Porque Te Vas https://www.youtube.com/w...4XWlmtB8y8

G-Spot https://www.youtube.com/w...l0EiIWKuV0

It's best to listen to at least 1 minute of each song to be able to notice some similarities.

Do you hear it?

i dont hear it at all prince probably never even heard of this even in heaven

I hear some vague similarities in the vocals but probably more coincidence than inspiration.

I'd like to find her G-Spot tho

[Edited 2/20/17 17:23pm]

cbarnes3121 said:

i dont hear it at all prince probably never even heard of this even in heaven

Believe or not he was already born and this was an international hit back then

[Edited 2/20/17 17:33pm]

Revolution81 said:

I hear some vague similarities in the vocals but probably more coincidence than inspiration.

I'd like to find her G-Spot tho

[Edited 2/20/17 17:23pm]

Lol I knew that was coming

CherryMoon57 said:

cbarnes3121 said:

i dont hear it at all prince probably never even heard of this even in heaven

Believe or not he was already born and this was an international hit back then

[Edited 2/20/17 17:33pm]

It was big in Europe but did it reach the US? With the movie getting the Cannes Special Jury prize it's possible though. The movie is one of the last testimonies and contemporary criticism of Franco's Spain.

Imputing the origins of 1983's 'G-Spot' to this 1974 Euro hit is beyond all credibility.

.

P was not an especially refined consumer of media, foreign or otherwise, prior to circa 1984/85 (under the encouragement of Eric Leeds, the Colemans and Melvoins, a new silver screen script, and a CMI Fairlight sound library to play with; and stemming also from criticism in the press).

.

There is nothing sensuous about 'G-Spot'-- it is characteristically playfully crude, although substantially dressed up in 1986 for Jill Jones with some faux-cosmopolitan horns. The horns parts are bog standard mid-1980s fare. Those overdubs were also conducted under the Paisley Park label's watch, rather than under P's own. Choosing this latter version, familiar to some markets abroad, is a misleading point of comparison.

.

Aside from those impediments, even the most charitable listening is strained to find any meaningful similarity between the arrangements.

.

[Edited 2/20/17 22:04pm]

imprimis said:

Imputing the origins of 1983's 'G-Spot' to this 1974 Euro hit is beyond all credibility.

.

P was not an especially refined consumer of media, foreign or otherwise, prior to circa 1984/85 (under the encouragement of Eric Leeds, the Colemans and Melvoins, a new silver screen script, and a CMI Fairlight sound library to play with; and stemming also from criticism in the press).

.

There is nothing sensuous about 'G-Spot'-- it is characteristically playfully crude, although substantially dressed up in 1986 for Jill Jones with some faux-cosmopolitan horns. The horns parts are bog standard mid-1980s fare. Those overdubs were also conducted under the Paisley Park label's watch, rather than under P's own. Choosing this latter version, familiar to some markets abroad, is a misleading point of comparison.

.

Aside from those impediments, even the most charitable listening is strained to find any meaningful similarity between the arrangements.

.

[Edited 2/20/17 22:04pm]

Finding similarities can be down to one's own personal musical experience too. Having grown up in France, I was very familiar with Jeannette's song and the first time I heard Jill Jones's track on her album in 1988, Jeannette's song immediately sprung to mind (it's a combination of the voice and the way the brass instruments are used throughout the song as in response to the voice).

Even though 'Porque Te Vas' was released in 1974, it was mostly heard and played extensively in Europe around 1977 and through the early 80's, and only after Carlos Saura's film hit the Cannes festival (in 1976). I know that Prince did spend some time in Europe and in Amsterdam in 1981 (not far from Germany where 'Porque Te Vas' got to Number 1) so it is not impossible that Prince had heard it on the radio at some point whilst in Europe... In that interview with Mike Boskamp Prince did say that he felt spiritually a lot closer to European music.

I was not comparing the lyrics though, only the overall sound/feel of the track...

