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PrintableBlaqueKnight said: Hotlegs said: BK Baby, I agree with the point you've made about Patrice and Meshell. However, I disagree totally with your inclusion of Jane Child based on her track record. When you look at the track record of both Patrice and Meshell, there's no way I would even group her with them based on their experience, logevity, and success in the bussness. [b]Sorry, but I have to put her in there. I didn't include her because of her track record. I included her because she's a multi-instrumentalist who produces her own CDs. I have all three of her CDs (Jane Child, Here Not There, Surge). She plays keys, violin, drums and guitar and who knows what else on her records. Her music is experimental (funk, rock pop blends + indian music on some songs). She writes almost everything that appears on her records. She is a lot more like Prince than you think. I know you don't really like her music, but I know her music well. My compariosns are based on the aspects I mentioned.  | |
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jn2 said: Moonwalkbjrain said: so i just listened to mia bocca, didn't even listen to it all..she sounds horrible...this is the girl that yall give so much prasie to and i finally hear it and its like DAMN whatthehell were they talking about? whats about w/ all the jill hype?  you don't have any taste.i got something better then taste. i got EARS, fully functioning ones @ that : - ) Yesterday is dead...tomorrow hasnt arrived yet....i have just ONE day...
...And i'm gonna be groovy in it! | |
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Moonwalkbjrain said: jn2 said: you don't have any taste.i got something better then taste. i got EARS, fully functioning ones @ that : - ) I love Jill Jones. Love. That said, I think her vocal on "Mia Bocca" is too sproradic and kind of silly. But as others have said, "Baby, You're A Trip" and "For You" are divine. My favorite? "My Man." "She made me glad to be a man" | |
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DavidEye said: Unlike many other female Prince proteges,Jill Jones can actually sing,but unfortunately,on her debut album she didn't use her vocals very well.On too many songs,she does alot of screaming,yelling and Prince-inspired yelps.It becomes embarassing at times.She sometimes sounds as if she is losing her mind,lol.For the most part,the songs are good,but the vocals needed more restraint and less gimmicks.
[Edited 7/5/05 5:02am] What's interesting to me about this whole thread is how much responsibility is placed on Jill compared to Prince. When you look at the documentation from that period (i.e., books and bios on Prince, comments from associated artists, and even if you listen carefully the earlier tracks themselves) it's abundantly clear that Prince demoed for each artist exactly how he wanted their vocals to sound - down to the screams, the cries, everything. This is the case starting from the earliest Time albums (where Prince leaves the demo tracks quite audible in the mix) through at least this period, and presumably beyond. Read some of the material from Paul Peterson about the making of The Family's album in the same time frame. Prince expected nothing short of a note-for-note and sigh-for-sigh superimposition of his guiding vocal, and tended not to give leeway to his artists. (Given his age I think Paul was particularly easy to control, but Miss Understood didn't seem too thrilled with any of this either - her own screams [you call that passion?!] don't sound much better, and I know that girl has pipes.) For Jill's own part, the Revolution demo of "All Day, All Night" with Prince on vocals shows many of the same vocal sins of the final version. Given what we know about Prince's side projects, it's likely she could have the best voice in the world and still squeak like a dying cat on the record - following the squeaks of her Fearless Leader was a condition of her record being made. I'm not saying she does (or doesn't) have an excellent singing voice. What I'm saying is that it's wholly irrelevant to what would come out on a Prince record during that period. What else could she have done, seriously? Break off the record deal? What gets me - which others have said also in this thread - is that she saw all around her what she was getting into and still did. | |
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Alliasan said: DavidEye said: Unlike many other female Prince proteges,Jill Jones can actually sing,but unfortunately,on her debut album she didn't use her vocals very well.On too many songs,she does alot of screaming,yelling and Prince-inspired yelps.It becomes embarassing at times.She sometimes sounds as if she is losing her mind,lol.For the most part,the songs are good,but the vocals needed more restraint and less gimmicks.
