214 said:

so overrated, calling his album better than SOTT really¡?

I think Sign 'O' The Times is overrated with filler tracks (see my post on the SOTT bottom five thread). It is not one of my top five Prince albums.

paulludvig said:

duccichucka said:

http://www.soundopinions.org/show/449/#wendyandlisa

Download and start listening at around the 12:30 mark; the 23:10 mark; the 30:45 mark;
the 31:50 mark - these sections are illuminating as Wendy and Lisa speak to their input
and influence on Prince's songwriting during Purple Rain, which, in turn, can be used as a
blue print for how the trio approached compositional duties for Parade as well.

Prince was probably prescribing to that legacy where the bandleader is indicated as the
primary songsmith (see Miles Davis, who took credit for tunes Evans and Turner wrote, for
example; or, see Duke Ellington, who took credit for tunes Strayhorn wrote; or see James
Brown, who took credit for tunes anybody in his band wrote!); but, now you get smartasses
at the Org trying to minimize Wendy and Lisa's obvious contributions to Prince's master-
pieces.

They are pretty vague in that interview, as usual.

How so?

The hosts of the show make it a point to state that Prince wrote only one or two songs off of
Purple Rain by himself. Wendy and Lisa never correct them as it is understood that the band,
particularly those two, helped write the rest of the tunes. I don't think they were vague at all,
unless, of course, you are unfamiliar with the songwriting process and don't understand how
precious, facile, complex, simple, layered, and strange it can be when a band comes together
to diplomatically "write a song" especially when there are hyper-sensitive artistic egos involved.
So, you won't ever find them saying: "So yeah, Lisa wrote the bridge to "Take Me With You,"
while Prince and Wendy hammered out the chordal arrangements for the intro, verse, chorus,
and outro."

Anyways, I just think you're looking to purposefully minimize W&L's contributions for whatever
reason, but whatever floats yer boat . . .

sexton said:

214 said:

so overrated, calling his album better than SOTT really¡?

I think Sign 'O' The Times is overrated with filler tracks (see my post on the SOTT bottom five thread). It is not one of my top five Prince albums.

I agree that there are too many filler cuts for SOTT to be considered a masterpiece over the
likes of Parade, which has no filler, imo.

But there are a couple of tunes on that album that make it necessary to place it in my top
five Prince albums of all time despite some fluffery.

There is no filler on SOTT either. Remember it was cut down from 3 to 2 LPs, so it's not like he didn't have enough good songs to chose from. It was more a question of removing the songs he thought wouldn't work on a double LP.

feeluupp said:

I feel PARADE is one of his albums that has aged the best.

NorthC said:

There is no filler on SOTT either. Remember it was cut down from 3 to 2 LPs, so it's not like he didn't have enough good songs to chose from. It was more a question of removing the songs he thought wouldn't work on a double LP.

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

remko said:

feeluupp said:

I feel PARADE is one of his albums that has aged the best.

Agreed.

If a newcomer wanted to get into Prince, I'd play 1999. If they liked that album and wanted to
know why Prince became a musician who, even though he hasn't put out a good album in
almost twenty-five years, can still sell out arenas, I'd play Purple Rain. After that, if the same
person wanted to hear Prince's best work, I'd play Parade.

duccichucka said:

NorthC said:

There is no filler on SOTT either. Remember it was cut down from 3 to 2 LPs, so it's not like he didn't have enough good songs to chose from. It was more a question of removing the songs he thought wouldn't work on a double LP.

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

Those are masterpieces of minimalism,

duccichucka said:

I agree with you on the first two, they never really moved me either, but...that doesn't make them filler! And Play In the Sunshine works perfectly: after being all serious on the title track, let's lighten things up with a party song! SOTT is a thematic whole just like Parade, every song has a function, personal taste aside.
What I would call filler is when an artist doesn't have enough songs for an album and just puts anything on it to fill the 30-40 minutes. For instance, when James Brown had a hit with Papa's Got a Brand New Bag, it was the only new song he had, but he (or King Records) put out an album anyway containing mostly old songs just to cash in on the hit single. That's what I call filler!

NorthC said:

duccichucka said:

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

I agree with you on the first two, they never really moved me either, but...that doesn't make them filler! And Play In the Sunshine works perfectly: after being all serious on the title track, let's lighten things up with a party song! SOTT is a thematic whole just like Parade, every song has a function, personal taste aside. What I would call filler is when an artist doesn't have enough songs for an album and just puts anything on it to fill the 30-40 minutes. For instance, when James Brown had a hit with Papa's Got a Brand New Bag, it was the only new song he had, but he (or King Records) put out an album anyway containing mostly old songs just to cash in on the hit single. That's what I call filler!

on NorthC's comment.

