Have any of you guys heard the PURPLE RAIN TOUR soundboard recordings, specifically

LITTLE RED CORVETTE.

The tour featured a gentle, lilting organ and synth and drum machine intro...and during this version of the song Lisa overlayed this beautiful, haunting keyboard lick over the central melody.

If you ever get a chance to hear it you will want ALL VERSIONS of LRC to have this element added. It's great stuff.

Lisa has a way with 9ths and 4ths, it's a cross between classical music and Joni's guts.
Have you ever played the chords sequence from the vinyl inner sleeve of Parade?
Great stuff. Wendy's chords too. Right there, in 1986, it's obvious they are the main influence on Parade, where Susannah (daughter of L.A. rock royalty) blends with Kristin, along with every song genre. The World Is High, damn right.

I love her piano on "All My Dreams", she's really coloring the other side of the train, very psychedelic, better than any drug-induced song of the 60's. She would play over "Pet Sounds" and give him the optimism it lacks. The whole song is an homage to Sergeant Pepper's Lonely Hearts Club Band the album. But almost the whole of "Magical Mystery Tour" sucks compared to the finale only.

Lisa is great. SISIA would not sound the same, without W&L. It's a single, live studio take, that tells you how much Prince let the girls come close to his heart.

bonatoc said:

Lisa has a way with 9ths and 4ths, it's a cross between classical music and Joni's guts.
Have you ever played the chords sequence from the vinyl inner sleeve of Parade?
Great stuff. Wendy's chords too. Right there, in 1986, it's obvious they are the main influence on Parade, where Susannah (daughter of L.A. rock royalty) blends with Kristin, along with every song genre. The World Is High, damn right.

I love her piano on "All My Dreams", she's really coloring the other side of the train, very psychedelic, better than any drug-induced song of the 60's. She would play over "Pet Sounds" and give him the optimism it lacks. The whole song is an homage to Sergeant Pepper's Lonely Hearts Club Band the album. But almost the whole of "Magical Mystery Tour" sucks compared to the finale only.

Lisa is great. SISIA would not sound the same, without W&L. It's a single, live studio take, that tells you how much Prince let the girls come close to his heart.

WOW. Awesome commentary. Heady stuff. The idea of Lisa playing over Pet Sounds makes me really want to hear something like this!!!

soladeo1 said:

bonatoc said:

Lisa has a way with 9ths and 4ths, it's a cross between classical music and Joni's guts.
Have you ever played the chords sequence from the vinyl inner sleeve of Parade?
Great stuff. Wendy's chords too. Right there, in 1986, it's obvious they are the main influence on Parade, where Susannah (daughter of L.A. rock royalty) blends with Kristin, along with every song genre. The World Is High, damn right.

I love her piano on "All My Dreams", she's really coloring the other side of the train, very psychedelic, better than any drug-induced song of the 60's. She would play over "Pet Sounds" and give him the optimism it lacks. The whole song is an homage to Sergeant Pepper's Lonely Hearts Club Band the album. But almost the whole of "Magical Mystery Tour" sucks compared to the finale only.

Lisa is great. SISIA would not sound the same, without W&L. It's a single, live studio take, that tells you how much Prince let the girls come close to his heart.

WOW. Awesome commentary. Heady stuff. The idea of Lisa playing over Pet Sounds makes me really want to hear something like this!!!

He gives the best

bonatoc said:

Lisa has a way with 9ths and 4ths, it's a cross between classical music and Joni's guts.
Have you ever played the chords sequence from the vinyl inner sleeve of Parade?
Great stuff. Wendy's chords too. Right there, in 1986, it's obvious they are the main influence on Parade, where Susannah (daughter of L.A. rock royalty) blends with Kristin, along with every song genre. The World Is High, damn right.

