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PrintableThe argument is just an example of how i see these two songs, how they sound and how they end. They two different songs undoubtly, but they both share negatives and a lighter side. Who knows Papa with an ending not so dramatic may not have worked, but how can one say, after all these are the only versions we've ever know and ever loved. If god one day struck me blind,
Your beauty i'd still see. | |
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Love it. Pure genius. To hear the song end with just the first groove check out Caberet Metro 93.
I personally think the song is perfect as recorded. I originally was annoyed that this great guitar vamp was so short, but like wedding feast it's a treat. one of the best of the 90"s. Music is the best... | |
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I love Papa. You have to listen to what he is saying.
The CD is excellent 
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perfect as is "I'm a pig..so,magic elixir I swill" | |
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Insanecabbage said: I recently purchased the Come album for a mere £2
 And a £2 well spent for me. But does anybody here hate (or not like) the end of the song Papa? As soon as he says 'Don't abuse children, or else they turn out like me' the song turns into something off of Chaos & Disorder (e.g.Same December). Chaos & Disorder is an easy listen and is very fun focused, whereas Papa is a song about child abuse what most would consider a serious subject (obviously) and from the begining the song comes across as being dark. I personally hate the ending of that song and thats a shame, because the rest of that song is ace.No that little psychedelic guitar ending is the best part of the song. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I'll play it first and tell you what it is later. -Miles Davis- | |
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I love the entire song! Papa is probably the best song off "Come". "A Watcher scoffs at gravity!" | |
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Insanecabbage said: But does anybody here hate (or not like) the end of the song Papa?...I personally hate the ending of that song and thats a shame, because the rest of that song is ace.
I used to feel exactly the same. I was disappointed with the ending, and felt that it was maybe rushed rather than carefully constructed. Anyway…it grew on me. It’s cool to see what others are/were thinking on this subject. Thanks for the post | |
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Think back to the time when he, under the guise of Jamie Starr, turned the last song of What Time Is It?, I Don't Wanna Leave You, in a totally different and still funky direction.
I'd venture to guess that the same thing is in effect here. This short and sweet endign to the song is a trademark example of the "early NPG" sound (the days of D&P and Symbol don't count here) - AND IT ROCKS WITH A FIERCENESS. | |
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madhouseman said: I've always thought Prince had problems when it came to ending a song. He comes up with amazing jams, but just doesn't seem to know how to end them. Sometimes he comes up with something cool, but often he just fades it out, or worse, lets it die. Listen to Purple Rain. He had no idea how to end that song. Darling Nikki, same thing.
Even live, he seems to get a cool groove and can't let it stop. I guess if I came up with some great jams like he does, I wouldn't want them to end either. You're joking right? 
These songs are ended like they are on purpose. sort of an abrupt "okay, song's over, next...." feel. | |
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wyld1 said
I actually think he's the best at ending songs. Most songs just fade out, but he manages to end the majority of his songs.[/quote] On those Prince songs that just fade out, some of the most interesting stuff is barely audible, during the fade out. It can be a bit frustrating sometimes - in "Around The World In A Day" for example, he starts this weird recital in the end ("A sharing of needs, a shower of power!"). Can´t help wondering what he was about to say... Oftentimes, one gets the impression that the song is far from finished and he´s about to jam for another ten minutes or so. This is obvious in the case of "Mountains": in the album version, during the fade-out, just before the beginning of "Do U Lie?" , you can hear Prince scream. In the maxi single version, the scream turns out to be a sort of introduction to a beautiful jam with great solos. On "Anotherloverholenyohead", the fade-out sounds almost like the beginning of another song: "There´s gonna be a riot, if U don´t clap your hands...". The thing that bugs me about "Holy River" is those totally unnecessary embellishments in the end (the brief modulation with the harpsichord sound). I mean, why did he have to spoil the devout, beautiful song with that piece of melodrama? A similar thing happens on "Cinnamon Girl" (in the "we know how this story´s ending" part).  As for "Papa", I think the more powerful coda definitely serves a purpose, it doesn´t sound tacked on.
Karri | |
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...but, the truth is, it WAS tacked on.
recorded at a later date, that is. ...says Michael B! "Whatever skin we're in
we all need 2 b friends" |
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