AbstractPoetic91 said:

The first 10 seconds of 17 Days

I found this thread too hard to weigh in on but you make a good point.

revox said:

The Lovesexy freakout:

"Oh, pretty little whip, U got me drippin'
Drippin' all over the floor, the floor
If I come back as a woman, I want a body like yours
A body like yours"

Quintessential Royal Badness.

RJOrion said:

If I Was Your Girlfriend Would you let me wash your hair? Could I make you breakfast sometime? Well then, could we just hang out I mean, could we go to a movie and CRYYYYYYHYYYYHYYYHYYYYYYYY together?"

So fine.

mediumdry said:

First things that come to mind:

-SMASH UP MY RIDE!!! well.. maybe not the ride (Adore)

-And there's always the rainbow... (accented dots) at the end of every rain. (Papa)

-The drumroll opening One for Madhouse

-The bit after the opening synth on High Fashion: drums intro and wicked groove

Which then got me into looking at how he layers voices (for you, tick tick bang, scandalous, etc.) and the thing I like best, when he takes orchestra from one song and lays it on another, or even better, takes two different songs and just puts them on eachother, dissonants and all (Scandalous love suite, Space universal love).

Back to my private listening party.

Re: Adore: exquisite taste.

jillybean said:

CNickyD said:

Yeah, "She's Always in My Hair" is the BOMB, through and through. You need to get the extended version though.

I have the 6 1/2 min version. It's my all time #1 favorite Prince song. Has been since I first heard it in '85. My math probably sucked in figuring out the number of 10 second incriments!

That bass is insane, right from the beginning. The first verse is so bare, just the flangered Linn, the bass, and the voice. The arabian perfumes scattered all over the song are pretty weird to listen to, in retrospection : 7, Thunder, Mayte belly-dancing come to mind.

But I have to go with "Hello" as the best B-side of ATWIAD. After all, "She's Always" is based upon a classic 6b, 7b, 1 progression, even if the way the verse blends into the chorus is pure pop craft.

But "Hello", man...
That infra-bass rumble, the shrieks and hiccups he has during the ad-lib, the bass and the drums losing it near the end, the sped-up guitar, to think this is multi-track layered by just one man would be incredible already. There's nothing that sounds quite like "Hello", one of his very best sonic experiments. As usual, Skipper is in the details, so make sure your headphones spit out a proper flac'd vinyl maxi-single rip. And lend your ear to the very low, dull synth pads, in the bridge.
You can hear Prince doubling the bass on the voice, and doing some boom-boxing and noises in the background. So much going on.

"Girl" is in its own league too.

Again, if you go for a CD version (The Hits, Ultimate, etc.), you'll miss a lot.
Same can be said for all the albums, up to D&P, when Prince decided to enter the loudness wars.

"Now that's a theory, and if U don't want 2 know
Step aside and make a way 4 those who want 2 go"

Some 10 seconds.
Just when you think "Gold" is already on 10, he pushes it to 11.

I literally cannot disagree with one response. Pink Cashmere is a stretch, but still good. All others are amazing. He had some amazing moments in his songs.

Oh Jesus how hard,

Final chorus of the Breakdown,

The end of Come,

The end of to the 9's

Intro to Adore,

Head hurts, question too good, stopping now

bonatoc said:

jillybean said:

I have the 6 1/2 min version. It's my all time #1 favorite Prince song. Has been since I first heard it in '85. My math probably sucked in figuring out the number of 10 second incriments!

That bass is insane, right from the beginning. The first verse is so bare, just the flangered Linn, the bass, and the voice. The arabian perfumes scattered all over the song are pretty weird to listen to, in retrospection : 7, Thunder, Mayte belly-dancing come to mind.

But I have to go with "Hello" as the best B-side of ATWIAD. After all, "She's Always" is based upon a classic 6b, 7b, 1 progression, even if the way the verse blends into the chorus is pure pop craft.

But "Hello", man...
That infra-bass rumble, the shrieks and hiccups he has during the ad-lib, the bass and the drums losing it near the end, the sped-up guitar, to think this is multi-track layered by just one man would be incredible already. There's nothing that sounds quite like "Hello", one of his very best sonic experiments. As usual, Skipper is in the details, so make sure your headphones spit out a proper flac'd vinyl maxi-single rip. And lend your ear to the very low, dull synth pads, in the bridge.
You can hear Prince doubling the bass on the voice, and doing some boom-boxing and noises in the background. So much going on.

