Genesia said:

KlyphIsBackAgain said:

I couldn't disagree with you more. Not only is this song, which I admittedly called "goofy", my favorite of the recent leaks, but songs like this bring character and diversity to Prince's catalog. Say what you want about W & L's "colorful" contributions to Prince's sound, but they were just that: hues and rays in Prince's otherwise cold, electronic world.

The other thing is that it gives us a glimpse into the creative process. And frankly, as a creative person, myself - I often find the process as interesting as the product (if not more so).

Is "Eggplant" great art? No. But who knows what other ideas - possibly great - might have been spawned by noodling stuff like this? That, to me, is the real value of the so-called lesser tracks.

That and getting a glimpse into Prince's goofy, non-stage persona. It's wonderful to hear him working and having fun.

i dont agree with imprimis really either. I think the bolded is entirely the point with each of these leaks. they were unreleased because they were noodles on the way to constructing other ideas...to me they sound like pieces of a thought building process not the end product.

if Prince meant them to sound releaseable - they would sound that way...

This is the band at work...it sounds like fun and you can hear where everything went and in some cases where it came from so its a total nerdgasm for that

My comments were directed to those who felt that some of these tracks were critically absent from the body of his released work.

.

Certainly, I recognize the importance of scribbles and 'noodles' as an essential and necessary part of the creative process, and the leakers'/traders' intentions to highlight these private moments.

.

Perhaps it could be argued that many of these works, or at least the process refined through recording them, expanded his range of options, influenced his general approach, and informed some of his most memorable released material.

.

terrig said:

Genesia said:

The other thing is that it gives us a glimpse into the creative process. And frankly, as a creative person, myself - I often find the process as interesting as the product (if not more so).

Is "Eggplant" great art? No. But who knows what other ideas - possibly great - might have been spawned by noodling stuff like this? That, to me, is the real value of the so-called lesser tracks.

That and getting a glimpse into Prince's goofy, non-stage persona. It's wonderful to hear him working and having fun.

i dont agree with imprimis really either. I think the bolded is entirely the point with each of these leaks. they were unreleased because they were noodles on the way to constructing other ideas...to me they sound like pieces of a thought building process not the end product.

if Prince meant them to sound releaseable - they would sound that way...

This is the band at work...it sounds like fun and you can hear where everything went and in some cases where it came from so its a total nerdgasm for that

[Edited 9/17/16 10:36am]

Roadhouse Garden...all I can say is God Bless whoever put this out there. This is right up there on top of my wish list. Sp great to have this studio version!! If Emotional Pump surfaces soon I might lose my mind!!

Yeah, that wasn't immediately clear, but I understand now.

I do, however, think that an album made up of the more whimsical, silly, carefree tracks such as Eggplant, Wonderful Day, Go, All My Dreams, etc. would be awesome and right up my alley.

imprimis said:

My comments were directed to those who felt that some of these tracks were critically absent from the body of his released work.

.

Certainly, I recognize the importance of scribbles and 'noodles' as an essential and necessary part of the creative process, and the leakers'/traders' intentions of highlighting these private moments.

.

Perhaps it could be argued that many of these works, or at least the process refined through recording them, expanded his range of options, influenced his general approach, and informed some of his most memorable released material.

.

terrig said:

i dont agree with imprimis really either. I think the bolded is entirely the point with each of these leaks. they were unreleased because they were noodles on the way to constructing other ideas...to me they sound like pieces of a thought building process not the end product.

if Prince meant them to sound releaseable - they would sound that way...

This is the band at work...it sounds like fun and you can hear where everything went and in some cases where it came from so its a total nerdgasm for that

[Edited 9/17/16 10:34am]

[Edited 9/17/16 10:38am]

Today, or as a CB2/RHG retrologue in the past twenty years or so--yes.

.

But impracticable in 1986.

.

I believe this is one aspect to the dissolution of the Revolution that isn't talked about at all (which usually focuses only Sheila E v. Bobby's lack of percussion credentials, or his failed romance with Susannah, topic-shift to the the greatness of later bandmates, etc.)

.

KlyphIsBackAgain said:

Yeah, that wasn't immediately clear, but I understand now.

I do, however, think that an album made up of the more whimsical, silly, carefree tracks such as Eggplant, Wonderful Day, Go, All My Dreams, etc. would be awesome and right up my alley.

imprimis said:

My comments were directed to those who felt that some of these tracks were critically absent from the body of his released work.

.

