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Printablenovabrkr said: Here's mah two zents...
FROM THE LOTUS - an instrumental track as an opener of an album is not something I would personally shun away from. Sounds a lot like TRC -material, but at least the use of reverb is more restricted this time around (he could have added a bit more to the electric piano sounds to make the entire thing sound more fusion-erta Miles / etc). The rimshot sounds he's been using on material like this for most of the decade aren't however working as well as they should, they add a bit of "cocktail bar" feel to his music sometimes to be honest. Not a major complaint here, though. BOOM - this track surprised me with its relative mellowness, as I was expecting something a bit different. The way the underscored, barely audible "boom" -line is employed gives it a proper, more seductive "Axis: Bold as Love" - era hendrix feeling instead of being another "Endorphinmachine". It's not that complex a song as far as songwriting goes, but the elements he has constructed it off are interesting and varied enough. I like his guitar playing here a lot, and the use of the effects on the vocals does actually work quite well (there's autotune there, right?). What this track after several listens reveals that It's better than most of his 90s rockier output, better than "Endorphinmachin", "Peach" or "I Like It There". I've been lead to believe at least the retail version will have a longer version than what I got leeched off the internet? THE MORNING AFTER - yes, it does indeed remind of "Teacher Teacher" with the clavichord -figure driving the entire song. It lacks a memorable chorus, but the female backing vocals are great and make up for it (is that a Wendy & Lisa -arrangement?). A little bit of the 60s, with a whole lot of the Dream Factory -vibe. Would this be a new bootleg leak from the 80s most would be drooling all over it by now ("man he really used to have it in the 80s, not so much anymore"). The palette of sounds used on the album is positively restricted to more organic-sounding instrumention, and the digital synth pads / strings that never really worked in the context of his music that well have been mostly omitted. It's quite possible the track originates from the same sessions as, say, "I'm The One U Wanna C", but this one's turnt out to be more tasteful effort I have to say. Could have been included very well on the retail version too. The only real downside is that the feel of "morning after" the song conveys is highly contradictory with what I'd associate with morning after's myself. Let's not give such false impressions to our young listeners, okay? 4EVER - one of Prince's problems more recently has been that he hasn't bothered to write proper choruses for most of his mid-tempo songs, and this one continues the tendency (starting with "The Greatest Romance Ever Sold" already). The verse melody is actually bordering on brilliance in more simplistic terms, but the single-line chorus is a bit of an anti-climax. The instrumentation is classic 70s rock, I was actually thinking of someone like Todd Rundgren when I was listening to it. Nice sounds employed, nevertheless. COLONIZED MIND - this has been a grower for me personally, as I didn't really care for it upon the first listen. The chorus is admittedly quite endearing and "emotive" after getting used to it, but the excessive stacking of multiple vocal lines provides something of a NPGMC -material association (not a positive thing in itself). I'm not going to comment on the lyrics too much because I feel like I am not the right person to judge another person's world-view, especially as his own idealogies differ quite greatly from mine. I don't find the lyrical content overtly naive, though. It's just that... in Prince World basically any comment on social issues is seen as a really in-depth statement. Could have been a bit dirtier on the guitar-end of things, though. If this is the closest thing to "Purple Rain" he delivered during this decade I guess we'll just have to learn to live with it. FEEL GOOD, FEEL BETTER, FEEL WONDERFUL - as the only proper funk track on the record he could have had chosen a stronger one (or perhaps indeed include F.U.N.K. on it in some form). A pleasant enough offering on its own right - his vocal delivery is positively raunchy and the arrangements, whilst minimal, are top-notch quality. As expected. Again, it's really just the lacklustre chorus that's sort of fighting again the rest of the music ultimately. I know shouting "Housequake!" several hundred times during a track does not count for a terribly complex chorus either, but nevertheless. LOVE LIKE JAZZ - on the first listen it sounded quite different from anything I've heard from Prince before. I admit