love2thenines2003 said:

madhouseman said:

Our Destiny and Roadhouse Garden are basically the way they were recorded in May and June of 1984, with Lisa's vocals recorded on September 27, 1984 (the following day, Jill Jones also recorded her vocals for the track). As far as I can tell in the quick listen I've given to them, they are pretty much identical to what was done in 1984, with the exception of the edit, which came at a later date.

The were recorded as two seperate tracks, although they were performed together for their live premiere on June 7, 1984.

The difference in quality may stem from them being recorded at different times on different systems. Both were started at the warehouse which was not always the best place to record (Roadhouse Garden being among the first in the new warehouse), but Our Destiny was overdubbed at Sunset Sound, which could have altered the sound of the recording. I also don't know the sources of these originals that were used, but they were not meant to be blended, as you can tell from the change in quality.

Regarding some who have a problem with these being issued on the PR re-release, these were started 2 months after When Doves Cry and only days after Possessed was being edited for use in the movie, so it is still well within the range of the Purple Rain era. In fact, other tracks that are part of this CD reissue were recorded much later in 1984 (after the album and film had been released). Dance Electric was recorded on August 17, 1984, God (vocal) on August 19, 1984, and the extended version of I Would Die 4 U was recorded on October 25, 1984.

It could be argued that Our Destiny/Roadhouse Garden should be placed on a deluxe version of ATWIAD, but by May/June 1984, only 2 tracks for that album had been recorded: Pop Life (February ’84) and ‘Raspberry Beret’ (April ’84). ‘Paisley Park’ (March ’84) was the title of an instrumental which had nothing in common with the song that would eventually share the name, so at this stage.

Personally, I would have saved these for a release of the Roadhouse Garden album that Prince had mentioned multiple times, but historically, they are arguably in the proper place chronologically.

I hope that helps explain this a little bit.

Great infos indeed. ..thanX a lot! QUESTION. ☺ do u know if other versions (alternative takes and longer versions) of When Doves Cry (except for the mythical bass version ) do exist in the vault ?

Yes. An instrumental exists that was considered for use in the movie. I have seen/heard no evidence that an extended version of WDC exists, but it wouldn't shock me if one existed. His vault is huge and there are a lot of items that were never cataloged. The argument against it existing is that if there was a longer version, it would have likely been released. WDC was his first #1, so WB would have wanted to take advantage of the momentum like they did with his other singles from PR, so that argues against a long version existing.

The instrumental is the only variation of this track that I've found, and I don't know if it had the bass on it or not. I've only seen the documents about it, and haven't heard the actual song.

madhouseman said:

love2thenines2003 said:

madhouseman said:

Yes. An instrumental exists that was considered for use in the movie. I have seen/heard no evidence that an extended version of WDC exists, but it wouldn't shock me if one existed. His vault is huge and there are a lot of items that were never cataloged. The argument against it existing is that if there was a longer version, it would have likely been released. WDC was his first #1, so WB would have wanted to take advantage of the momentum like they did with his other singles from PR, so that argues against a long version existing.

The instrumental is the only variation of this track that I've found, and I don't know if it had the bass on it or not. I've only seen the documents about it, and haven't heard the actual song.

Thank 1 more Duane! Ps) Question about Father's song = the one included in PR Deluxe...if this song at ur knowledge was always intended as a full instrumental song with no vocals ? [Edited 5/12/17 15:13pm]

Yes. Without going into too many details, it was recorded as an instrumental on October 29, 1983. It was done just as a piano version as well as a piano/synth version. Both of these versions exist.

As far as I know, there wasn't a version with lyrics, but again... that is just from what I know so far.

Hope that helps.

madhouseman said:

Our Destiny and Roadhouse Garden are basically the way they were recorded in May and June of 1984,

bam

rdhull said:

madhouseman said:

Our Destiny and Roadhouse Garden are basically the way they were recorded in May and June of 1984,

bam

.

Respectfully going to have to disagree strongly here. RHG uses CMI Fairlight, which he hadn't been acquainted with prior to April 1985. OD featured a Katayama/Coleman/etc string arrangement, but Clare Fischer's work is one of the most prominent features of the version featured here (and one of the identifiable signatures of P's Parade and post-Parade era work). That he referred these embellishments to the personnel he used on the Purple Rain album should be a strong indication that no substantial working relationship with Fischer had yet been formed (he referred 'Screams of Passion' in the Fall of '84 or Winter/Spring of '85, more likely the latter, as a test case).