[Edited 7/5/05 5:02am] What's interesting to me about this whole thread is how much responsibility is placed on Jill compared to Prince. When you look at the documentation from that period (i.e., books and bios on Prince, comments from associated artists, and even if you listen carefully the earlier tracks themselves) it's abundantly clear that Prince demoed for each artist exactly how he wanted their vocals to sound - down to the screams, the cries, everything. This is the case starting from the earliest Time albums (where Prince leaves the demo tracks quite audible in the mix) through at least this period, and presumably beyond. Read some of the material from Paul Peterson about the making of The Family's album in the same time frame. Prince expected nothing short of a note-for-note and sigh-for-sigh superimposition of his guiding vocal, and tended not to give leeway to his artists. (Given his age I think Paul was particularly easy to control, but Miss Understood didn't seem too thrilled with any of this either - her own screams [you call that passion?!] don't sound much better, and I know that girl has pipes.) For Jill's own part, the Revolution demo of "All Day, All Night" with Prince on vocals shows many of the same vocal sins of the final version. Given what we know about Prince's side projects, it's likely she could have the best voice in the world and still squeak like a dying cat on the record - following the squeaks of her Fearless Leader was a condition of her record being made. I'm not saying she does (or doesn't) have an excellent singing voice. What I'm saying is that it's wholly irrelevant to what would come out on a Prince record during that period. What else could she have done, seriously? Break off the record deal? What gets me - which others have said also in this thread - is that she saw all around her what she was getting into and still did. Very well put! SynthiaRose said "I'm in love with blackguitaristz. Especially when he talks about Hendrix."
nammie "What BGZ says I believe. I have the biggest crush on him." http://ccoshea19.googlepa...ssanctuary http://ccoshea19.googlepages.com | |
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jillybean said: Moonwalkbjrain said: i got something better then taste. i got EARS, fully functioning ones @ that : - ) I love Jill Jones. Love. That said, I think her vocal on "Mia Bocca" is too sproradic and kind of silly...  Like she got stabbed in the heart with an adrenaline shot 
 [Edited 8/19/05 2:29am]   I never met you, but I LOVE you & I will forever!! Thank you for being YOU - my little Princey, the best to EVER do it | |
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Alliasan said: DavidEye said: Unlike many other female Prince proteges,Jill Jones can actually sing,but unfortunately,on her debut album she didn't use her vocals very well.On too many songs,she does alot of screaming,yelling and Prince-inspired yelps.It becomes embarassing at times.She sometimes sounds as if she is losing her mind,lol.For the most part,the songs are good,but the vocals needed more restraint and less gimmicks.
What's interesting to me about this whole thread is how much responsibility is placed on Jill compared to Prince. When you look at the documentation from that period (i.e., books and bios on Prince, comments from associated artists, and even if you listen carefully the earlier tracks themselves) it's abundantly clear that Prince demoed for each artist exactly how he wanted their vocals to sound - down to the screams, the cries, everything. This is the case starting from the earliest Time albums (where Prince leaves the demo tracks quite audible in the mix) through at least this period, and presumably beyond. Read some of the material from Paul Peterson about the making of The Family's album in the same time frame. Prince expected nothing short of a note-for-note and sigh-for-sigh superimposition of his guiding vocal, and tended not to give leeway to his artists. (Given his age I think Paul was particularly easy to control, but Miss Understood didn't seem too thrilled with any of this either - her own screams [you call that passion?!] don't sound much better, and I know that girl has pipes.) For Jill's own part, the Revolution demo of "All Day, All Night" with Prince on vocals shows many of the same vocal sins of the final version. Given what we know about Prince's side projects, it's likely she could have the best voice in the world and still squeak like a dying cat on the record - following the squeaks of her Fearless Leader was a condition of her record being made. I'm not saying she does (or doesn't) have an excellent singing voice. What I'm saying is that it's wholly irrelevant to what would come out on a Prince record during that period. What else could she have done, seriously? Break off the record deal? What gets me - which others have said also in this thread - is that she saw all around her what she was getting into and still did. I agree with much of what you said,and as the album's producer,Prince certainly deserves most of the blame for having her sound like that.It's a shame that he didn't use a more subtle approach.Jill can truly sing.There was no need for her to scream,yell and copy all of his vocal mannerisms on every song. | |
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jillybean said: I love Jill Jones. Love. That said, I think her vocal on "Mia Bocca" is too sproradic and kind of silly. But as others have said, "Baby, You're A Trip" and "For You" are divine. My favorite? "My Man."
