OldFriends4Sale said:

ufoclub said:

Are there any fresh new listeners to Prince here that can evaluate how they like "Parade" as an album?Nostalgia and being a teenager is a powerful thing that affects perception.

good point.

Except, I rediscovered a lot of Prince music after having fallen out of Prince for a long period of time.
And there are a lot of adults who where into the music as fans then.

I've bought albums, paid the money and got home to find out it was

Sugar
Honey
Ice
Tea

and I tried to make myself like it because I paid/lost that money

I tried to like Graffiti Bridge... it's just crap.

.

I've also relistened to music and watch shows years later and wondered why I like it then.

I can honestly recall my first impressions of every Prince album without any nostalgia or ouside life context that gets built in. I felt like "Parade" sounded a bit underwhelming outside of four tracks: New Position, Girls and Boys, Kiss, and Under the Cherry Moon. But four solid tracks is pretty good for an album. This was before I was truly a Prince fanatic, and I was evaluating his material in context of music I liked both old and new (including the foundational pop strength I believe can be found in the variety of songs The Beatles made into jewels that stand on their own and get remade and covered endlessly). The rest of the tracks sounded like good ideas or ambitions that didn't quite get there for me (at the time). Of course now when I listen to the album, I like everything. But that's due to many factors outside of the songs themeselves on their own.

ufoclub said:

OldFriends4Sale said:

good point.

Except, I rediscovered a lot of Prince music after having fallen out of Prince for a long period of time.
And there are a lot of adults who where into the music as fans then.

I've bought albums, paid the money and got home to find out it was

Sugar
Honey
Ice
Tea

and I tried to make myself like it because I paid/lost that money

I tried to like Graffiti Bridge... it's just crap.

.

I've also relistened to music and watch shows years later and wondered why I like it then.

I can honestly recall my first impressions of every Prince album without any nostalgia or ouside life context that gets built in. I felt like "Parade" sounded a bit underwhelming outside of four tracks: New Position, Girls and Boys, Kiss, and Under the Cherry Moon. But four solid tracks is pretty good for an album. This was before I was truly a Prince fanatic, and I was evaluating his material in context of music I liked both old and new (including the foundational pop strength I believe can be found in the variety of songs The Beatles made into jewels that stand on their own and get remade and covered endlessly). The rest of the tracks sounded like good ideas or ambitions that didn't quite get there for me (at the time). Of course now when I listen to the album, I like everything. But that's due to many factors outside of the songs themeselves on their own.

Honest post.

Even though I was still realing off the purple electricity of Purple Rain I was always open to different music styles and sounds. So I was taken in by the vibe of Parade.

When I heard the song Christopher Tracey's Parade I was overwhelmed with sound (and color), there was so much into I had to listen over and over

.
Christopher Tracey's Parade

I Wonder U

Girls & Boys

Mountains

Sometimes It Snows In April

Under the Cherry Moon
AnotherLoverH...

had my attention from the first listen
And I was one that still wanted more Purple Rain

but Around the World in a Day was very close album too me, in my top 3 today

.

I appreciated Life Can Be So Nice as the Parade era went on

hhhhdmt said:

duccichucka said:

I think you are applying pop standards of songwriting to songwriting in general when you say
that it is impossible to remain in top form as composers/songwriters in jazz and classical music
have demonstrated an ability to sustain a heightened compositional creativity over a career.

Wendy and Lisa were never given songwriting credits for compositions they did not have a
direct impact on, so the point expressed in your second paragraph is moot. Prince was not
a total fuckwad; if you helped him write or arrange a tune, he gave you credit. However, I
read an article where Wendy and Lisa both claimed that their work on Parade did not get as
much acknowledgement as it deserved. But, having an impact on a song's compositional ex-
istence is not really just a matter of helping write melodies to chordal structures, though, is it?
Wendy and Lisa apparently had a seismic influence on Prince in terms of broadening the music
that he listened to and in that regard, they have purportedly influenced him as well. Do not
try to minimize Wendy and Lisa's musicianship and their overt influence on Prince in order to
protect Prince's "genius" moniker.

i don't think i am minimizing their musicianship and contributions- they were obviously very good. I just think their actual impact is overrated by some. I don't need to protect a guy's genius who has written gems like WDC, Nothing Compares 2 u, anna stesia etc. Obviously his band members have made several amazing and significant contributions. As far as pop music is concerned, i don't think it is a co incidence that other great artists also made their best records in their 20's/ early 30's and have failed to replicate that since.