.

Both songs, naturally, follow the same skeletal structure and length of the June 7 1984 First Avenue show, and retain most of Linn/Bobby Z drum track from that mobile studio-recorded performance, as well as most of Matt Fink's DX7 work (train whistle, etc), and a small amount of P's original lead vocals for RHG (in the background, or as pretend 'ad libs').

.

From the sound of the original live performance, which forms an absolute 'de minimus' basis of these studio reworked versions, taken from the standpoint of 1984-era Prince, one would expect something more along the lines of what was done with 'I Would Die 4 U' as the intended result. It is difficult to imagine that P would have envisioned or preordained these fortuitous and peculiar '85-'86-era sound changes so far ahead of time, and yet not significantly reflect those changes in other released work recorded around this time (much of what would become ATWIAD, 'The Dance of Electric', 100 MPH, etc), nor approximated (within the limits of the technology) in the unpolished live performance itself. If one wanted to say that he was already anticipating these very specific changes, it would require an unusually charitable, literary-critic-esque argument of his evolving artistry. I'm interested in the reality here, not a Village Voice pop cultural study. (This is a general statement, and not directed at madhouseman, whose work we should all appreciate)

.

It also concerns me that an 'instrumental version of WDC' may reflect confusion by the interviewees with 'Traffic Jam'; WDC most likely was conceived as an elaboration of and improvement on the same ideas (and follows a similar structure and production technique) to 'Traffic Jam', recorded only days earlier, for prospective use during the train chase/outtake montage sequence (which scene/montage happens to begin with a traffic pileup), at the request of the director.

.

The talk about different versions on this forum is rather silly (when it doesn't refer to an outtake known to exist), as a virtually infinite number of lengths and mixes could be assembled from the basic tracks of such complex studio efforts as WDC, incorporating many tapes' and channels' worth of different/alternate or unused vocal takes or instrumental parts. This would be true of a large portion of his 1980s studio work. Probably everything but his simplest and most down-to-earth (or most heavily programmed/sequenced) songs could be extended or cut 1,000 different ways, using nothing but what was recorded during the original session(s).

.

[Edited 5/12/17 16:57pm]

EddieC said:

Moonbeam said:

I have to say that it is a very smart strategy on WB's part to release these tracks one at a time ahead of the album launch.

I guess it is. I'm not buying them, though. I would, if I didn't know the whole package was coming in June, but Im fine with waiting--but what does WB gain from this strategy? Is it drawing anyone to the actual product that won't be getting it anyway? I'm just confused by what the point is.

Same here. I'll be buying the 4disc set so not really interested in buying individual tracks that will be on the set. I would be happy to buy pre-album singles... if they included a non-album b-side to make it worth the extra $. As it is, guess I'll wait.

rdhull said:

Why they aint release this material instead of ATWIA goddamned Day?

Really? Hmm, I've never been that into OD or RG. I'd put every song on ATWIAD & it's b-sides over these two tracks.

Pay me no mind though, I don't like (what I've heard of) Cosmic Day...

madhouseman said:

love2thenines2003 said:

madhouseman said: Thank 1 more Duane! Ps) Question about Father's song = the one included in PR Deluxe...if this song at ur knowledge was always intended as a full instrumental song with no vocals ? [Edited 5/12/17 15:13pm]

Yes. Without going into too many details, it was recorded as an instrumental on October 29, 1983. It was done just as a piano version as well as a piano/synth version. Both of these versions exist.

As far as I know, there wasn't a version with lyrics, but again... that is just from what I know so far.

Hope that helps.

Guys--let's not try to talk the man into giving everything away for free on the .org. Buy the book!

(Mine's free now, right?)

TheEnglishGent said:

TrivialPursuit said:

I understand the nicer way to say "I wish Prince was on lead" is the purpose here, but we also have to remember Prince oversaw this project, and it's how it was intended back then. We do have that demo that leaked at the first of the year if you want Prince on vocals. It keeps the integrity to have Lisa on it. Prince was in that "let Wendy & Lisa finish it" mode around that time. He was so busy with Under The Cherry Moon that to know his vision and what he allowed anyone else to do is historically important.