Certainly, I recognize the importance of scribbles and 'noodles' as an essential and necessary part of the creative process, and the leakers'/traders' intentions of highlighting these private moments.

.

Perhaps it could be argued that many of these works, or at least the process refined through recording them, expanded his range of options, influenced his general approach, and informed some of his most memorable released material.

.

[Edited 9/17/16 11:05am]

imprimis said:

My comments were directed to those who felt that some of these tracks were critically absent from the body of his released work.

.

Certainly, I recognize the importance of scribbles and 'noodles' as an essential and necessary part of the creative process, and the leakers'/traders' intentions to highlight these private moments.

.

Perhaps it could be argued that many of these works, or at least the process refined through recording them, expanded his range of options, influenced his general approach, and informed some of his most memorable released material.

.

terrig said:

i dont agree with imprimis really either. I think the bolded is entirely the point with each of these leaks. they were unreleased because they were noodles on the way to constructing other ideas...to me they sound like pieces of a thought building process not the end product.

if Prince meant them to sound releaseable - they would sound that way...

This is the band at work...it sounds like fun and you can hear where everything went and in some cases where it came from so its a total nerdgasm for that

Well, those people are just crazy.

cb70 said:

Come Elektra Tuesday sounds too slow for me like it was intentionally slowed down by the leaker. I don't know, his voice just doesn't sit right with me for some reason. I sped it up (not sure if I got the speed right) to bring out Camille a bit and it takes it to whole other level. Would like to hear other people's opinions if it sounds correct or not.

It sounds more like ca. 2010 to me. I know it´s an old song from the eighties but you are right, it does sound like it´s either been slowed down or re-recorded.

Genesia said:

imprimis said:

My comments were directed to those who felt that some of these tracks were critically absent from the body of his released work.

.

Certainly, I recognize the importance of scribbles and 'noodles' as an essential and necessary part of the creative process, and the leakers'/traders' intentions to highlight these private moments.

.

Perhaps it could be argued that many of these works, or at least the process refined through recording them, expanded his range of options, influenced his general approach, and informed some of his most memorable released material.

.

Well, those people are just crazy.

genesia..

gotcha imprimis

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of experimenting that took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good reflection of his music community then, and the musical process.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp. She has grown into an extrodinary frontman.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even hearing this version of Glamorous Life before percussions and other instruments came in, it was that 'simple purple beat' that carried the rest of the song through.

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

imprimis said:

Today, or as a CB2/RHG retrologue in the past twenty years or so--yes.

.

But impracticable in 1986.

.

I believe this is one aspect to the dissolution of the Revolution that isn't talked about at all (which usually focuses only Sheila E v. Bobby's lack of percussion credentials, or his failed romance with Susannah, topic-shift to the the greatness of later bandmates, etc.)

.

KlyphIsBackAgain said:

Yeah, that wasn't immediately clear, but I understand now.

I do, however, think that an album made up of the more whimsical, silly, carefree tracks such as Eggplant, Wonderful Day, Go, All My Dreams, etc. would be awesome and right up my alley.

[Edited 9/17/16 11:05am]

OldFriends4Sale said:

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of experimenting that took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good reflection of his music community then, and the musical process.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp. She has grown into an extrodinary frontman.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even hearing this version of Glamorous Life before percussions and other instruments came in, it was that 'simple purple beat' that carried the rest of the song through.

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

OF4S, have you ever considered maybe doing a weekly discussion blurb/write-up post on all things Prince? You have a lot of knowledge that people would like to hear Doesn't have to be a big deal, just a sentence or two.

OldFriends4Sale said:

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of expiramenting that took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good reflection of his music community then, and the musical process.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp. She has grown into an extrodinary frontman.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even hearing this version of Glamorous Life before percussions and other instruments came in, it was that 'simple purple beat' that carried the rest of the song through.

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

imprimis said:

Today, or as a CB2/RHG retrologue in the past twenty years or so--yes.

.

But impracticable in 1986.

.

I believe this is one aspect to the dissolution of the Revolution that isn't talked about at all (which usually focuses only Sheila E v. Bobby's lack of percussion credentials, or his failed romance with Susannah, topic-shift to the the greatness of later bandmates, etc.)

.

[Edited 9/17/16 11:05am]

I agree with you here...fitting into the soundscape of the 90s - of course Prince could and did do it - but it was too rote for him...but imo still great stuff just not 'genre-breaking' ....

I believe 'River Run Dry', as it appears on 'The Family' album track, is entirely Prince on the drumset, fleshed out from and based on a 'warm up' solo Bobby Z performed during rehearsals in the Warehouse ca. late 1983/early 1984.