But Prince can still create a song solo based off the energy of the musical community he surround himself with. So what was happening in those rehearsal and jam sessions with the band. What was happening on stage and such is still attributed to the whole of what he was opened to at the time.

OldFriends4Sale said:

ufoclub said:

Are there any fresh new listeners to Prince here that can evaluate how they like "Parade" as an album?Nostalgia and being a teenager is a powerful thing that affects perception.

good point.

Except, I rediscovered a lot of Prince music after having fallen out of Prince for a long period of time.
And there are a lot of adults who where into the music as fans then.

I've bought albums, paid the money and got home to find out it was

Sugar
Honey
Ice
Tea

and I tried to make myself like it because I paid/lost that money

I tried to like Graffiti Bridge... it's just crap.

.

I've also relistened to music and watch shows years later and wondered why I like it then.

Maybe the filler songs... Maybe overall as a whole... But these songs are excellent:

Joy In Repetition

We Can Funk

Question Of U

Thieves In The Temple

Elephants & Flowers

hhhhdmt said:

duccichucka said:

I think you are applying pop standards of songwriting to songwriting in general when you say
that it is impossible to remain in top form as composers/songwriters in jazz and classical music
have demonstrated an ability to sustain a heightened compositional creativity over a career.

Wendy and Lisa were never given songwriting credits for compositions they did not have a
direct impact on, so the point expressed in your second paragraph is moot. Prince was not
a total fuckwad; if you helped him write or arrange a tune, he gave you credit. However, I
read an article where Wendy and Lisa both claimed that their work on Parade did not get as
much acknowledgement as it deserved. But, having an impact on a song's compositional ex-
istence is not really just a matter of helping write melodies to chordal structures, though, is it?
Wendy and Lisa apparently had a seismic influence on Prince in terms of broadening the music
that he listened to and in that regard, they have purportedly influenced him as well. Do not
try to minimize Wendy and Lisa's musicianship and their overt influence on Prince in order to
protect Prince's "genius" moniker.

i don't think i am minimizing their musicianship and contributions- they were obviously very good. I just think their actual impact is overrated by some. I don't need to protect a guy's genius who has written gems like WDC, Nothing Compares 2 u, anna stesia etc. Obviously his band members have made several amazing and significant contributions. As far as pop music is concerned, i don't think it is a co incidence that other great artists also made their best records in their 20's/ early 30's and have failed to replicate that since.

I don't think their impact on Prince is overrated. The stylistic changes heard in Around The
World In A Day and Parade coincide with Prince's reliance on their songwriting contributions
and their exposing him to other genres of music, especially classical.

Your post kinda seemed to want to protect Prince's credibility as a songwriter, so that we
don't forget that he's a perfect one-man-pop-band who doesn't need any help with his artistic
vision. But, this is not the case as evidenced by the shit albums he's produced since 1987.

Folks want to overrate Prince's abilities and make it seem like he's wholly autogenous, so they
minimize the help he receives. Speaking of which, Jimmy Jam and Terry Lewis have mentioned
how Prince used to not give props on albums they performed for the same reasons: Prince
was interested in presenting himself as some type of genius who didn't need help. So, if Prince
is not giving JJ and TL props, it is not entirely inconceivable that he wouldn't do the same to
W&L. This means there are two great songwriting groups that came out of Prince's camp who
eventually got fired by Prince and claim he (Prince) didn't give them the credit they deserved.

Great pop musicians fall off before great jazz/classical musicians because of one thing:
music education. The latter requires an education in order to be considered "good." The
former does not make those kinds of demands on the musician's training.

OldFriends4Sale said:

Yes it was a very MATURE album, and the direction he started going into during this 1985-1986 period I could easily see Prince soaring above the need to do something he's done in the 1990s that just was not worthy of someone of his status.

.

Once the Revolution fell away we see an immediate drop off. SOTT of course being a part of the Dream Factory, the magic of the later 1987/88 period is the result of the nearness of that previous period. And that most of the people in the camp then were still from that 1983-1986 period most were a part of that Purple Rain-Parade era

.

He had a very intimate connection with Lisa from 1980 and then Wendy and Susannah, not to mention Jonathan(Melvoin) and David(Coleman). Prince in 1998 even called that period a 'community'. The more open a person is and interconnected to the people in their life the more creative and expressive.
.
Another bad thing that happened was the drop off of the proteges. Jill Jones was not interconnected to what Prince was doing and Madhouse couldn't really succeed as it was. Sheila E was gone as an individual act

Preach.

feeluupp said:

OldFriends4Sale said:

good point.

