I've been looking up songs on Prince vault (love doing that over and over) and was looking up "Girl". The site said that it was remixed in '85. Does that mean that everything else is the '82 version, including vocals?

purplemajesty23 said:

I've been looking up songs on Prince vault (love doing that over and over) and was looking up "Girl". The site said that it was remixed in '85. Does that mean that everything else is the '82 version, including vocals?

Hard to say, I think it was more of demo, like New Position Raspberry Beret and Strange Relationships... just some cords/keys of a riff or something.

Example:Strange Relationships might have sounded only like what we hear on Billy's Sunglasses

OldFriends4Sale said:

purplemajesty23 said:

I've been looking up songs on Prince vault (love doing that over and over) and was looking up "Girl". The site said that it was remixed in '85. Does that mean that everything else is the '82 version, including vocals?

Hard to say, I think it was more of demo, like New Position Raspberry Beret and Strange Relationships... just some cords/keys of a riff or something.

Example:Strange Relationships might have sounded only like what we hear on Billy's Sunglasses

Isn't there a piano rehearsal from '82 where Prince plays Strange Relationship?

I hate to be a dissenting opinion here, however, that this song has backtracked Vanity vocals would strongly suggest this song was, or was very close to, a completed track in 1982, and most likely, much more than a test or demo with simple chords.

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I would go so far as to wildly speculate that it may even have been a proposed Vanity 6 effort that he repurposed/reclaimed for himself, or a track recorded as it was, but tried out for Vanity as well, and the best of both worlds is represented in the resulting "final" mix.

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At a minimum, the track needed to be mixed and edited, as it would seem it never came close to making any earlier project, in the abundance of 1982 material (perhaps his most prolific year, or neck-and-neck with 1986). There /may/ be some minor overdubs from circa late 1984 or early/mid 1985. He seems to have been revisting a lot of 1982 material ~mid-1985, when he was working on Jill Jones' album (and, also, it would seem, pulling out 'You're My Love' for Kenny Rogers; 'Strange Relationship', 'Teacher, Teacher', etc.). Perhaps the idea to dust off and make this a B-Side to an ATWIAD single is an outgrowth of his going through these earlier tapes around just this very time.

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Its general production and feel are not very different at all from 'Let's Pretend We're Married', recorded, it would seem, around approximately the same period.

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[Edited 2/14/16 11:43am]

imprimis said:

I hate to be a dissenting opinion here, however, that this song has backtracked Vanity vocals would strongly suggest this song was, or was very close to, a completed track in 1982, and most likely, much more than a test or demo with simple chords.

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I would go so far as to wildly speculate that it may even have been a proposed Vanity 6 effort that he repurposed/reclaimed for himself, or a track recorded as it was, but tried out for Vanity as well, and the best of both worlds is represented in the resulting "final" mix.

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At a minimum, the track needed to be mixed and edited, as it would seem it never came close to making any earlier project, in the abundance of 1982 material (perhaps his most prolific year, or neck-and-neck with 1986). There /may/ be some minor overdubs from circa late 1984 or early/mid 1985. He seems to have been revisting a lot of 1982 material ~mid-1985, when he was working on Jill Jones' album (and, also, it would seem, pulling out 'You're My Love' for Kenny Rogers; 'Strange Relationship', 'Teacher, Teacher', etc.). Perhaps the idea to dust off and make this a B-Side to an ATWIAD single is an outgrowth of his going through these earlier tapes around just this very time.

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Its general production and feel are not very different at all from 'Let's Pretend We're Married', recorded, it would seem, around approximately the same period.

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[Edited 2/14/16 11:43am]

So it's Vanity on the backtracked vocals? Not Susannah or Wendy as previously believed?

paulludvig said:

imprimis said:

I hate to be a dissenting opinion here, however, that this song has backtracked Vanity vocals would strongly suggest this song was, or was very close to, a completed track in 1982, and most likely, much more than a test or demo with simple chords.

.

I would go so far as to wildly speculate that it may even have been a proposed Vanity 6 effort that he repurposed/reclaimed for himself, or a track recorded as it was, but tried out for Vanity as well, and the best of both worlds is represented in the resulting "final" mix.