his rhyming dictionary could do with an expansion section added to it ("NAME!" ... "GAME!"), but this has turnt into one of my own favourites on the album during a string of successive listens. It's a great track if you're not expecting a mind-blowing pop song, and I would perhaps call material like this veering on "a musical study" really. The arrangements are interesting and I've always wanted to point out that Prince is one of the very few better-known musicians on the planet who is capable of producing a light-sounding yet at the same time artsy material. It's a whole lot easier to make Radiohead -type of pop / rock -music where the artistry relies on the notions of melancholy, schizophrenism or whatever. Of course this one doesn't classify exactly as high-concept avant-garde either, but the song manages to go in various different directions tonally and still preserve a good level of cohesion. The outro leans even more strongly towards the sounds on TRC again. Better than "She Loves Me 4 Me", I would have to say. 77 BEVERLY PARK - well... this one's different. For some oblivious reason listening to it makes me want to go to the kitchen, fix myself a cup of coffee and feel happy about the fact that I will enter my thirties in just a couple of weeks. Thankfully though, it's not soaked in digital effects, although it really is an odd inclusion on the album as it is. The second half of the track should have preferably developed into something more interesting musically (a little bit of jazzy dissonance, or even a run-of-the-mill guitar solo would have done the trick probably). I wouldn't desire to kick it out of the album's running order, but even with the slight hint at the "Parade" -era it is indeed a bit of a "wtf" -moment. Better being a "wtf" -moment than a "gtfo" -moment, obviously. WALL OF BERLIN - don't really care for the vocal delivery, but I guess this is one of the "key" -compositions of the album as it binds together some of the other tracks by being a bit of an "in-between take" stylistically. I don't mind the silly lyrics, although let's admit it - would any of the artists deemed as his followers (D'Angelo, Maxwell etc.) ever title a track "Wall Of Berlin"? The "trashier" guitar breaks are what breathes more life into an otherwise a bit too goofy melodic morif on the chorus.The track ultimately makes a nice enough transition to the next one. By the way, does "going down like the wall of berlin" mean you're going to be smashed down in pieces or is it just an implication of oral sex? When was the last time Prince visited Berlin anyway? $ - really love this. It's really nothing like Prince has done before, but the "Camille" -vocal effect grounds it to his sound (could he be using sped-up tape again instead of a crude pitch-shifter, because the sound is far softer than on the more recent tracks that employed the similar element?). Perhaps the closest equivalence would be "Baby Knows" in that regard, but this is so much better (and I actually enjoyed that track in question). A hint of "Courtin' Time" thrown in there too, but "$" is an entiry of its own in Prince's vast song catalog. Simple and effective, he should be rightfully proud of music like this still pouring out of him. Just lacks a Harmonica solo! DREAMER - Oh, yes. I was surprised how his take on the "Hendrix" -esque stuff still manages to employ all types of classic quirkiness that you would associate with his own classic output. If you listen more closely you could hear some echoes especially of Prince's rehearsal / aftershow -material from the 80s here too ("Billy's Sunglasses", "Neon Rendezvous"). It might be just the type of a reverberation playing tricks in my mind, but what the hell. ... BACK 2 THE LOTUS - this is a more interesting take on the intro track. The mumbling included on it gives it a bit eerie vibe, and that IS a positive thing. I find it intriguing how he has chosen to include the flanger on his guitar - and even on guitar interference noise - so audibly in the mix (he used to do this in the 80s quite a lot, it's used even on Sheila E.'s 3rd record I recently noticed). I didn't first warmp up for the obvious use of basic guitar pedal effects on "Wall of Berlin" or "Colonized Mind", but they do in the end add a certain amount of rawness to the overall result. The outro track is one of the best ones on the album in my mind, btw, but then again I'm sort of a fucked up individual. CRIMSOM AND CLOVER - a few comments on this too, as it's supposed on the final record. The use of the leslie / vibrato effect gives the track its own vintage bite, although Prince's vocals aren't as powerful as they should be. Still, his 2nd best cover after "The Case Of U", perhaps. The download version really would have indeed benefited from this one. Is the