I love her piano on "All My Dreams", she's really coloring the other side of the train, very psychedelic, better than any drug-induced song of the 60's. She would play over "Pet Sounds" and give him the optimism it lacks. The whole song is an homage to Sergeant Pepper's Lonely Hearts Club Band the album. But almost the whole of "Magical Mystery Tour" sucks compared to the finale only.

Lisa is great. SISIA would not sound the same, without W&L. It's a single, live studio take, that tells you how much Prince let the girls come close to his heart.

Interesting to read your thoughts on those notes Lisa played. Her playing as such reminded me of something Bernie Worell would do in his aural coloring of Parliament jams, also. She certainly made musical contributions, however you look at it.

^^^and thanks, soladeo1 for your post. I'll have to look out for a recording of what you've described from the LRC prelude in concert!

bonatoc said:

Have you ever played the chords sequence from the vinyl inner sleeve of Parade?

Wow! Could u possibly play them and post 'em on YT? I'm curious now!

databank said:

bonatoc said:

Have you ever played the chords sequence from the vinyl inner sleeve of Parade?

Wow! Could u possibly play them and post 'em on YT? I'm curious now!

same here !!! please could you, bonatoc? i've never even noticed those notes as such
despite parade being my all time favorite album! anything to do with it is catnip to me
so hearing that bit of music performed would be amazing

i have always loved that intro. I assumed, could be wrong, that Prince had written that and told Lisa to play it. I wouldn't be too stubborn with that idea. Anyway, if you ever hear prince play it on piano (SOTT movie, various live shows) it's somewhat similar in that it's arpeggiated chords. I cover LRC and I play it like it is on the album and I play it with broken chords, either way it's magic.

In Purple Rain, the scene where Prince plays Purple Rain at the piano (yes, i play that too) he similarly plays it with arpeggios instead of the chords, I believe it's a prince thing.

bonatoc said:

Check your orgnotes

bonatoc said:

Lisa has a way with 9ths and 4ths, it's a cross between classical music and Joni's guts.
Have you ever played the chords sequence from the vinyl inner sleeve of Parade?
Great stuff. Wendy's chords too. Right there, in 1986, it's obvious they are the main influence on Parade, where Susannah (daughter of L.A. rock royalty) blends with Kristin, along with every song genre. The World Is High, damn right.

I love her piano on "All My Dreams", she's really coloring the other side of the train, very psychedelic, better than any drug-induced song of the 60's. She would play over "Pet Sounds" and give him the optimism it lacks. The whole song is an homage to Sergeant Pepper's Lonely Hearts Club Band the album. But almost the whole of "Magical Mystery Tour" sucks compared to the finale only.

Lisa is great. SISIA would not sound the same, without W&L. It's a single, live studio take, that tells you how much Prince let the girls come close to his heart.

IstenSzek said:

databank said:

Wow! Could u possibly play them and post 'em on YT? I'm curious now!

same here !!! please could you, bonatoc? i've never even noticed those notes as such
despite parade being my all time favorite album! anything to do with it is catnip to me
so hearing that bit of music performed would be amazing

Hope this works:
http://onlinesequencer.net/396587

Couldn't make the damn thing play sustained notes, crappy sound, but hopefully you get the idea.

C/D - B/Gsus2 - E/D - B♭/C5sus2

bonatoc said:

IstenSzek said:

same here !!! please could you, bonatoc? i've never even noticed those notes as such
despite parade being my all time favorite album! anything to do with it is catnip to me
so hearing that bit of music performed would be amazing

Hope this works:
http://onlinesequencer.net/396587

Couldn't make the damn thing play sustained notes, crappy sound, but hopefully you get the idea.

C/D - B/Gsus2 - E/D - B♭/C5sus2

Cool Thx. I wonder where that came from.

paulludvig said:

bonatoc said:

Lisa has a way with 9ths and 4ths, it's a cross between classical music and Joni's guts.
Have you ever played the chords sequence from the vinyl inner sleeve of Parade?
Great stuff. Wendy's chords too. Right there, in 1986, it's obvious they are the main influence on Parade, where Susannah (daughter of L.A. rock royalty) blends with Kristin, along with every song genre. The World Is High, damn right.