We also have to remember that Prince wanted Hannah singing on What If and some of the Plectrumelectrum tracks. Prince didn't always make the right decision.

dodger said:

ForceofNature said:

They must be pulling from multiple sources, because Electric Intercourse in terms of sheer fidelity is lightyears ahead of Roadhouse Garden. Its still an enjoyable listen, however I can't pretend like the transients and weird warbled high end in OD doesn't exist

Prince performing Electric Intercourse just after the PR 30th Anniversary announcement from WB makes me think he may have remastered/worked on EI in 2014 and gave them it with the album.

.

I'm no audiophile but it clearly sounds better than Moonbeam Levels and Our Destiny/RG.

Haven't heard OD/RG yet but based on EI & ML, and all that has been said in this thread, my guess is you are 100% correct.

[Edited 5/12/17 16:43pm]

TheEnglishGent said:

darkroman said:

Awesome, thank you!

.

On reflection, I hope WB don't issue too many tracks before the official release as I'd rather wait and listen to everything together rather than in bits n'pieces.

.

Otherwise, there will be nothing to look forward to.

.

They aren't forcing you to listen to them now.

You speak as if it's possible to not listen to a Prince song that is out...

That's crazy talk!!

rdhull said:

madhouseman said:

Our Destiny and Roadhouse Garden are basically the way they were recorded in May and June of 1984,

bam

madhouseman said:

with the exception of the edit

glam slam thank you ma'am

imprimis said:

rdhull said:

bam

.

Respectfully going to have to disagree strongly here. RHG uses CMI Fairlight, which he hadn't been acquainted with prior to April 1985. OD featured a Katayama/Coleman/etc string arrangement, but Clare Fischer's work is one of the most prominent features of the version featured here (and one of the identifiable signatures of P's Parade and post-Parade era work). That he referred these embellishments to the personnel he used on the Purple Rain album should be a strong indication that no substantial working relationship with Fischer had yet been formed (he referred 'Screams of Passion' in the Fall of '84 or Winter/Spring of '85, more likely the latter, as a test case).

.

Both songs, naturally, follow the same skeletal structure and length of the June 7 1984 First Avenue show, and retain most of Linn/Bobby Z drum track from that mobile studio-recorded performance, as well as most of Matt Fink's DX7 work (train whistle, etc), and a small amount of P's original lead vocals for RHG (in the background, or as pretend 'ad libs').

.

From the sound of the original live performance, which forms an absolute 'de minimus' basis of these studio reworked versions, taken from the standpoint of 1984-era Prince, one would expect something more along the lines of what was done with 'I Would Die 4 U' as the intended result. It is difficult to imagine that P would have envisioned or preordained these fortuitous and peculiar '85-'86-era sound changes so far ahead of time, and yet not significantly reflect those changes in other released work recorded around this time (much of what would become ATWIAD, 'The Dance of Electric', 100 MPH, etc), nor approximated (within the limits of the technology) in the unpolished live performance itself. If one wanted to say that he was already anticipating these very specific changes, it would require an unusually charitable, literary-critic-esque argument of his evolving artistry. I'm interested in the reality here, not a Village Voice pop cultural study. (This is a general statement, and not directed at madhouseman, whose work we should all appreciate)

.

It also concerns me that an 'instrumental version of WDC' may reflect confusion by the interviewees with 'Traffic Jam'; WDC most likely was conceived as an elaboration of and improvement on the same ideas (and follows a similar structure and production technique) to 'Traffic Jam', recorded only days earlier, for prospective use during the train chase/outtake montage sequence (which scene/montage happens to begin with a traffic pileup), at the request of the director.

.

The talk about different versions on this forum is rather silly (when it doesn't refer to an outtake known to exist), as a virtually infinite number of lengths and mixes could be assembled from the basic tracks of such complex studio efforts as WDC, incorporating many tapes' and channels' worth of different/alternate or unused vocal takes or instrumental parts. This would be true of a large portion of his 1980s studio work. Probably everything but his simplest and most down-to-earth (or most heavily programmed/sequenced) songs could be extended or cut 1,000 different ways, using nothing but what was recorded during the original session(s).

.

[Edited 5/12/17 16:57pm]

Always interesting to hear another viewpoint and thank you for being so specific, but where is Clare Fischer's work on this? I'm sorry if I'm missing it.

madhouseman said:

Always interesting to hear another viewpoint and thank you for being so specific, but where is Clare Fischer's work on this? I'm sorry if I'm missing it.

.