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At a minimum, the track needed to be mixed and edited, as it would seem it never came close to making any earlier project, in the abundance of 1982 material (perhaps his most prolific year, or neck-and-neck with 1986). There /may/ be some minor overdubs from circa late 1984 or early/mid 1985. He seems to have been revisting a lot of 1982 material ~mid-1985, when he was working on Jill Jones' album (and, also, it would seem, pulling out 'You're My Love' for Kenny Rogers; 'Strange Relationship', 'Teacher, Teacher', etc.). Perhaps the idea to dust off and make this a B-Side to an ATWIAD single is an outgrowth of his going through these earlier tapes around just this very time.

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Its general production and feel are not very different at all from 'Let's Pretend We're Married', recorded, it would seem, around approximately the same period.

.

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[Edited 2/14/16 11:43am]

So it's Vanity on the backtracked vocals? Not Susannah or Wendy as previously believed?

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Princevault, which is the orthodox authority on these matters, indicates that Vanity provided the reversed female backing vocal.

paulludvig said:

OldFriends4Sale said:

Hard to say, I think it was more of demo, like New Position Raspberry Beret and Strange Relationships... just some cords/keys of a riff or something.

Example:Strange Relationships might have sounded only like what we hear on Billy's Sunglasses

Isn't there a piano rehearsal from '82 where Prince plays Strange Relationship?

I believe so, I need to run through my outtakes, I think it is Strange Relationships

imprimis said:

I hate to be a dissenting opinion here, however, that this song has backtracked Vanity vocals would strongly suggest this song was, or was very close to, a completed track in 1982, and most likely, much more than a test or demo with simple chords.

.

I would go so far as to wildly speculate that it may even have been a proposed Vanity 6 effort that he repurposed/reclaimed for himself, or a track recorded as it was, but tried out for Vanity as well, and the best of both worlds is represented in the resulting "final" mix.

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At a minimum, the track needed to be mixed and edited, as it would seem it never came close to making any earlier project, in the abundance of 1982 material (perhaps his most prolific year, or neck-and-neck with 1986). There /may/ be some minor overdubs from circa late 1984 or early/mid 1985. He seems to have been revisting a lot of 1982 material ~mid-1985, when he was working on Jill Jones' album (and, also, it would seem, pulling out 'You're My Love' for Kenny Rogers; 'Strange Relationship', 'Teacher, Teacher', etc.). Perhaps the idea to dust off and make this a B-Side to an ATWIAD single is an outgrowth of his going through these earlier tapes around just this very time.

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Its general production and feel are not very different at all from 'Let's Pretend We're Married', recorded, it would seem, around approximately the same period.

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[Edited 2/14/16 11:43am]

There are sound on this one that, if your are familiar with the movie Blade Runner, has strong similarities to... all those metalic squeaky sounds

For some reason his voice doesn't sound like him during the 1981/82 period, it sounds more similar to 1984/85 Prince

Hard to say with this song, I think he could have easily added backtracked vocals of Vanity in 1985

OldFriends4Sale said:

imprimis said:

I hate to be a dissenting opinion here, however, that this song has backtracked Vanity vocals would strongly suggest this song was, or was very close to, a completed track in 1982, and most likely, much more than a test or demo with simple chords.

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I would go so far as to wildly speculate that it may even have been a proposed Vanity 6 effort that he repurposed/reclaimed for himself, or a track recorded as it was, but tried out for Vanity as well, and the best of both worlds is represented in the resulting "final" mix.

.

At a minimum, the track needed to be mixed and edited, as it would seem it never came close to making any earlier project, in the abundance of 1982 material (perhaps his most prolific year, or neck-and-neck with 1986). There /may/ be some minor overdubs from circa late 1984 or early/mid 1985. He seems to have been revisting a lot of 1982 material ~mid-1985, when he was working on Jill Jones' album (and, also, it would seem, pulling out 'You're My Love' for Kenny Rogers; 'Strange Relationship', 'Teacher, Teacher', etc.). Perhaps the idea to dust off and make this a B-Side to an ATWIAD single is an outgrowth of his going through these earlier tapes around just this very time.

