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Thread started 05/19/15 9:55pm

breakdown2k14

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opinions on" When will we be paid "?

I've always liked this song,but I don't see it get much praise on here. What's everyone's opinion of this song?
[Edited 5/19/15 23:51pm]
There's Joy in repetition
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Reply #1 posted 05/19/15 10:15pm

ufoclub

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I really like it, and listen to it a lot, considering how many songs there are to listen to.

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Reply #2 posted 05/19/15 11:10pm

TwiliteKid

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breakdown2k14 said:

I've always liked this song,but I don't see it get much praise on here. What's everyone's opinion of this song?

You've been here for less than a year, but you're expecting to see discussion of a relatively obscure track that came out 15 years ago?

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Reply #3 posted 05/19/15 11:22pm

KingSausage

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It's an okay song. In the larger body of his work, it's totally forgettable. But compared to be shit he shat during the High era, it's better than average. At least there's no Kurt Loder samples...
"Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry
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Reply #4 posted 05/19/15 11:35pm

iZsaZsa

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I've read it get praised on the Org mostly.
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Reply #5 posted 05/19/15 11:43pm

breakdown2k14

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TwiliteKid said:



breakdown2k14 said:


I've always liked this song,but I don't see it get much praise on here. What's everyone's opinion of this song?


You've been here for less than a year, but you're expecting to see discussion of a relatively obscure track that came out 15 years ago?


I've been on here since 2005 ,just had a few different usernames
There's Joy in repetition
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Reply #6 posted 05/20/15 12:27am

fabriziovenera
ndi

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A good cover

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Reply #7 posted 05/20/15 12:38am

Rebeljuice

Its ok. Kinda over produced imo. Best version ive heard on a live boot would be the power trio aftershow at Indigo nights (O2) in 2007. Stripped down and raw.

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Reply #8 posted 05/20/15 3:19am

MIRvmn

it's a good song but I haven't listened to it lately smile
We are living in Orwell's 1984
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Reply #9 posted 05/20/15 6:11am

Jboogiee

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I love it and I love the Staple Singers version as well.
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Reply #10 posted 05/20/15 6:16am

NouveauDance

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It's a decent cover, I tack it on with TRC since it fits.

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Reply #11 posted 05/20/15 6:21am

KingSausage

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NouveauDance said:

It's a decent cover, I tack it on with TRC since it fits.




I don't know. The sound is quite different from TRC. When Will We Be Paid is far less organic.
"Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry
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Reply #12 posted 05/20/15 6:29am

joyinrepetitio
n

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It's a good cover

__________________________________________________
2 words falling between the drops and the moans of his condition
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Reply #13 posted 05/20/15 7:11am

databank

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KingSausage said:

NouveauDance said:

It's a decent cover, I tack it on with TRC since it fits.

I don't know. The sound is quite different from TRC. When Will We Be Paid is far less organic.

It so totally doesn't belong on TRC but instead on TCI and TS, and it SHOULD have been on either one of them.

A COMPREHENSIVE PRINCE DISCOGRAPHY (work in progress ^^): https://sites.google.com/...iscog/home
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Reply #14 posted 05/20/15 8:27am

Rebeljuice

databank said:

KingSausage said:

NouveauDance said: I don't know. The sound is quite different from TRC. When Will We Be Paid is far less organic.

It so totally doesn't belong on TRC but instead on TCI and TS, and it SHOULD have been on either one of them.

Agreed.

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Reply #15 posted 05/27/15 10:50pm

TheBoneRanger

Thematically it fits on Rainbow Children, but sonically it's in line with Chocolate Invasion and Slaughterhouse, so I tag it on after U Make My Sun Shine.

--

Hi-yo Silver, it's The Bone Ranger!
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Reply #16 posted 05/28/15 1:28am

TheEnglishGent

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One of his better covers.

RIP sad
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Reply #17 posted 05/28/15 2:53am

Aerogram

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Both the cover and the Staple Singers' original are wonderful musically. Lyrically, Prince's version reshuffles the GREAT original lyrics, which the Staples deliver as a super-soulful cry for reparation punctuated with plenty of horn stabs, with a melancholy-but-playful midtempo. Prince's version is much slower and dramatic, it's not delivered as an hopeful plea, but more like a plea people failed to take seriously, so it's more mournful and full of pain.

The two main reasons his cover was overlooked : under the radar distribution and an association with his own battle with "the man" -- the record company. At the time, it had been a couple of years of complaints, he had been writing "slave" on his face just a few years before, and so people went "oh here's megarich Prince co-opting the civil right movement, how dare he complain, he messed up with his big contract now he's comparing himself to people who truly slaved away or were low-paid, what an outrage!"

