Fuck, this album gives him loggorhea, sorry.

bonatoc said:

databank said:

bonatoc said:

"Eight" is a Brian Wilson's dream come true.
I mean what the hell is this slow-downed sample?
Who does shit like this?

Madhouse's "8", over-rated? You don't get it.
It's a session album. It takes a jazz element (the saxophone), takes a jazz approach in the recording ("Eric, just play what you want over this beat"), it's just a jam.

Except it's elegant pop ("One"), it's porno-sax ("Six"), it sounds like Charlie Chaplin meets Graham Bell ("Five"), and I feel like saying looks like a calm snapshot of the Holy Ghost ("Eight").

It's a pop album. The public would love it.
It has that kind of accessiblity of the "Köln Concert", but it doesn't pretend to be a Jazz album, it's too full of humour and fun to be taken seriously. It reminds me of Eric's quote on the Lovesexy Tour program.

I can't tell you how many times I've put on "8" during dinners and at some point someone asks me what is this great music we're hearing. That's what instrumental albums are for: music tapestry while you're eating or drinking.

To me, "8" has a humble quality, if you see what I mean. "Three" isn't supposed to be "Slow Love" pt. II, or a piece worth of "Kind Of Blue".
That's what makes it so great.

N.E.W.S., well... It sounds like Prince thought it was a good idea to listen to too much Pat Metheny.
I think Jazz-Rock sucks, that's probably why I have a problem with "16", like Prince thinking going after "Tutu" is a good idea.

"16" has a great, scary sound. No question, the production is fantastic.
But take the samples away, put away the big garage doors reverbs, well...
Not much left to eat for me.

Great remarks However I fail to see anything in 16 that would relate it to Tutu. I think we need to pay attention to the subtilte 'new directions in garage music". I don't think this could possibly be garage rock, and UK garage didn't exist yet, so what we're left with is garage house, which was popular in the 80's. If you analyse the musical structure of most of the album's track, they indeed are built like repetitive pieces of techno music (electronic music was still pretty barebone back then). If my interpretation is correct, that approach was pretty innovative at the time (trying to emulate electronica with traditional instruments and a jazz-funk sound). The album also reminds me of some of Akira Sakata's and Toshinori Kondo's 80's work, which consisted mostly of making jazz over agressive electronic music (sort of in the vein of what Laswell and Hancock were doing, mut much more efficiently), but I doubt Prince had been exposed to those confidential Japanese artists back then.

In the end 16 is just jamming brought back to its most minimalist roots: little no no melody, agressive beats, joy in repetition with no interest for variations. I think it's definitely a challenging record, one that's hard to enjoy, and that may be why I like it so much.

As for NEWS it's another dabate entirely; for another thread. I am not familiar enough to Metheny's works to see the influence: any albums I should listen to?

Holy shit. From this point of view, you're abso-fockin-lutely right.
I'll go cover my head in ashes.

Funniest/saddest thing is, for all my criticim, "16" was my only record for probably 2 months non-stop.
But I was 15, hence "cleverer", mon ami.

OK, I used to underrate "16".
Now I remember. Time and context matter.
But one could argue that techno NEEDS sequencers. "16" is a fantastic jam with Prince switching synth presets. To think these are live interactions, maybe fully improvised, between Prince and Eric is certainly incredible, but it's not techno at all. SITW is.

OK, I think I know. One could find it "too intellectual".
"8" just flows, easier than do-re-mi, a-b-c, you know the drill.

Another thing that upsets me: there's another thread speaking of "sinister" going on.
"16" is sinister. "10" scares the bejesus out of me.
If you listen carefully, there's an insane woman screaming drenched in reverb, during one of the returning stabs. IT SCARED ME AND STILL DOES.

Bonatoc not like "16", but it apperas it's a Lovecraft/Freudian thang. No big deal.

bonatoc said:

rob1965 said:

leadline said: Very true! I listen to it quite a lot as well.

I find "One" to be especially incredible about precisely Prince's performance as an instrumentist.
The drums and the bass are insane.
To think it's necessarily either the drums or the bass that was recorded first (Prince ain't no octopus)...
And what about keyboards, the piano on "One" especially, the incredible synths line on "Eight"...

Let us all praise Eric's melodic sense.
Oh, and what a fantastic flute player.
Has it been asserted who is responsible for the melodies
of "8"? I would like to think it's part Prince "dictating" to Eric, part Eric's own ideas.

Please confirm if someone else hears Atlanta Bliss in the last part of "Eight".
There's a trumpet, right?

Prince, for all the commonly bad rap he deserves about being too much of an autarcic, was feeling very free and let inspiration flow through him particularly when he was on full connection with his band membes, whatever the era.
"Exodus" wouldn't be as fantastic without the connection of the NPG Power Trio,
heck count Tommy Barbarella and Mayte in.
Exodus is a record by a group of friends, before being by a band.
It exsudes that, hence the hilarious segues and the fantastic good mood throughout.


