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opinions on" When will we be paid "? I've always liked this song,but I don't see it get much praise on here. What's everyone's opinion of this song? [Edited 5/19/15 23:51pm] There's Joy in repetition | |
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I really like it, and listen to it a lot, considering how many songs there are to listen to. My art book: http://www.lulu.com/spotl...ecomicskid
VIDEO WORK: http://sharadkantpatel.com MUSIC: https://soundcloud.com/ufoclub1977 | |
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You've been here for less than a year, but you're expecting to see discussion of a relatively obscure track that came out 15 years ago? | |
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It's an okay song. In the larger body of his work, it's totally forgettable. But compared to be shit he shat during the High era, it's better than average. At least there's no Kurt Loder samples... "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry | |
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I've read it get praised on the Org mostly. What? | |
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TwiliteKid said:
You've been here for less than a year, but you're expecting to see discussion of a relatively obscure track that came out 15 years ago? I've been on here since 2005 ,just had a few different usernames There's Joy in repetition | |
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A good cover | |
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Its ok. Kinda over produced imo. Best version ive heard on a live boot would be the power trio aftershow at Indigo nights (O2) in 2007. Stripped down and raw. |
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it's a good song but I haven't listened to it lately  Welcome 2 The Dawn | |
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I love it and I love the Staple Singers version as well. | |
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It's a decent cover, I tack it on with TRC since it fits. | |
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NouveauDance said: It's a decent cover, I tack it on with TRC since it fits. I don't know. The sound is quite different from TRC. When Will We Be Paid is far less organic. "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry | |
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It's a good cover __________________________________________________
2 words falling between the drops and the moans of his condition | |
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It so totally doesn't belong on TRC but instead on TCI and TS, and it SHOULD have been on either one of them. A COMPREHENSIVE PRINCE DISCOGRAPHY (work in progress ^^): https://sites.google.com/...scography/ |
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Agreed. |
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Thematically it fits on Rainbow Children, but sonically it's in line with Chocolate Invasion and Slaughterhouse, so I tag it on after U Make My Sun Shine. -- Hi-yo Silver, it's The Bone Ranger! | |
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One of his better covers. RIP  | |
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Both the cover and the Staple Singers' original are wonderful musically. Lyrically, Prince's version reshuffles the GREAT original lyrics, which the Staples deliver as a super-soulful cry for reparation punctuated with plenty of horn stabs, with a melancholy-but-playful midtempo. Prince's version is much slower and dramatic, it's not delivered as an hopeful plea, but more like a plea people failed to take seriously, so it's more mournful and full of pain.
The two main reasons his cover was overlooked : under the radar distribution and an association with his own battle with "the man" -- the record company. At the time, it had been a couple of years of complaints, he had been writing "slave" on his face just a few years before, and so people went "oh here's megarich Prince co-opting the civil right movement, how dare he complain, he messed up with his big contract now he's comparing himself to people who truly slaved away or were low-paid, what an outrage!"
Fast forward to 2015, Prince largely won his battle with his label, and so we can listen to the song more as straight call for reparation, and we're like "that was a good song!"
Perception is everything, isn't it? When I think back, it seems to me that the reception to song received in fan circles was full of dismissiveness, all because Prince was failing to dutifully and obediently play the pop star he had been.
While there's a big difference between the original "we" of the song and Prince's, the crypto-bossy attitude some had is kind of telling in my book. It comes from a similar place. | |
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Aerogram said: Both the cover and the Staple Singers' original are wonderful musically. Lyrically, Prince's version reshuffles the GREAT original lyrics, which the Staples deliver as a super-soulful cry for reparation punctuated with plenty of horn stabs, with a melancholy-but-playful midtempo. Prince's version is much slower and dramatic, it's not delivered as an hopeful plea, but more like a plea people failed to take seriously, so it's more mournful and full of pain.
The two main reasons his cover was overlooked : under the radar distribution and an association with his own battle with "the man" -- the record company. At the time, it had been a couple of years of complaints, he had been writing "slave" on his face just a few years before, and so people went "oh here's megarich Prince co-opting the civil right movement, how dare he complain, he messed up with his big contract now he's comparing himself to people who truly slaved away or were low-paid, what an outrage!"
Fast forward to 2015, Prince largely won his battle with his label, and so we can listen to the song more as straight call for reparation, and we're like "that was a good song!"
Perception is everything, isn't it? When I think back, it seems to me that the reception to song received in fan circles was full of dismissiveness, all because Prince was failing to dutifully and obediently play the pop star he had been.
While there's a big difference between the original "we" of the song and Prince's, the crypto-bossy attitude some had is kind of telling in my book. It comes from a similar place. Extremely well said, as usual. This cynicism can potentially sap us all . When we start hearing everything filtered through Prince's many faults (or anyone else's) we perhaps miss out on so much of our own potential. | |
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Aerogram said: Both the cover and the Staple Singers' original are wonderful musically. Lyrically, Prince's version reshuffles the GREAT original lyrics, which the Staples deliver as a super-soulful cry for reparation punctuated with plenty of horn stabs, with a melancholy-but-playful midtempo. Prince's version is much slower and dramatic, it's not delivered as an hopeful plea, but more like a plea people failed to take seriously, so it's more mournful and full of pain.
The two main reasons his cover was overlooked : under the radar distribution and an association with his own battle with "the man" -- the record company. At the time, it had been a couple of years of complaints, he had been writing "slave" on his face just a few years before, and so people went "oh here's megarich Prince co-opting the civil right movement, how dare he complain, he messed up with his big contract now he's comparing himself to people who truly slaved away or were low-paid, what an outrage!"
Fast forward to 2015, Prince largely won his battle with his label, and so we can listen to the song more as straight call for reparation, and we're like "that was a good song!"
Perception is everything, isn't it? When I think back, it seems to me that the reception to song received in fan circles was full of dismissiveness, all because Prince was failing to dutifully and obediently play the pop star he had been.
While there's a big difference between the original "we" of the song and Prince's, the crypto-bossy attitude some had is kind of telling in my book. It comes from a similar place. I thought the song was only okay when it came out, and mostly focused on the sunshine song with Angie Stone (what the hell was that called?). But that's partially because I heard him play some stellar versions of WWWBP live that just smoked the studio version. Over the years, the song has grown on me. It's not one of my favorites, but it's very strong. The kind of song casual listeners thought Prince couldn't do during his "dark ages." "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry | |
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These are the Paisley shows where I saw him perform WWWBP. http://www.princevault.co...r,_1999-am http://www.princevault.co...r,_1999-am The November 6, 1999, show in particular was amazing. It was in the small Love4OneAnother room. Very small crowd. I was only a few rows from the stage. Such a great show! I got his guitar pick after the show too. "Drop that stereo before I blow your Goddamn nuts off, asshole!"
-Eugene Tackleberry | |
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Awesome melodrama, one of his very best from the Chocolate Invasion/ Slaughterhouse era, just wish the guitar solo at the end went on another two minutes
Would love to have heard a full-on live rock version of this with epic guitar solo. | |
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you should listen to the power trio aftershow at indigo nights 2007. Best version of this song. It rocks. |
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