Cross to 2000's She's Always In My Hair,
or Small Club to the Sacrifice Of Victor, or Bambi Paradisio Amsterdam to SNL's Electric Chair,
or 1987 New Morning to 1998 Le Zenith...
And then you'll have to divide by categories and subcategories, keyboards performances, guitar, vocals,
and this is hard work as Dale Bozzio used to squeak, you have to go through a hell lotta disappointing performances,
tape hisses, and dumbasses that go "testicles, 1, 2" in the walkman's mike, right in the middle of a guitar solo, damn!
Musicology has some incredible lives out there (the acoustic part of "Shark Tank, San Jose California" is a state of grace),
and I cannot have enough praises for the somewhat recent Jimmy Kimmel's "The Dance Electric" with live horns,
where he tosses his mike in the crowd, the whole band is one man on fire, and the horns riffs get funkier and funkier.
It all ends with a fucking big larsen in ye faces — Yount!
Ok, my personal preference goes to 1986.
Surely because I was fourteen and living in Paris, Christopher Tracey was this fucking cool big bro' trashing the French Riviera ("Exile On Main Street"s Nellcote, anyone?),
doin'it with hotdamn Kristin Scott Thomas, who, like Jennifer Connelly, turned out to be much more than Phenomena.
Musically, Parade confirmed ATWIAD. Prince was a musician, a true worker. Evolving as fast as The Beatles.
We often argue on "what year did Prince lose it?" or some nonsense like that,
but if we're talking about flair, 1985/1986 was his real-time connection with the world. He could do no wrong.
The artistic intelligentsia embraced him (Europe didn't care much about the "We Are The World" incident).
Plus, they saw Wembley "4 The Tears In Your Eyes", so there.
W&L arrangements, Cocteau Twins "Treasure", Kate Bush "Hounds Of Love",
they all resulted in #1 Kiss followed by #2 Manic Monday.
The Bangles transcended the song, giving it the real Buddy Holly pop lightness.
He casted Kristin Scott Thomas himself, released "Nothing Compares 2 U" disguised under St. Paul (and why didn't he do the same thing with "Wally", that dumbass).
The whole Family album concept was built around Europe, mostly London and Paris (mostly Paris by 1987 — where he had a flat by then).
You can make them refrain "Take Me With You" in arenas, but you'll have a hard time filling the same arenas
with songs talking about "Piccadilly Square" or "Gustav Mahler".
From my Paris persepective, he made up France supa-trendy at that time, with "Under The Cherry Moon" only, in the eyes of the american elite.
The whole look of every singer changed and become more personal.
All things had to have this Prince extravaganza, look at the 1986 fashion and ads.
I'm not referring to obvious Purple Rain replicas by untalented people, ATWIAD, Parade, and SOTT went through
every "people that counts" walkman or stereo, whether in fashion, advertising, design.
"Under The Cherry Moon" is just a (un)intended farce, but look how beautiful Chocolate and Butterscotch are, in their Nice apartment.
If M.J. made black popular, children admitted, to the white audience, Prince made black look beautiful, and with lyrics and trivias hot to the point you'd hesitate to rate it adults only or not (how the crotch-grabbing on Apollonia passed the 1984 movies censorship bureau is above me. They probably said to themselves : "this is some low-budget musical semi-porn razzie, who's gonna go see that?". And once they realize PurpleMania is here and is about getting crazy and masturbation, look who's here? Oh hello, Tipper. Say, why is my magazine soaked?).
If Michael (Jackson for the dummies) made the crossover, it was sleek, professional, a proof that black americans kick white asses and can
become the most-selling-artists-of-all-time and become as cretins and paranoid as the whiteys in the process.
I'll be harsh but let me say first that I would not have been curious of Prince without Thriller.
But Thriller felt like Toto welcomed Michael for some jams. So it was, again, in a way, the white country folkies petronizing.
But In "Under The Cherry Moon", it's about the mavericks, black people crashing high-society parties while keeping their coolness.
It's aboot the Wrecka Stow. It's about "New Position", and I mean it musically.
Parade is so delicate ("Les enfants qui mentent ne vont pas au paradis — Ok. — Ok, merci."),
witty ("Act your age"), haunting ("I Wonder U"), avant-garde ("Anotherloverholenyohead").
Heck, Prince had a flair for Clare Fischer!
All of this digression leads to my favorites, let's say in the "athletic" category, performances of Skipper :
- Mutiny, Detroit 1986 "Birthday Concert", just the grins he does while he grinds the organ, and the walk he does when he slowly moves back to the mike are priceless.
- A Love Bizarre with Sheila E., San Francisco 1986 : It goes on forever, and you lose track of time just watching the whole thing.
I mean, on stage, please, Lady, restrain yourself.
without overdubbing everything to death... But what can I say, I prefer Bobby Z. to Sheila (I love U Sheila!).
Over time, Prince may have thought his rhythm section was not tight enough,
but I really like the feel of Bobby and Mark, errors and floating tempos included,
they're surely unnoticeable to untrained ears, and the result was pure joy.
The Revolution is fun to hear. The TGE's NPG is scary to ear. Just the three of them, they can sound like Armageddon.
"Atlanta Bliss, Eric Leeds!" and there they go, turning the bridge of Anotherlover into something less romantic
and more optimistic. You can't beat that.
The Parade Tour concert are so carefully constructed, and the stage is so bare,
there's only the performance, raw and sweaty ("Head", Detroit 1986).
Just listen to the crowd going totally nuts. Can you hear this woman scream?