.

(For that matter, it may also simply be a post-'Purple Rain'-success gift to a friend of a writing credit/royalties by P to BZ that has become mythologized over time, on an album that was already a pigeonhole for a lot of odds-and-ends material and associates lacking a proper home; he was also already seriously entertaining replacing BZ by Summer 1985. Was giving him the writing credit something that may have been intended to give credibility for the label execs and ease the transition into solo recording artist?--certainly he would at least initially score a deal on the basis of his P association and successful producer brother. As an aside, it is my understanding that, after the break-up, P honored all of the Revolution members' contracts, which were good through 1989)

.

Despite the technical sophistication of later drummers, he was a competent pop-rock drummer, and seemed to ease into the innovations of triggered-Linn - live drumming comfortably. For purposes of live performance, a more capable drummer was not strictly necessary for the type of material P released all the way until the end of the 1980s (excluding Madhouse/etc)

---

My concerns are that, as brilliant and enjoyable as the product from this period happens to be, that P's pursuit of these genres and this production styling was, at its most basic level, a diversion that began with not wanting to be 'Mr Purple Rain' beginning in late 1984, wanting to be more musically sophisticated, a response to press criticisms of his sound's limitations or that he 'whitewashed' his image with PR, and, over time, became a somewhat self-indulgent dodge to avoid dealing with a rapidly shifting commercial music landscape, especially in 1986.

.

Prince's biggest commercial success was inextricably tied to his impressario abilities to bend and fold the production sensibilities at the very end of the early-1980s. At first, I believe he feared overexposure and was self-confident about some of those 'Village Voice' criticisms, and, as time went on, I believe he may have felt that the rug was being pulled out from under him as the sonic template of the time changed and others moved in.

.

From a strictly commercial and not an artistic point of view, I don't see how the Revolution, or a sound consistent with what he produced during the last one or two years thereof, could have survived beyond ca. 1988, and how weak it would appear to listeners of the time in the face of highly overproduced late-80s glitter/NJS/etc.

.

My argument is that, he had certain commercial expectations to uphold due to the magnanimous level of his stardom at time, and that by indulging in disctractions, he waited too long to act to develop a viable sound of his own after 1985, and these conditions helped to 'set the stage' a few years later for his uninspiring 'trend-chasing' (especially by 1989 and for many years afterwards).

.

His 1985-1988 modus operandi is usually portrayed as classic examples of P "not doing what you would expect for his next move", but I believe that it can't factually or rationally be viewed solely as grandstanding for higher artistic and moral purposes. In some sense, and to some degree, even if he had the purest artistic intentions at heart, he waited too long to act, or was unable to.

.

OldFriends4Sale said:

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of expiramenting took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good refection.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

imprimis said:

Today, or as a CB2/RHG retrologue in the past twenty years or so--yes.

.

But impracticable in 1986.

.

I believe this is one aspect to the dissolution of the Revolution that isn't talked about at all (which usually focuses only Sheila E v. Bobby's lack of percussion credentials, or his failed romance with Susannah, topic-shift to the the greatness of later bandmates, etc.)

.

[Edited 9/17/16 11:05am]

[Edited 9/17/16 12:58pm]

terrig said:

OldFriends4Sale said:

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of expiramenting that took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good reflection of his music community then, and the musical process.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp. She has grown into an extrodinary frontman.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even hearing this version of Glamorous Life before percussions and other instruments came in, it was that 'simple purple beat' that carried the rest of the song through.

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

I agree with you here...fitting into the soundscape of the 90s - of course Prince could and did do it - but it was too rote for him...but imo still great stuff just not 'genre-breaking' ....

right, 90s had some cool stuff, but it seemed easy. or Everyday. Which is why I lost interest for a while.

There was a solidifying of his sound(s) happening in the 1982-1986 period, that had a maturity to it. Who wouldn't take Dance With the Devil over Lemon Crush? or Sexual Suicide over Cream... give me 1981 Tick Tick Bang over 1990s Tick Tick Bang...stuff that still would stand all time.

Thank you fellow orgers!

OldFriends4Sale said:

terrig said:

I agree with you here...fitting into the soundscape of the 90s - of course Prince could and did do it - but it was too rote for him...but imo still great stuff just not 'genre-breaking' ....

right, 90s had some cool stuff, but it seemed easy. or Everyday. Which is why I lost interest for a while.