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Its general production and feel are not very different at all from 'Let's Pretend We're Married', recorded, it would seem, around approximately the same period.

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[Edited 2/14/16 11:43am]

There are sound on this one that, if your are familiar with the movie Blade Runner, has strong similarities to... all those metalic squeaky sounds

For some reason his voice doesn't sound like him during the 1981/82 period, it sounds more similar to 1984/85 Prince

Hard to say with this song, I think he could have easily added backtracked vocals of Vanity in 1985

I believe that it is possible he added or replaced vocals in 1984 or 1985, but that the bulk of the song goes back to 1982, including the Vanity backtrackings. Certain, Vanity wasn't involved with the P scene in more than a year at the latest by this point. That metallic "barking dog" sound might be something added much later on. I'm going to speculate again that this might have been a song tried out for Vanity 6 (first or second project) that he decided to use as his own (perhaps the original guide vocals were still from a male's perspective).

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[Edited 2/14/16 18:10pm]

imprimis said:

OldFriends4Sale said:

There are sound on this one that, if your are familiar with the movie Blade Runner, has strong similarities to... all those metalic squeaky sounds

For some reason his voice doesn't sound like him during the 1981/82 period, it sounds more similar to 1984/85 Prince

Hard to say with this song, I think he could have easily added backtracked vocals of Vanity in 1985

I believe that it is possible he added or replaced vocals in 1984 or 1985, but that the bulk of the song goes back to 1982, including the Vanity backtrackings. Certain, Vanity wasn't involved with the P scene in more than a year at the latest by this point. That metallic "barking dog" sound might be something added much later on. I'm going to speculate again that this might have been a song tried out for Vanity 6 (first or second project) that he decided to use as his own (perhaps the original guide vocals were still from a male's perspective).

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[Edited 2/14/16 18:10pm]

Hard to tell. It sounds nothing like anything from 1982
I still think a lot of it was very stripped demo piano/accoustic stuff

Vanity doesn't have to be involved at the time for him to have recorded vocals from her that he could play with, right? On Orgasm from Come, that is Vanity, so it's obvious he probably has a lot of her vocals and others recorded that he could play with.

No I'm not talking about a barking dog sound, I'm talking about the synth/keyboard sounds that to me sound beautifully metallic, and they sound very much like sounds from the movie Blade Runner(he said that movie gave him inspiration during that 1982-1984 period. Even the piano sounds ie Fathers Song, you hear the same piano sounds in the movie Blade Runner, not to mention the dark smokey urban look.

So you think those lyrics were originally written from the perspective of a woman? Interesting.
It's possible, International Lover and Turn It Up were done 4 the Time/What Time Is It? Sessions
and Let's Pretend We're Married was done during a Vanity 6 album session

The Hookers, home studio, 1981 - Jamie Shoop & Susan Moonsie
I Need A Man #1 – lead vocal: Jamie Shoop
Make-up (2:39)*
Wet Dream #1
Jealous Girl #1 – offered to The Bangles in 1985
Pizza
Drive Me Wild (2:32)*

Home studio, early 1982
Money Don’t Grow On Trees – possibly intended for The Hookers

Home studio, 1982
Boom, Boom, Can’t U Feel The Beat Of My Heart #1
Can’t Stop This Feeling I Got #1
Don’t Let Him Fool Ya #1
Fox Trap
Girl (7:36)*
Horny Toad (2:13)*
I Could Never Take The Place Of Your Man #1
Lust U Always #1
Mink Kitty Cat #1 – intended for Vanity, tentative placing
My Baby Knows How To Love Me #1
New Position #1
Purple Music #1 (10:48)
Purple Music #2 (10:35) – extra guitar parts & vocal differences
Strange Relationship #1
Teacher, Teacher #1
U Should Be Mine (possibly instrumental) – offered to Eric Leeds in July 1989 for new Madhouse album
Yah, U Know #1
You’re My Love #1

The song, to my ears at least, has the same dark, cold, spartan, sometimes hypnotic, analogue electronic quality of songs from roughly the same [attributed] era, 'Let's Pretend We're Married', 'Drive Me Wild', 'Make Up', '3 x 2 = 6', etc. This song, and the others I listed above, are not 'identical' to each other, but there is a certain recognizable similarity in their production and mood or feel.