Like with Wendy and Lisa, I think his best work is tied to his audible happiness being to do music with a band.
"Purple Rain" is a Revolution album, even if he presumably recorded "17 Days" all by himself,
one cannot underestimate the impact the Warehouse rehearsals with The Revolution
forged the entire album's spirit. And "17 Days" wouldn't be the same without the Girls Brothers.

Again, for someone hastily judged as being egotistic, he fully blossomed when he put "and Friends" next to his name. He thought it was cooler. Or better, that he had become good enough to associate his name with a band.
Maybe he was thinking he had become as good as Sly. Hence his own self-attributed " and The Family Stone".
Which is excellent, and humble me thinks.
Like, up until 1999 if the record's bad, he's the only culprit.
But with a band, you're the captain. You're the skipper.
You can't disappoint your crew, they're counting on you.
Yeah, I'm being idealistically naive...

I know I sound kinda stoopid on this one, there are plenty of incredible one-man pieces all over Prince's records. But something like "Girl O' My Dreams"? Come on! I'm so glad that an insanely great moment like that is the product of Prince loving his musicians and his musicians loving him back.

I'm glad "All My Dreams" is a "Revolution song" (again, no matter how many tracks performed by Prince himself).
Or at least with an indispensable input from its members. Prince decided so.
Same goes for "Wonderful Ass", "Crystal Ball"...
Sometimes they're small inputs, but nonetheless.
Prince considered them an indispensable spice or color, and he was spot on.
What a great taste he had, at precise moments in his life.
I mean he always kinda did, but the acmes... Vertigo.

So back on the subject, if it was just an album entirely made by Prince with The Revolution's saxophonist in three days it would already be Guinness Book material.
This album is more than that.
Maybe some of the readers will discover "Eight" post 04/21 and cry.

This is 72 hours of trance laid on tape. As if on dictation.
OK, it's not "In A Silent Way", sure.
But it's, with "Steve McQueen" by Prefab Sprout, "Mingus" by Joni, one of the best Pop/Jazz cross-overs ever to be found in Pop-capital-P music.

I love "The Dream Of The Blue Turtles", but it looks incredibly pretentious and overdone
next to the gem that is "8".
"— And WITHOUT singing a single note, Sting!", I'd like him ro hear yelping from the Afterworld†™©®.
Of course, a frightened Sting at Wembley Arena 1986 is further proof The Revolution was the "baddest band in the universe", even if just for one year.
"Yeah, fuck The Stones, what was their 1986 album again?" (Wendy — or Bobby)

I don't know if any of you are musicians and experienced studio sessions, but after six hours you have to take break, you can't hear shit clearly, that's just how the brain works. Even the top-of-the-notch engineers/session musicians need to breathe to perform at their very best.

Prince is Our Prince for a reason.
God, thank you for such a Childhood Hero/Spiritual Big Brother.
And thank U, SKipper: Paisley Park is in my heart.

[Edited 10/29/16 6:10am]

Wonderful (AGAIN) I'm swooning over your post

I read a review on the Romance 1600 album and they said some similar stuff, that if the album had more band accompaniment it could have taken on different life and energy. Merci4theSpeedofAMadClownInSummer was the only song with the full band

and the splendedly recorded in 1 take Power Fantastic and it meloncholy magic...

TrivialPursuit said:

"8" has the same chords and keyboard part from "U Got The Look", which really shows how versatile one keyboard part can be in a pop song, or in a mellow instrumental ballad.

Well now then those two are calling for a strange mashup with "Bob George" which has the same guitar voice and chord progression as U Got the Look.

rob1965 said:

I'm lucky enough to still have both albums. I don't have the cd versions but I think it would be a great idea to re-release both albums either as vjnyl or cd again. I'd love to have both albums on cd as well. If there's anything that deserves a re-release after P passed away, it's these albums.

I still have both LPs, as well as the three maxi-singles (6, 10 and 13), all vynil.

Oh, how gorgeous were these 30x30 cm PP release record sleeves.
Jill Jones is great, The Family is fantastic.

I've always been proud to put on prominently display
my latest Prince buyings while I was getting back from the Wrecka Stow.
Although that was not really on purpose,
I was just examining the whole record, liner and production notes,
the lyrics if any, all excited and impatient to get home and put the needle for the first time
on the immaculate Polyvinyl acetate (Power Soul).

Displaying the Lovesexy sleeve made a few starred eyes,
it was kinda political and I could feel it.
I was so proud to be one of the rare who dug Prince in school.
Fuck, I was experiencing his state of grace in real time, weeks, months, and I knew it.
Prince mad me feel I was smarter. That I had more taste.
Prince gave me self-confidence in the midst of my parent's divorce.

The Madhouse big boobs? That was political as well.
In a very gorgeous way.

And a kind of revenge: after hearing after hearing the same homo-suspicious
remarks from Girls and Boys alike in the Schoolyard,
it felt great to display such a hottie and say to them:
"See? See? That's one of his girlfriends! What more do you want?"
It's not that I would have had a problem with P being gay.
It was just so obvious he was not, since day one.
But I digress.