Except, I rediscovered a lot of Prince music after having fallen out of Prince for a long period of time.
And there are a lot of adults who where into the music as fans then.

I've bought albums, paid the money and got home to find out it was

Sugar
Honey
Ice
Tea

and I tried to make myself like it because I paid/lost that money

I tried to like Graffiti Bridge... it's just crap.

.

I've also relistened to music and watch shows years later and wondered why I like it then.

Maybe the filler songs... Maybe overall as a whole... But these songs are excellent:

Joy In Repetition

We Can Funk

Question Of U

Thieves In The Temple

Elephants & Flowers

Sorry, I meant the movie

duccichucka said:

hhhhdmt said:

duccichucka said: i don't think i am minimizing their musicianship and contributions- they were obviously very good. I just think their actual impact is overrated by some. I don't need to protect a guy's genius who has written gems like WDC, Nothing Compares 2 u, anna stesia etc. Obviously his band members have made several amazing and significant contributions. As far as pop music is concerned, i don't think it is a co incidence that other great artists also made their best records in their 20's/ early 30's and have failed to replicate that since.

I don't think their impact on Prince is overrated. The stylistic changes heard in Around The
World In A Day and Parade coincide with Prince's reliance on their songwriting contributions
and their exposing him to other genres of music, especially classical.

Your post kinda seemed to want to protect Prince's credibility as a songwriter, so that we
don't forget that he's a perfect one-man-pop-band who doesn't need any help with his artistic
vision. But, this is not the case as evidenced by the shit albums he's produced since 1987.

Folks want to overrate Prince's abilities and make it seem like he's wholly autogenous, so they
minimize the help he receives. Speaking of which, Jimmy Jam and Terry Lewis have mentioned
how Prince used to not give props on albums they performed for the same reasons: Prince
was interested in presenting himself as some type of genius who didn't need help. So, if Prince
is not giving JJ and TL props, it is not entirely inconceivable that he wouldn't do the same to
W&L. This means there are two great songwriting groups that came out of Prince's camp who
eventually got fired by Prince and claim he (Prince) didn't give them the credit they deserved.

Great pop musicians fall off before great jazz/classical musicians because of one thing:
music education. The latter requires an education in order to be considered "good." The
former does not make those kinds of demands on the musician's training.

True, it is far from overrated. You presented that well. People are more caught into the ideal that Prince is a 1 man band. Because that is what was burned into him by the person trying to get him a record deal.
Prince during that 1981-1987 period had the best people in the world who believed in his vision and worked hard to help him take Uptown to the world.
When people in the band and camp from Bobby Z - Alan Leeds and Kim K and Susan Rogers all express that there was something magical happing between Prince Lisa & Wendy, how can other deny it.

Not to mention the man years later writes a song of regret about loosing what they had together

.

Actually we can take it back a bit further and so how much layer was added to the Purple Rain are music, the explosion of diversity in styles listening to released and unreleased: Our Destiny Roadhouse Garden, Manic Mondy/Take Me With You, Computer Blue, Purple Rain, music on Apollonia 6 and Sheila E. the use of live string arrangements(thank U Lisa) violins violas' cellos and accordians, steel drums, finger cymbals etc Spanish Villa, Noon Rendezvous ...

That the band was locked in together with Prince in a way he was never, Prince feeding off of them, them feeding off of their 'Fearless Leader'

.

I always include the 1983-1986 year together because they are the result of Prince finding his community.

.

Did Lisa (Lisa and/or Wendy) get song credit for Mountains Sometimes It Snows In April or Power Fantastic?

NorthC said:

I guess that's another thing Prince learned from James Brown: steal ideas from your band members and keep them for yourself!

There's actually a legacy of this practice: Miles Davis used to do it and Duke Ellington did too. I
think it's practiced so that the band leader looks more autogenous than what is actually true.

OldFriends4Sale said:

Did Lisa (Lisa and/or Wendy) get song credit for Mountains Sometimes It Snows In April or Power Fantastic?