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My first thoughts the first time I ever heard this song were that this is older material (1999-ish) (but in a good way).

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Blade Runner's soundtrack would have been recorded with the technology available by early 1982, so if he is using any similar equipment or patches, or is influenced in some fashion by the sound design of that film, it doesn't conflict with a 1982 dating.

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While I suppose nothing is impossible, I don't believe he was in the regular habit, at this stage of his career, of recycling unused bits and pieces like would do later on, for example, with 'Orgasm' from the Come era. For tracks that were his own, he would usually use one or more of Lisa Coleman and Jill Jones, if he needed female backing vocals. He may have borrowed a riff, or re-recorded 'vault' tracks, but he didn't cut up the earlier recordings and paste them in other songs, at this point.

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Maybe you could say 'Tricky' was a re-use of sorts, but I believe that was more of a gag track and an attempt to make a useable track out of the 'Cloreen Baconskin' jam session. 'Dear Uncle George', if he uses any of the same underlying recording on 'Private Joy', is re-use different from the 'cutting-and-pasting' I'm speaking of above.

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The lyrics to the backtracked Vanity vocal are nearly identical to P's main ones (but replacing 'Girl' with 'Boy'). I agree with you that P's vocal styling on the released version of 'Girl' sounds quite a bit 1984/1985-ish. /Maybe/ he added, or redid a lot or all of his vocals at that time.

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He uses the expression 'I want you in the worst way' on 'Temptation', as well, and I cannot recall any other song on which he uses that expression (he also uses this expression from time to time on the PR Tour, whether in reference to 'Temptation' or in general). It doesn't seem to be a universal Princely expression like 'the dawn' or 'the things that you do to me', it seems more specific to this time period (1984/85), which would support the idea that the vocals were revised or redone at that time, but it's really too small a sample size to tell. At the same time, other parts of the song seem sleazier and dirtier than what he was working on in the ATWIAD days, and more like the frank language he would be inclined [obliged?] to use in 1982/1983.

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We know that Vanity left the P camp in the Summer of 1983, so the backtracked vocal has to date to before that time.

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My belief is that this song was a 'Vanity 6' (either first, or subsequent project) demo, or a song of his own that he later tried out from the female perspective by recording the Vanity vocals. If any portion of the released version has the original (presumed) 1982 vocals, then perhaps P's guide vocals were recorded from a man's perspective (even if it was originally intended only for V6). If the song was originally one of his own from the beginning, then I guess it always was meant to be told from a man's perspective (but changed around if/when he tried it with Vanity later on). I don't believe the backtracking was part of the idea of the song in 1982. He seems not to have become interested in that 'effect' for the first time until around mid-1983. Which is why I believe it is an artifact of this song being intended, or at least tried out, for V6. If he had two (or more) sets of vocal sessions to play with, then when he brushed this off in 1984 or 1985, he would have the material to indulge that trademark of the era.

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[Edited 2/15/16 8:49am]

I agree with Imprimis. When I first read in DMSR that the song was from 1982 I was like WTF?! No way! Then after listening to it again I heard nothing that I felt was impossible in 1982 even though the tone is, IMHO, much less darker than most of the songs we know from that era (but it doesn't mean much). If It'll Make U Happy for example shows that Prince explored more musical directions than we'd have thought in the pre-PR years. However I don't necessarily believe it was related to the Vanbity 6 project: let us not forgot that Prince always recorded more random songs out of the blue than songs with a specific project in mind from the beginning. If backtracked later, the spoken parts could come from any recording session with her, that was not necssarily related to Girl in the first place (in a way similar to how he's reused the Vibrator orgasm on both 8 and Come). As for Tricky I have a hard time considering a separate song from Cloreen Bacon Skin: Tricky is indeed more a rework of CBS than a proper new composition.