I love her piano on "All My Dreams", she's really coloring the other side of the train, very psychedelic, better than any drug-induced song of the 60's. She would play over "Pet Sounds" and give him the optimism it lacks. The whole song is an homage to Sergeant Pepper's Lonely Hearts Club Band the album. But almost the whole of "Magical Mystery Tour" sucks compared to the finale only.

Lisa is great. SISIA would not sound the same, without W&L. It's a single, live studio take, that tells you how much Prince let the girls come close to his heart.

That W&L are the main influence on Parade is not supported by real evidence. But they made some contributions and I agree SISIA would not be the same without them

Influence in the sense that they brought him a wider palette.
The other Revolution members insisted on this fact,
the girls having him discover "intellectual" music.

When you listen to Prince's demoes from 76 to 78, it's obvious it has that obscene quality that made Owen Husney's jaw drop: it's not just in the techical abilities, it's already somewhere in there, a fierce will to make real guts music.

We know that by Lisa'a arrival, Prince had at least Sly, Stevie Wonder, Santana, Led Zep, George Clinton, James Brown, Joni and Fleetwood Mac, just to state the obvious, as references.
He already had everything a pop musician needs.
But did he?


What could possibly Wendy & Lisa bring to the table circa 1982? Not much.

But by the end of 1984, we get "4 The Tears In Your Eyes", which can be seen as a prelude to, heck, The Cross. ATWIAD is the first time where Prince finally lets his band memebers participate in the studio. Prince lifts the paranoia embargo for a while, surrounded by girls at work and in the bedroom.

It's still puzzling to me, dating the twin sister of your band's guitarist.
We often debate on which song was written for whom, and I'm pretty sure that are a couple major songs out there that are talking about Prince's relationship with Wendy, which encompasses if you think about it, almost every "I Can't Have You" Prince songs, from Bambi (good thing Wendy's a lesbian) to... Purple Rain.
Did Prince provoke this situation, so to be able to live a "true Rock royalty / Can't get the lesbian I'll have her sister" romance?
Yes, Prince had enough talent to choose whatever road he had in mind.

But he chose to blossom with The Revolution, no matter what their real input is.
We know by now that it's big.
We have the 1st avenue original "Purple Rain" takes, we have the Miami 1985 soundcheck and pleny of live studio takes ("Mountains") to knock the Revolution naysayers down.

We know there wouldn't be ATWIAD (the song) without the Coleman. We know the Melvoins got in the studio too. We know that "Data Bank" is a live band take, we have the 1986 Cobo Hall Detroit show to remind us that yes, The Revolution was at some point "the Baddest Band in the universe", and that Wendy and Lisa were never decorative as the other girls, Sheila aside.


When you listen to Lisa's chords, they have this je-ne-sais-quoi that washes Parade all over.
I mean, white jazz is boring, and presomptuous. Stuff like "Tutu".
But with Prince over it, man... It becomes something else entirely.
If Prince post-86 lacks beautiful adornments, it goes both ways: W&L first album lacks funk and sweat. Imagin Virgin Records forcing them to take their time and put out a whole album of the level of "Waterfall / To Trip Is To Fall" or "Strung Out", that would be another story.

Let's not forget Clare Fischer, who leaves everyone, W&L and even Prince in the dust when it comes to arrangements. Parade owes him a tremendous deal.


If Wendy and Lisa's influence were just in bending Prince's mind to humbleness (well, Gustav Mahler can remind you you're just making pop music), and to accept contributions, it's still an incredible feat that resulted in Prince's very best work — it's now indisputable, the 1984-1987 creative streak produced his most interesting, funny, mind-challenging work.

Not to diminish the other eras, it's Prince we're talking about.

Totally OT: I gave "Come" a spin the other day, and I finally get it.
Yeah, OK, it's a great, great album.
I was floored by how modern it still sounds.

bonatoc said:

IstenSzek said:

same here !!! please could you, bonatoc? i've never even noticed those notes as such
despite parade being my all time favorite album! anything to do with it is catnip to me
so hearing that bit of music performed would be amazing

Hope this works:
http://onlinesequencer.net/396587

Couldn't make the damn thing play sustained notes, crappy sound, but hopefully you get the idea.

C/D - B/Gsus2 - E/D - B♭/C5sus2

thank you !! didn't realise it would be so short

sounds like something that might be burried in 'anotherloverholenyohead'

bonatoc said:

TwiliteKid said:

bonatoc said:

Influence in the sense that they brought him a wider palette.
The other Revolution members insisted on this fact,
the girls having him discover "intellectual" music.

When you listen to Prince's demoes from 76 to 78, it's obvious it has that obscene quality that made Owen Husney's jaw drop: it's not just in the techical abilities, it's already somewhere in there, a fierce will to make real guts music.

We know that by Lisa'a arrival, Prince had at least Sly, Stevie Wonder, Santana, Led Zep, George Clinton, James Brown, Joni and Fleetwood Mac, just to state the obvious, as references.
He already had everything a pop musician needs.
But did he?


What could possibly Wendy & Lisa bring to the table circa 1982? Not much.

But by the end of 1984, we get "4 The Tears In Your Eyes", which can be seen as a prelude to, heck, The Cross. ATWIAD is the first time where Prince finally lets his band memebers participate in the studio. Prince lifts the paranoia embargo for a while, surrounded by girls at work and in the bedroom.

It's still puzzling to me, dating the twin sister of your band's guitarist.
We often debate on which song was written for whom, and I'm pretty sure that are a couple major songs out there that are talking about Prince's relationship with Wendy, which encompasses if you think about it, almost every "I Can't Have You" Prince songs, from Bambi (good thing Wendy's a lesbian) to... Purple Rain.
Did Prince provoke this situation, so to be able to live a "true Rock royalty / Can't get the lesbian I'll have her sister" romance?
Yes, Prince had enough talent to choose whatever road he had in mind.

But he chose to blossom with The Revolution, no matter what their real input is.
We know by now that it's big.
We have the 1st avenue original "Purple Rain" takes, we have the Miami 1985 soundcheck and pleny of live studio takes ("Mountains") to knock the Revolution naysayers down.

We know there wouldn't be ATWIAD (the song) without the Coleman. We know the Melvoins got in the studio too. We know that "Data Bank" is a live band take, we have the 1986 Cobo Hall Detroit show to remind us that yes, The Revolution was at some point "the Baddest Band in the universe", and that Wendy and Lisa were never decorative as the other girls, Sheila aside.


When you listen to Lisa's chords, they have this je-ne-sais-quoi that washes Parade all over.
I mean, white jazz is boring, and presomptuous. Stuff like "Tutu".
But with Prince over it, man... It becomes something else entirely.
If Prince post-86 lacks beautiful adornments, it goes both ways: W&L first album lacks funk and sweat. Imagin Virgin Records forcing them to take their time and put out a whole album of the level of "Waterfall / To Trip Is To Fall" or "Strung Out", that would be another story.

Let's not forget Clare Fischer, who leaves everyone, W&L and even Prince in the dust when it comes to arrangements. Parade owes him a tremendous deal.


If Wendy and Lisa's influence were just in bending Prince's mind to humbleness (well, Gustav Mahler can remind you you're just making pop music), and to accept contributions, it's still an incredible feat that resulted in Prince's very best work — it's now indisputable, the 1984-1987 creative streak produced his most interesting, funny, mind-challenging work.

Not to diminish the other eras, it's Prince we're talking about.

Totally OT: I gave "Come" a spin the other day, and I finally get it.
Yeah, OK, it's a great, great album.
I was floored by how modern it still sounds.

Small nitpick -- ATWIAD was originally written/recorded by Jonathan Melvoin.

Bandmembers made contribs on record before ATWIAD, though, particularly in PR.

TwiliteKid said:

bonatoc said:

Influence in the sense that they brought him a wider palette.
The other Revolution members insisted on this fact,
the girls having him discover "intellectual" music.

When you listen to Prince's demoes from 76 to 78, it's obvious it has that obscene quality that made Owen Husney's jaw drop: it's not just in the techical abilities, it's already somewhere in there, a fierce will to make real guts music.

We know that by Lisa'a arrival, Prince had at least Sly, Stevie Wonder, Santana, Led Zep, George Clinton, James Brown, Joni and Fleetwood Mac, just to state the obvious, as references.
He already had everything a pop musician needs.
But did he?


What could possibly Wendy & Lisa bring to the table circa 1982? Not much.

But by the end of 1984, we get "4 The Tears In Your Eyes", which can be seen as a prelude to, heck, The Cross. ATWIAD is the first time where Prince finally lets his band memebers participate in the studio. Prince lifts the paranoia embargo for a while, surrounded by girls at work and in the bedroom.

It's still puzzling to me, dating the twin sister of your band's guitarist.
We often debate on which song was written for whom, and I'm pretty sure that are a couple major songs out there that are talking about Prince's relationship with Wendy, which encompasses if you think about it, almost every "I Can't Have You" Prince songs, from Bambi (good thing Wendy's a lesbian) to... Purple Rain.
Did Prince provoke this situation, so to be able to live a "true Rock royalty / Can't get the lesbian I'll have her sister" romance?
Yes, Prince had enough talent to choose whatever road he had in mind.

But he chose to blossom with The Revolution, no matter what their real input is.
We know by now that it's big.
We have the 1st avenue original "Purple Rain" takes, we have the Miami 1985 soundcheck and pleny of live studio takes ("Mountains") to knock the Revolution naysayers down.

We know there wouldn't be ATWIAD (the song) without the Coleman. We know the Melvoins got in the studio too. We know that "Data Bank" is a live band take, we have the 1986 Cobo Hall Detroit show to remind us that yes, The Revolution was at some point "the Baddest Band in the universe", and that Wendy and Lisa were never decorative as the other girls, Sheila aside.


When you listen to Lisa's chords, they have this je-ne-sais-quoi that washes Parade all over.
I mean, white jazz is boring, and presomptuous. Stuff like "Tutu".
But with Prince over it, man... It becomes something else entirely.
If Prince post-86 lacks beautiful adornments, it goes both ways: W&L first album lacks funk and sweat. Imagin Virgin Records forcing them to take their time and put out a whole album of the level of "Waterfall / To Trip Is To Fall" or "Strung Out", that would be another story.

Let's not forget Clare Fischer, who leaves everyone, W&L and even Prince in the dust when it comes to arrangements. Parade owes him a tremendous deal.


If Wendy and Lisa's influence were just in bending Prince's mind to humbleness (well, Gustav Mahler can remind you you're just making pop music), and to accept contributions, it's still an incredible feat that resulted in Prince's very best work — it's now indisputable, the 1984-1987 creative streak produced his most interesting, funny, mind-challenging work.

Not to diminish the other eras, it's Prince we're talking about.

Totally OT: I gave "Come" a spin the other day, and I finally get it.
Yeah, OK, it's a great, great album.
I was floored by how modern it still sounds.

Small nitpick -- ATWIAD was originally written/recorded by Jonathan Melvoin.

U mean David Coleman

Here we go again: Putting the pussy on a pedastal.

Iamtheorg said:

Here we go again: Putting the pussy on a pedastal.

Where? Where? Did I miss it?

OldFriends4Sale said:

Iamtheorg said:

Iamtheorg said:

Here we go again: Putting the pussy on a pedastal.