It's dotted throughout much of the versions of 'Our Destiny' on BFTP3.0 and PR Deluxe. Consider, for instance, the portions of around 0:48 - 0:52, with the horns arrangement. The Coleman/Katayma/etc orchestration is also present (although I believe excerpts of it have been moved around from their originally conceived/recorded placement from September 1984).

.

In my perspective, this is an unfinished track that likely went through many reimaginings over its relatively short lifespan, and we happen now to have one of those versions from near the end of that lifespan. Or, more correctly, a derivative of that late-stage version. I believe some of the warbles and other sound irregularities others here have mentioned are the product, among other reasons (lossy bootleg-sourced, perhaps), of being a mixdown of a much more elaborate and (on that grander scale) even more incomplete track.

.

I am dubious that Lisa was intended to be the sole lead vocalist, or even a lead vocalist if on the finished version. That may be an experiment that, as a product of the inattention the song received before the Revolution were dissolved, is now fossilized here for all eternity.

.

[Edited 5/12/17 17:21pm]

djThunderfunk said:

TheEnglishGent said:

They aren't forcing you to listen to them now.

You speak as if it's possible to not listen to a Prince song that is out...

That's crazy talk!!

.

EXACTLY!!!!!!

.

imprimis said:

madhouseman said:

Always interesting to hear another viewpoint and thank you for being so specific, but where is Clare Fischer's work on this? I'm sorry if I'm missing it.

.

It's dotted throughout much of the versions of 'Our Destiny' on BFTP3.0 and PR Deluxe. Consider, for instance, the portions of around 0:48 - 0:52, with the horns arrangement. The Coleman/Katayma/etc orchestration is also present (although I believe excerpts of it have been moved around from their originally recorded placement in September/October 1984).

.

In my perspective, this is an unfinished track that likely went through many reimaginings over its relatively short lifespan, and we happen now to have one of those versions from near the end of that lifespan. I believe some of the worbles and other sound irregularities others here have mentioned are the product, among other reasons (lossy bootleg-sourced), of being a mixdown of a much more elaborate and (on that scale) even more incomplete track.

.

[Edited 5/12/17 17:11pm]

Ok, now I think I know where the confusion comes from. That isn’t Clare Fischer’s work. That is a group of musicians that were conducted by Lisa Coleman. According to the studio documents (as well documents from the local musician’s union), the session occurred on September 28, 1984 at Sunset Sound, Studio 2 from 11 a.m. - 9:30 p.m. and included Suzie Katayama (violin), Sid Page (violin), Marcy Dicterow (violin), Denyse Buffum (viola), David Coleman (cello), Tim Barr (double bass), Annette Atkinson (double bass) and Lauryie Woods (viola). Prince was not in attendance at that session as he was in Minneapolis working on Tambourine.

Clare started recording for Prince in October when he was given a tape of songs for The Family, so this pre-dates his work with Prince.

Lisa's orchestral parts are often accidentally credited to Clare. I’ve even heard members of The Revolution say the same thing!

Again, it is always great to hear another person's perspective on this. That is what makes putting Prince's studio sessions together so tricky. It is a gigantic puzzle and people can have honest disagreements about their theories. Thank you for voicing yours.

I hope that helps explain it a little bit.

madhouseman said:

imprimis said:

.

It's dotted throughout much of the versions of 'Our Destiny' on BFTP3.0 and PR Deluxe. Consider, for instance, the portions of around 0:48 - 0:52, with the horns arrangement. The Coleman/Katayma/etc orchestration is also present (although I believe excerpts of it have been moved around from their originally recorded placement in September/October 1984).

.

In my perspective, this is an unfinished track that likely went through many reimaginings over its relatively short lifespan, and we happen now to have one of those versions from near the end of that lifespan. I believe some of the worbles and other sound irregularities others here have mentioned are the product, among other reasons (lossy bootleg-sourced), of being a mixdown of a much more elaborate and (on that scale) even more incomplete track.

.

[Edited 5/12/17 17:11pm]

Ok, now I think I know where the confusion comes from. That isn’t Clare Fischer’s work. That is a group of musicians that were conducted by Lisa Coleman. According to the studio documents (as well documents from the local musician’s union), the session occurred on September 28, 1984 at Sunset Sound, Studio 2 from 11 a.m. - 9:30 p.m. and included Suzie Katayama (violin), Sid Page (violin), Marcy Dicterow (violin), Denyse Buffum (viola), David Coleman (cello), Tim Barr (double bass), Annette Atkinson (double bass) and Lauryie Woods (viola). Prince was not in attendance at that session as he was in Minneapolis working on Tambourine.