Like I said earlier,"My Man" is the best song on this album.It's a strong,well-crafted pop song with great lyrics.It should have been the first single,and Warners should have promoted the hell out of it. | |
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DavidEye said: Alliasan said: What's interesting to me about this whole thread is how much responsibility is placed on Jill compared to Prince. When you look at the documentation from that period (i.e., books and bios on Prince, comments from associated artists, and even if you listen carefully the earlier tracks themselves) it's abundantly clear that Prince demoed for each artist exactly how he wanted their vocals to sound - down to the screams, the cries, everything. This is the case starting from the earliest Time albums (where Prince leaves the demo tracks quite audible in the mix) through at least this period, and presumably beyond. Read some of the material from Paul Peterson about the making of The Family's album in the same time frame. Prince expected nothing short of a note-for-note and sigh-for-sigh superimposition of his guiding vocal, and tended not to give leeway to his artists. (Given his age I think Paul was particularly easy to control, but Miss Understood didn't seem too thrilled with any of this either - her own screams [you call that passion?!] don't sound much better, and I know that girl has pipes.) For Jill's own part, the Revolution demo of "All Day, All Night" with Prince on vocals shows many of the same vocal sins of the final version. Given what we know about Prince's side projects, it's likely she could have the best voice in the world and still squeak like a dying cat on the record - following the squeaks of her Fearless Leader was a condition of her record being made. I'm not saying she does (or doesn't) have an excellent singing voice. What I'm saying is that it's wholly irrelevant to what would come out on a Prince record during that period. What else could she have done, seriously? Break off the record deal? What gets me - which others have said also in this thread - is that she saw all around her what she was getting into and still did. I agree with much of what you said,and as the album's producer,Prince certainly deserves most of the blame for having her sound like that.It's a shame that he didn't use a more subtle approach.Jill can truly sing.There was no need for her to scream,yell and copy all of his vocal mannerisms on every song. Hey I like that jill jones tooeven thogh her voice is rather shakey on mia boccalolo and I agree with you 2. What people don't realize is that the only person Prince really wants to make in to a big time singer is himself NO JOKE. Ithink that in the past Prince should have allowed other producers /songwriters to come in and help him out with all of those varied artists that he was working with such as vanity, jill,carmen,chaka,mayte,sheila,nona etc.. All of these women could have used some outside help on their albums,but Prince was in charge and doing his thang on their albums peace | |
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acjohns said: DavidEye said: I agree with much of what you said,and as the album's producer,Prince certainly deserves most of the blame for having her sound like that.It's a shame that he didn't use a more subtle approach.Jill can truly sing.There was no need for her to scream,yell and copy all of his vocal mannerisms on every song. Hey I like that jill jones tooeven thogh her voice is rather shakey on mia boccalolo and I agree with you 2. What people don't realize is that the only person Prince really wants to make in to a big time singer is himself NO JOKE. Ithink that in the past Prince should have allowed other producers /songwriters to come in and help him out with all of those varied artists that he was working with such as vanity, jill,carmen,chaka,mayte,sheila,nona etc.. All of these women could have used some outside help on their albums,but Prince was in charge and doing his thang on their albums peace PS what Prince fail to realize is that what may work for him vocally can't and will not work for evryone else peace | |
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acjohns said: PS what Prince fail to realize is that what may work for him vocally can't and will not work for evryone else peace Perhaps. Or perhaps in a way he realizes that style won't work for others - which is just fine by him as he has a deep-seated fear of being upstaged. There's a reason he put the Time behind that curtain, you know. He wasn't going to get girls in front of it likely to make that mistake again.  | |
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the crime is on "All Day All Night" bad vocals....bad. Straight Jacket Funk Affair
Album plays and love for vinyl records. | |
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CalhounSq said: jillybean said: I love Jill Jones. Love. That said, I think her vocal on "Mia Bocca" is too sproradic and kind of silly... Like she got stabbed in the heart with an adrenaline shot
[Edited 8/19/05 2:29am]  Yesterday is dead...tomorrow hasnt arrived yet....i have just ONE day...
...And i'm gonna be groovy in it! | |
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paisleypark4 said: the crime is on "All Day All Night" bad vocals....bad.
Dude, I cannot tell you how much I'd give to own a clean, crisp copy of P's version. Once you've heard his, how can you deal w/ Jill's??  Sad, isn't it?  I never met you, but I LOVE you & I will forever!! Thank you for being YOU - my little Princey, the best to EVER do it | |
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for whatever it's worth, i'm trying to get my hands on this album. i really loved the "violet blue" performance on NPGMC. something i really appreciated about Jill, oddly enough, is the fact that she's not too thin. oh yeah, and that song just about blew me over. i really like her voice, and want to learn that song in the worst way. | |
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