Silvertongue7 said:

TrivialPursuit said:

OMG Jesus help your children.

I thought it was obvious that it was a joke - I'll try harder next time. Don't worry about my children though, the five year old is singing out loud We Can Fuck in the garden, and the girl is creating a routine to Wonderful Ass...

(Also a joke...)

[Edited 6/21/17 10:05am]

"We Can Fuck" sounds a bit... muddled, I think. But is has such a strange, dark vibe, I love it.

Sounds like Computer Blue Hallway is a definite upgrade from any version we have heard thus far, albiet still sounding like a high gen tape of sorts. Wonderful Ass is for sure a great upgrade. Honestly my only two complaints would be the sound quality of Our Destiny/RG, and the fact that The Dance Electric isn't the mix with guitars and W/L. However all in all its cool to have this collection and I look forward to buying it on Friday

Also, I have been doing A/B comparisons between the new remaster and the HDTracks version of Purple Rain that popped up a few years ago, and the HDTrack version actually is just as clear but with a bit more dynamic range. I am not hearing too too much of a difference in clarity, and the amount of compression used on this new one puts the HDTracks one ahead IMO

"We can fuck" is definitely the highlight for me, along with "Computer Blue, but that one I was more familiar with.

Phishanga said:

"We can fuck" is definitely the highlight for me, along with "Computer Blue, but that one I was more familiar with.

for me it's a toss up between 'we can fuck' and 'possessed'

feeluupp said:

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How much fun was it to sneak the Beatles in that pic? 8)

I absolutely believe the tape damage theory about Our Destiny/Roadhouse Garden now. It's the only one that sounds like that from the Vault disc.

feeluupp said:

And?? A Pile of vinyl's????

kremlinshadow said:

feeluupp said:

And?? A Pile of vinyl's????

All new reissues released on Friday.

Strive said:

I absolutely believe the tape damage theory about Our Destiny/Roadhouse Garden now. It's the only one that sounds like that from the Vault disc.

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Without intending to personally disrespect you, regardless whether the tapes have deteriorated in any fashion, that's a preposterous explanation.

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They haphazardly used readily available sources, in a very broad scope definition of the 'Purple Rain' era, to include these on the expanded release.

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These two tracks were known by title to many slightly-more-than-casual fans for the past 18 or 19 years or longer, so it was a misguided way to satisfy the appetite. Since the Revolutionaries effectively provided 'free' advertising for this release, it was shrewd (and a noble gesture) to include something to give them a few more nickels in royalties (or at least a sense of being invested in this).

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A better explanation, beyond limited available time and effort exerted on WB's/the Estate's behalf, may be that respective paths of these songs forked off over thirty years ago; RHG evolved into a different, but closer-to-completed track.

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OD was tried out with some experimental orchestral melodrama, but it didn't work, it died out sooner, and limited attention was given it before the Revolution were over. Despite the ambitious elaboration in some areas, OD is an unfinished track with failed execution of ideas; also, the mixdown on the source used here may possibly not even contain all of what was available to go into it (cf. some of those bootlegger-labelled 'alternate' versions of 'Gold' which are partial tapes exchanged between Paul Peterson and P).

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While it's true they were originally envisioned and recorded as a suite, after developing independently of each other for years, they were conjoined on this release (quite crudely) like the head of a zebra on the body of a lion.

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There may be different experimental studio overdub takes to each of these songs, with their own noodling/production approaches/etc, some that might work as a couplet, created over the course of two or so years, but ultimately they never gelled. RHG seems to have taken on a certain life of its own, and is closer to being something truly fit to put on a record, whether DF/CB/Jill Jones or something else similarly situated.

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Assuming the 24-channel mobile truck multi of the 06/07/1984 show was properly stored away, something magical could be made of it by the right individuals. The soundboard that leaked three or four years ago doesn't do it nearly enough justice, either.

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A posthumous John Lennon 'Grow Old with Me' Beatlesque conclusion to these songs would be in order.

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[Edited 6/21/17 17:10pm]

The fuck yall mean Dance Electric doesnt have that (razor) guitar solo?