"Girl" is in its own league too.

Again, if you go for a CD version (The Hits, Ultimate, etc.), you'll miss a lot.
Same can be said for all the albums, up to D&P, when Prince decided to enter the loudness wars.

Agreed about "Hello" - and your sonic analysis doesn't even mention (drools) the synth hooks. "She's Always in My Hair," on the other hand, isn't in my top 5 b-sides (ducks and dodges rotten food like he's Brown Mark at a Rolling Stones concert). I'm curious, though: when did Prince ride his horny pony to the loudness wars?

I mean to reply to this ages ago and forgot. But I am such a sucker for Prince's voice and the range of sounds, pitches, etc. he could create with it, or even just the spoken jokes/commentary he'd offer mid-song. Here's my list:

Illusion, Coma, Pimp & Circumstance: "like wow... WOW!"

Black Sweat: "I gah uh brand new dance..." (LOVE how he says "got a" like that.)

Bambi: the choral scream of BAAAAAMMMMMBI that comes from the bottom of this throat

Gett Off: "I'm a talented boy..."

Housequake: "Everybody shut up, listen to the band."

Sister: "Oh motherfucker she's a motherfucker can't you understand!"

I would die 4 u: the "chicka chicka chicka" noise he makes

Y Should Eye Do That When Eye Could Do This: Londell's shout-out

Orange Bowl 1985 rehearsal: "You can say it, it's okay."

Life O' the Party: "We don't need no trippin' y'all on this special day"

And on Janelle Monae's Givin 'Em What They Love, I love when Prince comes in with that "I AMMM"

Crystal Ball bass line at 6:40

The guitar at the beginning of Like a Prayer. (Not his "greatest" but it's good.)

kewlschool said:

Crystal Ball bass line at 6:40

The guitar at the beginning of Like a Prayer. (Not his "greatest" but it's good.)

Indeed, the song it's not the same without it.

nonames said:

The line 'right there and then I knew I was through - Dorothy Parker was cool' is my favourite musical moment ever. I don't know why, exactly, but I love the song'with all its retro coolness and fantastic story telling, and in my mind it all culminates in that fantastic moment of self-realisation.

Pretty stiff competition being the best part of Dorothy Parker. I would include "WHO! ever's callin' can't be as cute as you..." Honourable mention to, "Yeah, lemme get a fruit cocktail, I ain't too hungry"

nonames said:

The line 'right there and then I knew I was through - Dorothy Parker was cool' is my favourite musical moment ever. I don't know why, exactly, but I love the song'with all its retro coolness and fantastic story telling, and in my mind it all culminates in that fantastic moment of self-realisation.

"Baby don't you know I'm holding on the best that I can, Love please help me be the better man, Better than the thieves in the temple, temple tonight". Don't know why that is the song that runs through my head most of the time, day or night. It's always on replay in my head. Also any long guitar bits, just thinking about his fingers moving on the strings. God I miss him.

[Edited 6/21/16 19:15pm]

FragileUndertow said:

Why you wanna treat me so bad (fade out)

EXACTLY!

joonzmoon said:

I mean to reply to this ages ago and forgot. But I am such a sucker for Prince's voice and the range of sounds, pitches, etc. he could create with it, or even just the spoken jokes/commentary he'd offer mid-song. Here's my list:

Illusion, Coma, Pimp & Circumstance: "like wow... WOW!"

Black Sweat: "I gah uh brand new dance..." (LOVE how he says "got a" like that.)

Bambi: the choral scream of BAAAAAMMMMMBI that comes from the bottom of this throat

Gett Off: "I'm a talented boy..."

Housequake: "Everybody shut up, listen to the band."

Sister: "Oh motherfucker she's a motherfucker can't you understand!"

I would die 4 u: the "chicka chicka chicka" noise he makes

Y Should Eye Do That When Eye Could Do This: Londell's shout-out

Orange Bowl 1985 rehearsal: "You can say it, it's okay."

Life O' the Party: "We don't need no trippin' y'all on this special day"

And on Janelle Monae's Givin 'Em What They Love, I love when Prince comes in with that "I AMMM"

1 of my faves is the "chicka chicka chicka" too, lol! No 1 gets it. When it happens in the song, no matter where I am, I always lean forward and shake my shoulders.