I played that cd the other day

It's one that I enjoy from beginning to end.

And yes I see eggs on the cover too.

luv4u said:

Thanks for trying to support my crappy thread, Bev

Imago said:

Do you know how many crutches I had to use????

And because of your thread you got a piano track on repeat in my brain now

I think the album is very flawed. I wish he would have used a real piano. It just sounds so 'rounded' and false. i'd still say he was struggling with production here. I think the title track is one of the greatest things he has ever written though. In contrast to Imago, i think Young and Beautiful is shite - musicallu a rasberry beret rip off but with uber cheesey and predictable lyrics. I also like his playing on Avalanche and his vocal is top notch on it, again, perhaps one of the best he has ever done (old friends 4 sale original being the best). I couldnt comment about the lyrical content of the song as I don't know much about US history. It is a fabulous blues song. The album has some moments of brilliance and blandness in equal measure.

i see it more as a sketch of thing that were to come. TRC was his finished product and step out of the 'plastic era' (musically and production wise).

3121 said:

I agree with this on every count.

hey 3121 are you German?

Rightly said:

Hi, Rightly. Glad you share the same thoughts as me on this album. In answer to your question, i am actually from the UK.

conceptually, this is one of my better threads.

3121 said:

I´m originally from the uk too.Manchester.
It´s just you wrote "uber"
which is German for over

I´m a big TRC fan too

Bacchus (Dionysus) has always been one of my favorite Greek gods. The muse for ritual madness and ecstacy, he’s both a representation of the celebrations of autumn’s harvest, and a reminder that all things must die and come to an end before they are reborn.
The great party man , the liberator of one’s drab and normal self through madness, ecstasy and wine!

But after the joyous riotous parties are over, the story of Bacchus takes a brutal and sad turn. Doomed, is he, year after year to have the fruits from his vines stripped. He is torn from limb to limb and suffers a rather horrible death not to be reborn until the following spring.
Prince may not be the god of wine and merriment, but during the tail end of his ‘plastic years’ he certainly seemed a lot like the goddess of crack-cocaine and sporadic after-parties. An ego spinning out of control, accelerated by a string of poor P&R moments and the infamous near-career-ending symbol . The Dawn came and went, and revealed itself to be little more than hype—a hazy afterglow of the fiercely joyous Gold Experience.

But amist the chaos and tepid, bland, plastic years songs, there were a few standout moments. Of course there were. Prince is capable of pulling some interesting moments even in the driest spells. During the plastic years, it wasn’t dry in the sense that product wasn’t being released. Indeed I remember receiving or downloading things monthly. It was just that…well, most of it was crap wasn’t it?
But then along comes One Nite Alone [piano] , a relatively sparse, melodious, self-indulgent diamond in the rough.
I’ll be honest; the first couple of years after its release, this thing was little more than a coffee coaster to me. I hated it. But with most anything I instantly hate by Prince, it’s due to expectations —not because the quality is lacking.

Where Prince albums are often paired up by consecutive releases (1999/Purple Rain, ATWIAD/Parade, Black Album/LoveSExy), One Nite Alone, at least to me, is a terrific companion to The Truth . Both have a fluid, almost free form feel to them. Often it sounds like he’s making it up as he goes along. The difference other than the Guitar vs. Piano is that in One Nite Alone [piano] , Prince has actually toned down the studio meddling post-recording to some extent. Sure it’s still there—Prince just can’t help himself. But not to the same degree it is on The Truth.

Also the songs on One Nite Alone [piano] are more subtle. The melodies are sweeter, quieter, more like lullabies—and affect that sometimes skirts towards being a bit too lounge-like, but sweet none-the-less.

The opening track sets the tone for what you’re about to hear. It’s sung in falsetto, as is most of the album—something I tend to really dislike about Prince songs. There are a few exceptions (Adore, Beautiful Ones, Kiss), but in general I prefer his normal voice. That being said, his falsetto throughout the album is top notch.