Clare started recording for Prince in October when he was given a tape of songs for The Family, so this pre-dates his work with Prince.

Lisa's orchestral parts are often accidentally credited to Clare. I’ve even heard members of The Revolution say the same thing!

Again, it is always great to hear another person's perspective on this. That is what makes putting Prince's studio sessions together so tricky. It is a gigantic puzzle and people can have honest disagreements about their theories. Thank you for voicing yours.

I hope that helps explain it a little bit.

But who are the horns section players? Fischer usually orchestrated both strings and horns, and the latter can be heard in this version of 'Our Destiny'. There are also a number of tracks that were never assumed or known to have CF work done on them, that studio documentation or actual outtakes later demonstrated to be the case.

.

For me, it's also problematic as W&L told me many years ago that both OD/RHG were sent in for input to CF, and Questlove apparently has a string-orchestral-overdubbed version of RHG.

.

Although I fear we're obsessing over mediocre songs here.

.

[Edited 5/12/17 17:32pm]

imprimis said:

madhouseman said:

Ok, now I think I know where the confusion comes from. That isn’t Clare Fischer’s work. That is a group of musicians that were conducted by Lisa Coleman. According to the studio documents (as well documents from the local musician’s union), the session occurred on September 28, 1984 at Sunset Sound, Studio 2 from 11 a.m. - 9:30 p.m. and included Suzie Katayama (violin), Sid Page (violin), Marcy Dicterow (violin), Denyse Buffum (viola), David Coleman (cello), Tim Barr (double bass), Annette Atkinson (double bass) and Lauryie Woods (viola). Prince was not in attendance at that session as he was in Minneapolis working on Tambourine.

Clare started recording for Prince in October when he was given a tape of songs for The Family, so this pre-dates his work with Prince.

Lisa's orchestral parts are often accidentally credited to Clare. I’ve even heard members of The Revolution say the same thing!

Again, it is always great to hear another person's perspective on this. That is what makes putting Prince's studio sessions together so tricky. It is a gigantic puzzle and people can have honest disagreements about their theories. Thank you for voicing yours.

I hope that helps explain it a little bit.

But who are the horns section players? Fischer usually orchestrated both strings and horns, and the latter can be heard in this version of 'Our Destiny'. There are also a number of tracks that were never assumed or known to have CF work done on them, that studio documentation or actual outtakes later appeared bearing out the idea that he sent in a bulk of what he was working on during this time period for input.

.

[Edited 5/12/17 17:26pm]

Where are the horn players on the track? I'm sorry I'm not able to listen carefully at the moment, but according to the Union session notes, the horn players who were brought in including John James Liotine (trumpet) who was the leader, Brad Warnaar (french horn), Steven Madaio (trumpet) and Dick Mitchell (alto sax or tenor sax or flute) who would record from 7 p.m. until the end of the shift.

Where are the horn players on the track? I'm sorry I'm not able to listen carefully at the moment, but according to the Union session notes, the horn players who were brought in including John James Liotine (trumpet) who was the leader, Brad Warnaar (french horn), Steven Madaio (trumpet) and Dick Mitchell (alto sax or tenor sax or flute) who would record from 7 p.m. until the end of the shift.

.

These moments stand out:

.

[00:46 - 00:51], particularly at 00:50

.

[1:06-1:17], particularly [01:09-01:10] (sounds synthetic, though)

.

[01:21 - 01:30]

.

[01:49-01:58]

.

imprimis said:

Where are the horn players on the track? I'm sorry I'm not able to listen carefully at the moment, but according to the Union session notes, the horn players who were brought in including John James Liotine (trumpet) who was the leader, Brad Warnaar (french horn), Steven Madaio (trumpet) and Dick Mitchell (alto sax or tenor sax or flute) who would record from 7 p.m. until the end of the shift.

.

These moments stand out:

.

[00:46 - 00:51], particularly at 00:50

.

[1:06-1:17], particularly [01:09-01:10] (sounds synthetic, though)

.

[01:21 - 01:30]

.

[01:49-01:58]

.

I can't always tell if those are synth or actual horns while listening to this on my computer, but those almost certainly are the ones covered by the horn section hired for that date.

Great talking to you about this.

Thanks Madhouseman!

muleFunk said:

Thanks Madhouseman!

madhouseman said:

murph said:

aalloca said:

OUttakes are outtakes......