I'm not sure. If you go to Parade's wiki page, they do receive credit for two of those tunes.
But wiki can be edited by most users. If you look at the credits for Parade at allmusic.com,
then the answer appears to be "no" but it is worth noting that the songwriter credit for
"Mountains" is attributed to "Prince and the Revolution."

duccichucka said:

hhhhdmt said:

duccichucka said: i don't think i am minimizing their musicianship and contributions- they were obviously very good. I just think their actual impact is overrated by some. I don't need to protect a guy's genius who has written gems like WDC, Nothing Compares 2 u, anna stesia etc. Obviously his band members have made several amazing and significant contributions. As far as pop music is concerned, i don't think it is a co incidence that other great artists also made their best records in their 20's/ early 30's and have failed to replicate that since.

I don't think their impact on Prince is overrated. The stylistic changes heard in Around The
World In A Day and Parade coincide with Prince's reliance on their songwriting contributions
and their exposing him to other genres of music, especially classical.

Your post kinda seemed to want to protect Prince's credibility as a songwriter, so that we
don't forget that he's a perfect one-man-pop-band who doesn't need any help with his artistic
vision. But, this is not the case as evidenced by the shit albums he's produced since 1987.

Folks want to overrate Prince's abilities and make it seem like he's wholly autogenous, so they
minimize the help he receives. Speaking of which, Jimmy Jam and Terry Lewis have mentioned
how Prince used to not give props on albums they performed for the same reasons: Prince
was interested in presenting himself as some type of genius who didn't need help. So, if Prince
is not giving JJ and TL props, it is not entirely inconceivable that he wouldn't do the same to
W&L. This means there are two great songwriting groups that came out of Prince's camp who
eventually got fired by Prince and claim he (Prince) didn't give them the credit they deserved.

Great pop musicians fall off before great jazz/classical musicians because of one thing:
music education. The latter requires an education in order to be considered "good." The
former does not make those kinds of demands on the musician's training.

My post had nothing to do with protecting Prince. Everyone needs help making a good record whether its Prince or Stevie Wonder. Prince obviously had significant help making those records, certainly more than he would like to admit. As far as his albums since 1987, some of them have been excellent, some mediocre and some very poor eg. Rave. But that has a lot to do with having little quality control and releasing too many songs.

As far as W&L being "great" songwriters, which great songs did they write for other artists? Prince wrote everything from Nothing compares 2 u, The Dance electric etc. If they were such great writers, it would have showed in other works that they have done. They co wrote some great songs with him and deserve a ton of credit for that. Turning them into equal collaborators or overstating their actual impact is ridiculous. Some fans are just angry that Prince can't match his peak output and falsely attribute that to W&L.

hhhhdmt said:

Everyone needs help making a good record whether its Prince or Stevie Wonder. Prince obviously had significant help making those records, certainly more than he would like to admit.

Oh! I'm so glad that you now recognize that Prince probably didn't give credit where credit was
due, especially since Wendy and Lisa and Jimmy Jam and Terry Lewis have made those claims
in the past. This means, then, that we can safely assume that Wendy and Lisa's contributions
to Prince were not overrated but actually important and significant.

[Edited 10/25/15 6:41am]

So this thread is about Wendy and Lisa wrote all his best songs and albums and Prince was not a genius and did not give Wendy and Lisa, Jimmy Jam and Terry Lewis and others enough props because they said so in the past , so it must be true then. So why not open a forum called Wendy and Lisa made Prince. Prince wrote nothing and did nothing and we can all go home. I give up. Prince was in his prime then but fuck it give all credit to Wendy and Lisa and others without knowing what acutally went down over those years. And all albums 84-86 were credited written, produced etc by Prince and the REVOLUTION. So Credit is given to Prince and his band too.

[Edited 10/25/15 6:51am]

Guitarhero said:

So this thread is about Wendy and Lisa wrote all his best songs and albums and Prince was not a genius and did not give Wendy and Lisa, Jimmy Jam and Terry Lewis and others enough props because they said so in the past , so it must be true then. So why not open a forum called Wendy and Lisa made Prince. Prince wrote nothing and did nothing and we can all go home. I give up. Prince was in his prime then but fuck it give all credit to Wendy and Lisa and others without knowing what acutally went down over those years. And all albums 84-86 were credited written, produced etc by Prince and the REVOULTION. So Credit is given to Prince and his band too.

Stop exaggerating, kid. All I said in this thread was that Parade is Prince's best album and that
Wendy and Lisa had some crucial role to play in its conception and delivery despite not getting
the individual recognition they may have earned and deserved.

duccichucka said:

Great pop musicians fall off before great jazz/classical musicians because of one thing:
music education. The latter requires an education in order to be considered "good." The
former does not make those kinds of demands on the musician's training.