Hendrix -reference here really to "Foxy Lady" or "Wild Thing" though? I can't make up my mind. VERDICT: far from perfect, but one of the best outings of his post-WB material. Could have done with a few stronger SONGS, but as it stands it proves that Prince can still deliver adventurous records (if you think about it, TRC was released already quite a long time ago already). The poppier tracks from the record aren't that drastic a departure from Planet Earth -material to be honest, but I'll take tracks like "$" over "Guitar" anyday. Shame about - what I consider - the unfitting cover art for the album, although admittedly he has had worse over the years as well. I like it how he has re-connected with some of his trademark elements from the 80s and mixed them up with material that also break some new ground for him too. I give it 4 pineapples out of 5 pineapples. Thanks for reading. (Fuck, I should have been writing my graduation thesis instead of this... only 2½ weeks left! Oh well...) [Edited 3/27/09 6:43am] Interesting review. Better than what passes as music journalism these days. Am I the only one who absolutely loves 77 Beverly Park? | |
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jdcxc said: novabrkr said: Here's mah two zents... FROM THE LOTUS - an instrumental track as an opener of an album is not something I would personally shun away from. Sounds a lot like TRC -material, but at least the use of reverb is more restricted this time around (he could have added a bit more to the electric piano sounds to make the entire thing sound more fusion-erta Miles / etc). The rimshot sounds he's been using on material like this for most of the decade aren't however working as well as they should, they add a bit of "cocktail bar" feel to his music sometimes to be honest. Not a major complaint here, though. BOOM - this track surprised me with its relative mellowness, as I was expecting something a bit different. The way the underscored, barely audible "boom" -line is employed gives it a proper, more seductive "Axis: Bold as Love" - era hendrix feeling instead of being another "Endorphinmachine". It's not that complex a song as far as songwriting goes, but the elements he has constructed it off are interesting and varied enough. I like his guitar playing here a lot, and the use of the effects on the vocals does actually work quite well (there's autotune there, right?). What this track after several listens reveals that It's better than most of his 90s rockier output, better than "Endorphinmachin", "Peach" or "I Like It There". I've been lead to believe at least the retail version will have a longer version than what I got leeched off the internet? THE MORNING AFTER - yes, it does indeed remind of "Teacher Teacher" with the clavichord -figure driving the entire song. It lacks a memorable chorus, but the female backing vocals are great and make up for it (is that a Wendy & Lisa -arrangement?). A little bit of the 60s, with a whole lot of the Dream Factory -vibe. Would this be a new bootleg leak from the 80s most would be drooling all over it by now ("man he really used to have it in the 80s, not so much anymore"). The palette of sounds used on the album is positively restricted to more organic-sounding instrumention, and the digital synth pads / strings that never really worked in the context of his music that well have been mostly omitted. It's quite possible the track originates from the same sessions as, say, "I'm The One U Wanna C", but this one's turnt out to be more tasteful effort I have to say. Could have been included very well on the retail version too. The only real downside is that the feel of "morning after" the song conveys is highly contradictory with what I'd associate with morning after's myself. Let's not give such false impressions to our young listeners, okay? 4EVER - one of Prince's problems more recently has been that he hasn't bothered to write proper choruses for most of his mid-tempo songs, and this one continues the tendency (starting with "The Greatest Romance Ever Sold" already). The verse melody is actually bordering on brilliance in more simplistic terms, but the single-line chorus is a bit of an anti-climax. The instrumentation is classic 70s rock, I was actually thinking of someone like Todd Rundgren when I was listening to it. Nice sounds employed, nevertheless. COLONIZED MIND - this has been a grower for me personally, as I didn't really care for it upon the first listen. The chorus is admittedly quite endearing and "emotive" after getting used to it, but the excessive stacking of multiple vocal lines provides something of a NPGMC -material association (not a positive thing in itself). I'm not going to comment on the lyrics too much because I feel like I am not the right person to judge another