U’re Gonna C Me starts off with what could be one of the most beautiful (yet subtle) instrumental moments in any Prince recording ever. It also solidifies the feeling that ONA Piano is going to be a string of ballads and slow songs—not a rag time piano jam . I ignored the song when I first heard it, but it’s grown into a highlight of the album.

Here on Earth follows through with some sweet melodies and piano moments as well.

A Case of U , I will be honest, in my opinion is better than the Joani Mitchell version. The piano solos in this thing are much more melodic than what you’d fine in her song, and his vocal treatment is much better done. That’s not to dismiss the origina—I very much like the original. But like Joan Osbourn’s One of Us or Bonnie Rate’s I can’t make U love me, Prince has an uncanny way sometimes of making someone else’s song sound like it should be his.

Have a Heart , Objects In the Mirror, and Avalanche are all filler songs with sweet moments in each, though Avalanche is a bit Ani Difranco in it’s attack. Where many of DiFranco’s songs drown the melody out by the message, Prince controls this a bit better than she does. But I couldn’t help picturing Ani remaking this song.

Young And Beautiful was instantly my favorite of all the songs in the album, and even today, it hasn’t grown old on me. It’s melodic, upbeat, and in the truest tradition of a Prince song…quirky. And the fact that it’s not Falsetto helps

The album raps up with one of the most beautiful instrumental moments ever written by an non-classically trained composer. Sure, it’s not going to make Beethoven roll over in his grave, but it’s like a soothing lullaby to a lazy late autumn day. When the Bacchanalian merriment and partying of the past are set aside so you can curl up by the fire and snuggle up beside your gay partner before a good night’s rest and plenty of anal sex in the morning.

I understand many of you do not like One Nite Alone [piano] , and I don’t blame you. I didn’t like it when it was first released.
But upon self-examination, and much an ethereal introspective spiritual moment, I dispelled my emotional larceny and realized it was because I was expecting it to sound this or that way.

And with Prince, the only thing you can expect is to be surprised. Whether this disappoints or not is up to you.

One Nite Alone [piano] is the perfect accompaniment to The Truth. I plan on painting my next piece of art to this album.



NOTE: Does anyone see eggs in the album cover?
I certainly do.

just sayin'


[Edited 11/22/08 9:47am]

Imago said:

Are you a homosexual, Dan?

Bacchus (Dionysus) has always been one of my favorite Greek gods. The muse for ritual madness and ecstacy, he’s both a representation of the celebrations of autumn’s harvest, and a reminder that all things must die and come to an end before they are reborn.
The great party man , the liberator of one’s drab and normal self through madness, ecstasy and wine!

But after the joyous riotous parties are over, the story of Bacchus takes a brutal and sad turn. Doomed, is he, year after year to have the fruits from his vines stripped. He is torn from limb to limb and suffers a rather horrible death not to be reborn until the following spring.
Prince may not be the god of wine and merriment, but during the tail end of his ‘plastic years’ he certainly seemed a lot like the goddess of crack-cocaine and sporadic after-parties. An ego spinning out of control, accelerated by a string of poor P&R moments and the infamous near-career-ending symbol . The Dawn came and went, and revealed itself to be little more than hype—a hazy afterglow of the fiercely joyous Gold Experience.

But amist the chaos and tepid, bland, plastic years songs, there were a few standout moments. Of course there were. Prince is capable of pulling some interesting moments even in the driest spells. During the plastic years, it wasn’t dry in the sense that product wasn’t being released. Indeed I remember receiving or downloading things monthly. It was just that…well, most of it was crap wasn’t it?
But then along comes One Nite Alone [piano] , a relatively sparse, melodious, self-indulgent diamond in the rough.
I’ll be honest; the first couple of years after its release, this thing was little more than a coffee coaster to me. I hated it. But with most anything I instantly hate by Prince, it’s due to expectations —not because the quality is lacking.

Where Prince albums are often paired up by consecutive releases (1999/Purple Rain, ATWIAD/Parade, Black Album/LoveSExy), One Nite Alone, at least to me, is a terrific companion to The Truth . Both have a fluid, almost free form feel to them. Often it sounds like he’s making it up as he goes along. The difference other than the Guitar vs. Piano is that in One Nite Alone [piano] , Prince has actually toned down the studio meddling post-recording to some extent. Sure it’s still there—Prince just can’t help himself. But not to the same degree it is on The Truth.

Also the songs on One Nite Alone [piano] are more subtle. The melodies are sweeter, quieter, more like lullabies—and affect that sometimes skirts towards being a bit too lounge-like, but sweet none-the-less.

The opening track sets the tone for what you’re about to hear. It’s sung in falsetto, as is most of the album—something I tend to really dislike about Prince songs. There are a few exceptions (Adore, Beautiful Ones, Kiss), but in general I prefer his normal voice. That being said, his falsetto throughout the album is top notch.

U’re Gonna C Me starts off with what could be one of the most beautiful (yet subtle) instrumental moments in any Prince recording ever. It also solidifies the feeling that ONA Piano is going to be a string of ballads and slow songs—not a rag time piano jam . I ignored the song when I first heard it, but it’s grown into a highlight of the album.

Here on Earth follows through with some sweet melodies and piano moments as well.

A Case of U , I will be honest, in my opinion is better than the Joani Mitchell version. The piano solos in this thing are much more melodic than what you’d fine in her song, and his vocal treatment is much better done. That’s not to dismiss the origina—I very much like the original. But like Joan Osbourn’s One of Us or Bonnie Rate’s I can’t make U love me, Prince has an uncanny way sometimes of making someone else’s song sound like it should be his.

Have a Heart , Objects In the Mirror, and Avalanche are all filler songs with sweet moments in each, though Avalanche is a bit Ani Difranco in it’s attack. Where many of DiFranco’s songs drown the melody out by the message, Prince controls this a bit better than she does. But I couldn’t help picturing Ani remaking this song.

Young And Beautiful was instantly my favorite of all the songs in the album, and even today, it hasn’t grown old on me. It’s melodic, upbeat, and in the truest tradition of a Prince song…quirky. And the fact that it’s not Falsetto helps

The album raps up with one of the most beautiful instrumental moments ever written by an non-classically trained composer. Sure, it’s not going to make Beethoven roll over in his grave, but it’s like a soothing lullaby to a lazy late autumn day. When the Bacchanalian merriment and partying of the past are set aside so you can curl up by the fire and snuggle up beside your gay partner before a good night’s rest and plenty of anal sex in the morning.

I understand many of you do not like One Nite Alone [piano] , and I don’t blame you. I didn’t like it when it was first released.
But upon self-examination, and much an ethereal introspective spiritual moment, I dispelled my emotional larceny and realized it was because I was expecting it to sound this or that way.

And with Prince, the only thing you can expect is to be surprised. Whether this disappoints or not is up to you.

One Nite Alone [piano] is the perfect accompaniment to The Truth. I plan on painting my next piece of art to this album.



NOTE: Does anyone see eggs in the album cover?
I certainly do.

just sayin'


[Edited 11/22/08 9:47am]

I really like your reviews.
And I wish I could get this album but,
I haven't even seen it in the stores.

Bacchus (Dionysus) has always been one of my favorite Greek gods. The muse for ritual madness and ecstacy, he’s both a representation of the celebrations of autumn’s harvest, and a reminder that all things must die and come to an end before they are reborn.
The great party man , the liberator of one’s drab and normal self through madness, ecstasy and wine!

But after the joyous riotous parties are over, the story of Bacchus takes a brutal and sad turn. Doomed, is he, year after year to have the fruits from his vines stripped. He is torn from limb to limb and suffers a rather horrible death not to be reborn until the following spring.
Prince may not be the god of wine and merriment, but during the tail end of his ‘plastic years’ he certainly seemed a lot like the goddess of crack-cocaine and sporadic after-parties. An ego spinning out of control, accelerated by a string of poor P&R moments and the infamous near-career-ending symbol . The Dawn came and went, and revealed itself to be little more than hype—a hazy afterglow of the fiercely joyous Gold Experience.

But amist the chaos and tepid, bland, plastic years songs, there were a few standout moments. Of course there were. Prince is capable of pulling some interesting moments even in the driest spells. During the plastic years, it wasn’t dry in the sense that product wasn’t being released. Indeed I remember receiving or downloading things monthly. It was just that…well, most of it was crap wasn’t it?
But then along comes One Nite Alone [piano] , a relatively sparse, melodious, self-indulgent diamond in the rough.
I’ll be honest; the first couple of years after its release, this thing was little more than a coffee coaster to me. I hated it. But with most anything I instantly hate by Prince, it’s due to expectations —not because the quality is lacking.

Where Prince albums are often paired up by consecutive releases (1999/Purple Rain, ATWIAD/Parade, Black Album/LoveSExy), One Nite Alone, at least to me, is a terrific companion to The Truth . Both have a fluid, almost free form feel to them. Often it sounds like he’s making it up as he goes along. The difference other than the Guitar vs. Piano is that in One Nite Alone [piano] , Prince has actually toned down the studio meddling post-recording to some extent. Sure it’s still there—Prince just can’t help himself. But not to the same degree it is on The Truth.

Also the songs on One Nite Alone [piano] are more subtle. The melodies are sweeter, quieter, more like lullabies—and affect that sometimes skirts towards being a bit too lounge-like, but sweet none-the-less.

The opening track sets the tone for what you’re about to hear. It’s sung in falsetto, as is most of the album—something I tend to really dislike about Prince songs. There are a few exceptions (Adore, Beautiful Ones, Kiss), but in general I prefer his normal voice. That being said, his falsetto throughout the album is top notch.

U’re Gonna C Me starts off with what could be one of the most beautiful (yet subtle) instrumental moments in any Prince recording ever. It also solidifies the feeling that ONA Piano is going to be a string of ballads and slow songs—not a rag time piano jam . I ignored the song when I first heard it, but it’s grown into a highlight of the album.

Here on Earth follows through with some sweet melodies and piano moments as well.

A Case of U , I will be honest, in my opinion is better than the Joani Mitchell version. The piano solos in this thing are much more melodic than what you’d fine in her song, and his vocal treatment is much better done. That’s not to dismiss the origina—I very much like the original. But like Joan Osbourn’s One of Us or Bonnie Rate’s I can’t make U love me, Prince has an uncanny way sometimes of making someone else’s song sound like it should be his.

Have a Heart , Objects In the Mirror, and Avalanche are all filler songs with sweet moments in each, though Avalanche is a bit Ani Difranco in it’s attack. Where many of DiFranco’s songs drown the melody out by the message, Prince controls this a bit better than she does. But I couldn’t help picturing Ani remaking this song.

Young And Beautiful was instantly my favorite of all the songs in the album, and even today, it hasn’t grown old on me. It’s melodic, upbeat, and in the truest tradition of a Prince song…quirky. And the fact that it’s not Falsetto helps

The album raps up with one of the most beautiful instrumental moments ever written by an non-classically trained composer. Sure, it’s not going to make Beethoven roll over in his grave, but it’s like a soothing lullaby to a lazy late autumn day. When the Bacchanalian merriment and partying of the past are set aside so you can curl up by the fire and snuggle up beside your gay partner before a good night’s rest and plenty of anal sex in the morning.

I understand many of you do not like One Nite Alone [piano] , and I don’t blame you. I didn’t like it when it was first released.
But upon self-examination, and much an ethereal introspective spiritual moment, I dispelled my emotional larceny and realized it was because I was expecting it to sound this or that way.

And with Prince, the only thing you can expect is to be surprised. Whether this disappoints or not is up to you.

One Nite Alone [piano] is the perfect accompaniment to The Truth. I plan on painting my next piece of art to this album.



NOTE: Does anyone see eggs in the album cover?
I certainly do.

just sayin'


[Edited 11/22/08 9:47am]