Thank you!

duccichucka said:

NorthC said:

There is no filler on SOTT either. Remember it was cut down from 3 to 2 LPs, so it's not like he didn't have enough good songs to chose from. It was more a question of removing the songs he thought wouldn't work on a double LP.

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

Corny? really, they are great for me, do not find anything corny about them

duccichucka said:

NorthC said:

There is no filler on SOTT either. Remember it was cut down from 3 to 2 LPs, so it's not like he didn't have enough good songs to chose from. It was more a question of removing the songs he thought wouldn't work on a double LP.

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

Corny? really, they are great for me, do not find anything corny about them.

214 said:

duccichucka said:

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

Corny? really, they are great for me, do not find anything corny about them.

I'd say that those last two songs are ultra-romantic. And if you find such romantic notions to be corny, then there you go!

paulludvig said:

duccichucka said:

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

Those are masterpieces of minimalism,

How so?

NorthC said:

duccichucka said:

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

I agree with you on the first two, they never really moved me either, but...that doesn't make them filler! And Play In the Sunshine works perfectly: after being all serious on the title track, let's lighten things up with a party song! SOTT is a thematic whole just like Parade, every song has a function, personal taste aside. What I would call filler is when an artist doesn't have enough songs for an album and just puts anything on it to fill the 30-40 minutes. For instance, when James Brown had a hit with Papa's Got a Brand New Bag, it was the only new song he had, but he (or King Records) put out an album anyway containing mostly old songs just to cash in on the hit single. That's what I call filler!

Those tunes don't work for me - whaddya want me to say? I skip over them as I find them
to be compositionally uninteresting.

[Edited 10/30/15 13:16pm]

214 said:

duccichucka said:

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

Corny? really, they are great for me, do not find anything corny about them

Yep; really.

NorthC said:

duccichucka said:

There are tunes on that album that aren't compositionally interesting to me:

"It"

"Hot Thing"

"Play In The Sunshine"


And there are a few tunes that I find really corny:


"I Could Never Take the Place of Your Man"

"Forever in My Life"

I run Parade from start to finish as one cohesive whole that hangs together thematically;
because I skip around on SOTT, I don't consider it as appealing as the aforementioned.

I agree with you on the first two, they never really moved me either, but...that doesn't make them filler! And Play In the Sunshine works perfectly: after being all serious on the title track, let's lighten things up with a party song! SOTT is a thematic whole just like Parade, every song has a function, personal taste aside. What I would call filler is when an artist doesn't have enough songs for an album and just puts anything on it to fill the 30-40 minutes. For instance, when James Brown had a hit with Papa's Got a Brand New Bag, it was the only new song he had, but he (or King Records) put out an album anyway containing mostly old songs just to cash in on the hit single. That's what I call filler!

Well to be fair most albums were largely comprised of filler in 1965, so I wouldn't say James Brown is particularly guilty given that pop music was still fairly single driven at the time.

^True. It was just the first example that came to mind.

NorthC said:

^True. It was just the first example that came to mind.

Yeah fair enough, I realised I was probably being a bit pedantic after I posted the comment, soz

RaspBerryGirlFriend said:

No worries.

duccichucka said:

paulludvig said:

Those are masterpieces of minimalism,

How so?

I'd suppose that both "It" and "Hot Thing" could be more minimalistic--strip the keys and have just the beats with the vocals, and voila, 2 Prince minimalistic classics! What makes a classic minimalistic piece, anyway?

duccichucka said:

paulludvig said:

They are pretty vague in that interview, as usual.

How so?

The hosts of the show make it a point to state that Prince wrote only one or two songs off of
Purple Rain by himself. Wendy and Lisa never correct them as it is understood that the band,
particularly those two, helped write the rest of the tunes. I don't think they were vague at all,
unless, of course, you are unfamiliar with the songwriting process and don't understand how
precious, facile, complex, simple, layered, and strange it can be when a band comes together
to diplomatically "write a song" especially when there are hyper-sensitive artistic egos involved.
So, you won't ever find them saying: "So yeah, Lisa wrote the bridge to "Take Me With You,"
while Prince and Wendy hammered out the chordal arrangements for the intro, verse, chorus,
and outro."

Anyways, I just think you're looking to purposefully minimize W&L's contributions for whatever
reason, but whatever floats yer boat . . .

and you are looking to overrsate their impact. Them not correcting the interviewer does not ndicates that W&L co wrote the majority of the tracks. W&L can have a significant impact on Prince and yet it can also be overstated by some.