>

To me this sums up Prince's problem in a nutshell as it pertains to his career.

I remember reading how band members would introduce him to different styles of music. I believe it was a Revolution member who introduced him to 60's psychedelia, which prompted his ATWIAD/Parade period. It's hard to fathom that someone as adventurous as Prince wasn't familair with some of the most popular pop music in history.

To this day he doesn't seem too well-read or worldy.

And he MIGHT have a touch of adult ADD, but don't quote me.

[Edited 10/26/15 13:10pm]

[Edited 10/26/15 13:11pm]

duccichucka said:

Wendy and Lisa were never given songwriting credits for compositions they did not have a
direct impact on, so the point expressed in your second paragraph is moot. Prince was not
a total fuckwad; if you helped him write or arrange a tune, he gave you credit. However, I
read an article where Wendy and Lisa both claimed that their work on Parade did not get as
much acknowledgement as it deserved. But, having an impact on a song's compositional ex-
istence is not really just a matter of helping write melodies to chordal structures, though, is it?
Wendy and Lisa apparently had a seismic influence on Prince in terms of broadening the music
that he listened to and in that regard, they have purportedly influenced him as well. Do not
try to minimize Wendy and Lisa's musicianship and their overt influence on Prince in order to
protect Prince's "genius" moniker.

A lot of this depends on definitions of what constitutes "songwriting". I mean Kiss was pretty well arranged for him before Prince took it over and made it his own thing, I don't think those guys got any songwriting credits. But often with a single songwriter/artist like Prince they may go off and write a song then bring it into the studio. At that point Wendy & Lisa (or any other session musician) could have added different guitar licks, basslines, synthlines, even change up the chords, etc.. and not receive any songwriting credit. This is pretty common. Where as Terence Trent Darby might throw a songwriting credit to somebody for setting up a basic beat on a drum machine, or Robert Smith will share all credit equally with any member that's currently in his band whenever an album is released. It's all up to the artist or band and how they handle things.

But obviously bandmembers can have a huge impact on the sound without actually being around for the song's original inception, they're the ones actually playing the music after all (or at least some of the music in Prince's case).

duccichucka said:

Guitarhero said:

So this thread is about Wendy and Lisa wrote all his best songs and albums and Prince was not a genius and did not give Wendy and Lisa, Jimmy Jam and Terry Lewis and others enough props because they said so in the past , so it must be true then. So why not open a forum called Wendy and Lisa made Prince. Prince wrote nothing and did nothing and we can all go home. I give up. Prince was in his prime then but fuck it give all credit to Wendy and Lisa and others without knowing what acutally went down over those years. And all albums 84-86 were credited written, produced etc by Prince and the REVOULTION. So Credit is given to Prince and his band too.

Stop exaggerating, kid. All I said in this thread was that Parade is Prince's best album and that
Wendy and Lisa had some crucial role to play in its conception and delivery despite not getting
the individual recognition they may have earned and deserved.

What exactly was that role, apart from co-writing two song on the album?

paulludvig said:

duccichucka said:

Stop exaggerating, kid. All I said in this thread was that Parade is Prince's best album and that
Wendy and Lisa had some crucial role to play in its conception and delivery despite not getting
the individual recognition they may have earned and deserved.

What exactly was that role, apart from co-writing two song on the album?

Don't take the bait Duccichucka, don't take the bait lol

mordang said:

BoraBora said:

The entire Parade-Sign-Lovesexy trilogy is timeless.

The real peak of P musical creation.

+2

http://www.soundopinions.org/show/449/#wendyandlisa

Download and start listening at around the 12:30 mark; the 23:10 mark; the 30:45 mark;
the 31:50 mark - these sections are illuminating as Wendy and Lisa speak to their input
and influence on Prince's songwriting during Purple Rain, which, in turn, can be used as a
blue print for how the trio approached compositional duties for Parade as well.