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Princevault, whose infos usually come from the Nilsen/Uptown research, says the song was "slightly remixed". Taken literally this would imply Prince may not even added anything at all but only improved the original mix. However given the ambiguity of the verb "remixing", this could also mean he's removed/added things. But I would assume the choice of word ("slightly") implies it wasn't much and that the recorded is very close to the original. Regardless, Girl can't be treated as a 1982 outtake because the final touch, however how light, was added in 1985, at a time where Prince was already focused on Parade. I also see no reason to doubt Vanity provided the vocals if it's what Princevault says.

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Of note is there are more and more voices here to condemn the Nilsen/Uptown research as being unaccurate because certain facts have been contradicted by further research. This is pretty new because I remember a time that it was considered holy gospel (as well as any info revealed by Boris). While I am ready to accept that the Nilsen/Uptown data has been proven wrong or incomplete on some occasions, and that it seems that more surprising data will surface in the next few years thanks to other people's research, I would still consider that unless further research contradicts it, an info on Princevault should be regarded as accurate. Nilsen and Uptown were dedicated when it came to working with a method, and while given the incredible amont of music and the great number of protagonists involved, a margin of error was unavoidable, I don't believe they threw out any information without being reasonably certain it was backed-up.

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My theory that it /may/ be a Vanity 6-related track, or a track at one point or another "tried out" for Vanity 6, is a circumstantial case based on:

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[1] Princevault.org indicates the track was initially tracked in 1982.

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[2] Of all the circulating unreleased and officially released material from 1982 we have to compare this song by, it is, production-wise, most /similar/ to some tracks appearing on the Vanity 6 album.

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[3] Prince's regular habit for years, and particularly 1982 through 1984, if he wanted female backing vocals, would be to employ Lisa Coleman's and/or Jill Jones' talents. ('Erotic City', 'Take Me with U' and '17 Days' are very special instances that do not weaken this claim).

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[4] There are no known circulating or released tracks otherwise featuring Vanity backing a Prince track. ('If a Girl Answers', 'Vibrator', again, are very special instances that do not weaken this claim, and the circulating 'Sex Shooter' is clearly a guide vocal demo in only a partial state of completion)

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[5] He reclaimed 'International Lover' from his other protege band, The Time, in 1982; likewise, it could stand to reason he might be inclined, under the right setting, to do the same to one from his female proteges.

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[6] He may have tried out another one of his own songs, 'G-Spot', for Vanity 6, showing that the alleged practice here is not without precedent.

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[7] He reclaimed '17 Days', which may very well have been largely or fully completed with another 6 member's vocals (Brenda's), for himself.

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[8] He does not appear to have experimented with backtracking until approximately Spring 1983 at the earliest.

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[9] Vanity's backtracked vocal on 'Girl' (1985) is a recitation, more or less, of the main (P) vocals, and therefore less likely to have been cut-and-paste from another song or project.

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[10] In the late Spring throughout the Summer of 1985, he was going through tapes of suitable material for Jill Jones' long-deferred album, and most likely was focusing on unused 'The Hookers'/V6/A6 material (and, of course, 'G-Spot' made the album, along with more 1982 material-- 'Mia Bocca' and 'Baby, You're a Trip'). He was also heavily focused on revisiting 1982 material in general in the 1985-86 period.

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[11] He seems quite resistant to incorporating sampler, or sampler-like, sounds in his work until well into 1985. He favored in-studio sound libraries through about mid-1985, with a staunchly 'live-playing' as-much-as-possible mindset, and was mostly unacquainted with the gear that a longer-term better monitized musician might have had familiarity with, like the CMI Fairlight, until mid/late 1985.

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[12] Cutting and pasting the excerpt from 'Vibrator' into 'Orgasm' seems something artistically plausible for him only after his incorporating [conventional] samplers into his work (which seems to have occurred just about when it became obligatory for any commercial artist to do so, ~1988 and onwards). And of course, this particular example, cited several times in this thread, didn't occur all the way until 1993.

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[Edited 2/15/16 16:35pm]

I don't think anyone is disputing that it is Vanity vocals backward

I bet that is her on the backward tape in the movie Purple Rain too, unless there is info on that?