person's world-view, especially as his own idealogies differ quite greatly from mine. I don't find the lyrical content overtly naive, though. It's just that... in Prince World basically any comment on social issues is seen as a really in-depth statement. Could have been a bit dirtier on the guitar-end of things, though. If this is the closest thing to "Purple Rain" he delivered during this decade I guess we'll just have to learn to live with it. FEEL GOOD, FEEL BETTER, FEEL WONDERFUL - as the only proper funk track on the record he could have had chosen a stronger one (or perhaps indeed include F.U.N.K. on it in some form). A pleasant enough offering on its own right - his vocal delivery is positively raunchy and the arrangements, whilst minimal, are top-notch quality. As expected. Again, it's really just the lacklustre chorus that's sort of fighting again the rest of the music ultimately. I know shouting "Housequake!" several hundred times during a track does not count for a terribly complex chorus either, but nevertheless. LOVE LIKE JAZZ - on the first listen it sounded quite different from anything I've heard from Prince before. I admit his rhyming dictionary could do with an expansion section added to it ("NAME!" ... "GAME!"), but this has turnt into one of my own favourites on the album during a string of successive listens. It's a great track if you're not expecting a mind-blowing pop song, and I would perhaps call material like this veering on "a musical study" really. The arrangements are interesting and I've always wanted to point out that Prince is one of the very few better-known musicians on the planet who is capable of producing a light-sounding yet at the same time artsy material. It's a whole lot easier to make Radiohead -type of pop / rock -music where the artistry relies on the notions of melancholy, schizophrenism or whatever. Of course this one doesn't classify exactly as high-concept avant-garde either, but the song manages to go in various different directions tonally and still preserve a good level of cohesion. The outro leans even more strongly towards the sounds on TRC again. Better than "She Loves Me 4 Me", I would have to say. 77 BEVERLY PARK - well... this one's different. For some oblivious reason listening to it makes me want to go to the kitchen, fix myself a cup of coffee and feel happy about the fact that I will enter my thirties in just a couple of weeks. Thankfully though, it's not soaked in digital effects, although it really is an odd inclusion on the album as it is. The second half of the track should have preferably developed into something more interesting musically (a little bit of jazzy dissonance, or even a run-of-the-mill guitar solo would have done the trick probably). I wouldn't desire to kick it out of the album's running order, but even with the slight hint at the "Parade" -era it is indeed a bit of a "wtf" -moment. Better being a "wtf" -moment than a "gtfo" -moment, obviously. WALL OF BERLIN - don't really care for the vocal delivery, but I guess this is one of the "key" -compositions of the album as it binds together some of the other tracks by being a bit of an "in-between take" stylistically. I don't mind the silly lyrics, although let's admit it - would any of the artists deemed as his followers (D'Angelo, Maxwell etc.) ever title a track "Wall Of Berlin"? The "trashier" guitar breaks are what breathes more life into an otherwise a bit too goofy melodic morif on the chorus.The track ultimately makes a nice enough transition to the next one. By the way, does "going down like the wall of berlin" mean you're going to be smashed down in pieces or is it just an implication of oral sex? When was the last time Prince visited Berlin anyway? $ - really love this. It's really nothing like Prince has done before, but the "Camille" -vocal effect grounds it to his sound (could he be using sped-up tape again instead of a crude pitch-shifter, because the sound is far softer than on the more recent tracks that employed the similar element?). Perhaps the closest equivalence would be "Baby Knows" in that regard, but this is so much better (and I actually enjoyed that track in question). A hint of "Courtin' Time" thrown in there too, but "$" is an entiry of its own in Prince's vast song catalog. Simple and effective, he should be rightfully proud of music like this still pouring out of him. Just lacks a Harmonica solo! DREAMER - Oh, yes. I was surprised how his take on the "Hendrix" -esque stuff still manages to employ all types of classic quirkiness that you would associate with his own classic output. If you listen more closely you could hear some echoes especially of Prince's rehearsal / aftershow -material from the 80s here too ("Billy's Sunglasses", "Neon Rendezvous"). It might be just