I have seen no evidence of their supposed genius outside of Prince while Prince has written numerous terrefic songs for other artists. So their impact can be both great and overrated.

As far as Parade being Prince's best record and SOTT containing filler, that just shows you how subjective music is. I am personally not a huge fan of psychedellic or psychedellic influenced music. I have recently listened to Parade and SOTT and as far as i am concerned, SOTT is miles better.

The first three tracks on Parade do nothing for me. They seem very undercooked. I know a lot of other die hard fans love them but sorry, i have listened to this record many times and they have never grown on me. I don't care for "Life Can be so Nice" either. On the other hand, tracks that some would consider "corny" like Place of Your Man and Forever in my life are some of my favourite Prince songs. I am not saying you are right or wrong, just that music is very subjective.

Quite frankly, i do not consider Parade to even being close to Prince's best record. It has some terrific stuff but i would take Dirty Mind, 1999, PR and SOTT over it any day.

Germanegro said:

I think Prince explored how much instrumentation he could remove without the song falling appart. I think he gets it absolutely right. Those songs are highly influential as well.

hhhhdmt said:

duccichucka said:

How so?

The hosts of the show make it a point to state that Prince wrote only one or two songs off of
Purple Rain by himself. Wendy and Lisa never correct them as it is understood that the band,
particularly those two, helped write the rest of the tunes. I don't think they were vague at all,
unless, of course, you are unfamiliar with the songwriting process and don't understand how
precious, facile, complex, simple, layered, and strange it can be when a band comes together
to diplomatically "write a song" especially when there are hyper-sensitive artistic egos involved.
So, you won't ever find them saying: "So yeah, Lisa wrote the bridge to "Take Me With You,"
while Prince and Wendy hammered out the chordal arrangements for the intro, verse, chorus,
and outro."

Anyways, I just think you're looking to purposefully minimize W&L's contributions for whatever
reason, but whatever floats yer boat . . .

and you are looking to overrsate their impact. Them not correcting the interviewer does not ndicates that W&L co wrote the majority of the tracks. W&L can have a significant impact on Prince and yet it can also be overstated by some.

I have seen no evidence of their supposed genius outside of Prince while Prince has written numerous terrefic songs for other artists. So their impact can be both great and overrated.

As far as Parade being Prince's best record and SOTT containing filler, that just shows you how subjective music is. I am personally not a huge fan of psychedellic or psychedellic influenced music. I have recently listened to Parade and SOTT and as far as i am concerned, SOTT is miles better.

The first three tracks on Parade do nothing for me. They seem very undercooked. I know a lot of other die hard fans love them but sorry, i have listened to this record many times and they have never grown on me. I don't care for "Life Can be so Nice" either. On the other hand, tracks that some would consider "corny" like Place of Your Man and Forever in my life are some of my favourite Prince songs. I am not saying you are right or wrong, just that music is very subjective.

Quite frankly, i do not consider Parade to even being close to Prince's best record. It has some terrific stuff but i would take Dirty Mind, 1999, PR and SOTT over it any day.

This post is all kinds of wrong:

1) I never said Wendy and Lisa "co wrote the majority of the tracks." Go back and re-
read what I said, which is more nuanced than what you are attributing to me. I am not
looking to overstate their import during their tenure with Prince: I don't particulary care
for them. I'm only interested in understanding Prince's process, which was fraught with
that Minneapolis sound until Wendy and Lisa entered into the mix, and then we hear
Prince pushing the boundaries of that genre forward. That's interesting to me, and like a
good detective, I am tying the pieces together. There's a distinct difference between
what Prince is doing compositionally and sonically before Wendy and Lisa's arrival. We can
safely infer that it was because of them that this overhaul in his songwriting happened.

2) No one ever claimed Wendy and Lisa were "geniuses." But to compare their output
with the output Prince has generated for other artists makes no sense and holds no
bearing to the conversation at hand: we are speaking specifically about their contributions
to Prince's songwriting process and how they (and other songwriting tandems/musicians
in Prince's fold) may not have been given credit where it is due because of Prince's
adherence to the old standard where the band leader gets most if not all of the credit
for songwriting.

3) Of course the value we attach to music is subjective; that being said, I don't hide
behind sheer subjectivity when evaluating music - that's for knuckleheads who don't really
know what they're talking about. Compositionally, I don't think Prince's early work is as
interesting as Purple Rain, Around the World in a Day, or Parade - and I attribute this, in
part, to his willingness to allow outside songwriting sources into his process, to wit, Wendy
and Lisa. And Fischer's orchestral arrangement to "Christopher Tracy's Parade" is hardly
"undercooked."