OldFriends4Sale said:

bonatoc said:

I find "One" to be especially incredible about precisely Prince's performance as an instrumentist.
The drums and the bass are insane.
To think it's necessarily either the drums or the bass that was recorded first (Prince ain't no octopus)...
And what about keyboards, the piano on "One" especially, the incredible synths line on "Eight"...

Let us all praise Eric's melodic sense.
Oh, and what a fantastic flute player.
Has it been asserted who is responsible for the melodies
of "8"? I would like to think it's part Prince "dictating" to Eric, part Eric's own ideas.

Please confirm if someone else hears Atlanta Bliss in the last part of "Eight".
There's a trumpet, right?

Prince, for all the commonly bad rap he deserves about being too much of an autarcic, was feeling very free and let inspiration flow through him particularly when he was on full connection with his band membes, whatever the era.
"Exodus" wouldn't be as fantastic without the connection of the NPG Power Trio,
heck count Tommy Barbarella and Mayte in.
Exodus is a record by a group of friends, before being by a band.
It exsudes that, hence the hilarious segues and the fantastic good mood throughout.


Like with Wendy and Lisa, I think his best work is tied to his audible happiness being to do music with a band.
"Purple Rain" is a Revolution album, even if he presumably recorded "17 Days" all by himself,
one cannot underestimate the impact the Warehouse rehearsals with The Revolution
forged the entire album's spirit. And "17 Days" wouldn't be the same without the Girls Brothers.

Again, for someone hastily judged as being egotistic, he fully blossomed when he put "and Friends" next to his name. He thought it was cooler. Or better, that he had become good enough to associate his name with a band.
Maybe he was thinking he had become as good as Sly. Hence his own self-attributed " and The Family Stone".
Which is excellent, and humble me thinks.
Like, up until 1999 if the record's bad, he's the only culprit.
But with a band, you're the captain. You're the skipper.
You can't disappoint your crew, they're counting on you.
Yeah, I'm being idealistically naive...

I know I sound kinda stoopid on this one, there are plenty of incredible one-man pieces all over Prince's records. But something like "Girl O' My Dreams"? Come on! I'm so glad that an insanely great moment like that is the product of Prince loving his musicians and his musicians loving him back.

I'm glad "All My Dreams" is a "Revolution song" (again, no matter how many tracks performed by Prince himself).
Or at least with an indispensable input from its members. Prince decided so.
Same goes for "Wonderful Ass", "Crystal Ball"...
Sometimes they're small inputs, but nonetheless.
Prince considered them an indispensable spice or color, and he was spot on.
What a great taste he had, at precise moments in his life.
I mean he always kinda did, but the acmes... Vertigo.

So back on the subject, if it was just an album entirely made by Prince with The Revolution's saxophonist in three days it would already be Guinness Book material.
This album is more than that.
Maybe some of the readers will discover "Eight" post 04/21 and cry.

This is 72 hours of trance laid on tape. As if on dictation.
OK, it's not "In A Silent Way", sure.
But it's, with "Steve McQueen" by Prefab Sprout, "Mingus" by Joni, one of the best Pop/Jazz cross-overs ever to be found in Pop-capital-P music.

I love "The Dream Of The Blue Turtles", but it looks incredibly pretentious and overdone
next to the gem that is "8".
"— And WITHOUT singing a single note, Sting!", I'd like him ro hear yelping from the Afterworld†™©®.
Of course, a frightened Sting at Wembley Arena 1986 is further proof The Revolution was the "baddest band in the universe", even if just for one year.
"Yeah, fuck The Stones, what was their 1986 album again?" (Wendy — or Bobby)

I don't know if any of you are musicians and experienced studio sessions, but after six hours you have to take break, you can't hear shit clearly, that's just how the brain works. Even the top-of-the-notch engineers/session musicians need to breathe to perform at their very best.

Prince is Our Prince for a reason.
God, thank you for such a Childhood Hero/Spiritual Big Brother.
And thank U, SKipper: Paisley Park is in my heart.

[Edited 10/29/16 6:10am]

Wonderful (AGAIN) I'm swooning over your post

I read a review on the Romance 1600 album and they said some similar stuff, that if the album had more band accompaniment it could have taken on different life and energy. Merci4theSpeedofAMadClownInSummer was the only song with the full band

and the splendedly recorded in 1 take Power Fantastic and it meloncholy magic...

what does he mean by 72 hours of music.

^ Meaning the recording studio sessions lasted 3 days.

Well, 4 according to Princevault.

I was at one of the 1987 Paris concerts, in the front row.
It was a blast, Levi slapping his bass is really something.
Eric on the baritone was making sub-basses.

The SOTT Tour audio gear was incredible, the sound of the show.
A friend who was sitting way back in the aisles told me the sound was fantastic even from there.
I think they used some quadriphonic system or some state of the art sonorisation.