the type of a reverberation playing tricks in my mind, but what the hell. ... BACK 2 THE LOTUS - this is a more interesting take on the intro track. The mumbling included on it gives it a bit eerie vibe, and that IS a positive thing. I find it intriguing how he has chosen to include the flanger on his guitar - and even on guitar interference noise - so audibly in the mix (he used to do this in the 80s quite a lot, it's used even on Sheila E.'s 3rd record I recently noticed). I didn't first warmp up for the obvious use of basic guitar pedal effects on "Wall of Berlin" or "Colonized Mind", but they do in the end add a certain amount of rawness to the overall result. The outro track is one of the best ones on the album in my mind, btw, but then again I'm sort of a fucked up individual. CRIMSOM AND CLOVER - a few comments on this too, as it's supposed on the final record. The use of the leslie / vibrato effect gives the track its own vintage bite, although Prince's vocals aren't as powerful as they should be. Still, his 2nd best cover after "The Case Of U", perhaps. The download version really would have indeed benefited from this one. Is the Hendrix -reference here really to "Foxy Lady" or "Wild Thing" though? I can't make up my mind. VERDICT: far from perfect, but one of the best outings of his post-WB material. Could have done with a few stronger SONGS, but as it stands it proves that Prince can still deliver adventurous records (if you think about it, TRC was released already quite a long time ago already). The poppier tracks from the record aren't that drastic a departure from Planet Earth -material to be honest, but I'll take tracks like "$" over "Guitar" anyday. Shame about - what I consider - the unfitting cover art for the album, although admittedly he has had worse over the years as well. I like it how he has re-connected with some of his trademark elements from the 80s and mixed them up with material that also break some new ground for him too. I give it 4 pineapples out of 5 pineapples. Thanks for reading. (Fuck, I should have been writing my graduation thesis instead of this... only 2½ weeks left! Oh well...) [Edited 3/27/09 6:43am] Interesting review. Better than what passes as music journalism these days. Am I the only one who absolutely loves 77 Beverly Park? nah, 77 Betherly Park is amazing! one of my faves. This Post is produced, arranged, composed and performed by WetDream | |
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Loving a lot of all the cd's. Don't really like his voice on some tracks. Just too much manipulation of his voice! Aren't we all getting a little old for the chipmunk voice? That's why the songs sound so much better live. Dreamer and Ol' Skool Company sounded great live!! Real voice. | |
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bombpop said: Loving a lot of all the cd's. Don't really like his voice on some tracks. Just too much manipulation of his voice! Aren't we all getting a little old for the chipmunk voice? That's why the songs sound so much better live. Dreamer and Ol' Skool Company sounded great live!! Real voice.
People should stop talking for others. | |
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WetDream said: jdcxc said: Interesting review. Better than what passes as music journalism these days. Am I the only one who absolutely loves 77 Beverly Park? nah, 77 Betherly Park is amazing! one of my faves. I like it, too. It sounds to me like he's been in a really dark place...and comes out into sweetness and light. I said elsewhere that the fado-esque quality of the song makes me want to sit in a sunny courtyard, drinking wine and eating olives. We don’t mourn artists because we knew them. We mourn them because they helped us know ourselves. | |
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Genesia said: WetDream said: nah, 77 Betherly Park is amazing! one of my faves. I like it, too. It sounds to me like he's been in a really dark place...and comes out into sweetness and light. I said elsewhere that the fado-esque quality of the song makes me want to sit in a sunny courtyard, drinking wine and eating olives. i like it too. the instrumental stuff are my favorite parts of this album. it's time for a new direction / it's time for jazz to die | |
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The songs I like off of Elixer are:
Kept Woman Another Boy Home 2Nite Something U Already Know Elixer Lotus & Clover 4Ever Colonized Minds Feel Good,Feel Better, Feel Wonderful MPLSound Ur Gonna C Me Valentina Better With Time Ol'Skool Company [Edited 3/27/09 20:25pm] | |
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PurpleKnight said: LOTUSFLOW3R is a good album that was nearly great. At the very least, it might be his best produced album since TRC.