[Edited 2/21/17 1:53am]

CherryMoon57 said:

imprimis said:

Imputing the origins of 1983's 'G-Spot' to this 1974 Euro hit is beyond all credibility.

.

P was not an especially refined consumer of media, foreign or otherwise, prior to circa 1984/85 (under the encouragement of Eric Leeds, the Colemans and Melvoins, a new silver screen script, and a CMI Fairlight sound library to play with; and stemming also from criticism in the press).

.

There is nothing sensuous about 'G-Spot'-- it is characteristically playfully crude, although substantially dressed up in 1986 for Jill Jones with some faux-cosmopolitan horns. The horns parts are bog standard mid-1980s fare. Those overdubs were also conducted under the Paisley Park label's watch, rather than under P's own. Choosing this latter version, familiar to some markets abroad, is a misleading point of comparison.

.

Aside from those impediments, even the most charitable listening is strained to find any meaningful similarity between the arrangements.

.

[Edited 2/20/17 22:04pm]

Finding similarities can be down to one's own personal musical experience too. Having grown up in France, I was very familiar with Jeannette's song and the first time I heard Jill Jones's track on her album in 1988, Jeannette's song immediately sprung to mind (it's a combination of the voice and the way the brass instruments are used throughout the song as in response to the voice).

Even though 'Porque Te Vas' was released in 1974, it was mostly heard and played extensively in Europe around 1977 and through the early 80's, and only after Carlos Saura's film hit the Cannes festival (in 1976). I know that Prince did spend some time in Europe and in Amsterdam in 1981 (not far from Germany where 'Porque Te Vas' got to Number 1) so it is not impossible that Prince had heard it on the radio at some point whilst in Europe... In that interview with Mike Boskamp Prince did say that he felt spiritually a lot closer to European music.

I was not comparing the lyrics though, only the overall sound/feel of the track...

[Edited 2/21/17 1:53am]

I grew up in Portugal and that spanish song was a bit hit too. There's absolutely no resemblence between the two, I'm amazed at how you can find similarities. It's funny how different people hear different things, right?

^None at all? Really?

CherryMoon57 said:

^None at all? Really?

Well I knew Porque Te Vas very well by the time I heard G-Spot for the first time and honestly I'd never has thought of it if u hadn't.

databank said:

CherryMoon57 said:

^None at all? Really?

Well I knew Porque Te Vas very well by the time I heard G-Spot for the first time and honestly I'd never has thought of it if u hadn't.

That purple dress though...

Nah.

imprimis said:

CherryMoon57 said:

No.

laurarichardson said:

CherryMoon57 said:

Finding similarities can be down to one's own personal musical experience too. Having grown up in France, I was very familiar with Jeannette's song and the first time I heard Jill Jones's track on her album in 1988, Jeannette's song immediately sprung to mind (it's a combination of the voice and the way the brass instruments are used throughout the song as in response to the voice).

Even though 'Porque Te Vas' was released in 1974, it was mostly heard and played extensively in Europe around 1977 and through the early 80's, and only after Carlos Saura's film hit the Cannes festival (in 1976). I know that Prince did spend some time in Europe and in Amsterdam in 1981 (not far from Germany where 'Porque Te Vas' got to Number 1) so it is not impossible that Prince had heard it on the radio at some point whilst in Europe... In that interview with Mike Boskamp Prince did say that he felt spiritually a lot closer to European music.

I was not comparing the lyrics though, only the overall sound/feel of the track...

[Edited 2/21/17 1:53am]

-- Jill Jones explained how they came up with G-Spot. If some of you spent time listening to what people who were around had to say we would not have so much information.

.

