databank said:
Nonsense. Right. If that was Pablo's decision, then who are we to say we know better? Maybe he isn't the best example, but the old masters like Rembrandt used to have their assistents work on their paintings all the time, to the point where experts are still wondering whether some paintings are "real" or not. The point is, you can criticize a work of art all you want, but don't mess with it. [Edited 9/27/16 1:10am] | |
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Moreover, it is not necessarily true that an artist executes every little aspect of their work. The artist is the person whose vision is represented by the work of art, and any part realized by a third party that's been condoned by the artist for use has the same level of legitimacy as anything the artist does themselves. A COMPREHENSIVE PRINCE DISCOGRAPHY (work in progress ^^): https://sites.google.com/...scography/ | |
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That's right. Getting back to Prince, I see these two albums as a phase he was going through: he wanted to do something with hiphop and get back to having mainstream success. So he hired a rapper to do that. Maybe not the best rapper he could've got, but he was what Prince wanted at the time. It's all part of the musical development. A few years later, when he dumped half the NPG, he handled rap a whole lot better: Days of Wild, Now, Acknowledge Me, they're all great. He just needed to mess with the genre a bit before finding out how to use it and Tony M was part of that, for better or for worse. | |
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theartistirl said: AnonymousFan said: I think I'm the only one who likes Prince's integration of Tony M in the 90s. [Edited 9/24/16 23:17pm] No. I don't mind him either. [Edited 9/24/16 23:49pm] Yep. I love those albums. ...every night another symphony... | |
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. Completely agree with the first three statements. . (Not sure I understand the fourth statement.) | |
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I would prefer not to hear those albums butchered like that (as flawed as parts may be). | |
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