"I don't care what anybody says, I've got the baddest band in the universe".
And of course he has flair again, even if the Revolution makes a mess of "Whole Lotta Shakin' going' on".
He could have done it acapella on the piano, and close the concert like that would have been brilliant.
History fails to recognize that Prince was honoring Jerry Lee Lewis, the Killer himself, during the Parade tour.
Not Elvis. Not Dylan. Not The Beatles.
A man who banged and married his well-formed but way underaged cousin,
you don't get more rock-n-roll than that : it's frowned upon in the white AND the black communities.
Jerry Lee Lewis. A man that Elvis, for all its prophetic role, cannot touch.
Because Elvis can't play shit. He plays like your cousin.
Go listen to "My God Is Real" or "Georgia On My Mind" by Jerry Lee, first you'll hear genius,
and then you'll get the influence he had on Prince : "Cold Coffe, Cocaine" or what the fuck the name of the shit is,
and more important, on "How Come U Don't Call Me Anymore", basically all of the Purple Rain Tour keyboard performances
owe something to Jerry. After PR, he introduced finesse.
in 1986, because of the live performances only (the "Kiss" video was an unstoppable teaser for seeing him live),
they all came to see him or became very aware of him,
from George Michael (no "Faith" without "Kiss", no "I Want Your Sex pt. II" without "1999") to Paul Simon, Eric Clapton, Miles, T.T.D.A.,
it was not about sales anymore, what Prince and The Revolution were doing was the most exciting musical crossover,
a black american in Paris, the myth of the successful 40/50's jazzman,
well, in a nutshell, Prince chasing after his father like Jeff Buckley was. Transcending him.
That Prince demanding influence gave us most of the pop of 1987, where in case of good pop, you can sense
there is a "before" and "after" Prince. Prince finished what punk artists started, to put back the 50's and 60's raw musicianship in fashion, with an ethic.
You can't hear a single larsen on "Thriller".
Not only you have a bunch of them on "Purple Rain", but the moan he does in "Darling Nikki", you know the one,
where all instruments stop, and all of a sudden it's live porn, right there in your living room for all the neighbours to hear.
in 1986, Prince raised the bar higher, for everyone.
By 1987, he would become his own, one and only competition, but that's another story.
The higher bar resulted in "Tutu", yeecch...
But also "Faith" the album, which has good points about monkeys and Nabukov (not easy following Sting's masterpiece).
In short, 1986 is the one, if you're looking after "purity of intention".
But when it comes to states of grace, I would say any year may yield something that could astonish you.
"Love Thy Will B Done", Paris Le Zenith 1998, is a recent discovery,
and if dat doezn't kick U right in da nuts on 1st hearing, I don't know what to tell you.
It's really one of these times when I feel like singing along "Prince is dead!", because indeed,
this ain't no 1986's Detroit "Pop Life".
This is Heavy Gospel, a musical genre of its own.
There aren't so many nights to get a song right.
Live, he's better than ever.
Plus, Sheila grabs his package something severe, and he's like embarassed and nod his head but the show must go on,
- America, Nice, Palais de Verdure 1986, and if only the world had been exposed to more moments where he plays something else than guitar or keyboards.
Had he released a proper "Sign Of The Times - Live", I mean the whole set,
[Edited 7/12/15 2:57am]”—bonatoc, 7/15 in the forums
“ The days of Prince diving off pianos are over , thank god. Who whats to see a nearly 60 year old man jumping across the stage trying to relive his youth. You only have to look at Madonna and her recent stage antics to know that Prince is going down the right road as a life performer. There are plenty of tours and videos out there for people to watch prince in his youth jumping around and humping his guitar. Hes been there, done that and read the t shirt. The sampler set I can understand the criticism. But the casuals at the concert do seem to enjoy them. I think prince started doing the sampler sets with good intentions, getting as many songs out there as he could at a concert, even if it was a snippet.but now it has turned into its own beast, and feels he has to do them as they seem to get a strong crowd reaction. The fact is prince is at a different place now. His belief's have changed for a start.
The days of Prince diving off pianos are over , thank god. Who whats to see a nearly 60 year old man jumping across the stage trying to relive his youth. You only have to look at Madonna and her recent stage antics to know that Prince is going down the right road as a life performer. There are plenty of tours and videos out there for people to watch prince in his youth jumping around and humping his guitar. Hes been there, done that and read the t shirt. The sampler set I can understand the criticism. But the casuals at the concert do seem to enjoy them. I think prince started doing the sampler sets with good intentions, getting as many songs out there as he could at a concert, even if it was a snippet.but now it has turned into its own beast, and feels he has to do them as they seem to get a strong crowd reaction. The fact is prince is at a different place now. His belief's have changed for a start.”—antonb, 6/15 in the forums
“When Doves Cry takes the cake, not because it's the most obvious choice, but because it's his best composed, arranged, and performed. To this day, there isn't anything that sounds like it. It carries this bizarre, smooth, glassy atmosphere since the bubblegum keyboards are there to accompany such a serious, mature overall sound. You're not quite sure how you're supposed to feel listening to it.
All the little intricate bits and pieces in the track; the main keyboard riff, the adroit guitarwork, the ethereal overdubbing, even the lack of a bassline, work together and gel seamlessly for a totally complete listening experience. It isn't an epic like 3 Chains 'o' Gold, nor a talent show like Computer Blue, it's just an endlessly enjoyable, accessible tune, no matter what instrument it's played on.”—Alguy, 6/10 in the forums
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