OldFriends4Sale said:

I don't think anyone is disputing that it is Vanity vocals backward

I bet that is her on the backward tape in the movie Purple Rain too, unless there is info on that?

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An earlier poster seemed surprised that it was a Vanity backtracked vocal. For many years, it was claimed that it was Susannah. I believe that to be a product of people who read too much into his relationships and correlating that with the time period 'Girl' was released.

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I was advocating, on the other hand, the possibility, or even likelihood, that this was a track P considered using for Vanity 6 at one point or another, and that perhaps being the reason we have her vocal for the backtracking in the released version, evidently two to three years after being recorded.

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I agree with you that the moaning/crying/"laughing" may well be Vanity in the PR scene you mentioned.

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[Edited 2/15/16 16:24pm]

OldFriends4Sale said:

paulludvig said:

Isn't there a piano rehearsal from '82 where Prince plays Strange Relationship?

I believe so, I need to run through my outtakes, I think it is Strange Relationships

Can you shed light into the track “Strange Relationship," a song Prince had recorded and given to you to finish?

Wendy: We got a master tape that had Prince’s vocals, piano and drums. He said, “Take it and finish it.” So Lisa and I went back to Los Angeles and created the other parts to it. The sitar sound came from a sample from the Fairlight.

OldFriends4Sale said:

OldFriends4Sale said:

I believe so, I need to run through my outtakes, I think it is Strange Relationships

Can you shed light into the track “Strange Relationship," a song Prince had recorded and given to you to finish?

Wendy: We got a master tape that had Prince’s vocals, piano and drums. He said, “Take it and finish it.” So Lisa and I went back to Los Angeles and created the other parts to it. The sitar sound came from a sample from the Fairlight.

Let's include the rest of the quote

Can you shed light into the track “Strange Relationship," a song Prince had recorded and given to you to finish?

Wendy: We got a master tape that had Prince’s vocals, piano and drums. He said, “Take it and finish it.” So Lisa and I went back to Los Angeles and created the other parts to it. The sitar sound came from a sample from the Fairlight.

How did you feel when you heard "Strange Relationship" on Prince's landmark '87 work Sign O’ The Times, stripped of you and Lisa's contributions?

Wendy: Jealous that our name was not on it and that he took us off.

paulludvig said:

OldFriends4Sale said:

Can you shed light into the track “Strange Relationship," a song Prince had recorded and given to you to finish?

Wendy: We got a master tape that had Prince’s vocals, piano and drums. He said, “Take it and finish it.” So Lisa and I went back to Los Angeles and created the other parts to it. The sitar sound came from a sample from the Fairlight.

Let's include the rest of the quote

Can you shed light into the track “Strange Relationship," a song Prince had recorded and given to you to finish?

Wendy: We got a master tape that had Prince’s vocals, piano and drums. He said, “Take it and finish it.” So Lisa and I went back to Los Angeles and created the other parts to it. The sitar sound came from a sample from the Fairlight.

How did you feel when you heard "Strange Relationship" on Prince's landmark '87 work Sign O’ The Times, stripped of you and Lisa's contributions?

Wendy: Jealous that our name was not on it and that he took us off.

No competition here kid

That was not the point of posting it, which is why I left the other part out. We were talking about the possible demo qualities or what some of these cuts that started in 1982 might have sounded like. I posted this to add to the conversation. That Strange Relationship was Prince vocals piano and drum.

That a lot of demo songs that we have by Prince has some combination: Prince trying out lines on piano alone usually or a little drum or guitar.

Why would you even feel the need to post the rest since it has nothing to do with the conversation here? You asked 'Isn't there a piano rehearsal from '82 where Prince plays Strange Relationship?' I replied that I believe so, (I thought I had it, have not looked yet) and then posted that part that confirms what we were talking about.

OldFriends4Sale said:

paulludvig said:

Let's include the rest of the quote

Can you shed light into the track “Strange Relationship," a song Prince had recorded and given to you to finish?

Wendy: We got a master tape that had Prince’s vocals, piano and drums. He said, “Take it and finish it.” So Lisa and I went back to Los Angeles and created the other parts to it. The sitar sound came from a sample from the Fairlight.