Prince was probably prescribing to that legacy where the bandleader is indicated as the
primary songsmith (see Miles Davis, who took credit for tunes Evans and Turner wrote, for
example; or, see Duke Ellington, who took credit for tunes Strayhorn wrote; or see James
Brown, who took credit for tunes anybody in his band wrote!); but, now you get smartasses
at the Org trying to minimize Wendy and Lisa's obvious contributions to Prince's master-
pieces.

weirdozmedia said:

duccichucka said:

Wendy and Lisa were never given songwriting credits for compositions they did not have a
direct impact on, so the point expressed in your second paragraph is moot. Prince was not
a total fuckwad; if you helped him write or arrange a tune, he gave you credit. However, I
read an article where Wendy and Lisa both claimed that their work on Parade did not get as
much acknowledgement as it deserved. But, having an impact on a song's compositional ex-
istence is not really just a matter of helping write melodies to chordal structures, though, is it?
Wendy and Lisa apparently had a seismic influence on Prince in terms of broadening the music
that he listened to and in that regard, they have purportedly influenced him as well. Do not
try to minimize Wendy and Lisa's musicianship and their overt influence on Prince in order to
protect Prince's "genius" moniker.

A lot of this depends on definitions of what constitutes "songwriting". I mean Kiss was pretty well arranged for him before Prince took it over and made it his own thing, I don't think those guys got any songwriting credits. But often with a single songwriter/artist like Prince they may go off and write a song then bring it into the studio. At that point Wendy & Lisa (or any other session musician) could have added different guitar licks, basslines, synthlines, even change up the chords, etc.. and not receive any songwriting credit. This is pretty common. Where as Terence Trent Darby might throw a songwriting credit to somebody for setting up a basic beat on a drum machine, or Robert Smith will share all credit equally with any member that's currently in his band whenever an album is released. It's all up to the artist or band and how they handle things.

But obviously bandmembers can have a huge impact on the sound without actually being around for the song's original inception, they're the ones actually playing the music after all (or at least some of the music in Prince's case).

I allude to how "songwriting" can be more than just arranging chords and writing melodies
to that arrangement in the bolded above.

From what I read, when Prince wrote "Kiss," and gave it to Mazerati, he presented them with a
bluesy number. When he heard their sparse re-arrangement, Prince re-appropriated it but kept
some of their features intact (you can hear Mazerati doing the background vocals). If I'm not
mistaken, he gave them a songwriting credit. . . it probably pained him to do so.

TKO said:

YES. Absolutely one of his best albums and even better than Sign O The Times

I agree. It boasts a Prince masterpiece in "Kiss" and his most beautiful ballad with"SOmetimes it SNows in April"

OldFriends4Sale said:

It moves and flows beautifully, not that being able to tell what period a song/album was made is bad, but this is probably the #1 Prince album that is timeless and dateless

it begins and ends so quickly, it leaves U wanting more... so you create a playlist and add the long versions and B sides

and then that isn't enough

and you add some unreleased pieces

It is truly the kind of work that made Prince one of a kind and made me love him so. When yo are old enough to remember when it was released and comparied it to what he is doing now, it almost makes me a little sad.

so overrated, calling his album better than SOTT really¡?

FUNKYNESS said:

OldFriends4Sale said:

It moves and flows beautifully, not that being able to tell what period a song/album was made is bad, but this is probably the #1 Prince album that is timeless and dateless

it begins and ends so quickly, it leaves U wanting more... so you create a playlist and add the long versions and B sides

and then that isn't enough

and you add some unreleased pieces

It is truly the kind of work that made Prince one of a kind and made me love him so. When yo are old enough to remember when it was released and comparied it to what he is doing now, it almost makes me a little sad.

I know what you mean...
It really is one of those times when having experienced a time period, you can't always put it into words

duccichucka said:

http://www.soundopinions.org/show/449/#wendyandlisa

Download and start listening at around the 12:30 mark; the 23:10 mark; the 30:45 mark;
the 31:50 mark - these sections are illuminating as Wendy and Lisa speak to their input
and influence on Prince's songwriting during Purple Rain, which, in turn, can be used as a
blue print for how the trio approached compositional duties for Parade as well.

Prince was probably prescribing to that legacy where the bandleader is indicated as the
primary songsmith (see Miles Davis, who took credit for tunes Evans and Turner wrote, for
example; or, see Duke Ellington, who took credit for tunes Strayhorn wrote; or see James
Brown, who took credit for tunes anybody in his band wrote!); but, now you get smartasses
at the Org trying to minimize Wendy and Lisa's obvious contributions to Prince's master-
pieces.

They are pretty vague in that interview, as usual.

214 said:

so overrated, calling his album better than SOTT really¡?

SOTT has a few duds and doesn't flow cohesively as its precedessor.