There's a lot of Prince worship in this forum, duh, but I won't have any of it.

There's also a lot of Prince going on on this forum, but I won't have any of it.

duccichucka said:

hhhhdmt said:

and you are looking to overrsate their impact. Them not correcting the interviewer does not ndicates that W&L co wrote the majority of the tracks. W&L can have a significant impact on Prince and yet it can also be overstated by some.

I have seen no evidence of their supposed genius outside of Prince while Prince has written numerous terrefic songs for other artists. So their impact can be both great and overrated.

As far as Parade being Prince's best record and SOTT containing filler, that just shows you how subjective music is. I am personally not a huge fan of psychedellic or psychedellic influenced music. I have recently listened to Parade and SOTT and as far as i am concerned, SOTT is miles better.

The first three tracks on Parade do nothing for me. They seem very undercooked. I know a lot of other die hard fans love them but sorry, i have listened to this record many times and they have never grown on me. I don't care for "Life Can be so Nice" either. On the other hand, tracks that some would consider "corny" like Place of Your Man and Forever in my life are some of my favourite Prince songs. I am not saying you are right or wrong, just that music is very subjective.

Quite frankly, i do not consider Parade to even being close to Prince's best record. It has some terrific stuff but i would take Dirty Mind, 1999, PR and SOTT over it any day.

This post is all kinds of wrong:

1) I never said Wendy and Lisa "co wrote the majority of the tracks." Go back and re-
read what I said, which is more nuanced than what you are attributing to me. I am not
looking to overstate their import during their tenure with Prince: I don't particulary care
for them. I'm only interested in understanding Prince's process, which was fraught with
that Minneapolis sound until Wendy and Lisa entered into the mix, and then we hear
Prince pushing the boundaries of that genre forward. That's interesting to me, and like a
good detective, I am tying the pieces together. There's a distinct difference between
what Prince is doing compositionally and sonically before Wendy and Lisa's arrival. We can
safely infer that it was because of them that this overhaul in his songwriting happened.

2) No one ever claimed Wendy and Lisa were "geniuses." But to compare their output
with the output Prince has generated for other artists makes no sense and holds no
bearing to the conversation at hand: we are speaking specifically about their contributions
to Prince's songwriting process and how they (and other songwriting tandems/musicians
in Prince's fold) may not have been given credit where it is due because of Prince's
adherence to the old standard where the band leader gets most if not all of the credit
for songwriting.

3) Of course the value we attach to music is subjective; that being said, I don't hide
behind sheer subjectivity when evaluating music - that's for knuckleheads who don't really
know what they're talking about. Compositionally, I don't think Prince's early work is as
interesting as Purple Rain, Around the World in a Day, or Parade - and I attribute this, in
part, to his willingness to allow outside songwriting sources into his process, to wit, Wendy
and Lisa. And Fischer's orchestral arrangement to "Christopher Tracy's Parade" is hardly
"undercooked."

There's a lot of Prince worship in this forum, duh, but I won't have any of it.

Duh, indeed--that will be too bad for you, as this site happens to be a Prince FAN SITE--so how dare you not have ANY of it!

>

>

Prince has taken the initiative to utilize the talent of the musicians he chooses to employ to help realize his particular interest of the time. Wendy and Lisa fit the niche during the Revolution period, period. Within the same band and beyond, Prince has extensively utilized the talented multinstrumentalist Eric Leeds, particularly for his wind instrument mastery, to ehnance his music and to co-write tunes that have expanded his repoitoire. Beyond that still, until his death, as you've mentioned, Clare Fischer with his orchestral arrangments was an undeniable contributor. That was an exciting time, but the list goes on and on for each incarnation of Prince's bands--Shiela E., Michael Bland, John Blackwell, Andre Cymone, Levi Seacer, Sonny Thompson, Rhonda Smith, Matt Fink, Renato Neto, whichever other musician I am missing, and every singer that he has co-recorded have all made contributions to the music. Prince executes the same process today with the utilization of the novice producer Josh Welton, albeit to a lesser or greater impact among his audience.