'G-Spot' was recorded for the second Vanity 6 album in Spring 1983. Jill's vocals were recorded in 1983 and 1985, at both of which points the track was still essentially as represented in the outtake. The interplay between the vocals and the horns, which the OP particularly references, is not an appropriate point of comparison between these two very much unrelated tracks, as the horn (and other newly added) parts were done by other musicians in 1986 with virtually no involvement by P (in addition to have no melodic similarity). P's concerns over his lack of formal training, and desire not to be 'Mr Purple Rain', are well documented in the interviews conducted with the very people you are suggesting are being ignored. Much of what occurred, in certain aspects of his musical development and exploration from 1985-1988, was prompted by these considerations. At the same time, listening to the self-serving, rose-tinted raconteurism about this now departed legend is not always the best source for pure fact. Do you have a browser plug-in to search for trigger points and potential microaggressions?

.

[Edited 2/21/17 9:07am]

imprimis said:

laurarichardson said:

CherryMoon57 said: -- Jill Jones explained how they came up with G-Spot. If some of you spent time listening to what people who were around had to say we would not have so much information.

.

'G-Spot' was recorded for the second Vanity 6 album in Spring 1983. Jill's vocals were recorded in 1983 and 1985, at both of which points the track was still essentially as represented in the outtake. The interplay between the vocals and the horns, which the OP particularly references, is not an appropriate point of comparison between these two very much unrelated tracks, as the horn (and other newly added) parts were done by other musicians in 1986 with virtually no involvement by P (in addition to have no melodic similarity). P's concerns over his lack of formal training, and desire not to be 'Mr Purple Rain', are well documented in the interviews conducted with the very people you are suggesting are being ignored. Much of what occurred in certain aspects of his musical develoment and exploration from 1985-1988 was set in motion by these considerations. Do you have a browser plug-in to search for trigger points and potential microaggressions?

.

[Edited 2/21/17 9:01am]

Do you have a plug in for common sense? Prince and Jill came up with the original song despite that version not being the final version. My understanding is that he was upset that Jill went off and worked with other people to put the final recording together as I suspect he realized she did a good job with the final product and he may not have expected her to.

Not wanting to be Mr. PR/or concenered about formal training has nothing to do with needing people to inform you about everything as if he hatched out of egg. You realize his father was a jazz musician and he did talk in his last concerts about sitting at the piano with his Dad learning music.

laurarichardson said:

imprimis said:

.

'G-Spot' was recorded for the second Vanity 6 album in Spring 1983. Jill's vocals were recorded in 1983 and 1985, at both of which points the track was still essentially as represented in the outtake. The interplay between the vocals and the horns, which the OP particularly references, is not an appropriate point of comparison between these two very much unrelated tracks, as the horn (and other newly added) parts were done by other musicians in 1986 with virtually no involvement by P (in addition to have no melodic similarity). P's concerns over his lack of formal training, and desire not to be 'Mr Purple Rain', are well documented in the interviews conducted with the very people you are suggesting are being ignored. Much of what occurred in certain aspects of his musical develoment and exploration from 1985-1988 was set in motion by these considerations. Do you have a browser plug-in to search for trigger points and potential microaggressions?

.

[Edited 2/21/17 9:01am]

Do you have a plug in for common sense? Prince and Jill came up with the original song despite that version not being the final version. My understanding is that he was upset that Jill went off and worked with other people to put the final recording together as I suspect he realized she did a good job with the final product and he may not have expected her to.

Not wanting to be Mr. PR/or concenered about formal training has nothing to do with needing people to inform you about everything as if he hatched out of egg. You realize his father was a jazz musician and he did talk in his last concerts about sitting at the piano with his Dad learning music.

.

Highly suspect claim, but perhaps it should be given a pass as a symptom of her grief.

.

I'm referring to his veering into progressive rock influences, vigorous interest in Miles Davis/etc., and introduction to formal classical influences into his sound. These are not often found before about post-PR, 1984, and are a bulk of his output between mid-1985 and mid-1987. I didn't say they 'taught' him anything, but their confidence, influence and critical voice served as something of a 'nudge'.

.

And this argument is a little bit silly, in that 'G-Spot' is not exactly a song around which to stake a legacy, in any version.

.

[Edited 2/21/17 9:17am]

imprimis said:

laurarichardson said:

Do you have a plug in for common sense? Prince and Jill came up with the original song despite that version not being the final version. My understanding is that he was upset that Jill went off and worked with other people to put the final recording together as I suspect he realized she did a good job with the final product and he may not have expected her to.

Not wanting to be Mr. PR/or concenered about formal training has nothing to do with needing people to inform you about everything as if he hatched out of egg. You realize his father was a jazz musician and he did talk in his last concerts about sitting at the piano with his Dad learning music.

.

Highly suspect claim, but perhaps it should be given a pass as a symptom of her grief.

.

I'm referring to his veering into progressive rock influences, vigorous interest in Miles Davis/etc., and introduction to formal classical influences into his sound. These are not often found before about post-PR, 1984, and are a bulk of his output between mid-1985 and mid-1987. I didn't say they 'taught' him anything, but their confidence, influence and critical voice served as something of a 'nudge'.

.

And this argument is a little bit silly, in that 'G-Spot' is not exactly a song around which to stake a legacy, in any version.

.

[Edited 2/21/17 9:17am]

Of course you do not believe her. Only W+L know anything of importance! In the interview Eric Leeds just did a few weeks ago he said Prince really liked the Miles Davis- Bitches Brew era and that he brought him Miles older stuff. So once again you are wrong. Just because it was not in his music does not mean he did not like it or know about it.

laurarichardson said:

imprimis said:

.

Highly suspect claim, but perhaps it should be given a pass as a symptom of her grief.

.

I'm referring to his veering into progressive rock influences, vigorous interest in Miles Davis/etc., and introduction to formal classical influences into his sound. These are not often found before about post-PR, 1984, and are a bulk of his output between mid-1985 and mid-1987. I didn't say they 'taught' him anything, but their confidence, influence and critical voice served as something of a 'nudge'.

.

And this argument is a little bit silly, in that 'G-Spot' is not exactly a song around which to stake a legacy, in any version.

.

[Edited 2/21/17 9:17am]

Of course you do not believe her. Only W+L know anything of importance! In the interview Eric Leeds just did a few weeks ago he said Prince really liked the Miles Davis- Bitches Brew era and that he brought him Miles older stuff. So once again you are wrong. Just because it was not in his music does not mean he did not like it or know about it.

.

I am not an advocate for W&L. Jill has shown signs over the years of emotional imbalance, and has demonstrated herself to have some serious issues over not having been more thoroughly artistically and romantically attached to P versus how it ultimately turned out. By 'vigorous interest', I mean such that he began implementing these influences into his own records. Something that doesn't happen before about the Summer of 1984 with The Family material, and especially in the Parade era and beyond.

.

Obviously, the financial success of PR allowed him much latitude to pursue less commercially oriented musical pathways, but that is only the beginning of the argument--what is your belief why these sound changes begin happening only after about mid-1984, and especially Spring 1985.

.

Bottom Line: I'm not on a mission to weave an identity-effacing narrative by citing specific white members of his band and coterie as the end-all be-all for why he did what he did or who he was. I'm unsettled by your efforts to read some subliminal racial animus into these forum comments.

.

[Edited 2/21/17 9:46am]

laurarichardson said:

imprimis said:

.

'G-Spot' was recorded for the second Vanity 6 album in Spring 1983. Jill's vocals were recorded in 1983 and 1985, at both of which points the track was still essentially as represented in the outtake. The interplay between the vocals and the horns, which the OP particularly references, is not an appropriate point of comparison between these two very much unrelated tracks, as the horn (and other newly added) parts were done by other musicians in 1986 with virtually no involvement by P (in addition to have no melodic similarity). P's concerns over his lack of formal training, and desire not to be 'Mr Purple Rain', are well documented in the interviews conducted with the very people you are suggesting are being ignored. Much of what occurred in certain aspects of his musical develoment and exploration from 1985-1988 was set in motion by these considerations. Do you have a browser plug-in to search for trigger points and potential microaggressions?

.

[Edited 2/21/17 9:01am]

Do you have a plug in for common sense? Prince and Jill came up with the original song despite that version not being the final version. My understanding is that he was upset that Jill went off and worked with other people to put the final recording together as I suspect he realized she did a good job with the final product and he may not have expected her to.

Not wanting to be Mr. PR/or concenered about formal training has nothing to do with needing people to inform you about everything as if he hatched out of egg. You realize his father was a jazz musician and he did talk in his last concerts about sitting at the piano with his Dad learning music.

I'm a bit puzzled by whom the people on horns are and where they come from? We know Prince mixed the song in January 1986 but it's unclear to me whether this was done prior to, or after both horns and orchestral parts by Clare Fisher having been added to the track. In any case if Prince didn't hire the horns section himself, this was done by David Z with Prince's encouragement/blessing: Jill herself said that it was Prince who asked him to rerecord With You on her own, and he was closely involved with every aspect of the record till the end, going as far as to mix With You once she'd recorded it. I'd assume David's production duties were limited to recording some of Jill's vocal sessions without Prince, producing horns for G-Spot, arranging/recording With You and maybe some mixing on other tracks. Nevertheless the album remains primarily a Prince side project in every regard.

databank said:

laurarichardson said:

Do you have a plug in for common sense? Prince and Jill came up with the original song despite that version not being the final version. My understanding is that he was upset that Jill went off and worked with other people to put the final recording together as I suspect he realized she did a good job with the final product and he may not have expected her to.

Not wanting to be Mr. PR/or concenered about formal training has nothing to do with needing people to inform you about everything as if he hatched out of egg. You realize his father was a jazz musician and he did talk in his last concerts about sitting at the piano with his Dad learning music.

I'm a bit puzzled by whom the people on horns are and where they come from? We know Prince mixed the song in January 1986 but it's unclear to me whether this was done prior to, or after both horns and orchestral parts by Clare Fisher having been added to the track. In any case if Prince didn't hire the horns section himself, this was done by David Z with Prince's encouragement/blessing: Jill herself said that it was Prince who asked him to rerecord With You on her own, and he was closely involved with every aspect of the record till the end, going as far as to mix With You once she'd recorded it. I'd assume David's production duties were limited to recording some of Jill's vocal sessions without Prince, producing horns for G-Spot, arranging/recording With You and maybe some mixing on other tracks. Nevertheless the album remains primarily a Prince side project in every regard.

.

The horns (and added guitar and synth and new drum programming) parts are not P's own arrangements or production, but he did afford David Z the discretion, and, as you say, gave the final blessing (similar on a far less dramatic scale to what he did with what Clare Fischer brought to the table). My belief is that the studio log in January 1986 for 'G-Spot', the song is essentially still as the Vanity 6/Prince outtake. At this point, the album was Euphoria Highway or My Sex, and not quite the Euro-friendly multifarious record it became later in the year. David Z went from support/co-producer, to project manager and producer status as 1986 went on and P became tied up in other engagements.

.

[Edited 2/21/17 9:57am]

imprimis said:

databank said:

I'm a bit puzzled by whom the people on horns are and where they come from? We know Prince mixed the song in January 1986 but it's unclear to me whether this was done prior to, or after both horns and orchestral parts by Clare Fisher having been added to the track. In any case if Prince didn't hire the horns section himself, this was done by David Z with Prince's encouragement/blessing: Jill herself said that it was Prince who asked him to rerecord With You on her own, and he was closely involved with every aspect of the record till the end, going as far as to mix With You once she'd recorded it. I'd assume David's production duties were limited to recording some of Jill's vocal sessions without Prince, producing horns for G-Spot, arranging/recording With You and maybe some mixing on other tracks. Nevertheless the album remains primarily a Prince side project in every regard.

.

The horns (and added guitar and synth and new drum programming) parts are not P's own arrangements or production, but he did afford David Z the discretion, and, as you say, gave the final blessing (similar on a far less dramatic scale to what he did with what Clare Fischer brought to the table). My belief is that the studio log in January 1986 for 'G-Spot', the song is essentially still as the Vanity 6/Prince outtake. At this point, the album was Euphoria Highway or My Sex, and not quite the Euro-friendly multifarious record it became later in the year. David Z went from support/co-producer, to project manager and producer status as 1986 went on and P became tied up in other engagements.

.

[Edited 2/21/17 9:57am]

Thx for the clarifications. R u sure about David adding guitar, synths and drum programming though? Princevault makes no mention of it.

databank said:

imprimis said:

.

The horns (and added guitar and synth and new drum programming) parts are not P's own arrangements or production, but he did afford David Z the discretion, and, as you say, gave the final blessing (similar on a far less dramatic scale to what he did with what Clare Fischer brought to the table). My belief is that the studio log in January 1986 for 'G-Spot', the song is essentially still as the Vanity 6/Prince outtake. At this point, the album was Euphoria Highway or My Sex, and not quite the Euro-friendly multifarious record it became later in the year. David Z went from support/co-producer, to project manager and producer status as 1986 went on and P became tied up in other engagements.

.

[Edited 2/21/17 9:57am]

Thx for the clarifications. R u sure about David adding guitar, synths and drum programming though? Princevault makes no mention of it.

.

The added parts are so unremarkably generic (and sound unlike anything P recorded during this era), that I cannot accept that that they are P's own handiwork. The isolated added keyboard and guitar parts are circulating, for reference (along with P's original bassline). The drum machine programming sounds a lot like what DZ did with his own production duty acts 1987-1990.

.

[Edited 2/21/17 10:17am]

imprimis said:

databank said:

Thx for the clarifications. R u sure about David adding guitar, synths and drum programming though? Princevault makes no mention of it.

.

The added parts are so cheesily generic, that I cannot fathom that they are P's own handiwork. The isolated added parts are circulating, for reference.

.

Yeah I have that. It's hard to tell, that sounds like it could be Prince for me, but on the other hand anyone working at PP at that time had learned how to emulate his sound quite well (see the linn on Too Sexy or the sped-up guitar on Save The People). Let's say that by comparison to Jill's b-sides, that definitely sound cheesy and generic, I find G-Spot quite Prince sounding. Hopefully if Madhouseman gets to covering those sessions light will be shed on every detail.

I completely hear the similarity (it's not a literal note or melody thing, but the concept of the song structure and drama), but it's also a standard pop structure.

imprimis said:

laurarichardson said:

Of course you do not believe her. Only W+L know anything of importance! In the interview Eric Leeds just did a few weeks ago he said Prince really liked the Miles Davis- Bitches Brew era and that he brought him Miles older stuff. So once again you are wrong. Just because it was not in his music does not mean he did not like it or know about it.

.

I am not an advocate for W&L. Jill has shown signs over the years of emotional imbalance, and has demonstrated herself to have some serious issues over not having been more thoroughly artistically and romantically attached to P versus how it ultimately turned out. By 'vigorous interest', I mean such that he began implementing these influences into his own records. Something that doesn't happen before about the Summer of 1984 with The Family material, and especially in the Parade era and beyond.

.

Obviously, the financial success of PR allowed him much latitude to pursue less commercially oriented musical pathways, but that is only the beginning of the argument--what is your belief why these sound changes begin happening only after about mid-1984, and especially Spring 1985.

.

Bottom Line: I'm not on a mission to weave an identity-effacing narrative by citing specific white members of his band and coterie as the end-all be-all for why he did what he did or who he was. I'm unsettled by your efforts to read some subliminal racial animus into these forum comments.

.

[Edited 2/21/17 9:46am]

"I'm unsettled by your efforts to read some subliminal racial animus into these forum comments."

I am unsettled by your inablity to see the racism. Now Jill is imbalanced!!! Keep it up you are proving me right.

He did put these elements into his music until after 1984 because he needed to sell records and after 84 WB let him do whatever based on how much music he was selling.

Once again if you took the time to listen to what the early associates had to to say Prince was more well rounded musically than his early records showed him to be.