How did you feel when you heard "Strange Relationship" on Prince's landmark '87 work Sign O’ The Times, stripped of you and Lisa's contributions?

Wendy: Jealous that our name was not on it and that he took us off.

No competition here kid

That was not the point of posting it, which is why I left the other part out. We were talking about the possible demo qualities or what some of these cuts that started in 1982 might have sounded like. I posted this to add to the conversation. That Strange Relationship was Prince vocals piano and drum.

That a lot of demo songs that we have by Prince has some combination: Prince trying out lines on piano alone usually or a little drum or guitar.

Why would you even feel the need to post the rest since it has nothing to do with the conversation here? You asked 'Isn't there a piano rehearsal from '82 where Prince plays Strange Relationship?' I replied that I believe so, (I thought I had it, have not looked yet) and then posted that part that confirms what we were talking about.

Because vocals, keys and drums is basically what we ended up with, suggesting that Prince's "demos" often aren't far removed from the end result. The '82 piano reheasal by the way does not feature drums. It's just Prince and the piano.

paulludvig said:

OldFriends4Sale said:

No competition here kid

That was not the point of posting it, which is why I left the other part out. We were talking about the possible demo qualities or what some of these cuts that started in 1982 might have sounded like. I posted this to add to the conversation. That Strange Relationship was Prince vocals piano and drum.

That a lot of demo songs that we have by Prince has some combination: Prince trying out lines on piano alone usually or a little drum or guitar.

Why would you even feel the need to post the rest since it has nothing to do with the conversation here? You asked 'Isn't there a piano rehearsal from '82 where Prince plays Strange Relationship?' I replied that I believe so, (I thought I had it, have not looked yet) and then posted that part that confirms what we were talking about.

Because vocals, keys and drums is basically what we ended up with, suggesting that Prince's "demos" often aren't far removed from the end result. The '82 piano reheasal by the way does not feature drums. It's just Prince and the piano.

That's not why you posted it. Because it didn't shed light into into the sound differences.
And we all already know what the SOT cut sounds like. and the Dream Factory cut(for those who have it) as of right now we still don't know what the demo sounded like.
I strongly believe Kiss sounds very different from the demo Prince handed Mazarati
And the SOT version probably sounds a lot different from the demo

And most of Prince demos probably end up sound way different when completed.

OldFriends4Sale said:

paulludvig said:

Because vocals, keys and drums is basically what we ended up with, suggesting that Prince's "demos" often aren't far removed from the end result. The '82 piano reheasal by the way does not feature drums. It's just Prince and the piano.

That's not why you posted it. Because it didn't shed light into into the sound differences.
And we all already know what the SOT cut sounds like. and the Dream Factory cut(for those who have it) as of right now we still don't know what the demo sounded like.
I strongly believe Kiss sounds very different from the demo Prince handed Mazarati
And the SOT version probably sounds a lot different from the demo

And most of Prince demos probably end up sound way different when completed.

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Wendy and Lisa did receive attributions for 'Strange Relationship' in the liner notes to the SOTT album. I believe their bitterness regarding this era is a bit revisionist, and more correctly reflects the many tracks, on which they also substantially contributed, that did not make the eventual SOTT album.

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[Edited 2/18/16 9:21am]

imprimis said:

OldFriends4Sale said:

That's not why you posted it. Because it didn't shed light into into the sound differences.
And we all already know what the SOT cut sounds like. and the Dream Factory cut(for those who have it) as of right now we still don't know what the demo sounded like.
I strongly believe Kiss sounds very different from the demo Prince handed Mazarati
And the SOT version probably sounds a lot different from the demo

And most of Prince demos probably end up sound way different when completed.

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Wendy and Lisa did receive attributions for 'Strange Relationship' in the liner notes to the SOTT album. I believe their bitterness regarding this era is a bit revisionist, and more correctly reflects the many tracks, on which they also substantially contributed, that did not make the eventual SOTT album.

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[Edited 2/18/16 9:21am]

right, but again I was just communicating about what we were talking about earlier of how some of the 1982 demos:Girl, Strange Relationship, New Position etc might have sounded like, which is why Paulludvig did not need to post more from that interview