I love the experimental touches and organic sound maintained throughout, but it needed one or two more strong songs to balance out the esoteric meanderings sprinkled throughout. Case in point: Back 2 the Lotus. It's interesting for its TRC-esque exploration of sounds, but it never matures into a memorable song. It's an underwhelming note to end an album on. Boom, $, Dreamer, and Feel Good, Feel Better, Feel Wonderful have an immediacy and energy that is irresistible. This is LOTUSFLOW3R at its most charming; where Prince's talent is so apparent that it comes off as effortless. It's a shame that Crimson & Clover isn't included in this version, and it's even more unfortunate that 4Ever, with its hopelessly generic multi-layered vocal chorus, is still here. Forgettable instrumentals like 77 Beverly Park likewise add nothing. It also would have helped if Prince had spent more time adding greater lyrical depth to an otherwise great song in Colonized Mind. It's the usual combination of gems and curious failures, but this time the gems are more than good enough to forgive any misfires. Overall: ***1/2/***** [Edited 3/27/09 14:54pm] Agree with your take completely, tho 4ever is kinda growing on me. | |
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I'm happy with the new albums.Some songs are gems and great guitar as usual.
Rainbow children vibes in the arangements too. Loving it!Thanks!  That's some good shit! | |
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My 2ct
Love the album, fav tracks! Boom, Colonized Mind, Wall of Berlin, $, Dreamer. --- Where am I? ---
Tell me who in this house knows about the quake? | |
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"Dreamer" is cool as fuck, what a song. I love $ too | |
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Although i am listening more to MPLS, I feel Lotus is the stronger album, but this is maybe coz my first major influence from Prince was PR 25 yrs ago, which was a funk rock album. If it were not for insanity, I would be sane.
"True to his status as the last enigma in music, Prince crashed into London this week in a ball of confusion" The Times 2014 | |
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Shorty said: I'ma retard....I can not seem to find where to listen/download lotus flower on the site. can someone please help me out here? when I click on the prince head I get the 3D globe thing...the pyramids get me crimson and clover video but...I can't seem to find the damn "look, listen, lyrics" page!
I had the same problem and had to read a 'how to'thread to get it done..you have to click on this thing above his head..instead of the head...:-s | |
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Most it sounds like a good Lenny Kravitz album
$ sounds like he's trying to make a song for Outkast's Idlewild album. All in not too bad 3/5 | |
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bombpop said: Aren't we all getting a little old for the chipmunk voice? .
Oh my god, NO!!! I frickin love when he brings CAMILLE!!!!! "Paisley Park is in your Heart" | |
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jaynoonan said: bombpop said: Aren't we all getting a little old for the chipmunk voice? .
Oh my god, NO!!! I frickin love when he brings CAMILLE!!!!! ditto. Plus speak for yersel, we are not all in our pipe n slippers just yet. | |
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Today feels like Christmas (or special religious holiday of your choosing) to me! After I finish my morning tea I am going to buy it, drive up and down Houston with the windows down sharing the purple goodness. 'A pillow covered in all our tears' | |
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stanleylieber said: Genesia said: I like it, too. It sounds to me like he's been in a really dark place...and comes out into sweetness and light. I said elsewhere that the fado-esque quality of the song makes me want to sit in a sunny courtyard, drinking wine and eating olives. i like it too. the instrumental stuff are my favorite parts of this album. I wouldn't say they're my fave parts but there are highlights for sure. Keep in mind I love N.E.W.S. Lotusflowe3r is the album I've been wanting for quite some time. It's got everything I love about Prince on it. Need to give it some time but right now the 3-cd set as a whole is ranking up there with his best material. For me. Fantasy is reality in the world today. But I'll keep hangin in there, that is the only way. | |
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From the Lotus- Semi slow, maybe, but for me, serves as a good intro.
Boom- You will probably never find me in the studio singing along to this song. That said I do enjoy its instrumental side. The Morning After- I keep expecting the Monkees or the cast of Laugh In to do one of those chase scenes where people run down a hallway after each other, go into doors and come out completely different ones only to end up bumpin into each other. Don't love it, but it's short enough that I don't have to skip it. 4Ever- Nice. Not "Nice" like ooh niiiiice. Just nice. Pretty (and showy), not spectacular. My least favorite part is the chorus. Colonized Mind- I've liked this song since we first got to hear it. I now officially love it. This is the type of "guitar" song I enjoy most from him. I love this slow-ish build up pace. For me, this is when "preachy" actually works for him. Feel Good, Feel Better, Feel Wonderful- Fuckin love it! Have loved it all along. Love Like Jazz- First time I heard it I felt let down. Especially since I decided to paint it off the title alone (even if it sucked ). Having heard it calmly (and not fighting with corrupted files ) It's really grown on me. I will prolly start this painting next week! 77 Beverly Park- Dreamy and lovely. I'd love a whole mostly instrumental project (maybe something like N.E.W.S. with songs like this (Alexa/Venus...). Wall of Berlin- Also nice...just nice. Great guitar. $-Perfection. Probably my FAVE in the album. I want a black and white video with folk in beehives (NOT him! ) doin the twist and shit. Must learn all words! Must sing along! Dreamer- I know this is perfection for most of y'all and I get why. It's just not my "thing". This style of music never will be. I can recognize that it is performed to the highest level a song like this should be tho. Back to the Lotus- Nice enough. Effective wrap up. Overall... I will play it at least as much as I did Musicology, but not as much as I'll play Mplsound (but that's strictly a style preference thing and nothing to do with the quality of the album itself) | |
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the guitar near the end of Dreamer is blowing me away!
This is such a great album. From start to finish...im in it. After just a few days id say this album & mplsound are his best work since the rainbow children BUT i could just be on a prince high. [Edited 3/28/09 11:23am] I believe in horns! | |
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4ever is a beautiful track. "Dead in the middle of Little Italy little did we know
that we riddled some middleman who didn't do diddily"--BP | |
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purplewisdom said: 4ever is a beautiful track.
YES it is. 2nd fave after 'Dreamer' I don't want you to think like me. I just want you to think. |
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SUPRMAN said: purplewisdom said: 4ever is a beautiful track.
YES it is. 2nd fave after 'Dreamer' I like it, but the "future lover/be my future girl" and "unless you want me to bite that" lines are terribly corny, and almost ruin the song for me. He is exactly who we thought he was | |
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SUPRMAN said: purplewisdom said: 4ever is a beautiful track.
YES it is. 2nd fave after 'Dreamer' Definitely, I was surprised to see the initial "shrugs" that this track got. This one and Wall of Berlin stand out as my initial favorites. I've seen the future, and boy it's rough... | |
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scandalousalan said: jaynoonan said: Oh my god, NO!!! I frickin love when he brings CAMILLE!!!!! ditto. Plus speak for yersel, we are not all in our pipe n slippers just yet.  |
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After one more listen, I think the biggest weakness is the lack of a killer uptempo song up-front. He really does seem to have trouble with sequencing lately. It's like the reverse of Planet Earth, which I think starts out amazing and then totally peters out. Boom is lovely, but doesn't work well as the first proper "song." Morning After is OK, but really is one of those middle album filler tracks (and frankly Crimson and Clover wouldn't really work here either). He should have put something like Feel Good up front, or something even stronger. Overall, both albums definitely lack that killer "single" song, although there are fewer outright duds than on the last couple albums. | |
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4ever sounds very similar to one of his old tracks..
maybe something from emnacipation?? or GOld album?? "Dead in the middle of Little Italy little did we know
that we riddled some middleman who didn't do diddily"--BP | |
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purplewisdom said: 4ever sounds very similar to one of his old tracks..
maybe something from emnacipation?? or GOld album?? I'd say Gold. I don't want you to think like me. I just want you to think. |
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SUPRMAN said: purplewisdom said: 4ever sounds very similar to one of his old tracks..
maybe something from emnacipation?? or GOld album?? I'd say Gold. It's the 2nd chord in the chorus after the "..Forever" vocal. It screams Gold!! In fact, I think you could, If inclined, trawl through that era to find that chord appearing a number of times (although in different keys perhaps.) | |
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purplewisdom said: 4ever sounds very similar to one of his old tracks..
maybe something from emnacipation?? or GOld album?? In overall flavor, it feels a lot like Splash, to me. [Edited 3/28/09 19:11pm] We don’t mourn artists because we knew them. We mourn them because they helped us know ourselves. | |
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