There was a solidifying of his sound(s) happening in the 1982-1986 period, that had a maturity to it. Who wouldn't take Dance With the Devil over Lemon Crush? or Sexual Suicide over Cream... give me 1981 Tick Tick Bang over 1990s Tick Tick Bang...stuff that still would stand all time.

I much prefer Lemon Crush to Dance with The Devil.

imprimis said:

My concerns are that, as brilliant and enjoyable as the product from this period happens to be, that his pursuit of these genres and productions was, at its most basic level, a diversion that began with not wanting to be 'Mr Purple Rain' in 1985, wanting to be more musically sophisticated, a response to press criticisms of his sound's limitations or that he 'whitewashed' his image with PR, and, over time, became a somewhat self-indulgent dodge to avoid dealing with the shifting commercial music landscape, especially in 1986.

.

From a strictly commercial and not an artistic point of view, I don't see how the Revolution, or a sound consistent with what he produced during the last one or two years thereof, could have survived beyond ca. 1988, and how weak it would appear to listeners of the time in the face of highly overproduced late-80s glitter/NJS/etc.

.

OldFriends4Sale said:

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of expiramenting took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good refection.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

[Edited 9/17/16 11:56am]

well we are listening to 'demos' of these songs. So we don't see the full effect.
But the Glamorous life demo & the released show a long range story.

Wimsical isn't just what he did with the Revolution. So I don't want to conclude that is what they were. Computer Blue is also what they were. Some might say that was wimsical? But that kind of stretching out, ... Computer Blue I still cannot get enough of.

Mountains, a very mature song, that is timeless,
Power Fantastic Wonderful Ass In A Large Room With No Light...

Songs that easily would have had adult attention as well as youth
The thing that lost me with Prince in the 90s was that he put out a lot of in the moment stuff, but there weren't the levels, like I was used to. I was a young man in college and 'finding myself' looking for depth and color, and as fun as Get Off was, there were other musicians giving me a depth and a musical culture Prince used to give me. It just wasn't there. He tried to hold onto it into 88 and 90 but the characters were either dissolusioned or new and brought their own vision to the table without really getting Prince's

mushmackalenta said:

OldFriends4Sale said:

right, 90s had some cool stuff, but it seemed easy. or Everyday. Which is why I lost interest for a while.

There was a solidifying of his sound(s) happening in the 1982-1986 period, that had a maturity to it. Who wouldn't take Dance With the Devil over Lemon Crush? or Sexual Suicide over Cream... give me 1981 Tick Tick Bang over 1990s Tick Tick Bang...stuff that still would stand all time.

I much prefer Lemon Crush to Dance with The Devil.

lol not saying it isn't a good song. It's fun. But for me Dance with the Devil still takes me places that Lemon Crush left me back in 89.

Mumio said:

OldFriends4Sale said:

But from the Rebels Sessions 2 the Dream Factory(Camille/Crystal Ball) this kind of experimenting that took place. And I think it had to in a sense in order for Prince to break barriers as he wanted.

I think it is all a good reflection of his music community then, and the musical process.

Sheila E was set by Prince to be a frontman. And when she replaced Bobby Z. she was still that starlett. But Sheila E never had the writing/creativity that the Revolution had with Prince. Bobby Z's River Run Dry goes past most of what Sheila E has done on record after she left the camp. She has grown into an extrodinary frontman.

Sheila E's drumming didn't 'make' Prince's music much better. Because from 1980-1985 it was those beats that held the rest of the music on course like Lady Cab Driver, that was so attractive about the music. There are only so many song in Prince's catalogue that I'm attracted to a bunch of roles and flares. I do love Tamborine, I do love Life Can Be So Nice, I do love Everywhere

Even hearing this version of Glamorous Life before percussions and other instruments came in, it was that 'simple purple beat' that carried the rest of the song through.

Even on Sheila's 3 albums the drumming is still quite spars, but has the purple music touch. It's the other touchs that built the sound.

I think if Prince continued with more wimsical stuff which he did a for a bit in the 80s, instead of trying to go the route of being 'mainstream' he could have traversed the 90s soundscape much better.

OF4S, have you ever considered maybe doing a weekly discussion blurb/write-up post on all things Prince? You have a lot of knowledge that people would like to hear Doesn't have to be a big deal, just a sentence or two.

lol I thought about a Purple Music 101 blurb

I've been thinking about it more since Prince's passing

I don't want the legacy to be lost at all, he was such a culture

Really enjoying the sped-up "Camille version" of "Come Elektra Tuesday" that someone has made. Actually sounds even better this way haha. Sounds like Shockadelica's little brother this way.