They bed not have effed that up

So listening now, almost everything sounds quite fantastic to me. One thing I did notice (and can't unhear since I noticed it) is that the "clap" sound at 03:32 on Computer Blue "Hallway Speech" cuts off early or doesn't have reverb. No big deal but noticeable.

rdhull said:

The fuck yall mean Dance Electric doesnt have that (razor) guitar solo?

They bed not have effed that up

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It's most likely his initial August 1984 tracking of the song. It has its own merits. Somebody clever should be able to create a respectable fan-made remix with this and the instrumental from the expanded A.C. rerelease.

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[Edited 6/21/17 17:12pm]

tmcjb said:

So listening now, almost everything sounds quite fantastic to me. One thing I did notice (and can't unhear since I noticed it) is that the "clap" sound at 03:32 on Computer Blue "Hallway Speech" cuts off early or doesn't have reverb. No big deal but noticeable.

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It sounds very good (while not pristine), and possibly stitched together from more than one source at points.

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[Edited 6/21/17 17:16pm]

Moonbeam said:

luvgirl said:

Moonbeam said:

I'm giddy with this. Having these songs released is hugely meaningful. Thrilled that "We Can Fuck" extends on that amazing "you can blow the candle out" part of the released version with some very interesting arrangements. Thrilled that long favorites like "The Dance Electric" and "Computer Blue (Hallway speech) version" are finally seeing an official release in such good quality. And are those extra drums and vocal ad libs in "The Dance Electric"? Already completely floored by "Electric Intercourse" and "Father's Song". Love the manic energy of "Love and Sex" and the sweet throwaway whimsy of "Katrina's Paper Dolls". By the way, my wife totally nailed the fact that the verses in "Katrina's Paper Dolls" are quite similar to those in "Gotta Stop (Messin' About)". Tickled that we have this new, strange version of "Possessed". I may not like it as much as the vocal version we already knew, but I'll give it time. What a pleasure to hear these songs. [Edited 6/21/17 7:40am]

You...You didn't say anything about Wonderful A$$!

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He can make no criticism of it. It is one of the better regarded outtakes, in better than ever before sound quality here, and they actually 'chose' the right mix.

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[Edited 6/21/17 18:52pm]

imprimis said:

WCF just started. How can a song I've heard in so many forms still sound like there's something new (and worthwhile)--and I mean when the keyboard first came in? Only the first time through the new tracks, and I'm pretty happy. I've been listening through most on a cheap speaker, and now through earbuds, but, hey, that's what I've got. So I can't say much about sound quality--the songs are good, though. I'd like to have a better sounding version of the booted mix of Dance Electric, but I'm okay with this one, too--lots of weirdness! Love and Sex didn't really grab me on the first listen, but I was also talking to my wife while it was on (with a bad speaker), so I probably just missed out on it that time around. Computer Blue sounded great--already had listened to Electric Intercourse when it was released earlier. I liked it, but only listened a couple of times and decided to wait for the rest of the tracks to listen again, and didn't really notice it this time. OD/RG--Roadhouse was nice; I suspect that imprimis is right, and they really had gone in completely different directions, and they probably shouldn't have been stuck back together later. Possessed was surprisingly good--I didn't expect much, as I never particularly cared for it in any of the circulating forms. (WCF is about 8 1/2 minutes in--Oh my God, I can't believe this track!). Velvet Kitty Cat and Katrina's Paper Dolls need a few more listens to really start to sink in--I hadn't thought much of Velvet Kitty Cat before when it leaked, but Katrina's Paper Dolls seems like it might grow on me quite a bit. WCF is ending. Wow. I did not expect that to go the way it did.

I'm gonna listen to Father's Song now--bye!

[Edited 6/21/17 19:53pm]

Anybody notice some of the reverbs on WE CAN FUCK are used in the makeout scene with Appolonia and Prince in his room?

I know all the major talk already happened about Father's Song, but I just want to say a couple things. So, it was considered as the final track for the album, following Purple Rain, and that would clearly have changed the experience of listening to the album (though I wonder if Purple Rain would have still had the extended ending with the strings and everything on that hypothetical album).

But how would it have fit into the actual film? Over the credits, maybe? And what was Francis L.'s fate in the version of the film in mind at that time? He's meant to survive in the finished film (at least I think so), but he was supposed to succeed in his suicide attempt in an earlier version, correct? What if, instead of a living father and a reconciled romance and the celebratory medley that plays over the credits as released, we'd had a dead father and we left the theater to Father's Song? That's a bit of a downer.

I'm gonna listen again.

EddieC said:

I know all the major talk already happened about Father's Song, but I just want to say a couple things. So, it was considered as the final track for the album, following Purple Rain, and that would clearly have changed the experience of listening to the album (though I wonder if Purple Rain would have still had the extended ending with the strings and everything on that hypothetical album).

But how would it have fit into the actual film? Over the credits, maybe? And what was Francis L.'s fate in the version of the film in mind at that time? He's meant to survive in the finished film (at least I think so), but he was supposed to succeed in his suicide attempt in an earlier version, correct? What if, instead of a living father and a reconciled romance and the celebratory medley that plays over the credits as released, we'd had a dead father and we left the theater to Father's Song? That's a bit of a downer.

I'm gonna listen again.

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This was recorded for potential use in the more psychologically unsettling moments in the film (domestic violence, Morris and Apples watching through the basement windows, potential death of the father/visualizing his own suicide/strife with Apollonia/discovering the sheet music/etc). One of the leitmotifs, if P had handled all of those obligations. It could be excerpted/looped/mixed as appropriate. The studio people brought in Colombier (for corporate risk containment reasons, and to relieve inexperienced-to-the-silver-screen P of additional pressures), who of course handled 99% of the incidental scoring, playing off of or using only a limited number of takeoffs from Prince's soundtrack. The alleged 'album' from November 1983 (which happens to be when principal photography began) is likely a cassette or test vinyl of what was to be incorporated into the film or performances therein up to that point, for review by the suits. I wouldn't take as credible that this was a true 'working' stage version of Purple Rain the album to be bought at the WS.

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It's also probably not an isolated take, nor the only (unused) instrumental or non-performance material recorded for such possible scoring use.

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Its claimed recording date of 29 October 1983 makes sense, as production was gearing up and a concrete idea of the film project would have been in force.

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('Wednesday' was recorded five days prior, which may give us a sense of what the studio version of that song might be like)

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[Edited 6/21/17 22:48pm]

Wonderful Ass from PR DELUXE and BOX O CHOCOLATES sound exactly the same...

imprimis--

What you say makes sense. But at least for awhile I'm gonna keep imaging the film ending with Father's Song instead of what really happened. Just because it's kind of cool to me.

PurpleMedley122 said:

Just as I unfortunately predicted, the Paisley Park Remaster sounds HORRIBLE

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Please post some numbers regarding the dynamic range, average levels of old and new version.

Absolute peak levels are not a tell all.

kremlinshadow said:

feeluupp said:

[pic snip]

And?? A Pile of vinyl's????

Your horns are showing, baby boy.

These are all the remasters and reissues. The 12" from the album are being reissued as well as the album on vinyl, picture disk, 3CD, 2CD. So - yeah, a pile of motherfuckin' vinyl.

imprimis said:

Silvertongue7 said:

imprimis said:

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It's most likely his initial August 1984 tracking of the song. It has its own merits. Somebody clever should be able to create a respectable fan-made remix with this and the instrumental from the expanded A.C. rerelease.

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Now, that would be awesome. Someone did it with both versions of This Could Be Us and the result was fantastic, so whoever it was, if you are reading, here's a new project for you...

Do make fan edits for your personal entertainment if you wish to, but please do NOT share them on the internet, soon enough they become confused with the real deal, and people don't know what's what anymore. Files get retitled and mislabeled, new fans and casual listeners can't tell the difference and more devoted fans waste precious time figuring out what's what.

databank said:

Silvertongue7 said:

imprimis said: Now, that would be awesome. Someone did it with both versions of This Could Be Us and the result was fantastic, so whoever it was, if you are reading, here's a new project for you...

Do make fan edits for your personal entertainment if you wish to, but please do NOT share them on the internet, soon enough they become confused with the real deal, and people don't know what's what anymore. Files get retitled and mislabeled, new fans and casual listeners can't tell the difference and more devoted fans waste precious time figuring out what's what.

Thanks for telling me what I can and can't do on the internet. What would I do without your moral guidance...