I am not sure what is going on this board. we go from crazy posts to splitting hairs on sifi.

more people are more concerned with with him being wrong or not in the know, than we are getting some cool shit from vault.

Perfect no.........

But hell my first copy of last heart had a skip, witness #1 sounded like a walkmen was used to record it.

Prince was difficult, his engineering of sound was not perfect, shit his last 10 albums were brickwalled and compressed to high hell.

All of a sudden everyone is a sound engineer with a $1milion dollar B&W abbey road setup.

try to enjoy the music. the emotion and feeling.

shit look at the beatles...... we had fake stereo, 87 cd's, anthology, and recently mono box set, and now deluxe sgt peppers...... love was done amazing by gilles martin but that was what 40 yrs later.

Unless you only use lossless 96/24 or 192hz sampling rates with pure analog signal path's let's not get nuts.

This generation listens to mp3/mp4 which are 1/3 to 1/4 the original information with beats headphones. let's keep it in perspective.

We got vault tracks...... last night I got a fng email that said our destiny/roadhouse gardent is ready to download. that's a big fng win for prince fans.

Indeed to all of this^^^^^

The Org is just being miserable as usual. Man...I dig a lot of y'all...But yeah....Sometimes I'm like FUCK this place....lol

[Edited 5/12/17 9:09am]

Murph it lots like it's back to normal for the Org.

djThunderfunk said:

imprimis said:

rdhull said:

bam

.

Respectfully going to have to disagree strongly here. RHG uses CMI Fairlight, which he hadn't been acquainted with prior to April 1985. OD featured a Katayama/Coleman/etc string arrangement, but Clare Fischer's work is one of the most prominent features of the version featured here (and one of the identifiable signatures of P's Parade and post-Parade era work). That he referred these embellishments to the personnel he used on the Purple Rain album should be a strong indication that no substantial working relationship with Fischer had yet been formed (he referred 'Screams of Passion' in the Fall of '84 or Winter/Spring of '85, more likely the latter, as a test case).

.

Both songs, naturally, follow the same skeletal structure and length of the June 7 1984 First Avenue show, and retain most of Linn/Bobby Z drum track from that mobile studio-recorded performance, as well as most of Matt Fink's DX7 work (train whistle, etc), and a small amount of P's original lead vocals for RHG (in the background, or as pretend 'ad libs').

.

From the sound of the original live performance, which forms an absolute 'de minimus' basis of these studio reworked versions, taken from the standpoint of 1984-era Prince, one would expect something more along the lines of what was done with 'I Would Die 4 U' as the intended result. It is difficult to imagine that P would have envisioned or preordained these fortuitous and peculiar '85-'86-era sound changes so far ahead of time, and yet not significantly reflect those changes in other released work recorded around this time (much of what would become ATWIAD, 'The Dance of Electric', 100 MPH, etc), nor approximated (within the limits of the technology) in the unpolished live performance itself. If one wanted to say that he was already anticipating these very specific changes, it would require an unusually charitable, literary-critic-esque argument of his evolving artistry. I'm interested in the reality here, not a Village Voice pop cultural study. (This is a general statement, and not directed at madhouseman, whose work we should all appreciate)

.

It also concerns me that an 'instrumental version of WDC' may reflect confusion by the interviewees with 'Traffic Jam'; WDC most likely was conceived as an elaboration of and improvement on the same ideas (and follows a similar structure and production technique) to 'Traffic Jam', recorded only days earlier, for prospective use during the train chase/outtake montage sequence (which scene/montage happens to begin with a traffic pileup), at the request of the director.

.

The talk about different versions on this forum is rather silly (when it doesn't refer to an outtake known to exist), as a virtually infinite number of lengths and mixes could be assembled from the basic tracks of such complex studio efforts as WDC, incorporating many tapes' and channels' worth of different/alternate or unused vocal takes or instrumental parts. This would be true of a large portion of his 1980s studio work. Probably everything but his simplest and most down-to-earth (or most heavily programmed/sequenced) songs could be extended or cut 1,000 different ways, using nothing but what was recorded during the original session(s).

.

[Edited 5/12/17 16:57pm]

I dont know you, have no ill will towards you, kindof like you...but... given all that ...

yall are balls deep into this TDK Dolby shit lol

that blip in the middle of Lovesexy must have drove all of you mad

.

[Edited 5/12/17 19:37pm]

djThunderfunk said: