one of my favorite songs of Prince's.. great melody, beautiful metaphor for love ---love being like the most beautiful chord progression.

jcurley said:

Is it just me or does everybody else weep to this song. Seriously I could play it on a loop and cry every time.

[Edited 4/15/17 6:25am]

purplerabbithole said:

one of my favorite songs of Prince's.. great melody, beautiful metaphor for love ---love being like the most beautiful chord progression.

jcurley said:

Is it just me or does everybody else weep to this song. Seriously I could play it on a loop and cry every time.

[Edited 4/15/17 6:25am]

The melody is ethereal- the synths and the piano coupled with his beautiful voice. Ahhhh....

I brought up this song up the other day on the "Why do we love his unreleased tracks so much". I had just come across it a few months back and had days where I could not stop listening. Mesmerizing.. Wasn't it supposed to be in Graffiti Bridge? I wonder why he didn't release it.

Oh man!

I just really want to hear the 89 version.

Bittersweet.

I think the synths soudne cheesy and dated, but it's great musically. The piano and voice part are perfect. If the synths were something else then I'd proclaim it to be perfect. It's pretty close as it is.

jcurley said:

Is it just me or does everybody else weep to this song. Seriously I could play it on a loop and cry every time.

Another one of about 300 Masterpieces

The Sound you hear in his voice, is Yearning for GOD from a very deep and emotional space...

steakfinger said:

datdude said:

Never heard it. I think i'm mistaking it for a recent song he mentioned that 'ppl weren't ready to hear'. It had a similar 'transcendent' type title (Ryde Divine...?? I can't recall)

That song was The Divine.


https://princevault.com/i...The_Divine

I feel ashamed to see people with good taste appreciate it, and being left totally unmoved by it.
Even more so listening to Prince's delivery, he sounds like he was onto something important to him.

It sounds über-corny to me. And this chord changes, they're atrocious.
This is one of the ugliest chord progressions ever, by any musician.
I mean, I really do find them atrocious. We're on sub-par N.E.W.S. levels here,
mixed with the worse Elton-Johnesque vocal delivery, it tries to be jazz, but jazz it ain't.
Those ridiculous synth licks.

I mean I tried and I tried, but I can't find one single redeeming quality.
There is very little I don't appreciate in Prince's repertoire. Even when the composition is not the most original, I can always find an honest intent, or an interesting take on a style he doesn't master.

But this one, Oh Lawd...
I'm sorry, I don't mean to put anyone's down, on the contrary I only demand to be enlightened.
What is so great about it?

[Edited 4/18/17 12:52pm]

CalhounSq said:

Would love to have this one clean, it's beautiful!

The version on 30 Years Of Unreleased Funk is pretty clear.

bonatoc said:

But this one, Oh Lawd...
I'm sorry, I don't mean to put anyone's down, on the contrary I only demand to be enlightened.
What is so great about it?

[Edited 4/18/17 12:52pm]

Like any art, you are either going to like it or you aren't. If you feel the way you do I can't imagine anyone saying anything which would enlighten you to any greatness.

Personally I like it but it's not amongst the greats for me.

A gem for sure, hopefully we get to hear it in all its intended splendor one day.

Why is there no mention of it on PrinceVault?

It sound a bit Vangelis (Bladerunner) to me, BU tit sounds like a sketch too.

It would be good to hear a more complete version - I think it's pretty good. Like a good Still Would Stand all Time.

bonatoc said:

RicoN said:

Why is there no mention of it on PrinceVault?

It sound a bit Vangelis (Bladerunner) to me, BU tit sounds like a sketch too.

It would be good to hear a more complete version - I think it's pretty good. Like a good Still Would Stand all Time.

http://www.princevault.co...rogression

The Grand Progression is an unreleased track, likely recorded in Autumn 1987 at Paisley Park Studios, Chanhassen, MN, USA. The song is thought to have been written specifically for the Graffiti Bridge movie, and the song was mentioned in the initial script, dated 22 September 1987. The title refers to a central theme of the original script for the movie; a search for "the grand progression" of "17 chords, all originating from the A-flat", which would make the graffiti bridge of the movie appear. In the original script, the song was performed by Prince's character "Camille", and was directed to the character "Ruthie Washington" (who Prince hoped would be played by Madonna).

It was included as the ninth track on the 25 September 1988 configuration of the Graffiti Bridge album. Michael B. recorded drum overdubs on the track in late 1989, during his first session working with Prince, and this later version was included as the twelfth track on a late 1989 configuration of the album, but the song was replaced by Still Would Stand All Time as the album and movie underwent further changes (perhaps because the movie is quite spiritual in nature, and some of the lyrics of The Grand Progression question God's existence).

The song remains unreleased, although Prince has referred to the desire to find "the grand progression" in interviews. We Got The Power contains the lyric "is the progression grand?", and F.U.N.K. features the spoken vocals "well, it may not be the grand progression, but it sure is funky".

Can it be in this seemingly short space of time
We've lived a year or 2 inside our minds?
Now I want 2 whisper in your ear
That U're OK

If love were gold then I would be fixed 4 life
If I was a star, then baby, U would be the night
And I want 2 live my whole life through
Inside of U

CHORUS:
Darling it seems I have found the grand
progression
From July until June, every sun and every moon
Melting inside of your charms

If there really is a God up above
2 him I owe my life 4 U my love
Now ... darling, if I died yesterday
It's OK

CHORUS {x2}

Can it be in this seemingly short space of time
We've lived a year or 2 inside our minds?
Now I want 2 spend my whole life through
Inside of U

OldFriends4Sale said:

RicoN said:

Why is there no mention of it on PrinceVault?

It sound a bit Vangelis (Bladerunner) to me, BU tit sounds like a sketch too.

It would be good to hear a more complete version - I think it's pretty good. Like a good Still Would Stand all Time.

http://www.princevault.co...rogression

The Grand Progression is an unreleased track, likely recorded in Autumn 1987 at Paisley Park Studios, Chanhassen, MN, USA. The song is thought to have been written specifically for the Graffiti Bridge movie, and the song was mentioned in the initial script, dated 22 September 1987. The title refers to a central theme of the original script for the movie; a search for "the grand progression" of "17 chords, all originating from the A-flat", which would make the graffiti bridge of the movie appear. In the original script, the song was performed by Prince's character "Camille", and was directed to the character "Ruthie Washington" (who Prince hoped would be played by Madonna).

It was included as the ninth track on the 25 September 1988 configuration of the Graffiti Bridge album. Michael B. recorded drum overdubs on the track in late 1989, during his first session working with Prince, and this later version was included as the twelfth track on a late 1989 configuration of the album, but the song was replaced by Still Would Stand All Time as the album and movie underwent further changes (perhaps because the movie is quite spiritual in nature, and some of the lyrics of The Grand Progression question God's existence).

The song remains unreleased, although Prince has referred to the desire to find "the grand progression" in interviews. We Got The Power contains the lyric "is the progression grand?", and F.U.N.K. features the spoken vocals "well, it may not be the grand progression, but it sure is funky".

Thanks, for some reason I couldn't find it using the search on there.

paulludvig said:

bonatoc said:

I feel ashamed to see people with good taste appreciate it, and being left totally unmoved by it.
Even more so listening to Prince's delivery, he sounds like he was onto something important to him.

It sounds über-corny to me. And this chord changes, they're atrocious.
This is one of the ugliest chord progressions ever, by any musician.
I mean, I really do find them atrocious. We're on sub-par N.E.W.S. levels here,
mixed with the worse Elton-Johnesque vocal delivery, it tries to be jazz, but jazz it ain't.
Those ridiculous synth licks.

I mean I tried and I tried, but I can't find one single redeeming quality.
There is very little I don't appreciate in Prince's repertoire. Even when the composition is not the most original, I can always find an honest intent, or an interesting take on a style he doesn't master.

But this one, Oh Lawd...
I'm sorry, I don't mean to put anyone's down, on the contrary I only demand to be enlightened.
What is so great about it?

[Edited 4/18/17 12:52pm]

You find this corny but appreciate Arms of Orion? The chord changes are unconventional. That's a good thing. More and more I find that you like conventional stuff, even though you have a way of describing your favourites that make them sound like original works. I do like your writing though.

To say the least! Oh, I dunno.
But then, what bugs me is that it's halfway there.

A half ballad, which sounds great, and a half radical approach (chromatic shifts) better executed in "Solo", or well, "N.E.W.S." or "C-Note", which can sometimes sound like preparations for "The Rainbow Children", in which there are some incredible, great dissonant segues.

I'm all for dissonances in music, but there's Tim Buckley's "Lorca", and that's too much for me.
With this Strange Progression I feel that maybe he's getting somewhere, whereas most of the time I'm certain he's going somewhere, even if I don't like the song. And I can enjoy it no matter my personal tastes. I try to get into it, it's challenging, fun.

There's this uncertainty, sadness in the delivery and the chords,
they don't match the beautiful, somewhat gently triumphant lyrics.
It evokes me Reelz's "When Doves Cry".
Despite the flaws of the movie, there's a possibility of truth in it that's just too hard to bear for me.
So here's Prince singing about a perfect, completed love,
in this kind of bare, desert mood. I feel like I'm on a verge of a cliff.

"The Grand Progression" sounds to me like a very, very lonely person.
Like "Solo", I just can't stand it.
Thank God there's not too many dark places in Paisley.
"There's Others Here With Us" scared me some days.

[Edited 4/20/17 12:26pm]

bonatoc said:

paulludvig said:

bonatoc said: You find this corny but appreciate Arms of Orion? The chord changes are unconventional. That's a good thing. More and more I find that you like conventional stuff, even though you have a way of describing your favourites that make them sound like original works. I do like your writing though.

To say the least! Oh, I dunno.
But then, what bugs me is that it's halfway there.

A half ballad, which sounds great, and a half radical approach (chromatic shifts) better executed in "Solo", or well, "N.E.W.S." or "C-Note", which sound like preparations for "The Rainbow Children", where there are some incredible dissonant segues.

I'm all for dissonances, but there's Tim Buckley's Lorca, and that's where you lose me.
I fell that maybe he's getting somewhere, whereas most of the time I feel certain he's going somewhere, even if I don't like the song.

There's this uncertainty, sadness in the delivery and the chords,
they don't match the beautiful lyrics.
It evokes me Reelz "When Doves Cry".
Despite its flaws, there's a possibility of truth that's too hard to bear for me.

"The Grand Progression" sounds like a very, very lonely person.
Like "Solo", I just can't stand it.
Thank God there's not too many dark places in Paisley.
"There's Others Here With Us" scared me, some days.

Thanks for your thoughtful reply! I completely agree about the uncertainty and sadness in the delivery and chords, and also that the song is an odd combo of ballad and radical approach. But to me that is what makes it a bold composition. Prince doesn't fall for the temptation to resolve the tension. To my mind Prince's best work often has that (sometimes almost intangible) undercurrent of sadness and sometimes even violence and threat. His not safe.

[Edited 4/20/17 12:49pm]

gotcha.

It's too unsettling for me.
I know what it feels like to feel like you're an unwanted child.
Just can't stand to see him that emotionally naked.
Can't stand the echo, y'know?
Whereas physically, that goes without saying.

Progress, yes but... into what?

[Edited 4/20/17 13:59pm]

A stunning chorus. One of his best moments.

But the verses are a turnoff for me - a bit too silly and meandering for my liking, they sound very much like unfinished doodling.

TheEnglishGent said:

bonatoc said:

But this one, Oh Lawd...
I'm sorry, I don't mean to put anyone's down, on the contrary I only demand to be enlightened.
What is so great about it?

[Edited 4/18/17 12:52pm]

Like any art, you are either going to like it or you aren't. If you feel the way you do I can't imagine anyone saying anything which would enlighten you to any greatness.

Personally I like it but it's not amongst the greats for me.

Well, I'm gonna accept the challenge. Here's my case: but, bonatoc, it's really Really REALLY REALLY GOOOOOOOOOOD!!!!!!!

Still not convinced? Ah well, that's the best argument I've got.

Actually, it's one of those songs that I like, but I don't love. The little synth bits are, as bonatoc said, kind of cheesy. And I don't even use that word because I don't know what it means most of the time, but it's about all that fits here. I like the idea of the song more than the actual recording. It's one of the few old outtakes I kind of wish he had gone back and re-recorded during the last few years. And I don't think Prince ultimately thought that much of it--I mean, when he decides to make fun of all us nattering internet folks on F.U.N.K., the comment is "well, it may not be "The Grand Progression," but it sure is funky."

But, since I'm talking about Grand Progression, I'm listening to F.U.N.K. for the first time in a long while. This is way more fun than I remember.

RicoN said:

Why is there no mention of it on PrinceVault?

It sound a bit Vangelis (Bladerunner) to me, BU tit sounds like a sketch too.

It would be good to hear a more complete version - I think it's pretty good. Like a good Still Would Stand all Time.

It's on Princevault. I have it open on my screen right now.