>

>

When not solo-producing a piece, Prince will write a basic sketch for a song and leave it open to individual memebers to contribute their own flourishes. If he likes them, he keeps them--he can be pretty tasteful in his choices, depending on the audience's subjective taste. When the song is done, he may rightfully give credit to the band (Prince and the Revolution, Prince and the NPG, The NPG, ThirdEyeGirl, and it shall continue)--yes it is his choice, or special credit to one who contributed more. I recall during the Planet Earth/21-Nights-in-London phase of the NPG, people complained about the band being bland. Well, they played Prince's music pretty much straight on with less personality, so they were his cover band for the duration of that project who played the "hits." So not so much collaboration went on at that time--Prince was in bandleader mode. Perhaps you can attribute the changes of compositional complexity to Prince's music to the lesser talent of the man in charge, but regardless, Prince has charted his own course. (NON PRINCE FAN SPOILER) I like this artist very much; some of his product, not as much, but most of what he has brought to the banquet table has been quite enjoyable to me, and I look forward to further creations. This is pop music, and craftsmanship from all around can go into the songwriting, unlike that of your classical music composer, where the music chart reigns absolute and there is no question of who the composer is. It sounds to me like you wish to compare apples to oranges between the traditionally charted music versus the pop music writing process. If I am wrong in this assumption I imagine that you will correct me.

>

>

I like the Parade album--I will rock it when others will not. It doesn't fit the bill for me every time unlike yourself, though, I assume.

duccichucka said:

hhhhdmt said:

and you are looking to overrsate their impact. Them not correcting the interviewer does not ndicates that W&L co wrote the majority of the tracks. W&L can have a significant impact on Prince and yet it can also be overstated by some.

I have seen no evidence of their supposed genius outside of Prince while Prince has written numerous terrefic songs for other artists. So their impact can be both great and overrated.

As far as Parade being Prince's best record and SOTT containing filler, that just shows you how subjective music is. I am personally not a huge fan of psychedellic or psychedellic influenced music. I have recently listened to Parade and SOTT and as far as i am concerned, SOTT is miles better.

The first three tracks on Parade do nothing for me. They seem very undercooked. I know a lot of other die hard fans love them but sorry, i have listened to this record many times and they have never grown on me. I don't care for "Life Can be so Nice" either. On the other hand, tracks that some would consider "corny" like Place of Your Man and Forever in my life are some of my favourite Prince songs. I am not saying you are right or wrong, just that music is very subjective.

Quite frankly, i do not consider Parade to even being close to Prince's best record. It has some terrific stuff but i would take Dirty Mind, 1999, PR and SOTT over it any day.

This post is all kinds of wrong:

1) I never said Wendy and Lisa "co wrote the majority of the tracks." Go back and re-
read what I said, which is more nuanced than what you are attributing to me. I am not
looking to overstate their import during their tenure with Prince: I don't particulary care
for them. I'm only interested in understanding Prince's process, which was fraught with
that Minneapolis sound until Wendy and Lisa entered into the mix, and then we hear
Prince pushing the boundaries of that genre forward. That's interesting to me, and like a
good detective, I am tying the pieces together. There's a distinct difference between
what Prince is doing compositionally and sonically before Wendy and Lisa's arrival. We can
safely infer that it was because of them that this overhaul in his songwriting happened.

2) No one ever claimed Wendy and Lisa were "geniuses." But to compare their output
with the output Prince has generated for other artists makes no sense and holds no
bearing to the conversation at hand: we are speaking specifically about their contributions
to Prince's songwriting process and how they (and other songwriting tandems/musicians
in Prince's fold) may not have been given credit where it is due because of Prince's
adherence to the old standard where the band leader gets most if not all of the credit
for songwriting.

3) Of course the value we attach to music is subjective; that being said, I don't hide
behind sheer subjectivity when evaluating music - that's for knuckleheads who don't really
know what they're talking about. Compositionally, I don't think Prince's early work is as
interesting as Purple Rain, Around the World in a Day, or Parade - and I attribute this, in
part, to his willingness to allow outside songwriting sources into his process, to wit, Wendy
and Lisa. And Fischer's orchestral arrangement to "Christopher Tracy's Parade" is hardly
"undercooked."

There's a lot of Prince worship in this forum, duh, but I won't have any of it.

In every interview with people in the camp during that period it was clear Lisa & Wendy were given access to the Vault to pull out stuff and make arrangements. Prince was really comfortable with those 2 plus Susannah. Prince had Wendy & Lisa in the studio doing a lot of work on songs during that 1984-1986 period, and he trusted them to do so.

214 said:

Overrated? Pleeze! Brilliant album that has never received the same respect in America that it did in Europe. I will listen to Parade for the rest of my life.

OldFriends4Sale said:

Kind of like he did with Planet Earth. He send them songs and let them contribute.