Fast forward to 2015, Prince largely won his battle with his label, and so we can listen to the song more as straight call for reparation, and we're like "that was a good song!"

Perception is everything, isn't it? When I think back, it seems to me that the reception to song received in fan circles was full of dismissiveness, all because Prince was failing to dutifully and obediently play the pop star he had been.

While there's a big difference between the original "we" of the song and Prince's, the crypto-bossy attitude some had is kind of telling in my book. It comes from a similar place.

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Reply #18 posted 05/28/15 9:45am

Brendan

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Aerogram said:

Both the cover and the Staple Singers' original are wonderful musically. Lyrically, Prince's version reshuffles the GREAT original lyrics, which the Staples deliver as a super-soulful cry for reparation punctuated with plenty of horn stabs, with a melancholy-but-playful midtempo. Prince's version is much slower and dramatic, it's not delivered as an hopeful plea, but more like a plea people failed to take seriously, so it's more mournful and full of pain.



The two main reasons his cover was overlooked : under the radar distribution and an association with his own battle with "the man" -- the record company. At the time, it had been a couple of years of complaints, he had been writing "slave" on his face just a few years before, and so people went "oh here's megarich Prince co-opting the civil right movement, how dare he complain, he messed up with his big contract now he's comparing himself to people who truly slaved away or were low-paid, what an outrage!"



Fast forward to 2015, Prince largely won his battle with his label, and so we can listen to the song more as straight call for reparation, and we're like "that was a good song!"



Perception is everything, isn't it? When I think back, it seems to me that the reception to song received in fan circles was full of dismissiveness, all because Prince was failing to dutifully and obediently play the pop star he had been.



While there's a big difference between the original "we" of the song and Prince's, the crypto-bossy attitude some had is kind of telling in my book. It comes from a similar place.



Extremely well said, as usual.

This cynicism can potentially sap us all .

When we start hearing everything filtered through Prince's many faults (or anyone else's) we perhaps miss out on so much of our own potential.
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Reply #19 posted 05/28/15 10:03am

KingSausage

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Aerogram said:

Both the cover and the Staple Singers' original are wonderful musically. Lyrically, Prince's version reshuffles the GREAT original lyrics, which the Staples deliver as a super-soulful cry for reparation punctuated with plenty of horn stabs, with a melancholy-but-playful midtempo. Prince's version is much slower and dramatic, it's not delivered as an hopeful plea, but more like a plea people failed to take seriously, so it's more mournful and full of pain.



The two main reasons his cover was overlooked : under the radar distribution and an association with his own battle with "the man" -- the record company. At the time, it had been a couple of years of complaints, he had been writing "slave" on his face just a few years before, and so people went "oh here's megarich Prince co-opting the civil right movement, how dare he complain, he messed up with his big contract now he's comparing himself to people who truly slaved away or were low-paid, what an outrage!"



Fast forward to 2015, Prince largely won his battle with his label, and so we can listen to the song more as straight call for reparation, and we're like "that was a good song!"



Perception is everything, isn't it? When I think back, it seems to me that the reception to song received in fan circles was full of dismissiveness, all because Prince was failing to dutifully and obediently play the pop star he had been.



While there's a big difference between the original "we" of the song and Prince's, the crypto-bossy attitude some had is kind of telling in my book. It comes from a similar place.




I thought the song was only okay when it came out, and mostly focused on the sunshine song with Angie Stone (what the hell was that called?). But that's partially because I heard him play some stellar versions of WWWBP live that just smoked the studio version. Over the years, the song has grown on me. It's not one of my favorites, but it's very strong. The kind of song casual listeners thought Prince couldn't do during his "dark ages."
"Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry
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Reply #20 posted 05/28/15 10:07am

KingSausage

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These are the Paisley shows where I saw him perform WWWBP.

http://www.princevault.co...r,_1999-am

http://www.princevault.co...r,_1999-am


The November 6, 1999, show in particular was amazing. It was in the small Love4OneAnother room. Very small crowd. I was only a few rows from the stage. Such a great show! I got his guitar pick after the show too.
"Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry
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Reply #21 posted 05/28/15 12:19pm

Miles

Awesome melodrama, one of his very best from the Chocolate Invasion/ Slaughterhouse era, just wish the guitar solo at the end went on another two minutes cool .

Would love to have heard a full-on live rock version of this with epic guitar solo.

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Reply #22 posted 05/31/15 4:32am

Rebeljuice

Miles said:

Awesome melodrama, one of his very best from the Chocolate Invasion/ Slaughterhouse era, just wish the guitar solo at the end went on another two minutes cool .

Would love to have heard a full-on live rock version of this with epic guitar solo.

you should listen to the power trio aftershow at indigo nights 2007. Best version of this song. It rocks.

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