OldFriends4Sale said:

Mumio said:

OF4S, have you ever considered maybe doing a weekly discussion blurb/write-up post on all things Prince? You have a lot of knowledge that people would like to hear Doesn't have to be a big deal, just a sentence or two.

lol I thought about a Purple Music 101 blurb

I've been thinking about it more since Prince's passing

I don't want the legacy to be lost at all, he was such a culture

Think more seriously on it then, I think it would be a great idea. I've seen your postings here and there and was impressed with what you know. I know I can't be alone in that and no doubt people new to Prince would get a lot out of it.

OldFriends4Sale said:

Mkilpatrick74 said:

i tried my best but but got no clue how to find these. sighhhssss.....sad now.

I feel your pain, my friend.

-

Never thought I'd say this, but: I sure wish I was experiencing leakage right now!

mushmackalenta said:

OldFriends4Sale said:

right, 90s had some cool stuff, but it seemed easy. or Everyday. Which is why I lost interest for a while.

There was a solidifying of his sound(s) happening in the 1982-1986 period, that had a maturity to it. Who wouldn't take Dance With the Devil over Lemon Crush? or Sexual Suicide over Cream... give me 1981 Tick Tick Bang over 1990s Tick Tick Bang...stuff that still would stand all time.

I much prefer Lemon Crush to Dance with The Devil.

To be honest album wise I agree here. While Dance is much more moving and emotioanlly involved. It would not fare well after Trust and before Scandelous. nevertheless none would have been chosen as singles but still. Lemon Crush is just so sexy and weird.

i've never been able to understand the almost unanymous love that 'dance with the devil'
gets on this site. i think it's melodramatic, cheesy and way inferior to let's say 'scandalous'.


it's one of perhaps a dozen or so prince songs, outtakes included, that i really don't like.
not hate, just don't like.


now, lemon crush is just weird and cool plus, i love the guitar

[Edited 9/17/16 13:00pm]

IstenSzek said:

i've never been able to understand the almost unanymous love that 'dance with the devil'
gets on this site. i think it's melodramatic, cheesy and way inferior to let's say 'scandalous'.

it's one of perhaps a dozen or so prince songs, outtakes included, that i really don't like.
not hate, just don't like.

.

Burton requested a theme for the closing credits. It works to a certain extent in that context. The film also underwent rapid, significant changes in editing/post-production. The entire film production was dogged early on with bad press just on the basis of Michael Keaton and 'Beetlejuice'. A successful trailer allayed some of that, but no risks could be taken.

.

For that matter, it was originally intended that P's soundtrack would be very visibly/audibly used in the film, but I don't believe Burton was overly receptive to the material being offered (including a 1989 Princely 'remake' of the 1960s Batman television theme, which is referenced or sampled in 'Batdance').

.

Am I alone in thinking that '200 Balloons' was the better song to 'Trust'? Of course, it couldn't reside on the same record as 'Batdance' if they decided to use it in the film.

.

Batman '89 was way too high-stakes a commercial enterprise for something as 'off'/weird as this to make it to the final stages.

.

It is actually one of my favorite 1989-era outtakes, it crosses so many emotional lines, has that, as you say, cheesy-melodramatic quality (a bit like 'Thunder' in its extended form), and manages to be funky and keep a beat, but it was destined for the Vault.

.

[Edited 9/17/16 13:21pm]

Roadhouse Garden is a grower.

CherryMoon57 said:

Roadhouse Garden is a grower.

I like it, I like listening to this one, then listening 2 the 'finished' live version.
This demo of it, is almost like it is focusing on a certain aspect before bringing in all the instruments

It's cool to listen 2 the Glamorous Life like this too

paisleypark4 said:

mushmackalenta said:

I much prefer Lemon Crush to Dance with The Devil.

To be honest album wise I agree here. While Dance is much more moving and emotioanlly involved. It would not fare well after Trust and before Scandelous. nevertheless none would have been chosen as singles but still. Lemon Crush is just so sexy and weird.

I understand the difference from what song to release with the soundtrack. If it was a later Batman movie the Dark Knight it would work perfectly

I meant in general. song 2 song, I would take Dance with the Devil if I could only have 1 choice.

CherryMoon57 said:

Roadhouse Garden is a grower.

I think its a demo of a more finished version. Compared to the live Bday show its missing Wendy and Lisa's vocals in there. I'm sure there is a more finished version of that. Anybody wanna ride the train?