Much better. Mavis is an amazing singer but it always sounded like she was just going through the motions on her Paisley Park album.

I always thought that this, and Jaguar were the best tracks on the Mavis Staples album. But as great a voice as Mavis is, these songs just did not fit her. Jaguar especially. That's the one I want to hear the Prince original of.

Ugot2shakesumthin said:

Much better. Mavis is an amazing singer but it always sounded like she was just going through the motions on her Paisley Park album.

I always thought that this, and Jaguar were the best tracks on the Mavis Staples album. But as great a voice as Mavis is, these songs just did not fit her. Jaguar especially. That's the one I want to hear the Prince original of.

I never really liked "Jaguar"... The production is great, but I expect a crazy instrumental that never comes, it ends on 2 boring minutes, whereas, say, the Apollonia 6 album has at least 2 great codas, "Happy Birthday Mr. Christian" and "Blue Limousine". People with good taste consider these 2 tracks not so great, but the overdubs are jaw-dropping. Headphones mandatory. So much stuff is top-notch, the way the percussive sounds are tuned, all the tiny details.

Jaguar sounds too much like "Hot Thing" on top of "100 MPH", which is not bad at all, but it misses un je ne sais quoi de crazy dirty. Whereas "Interesting", it kinda weared off, but I went overboard at 17 years old right from the opening of this fine album.

"Time Waits For No One" acted in 1990 like "Jill Jones" did in 1987. It felt like I had finally a very good album from Paisley Park Records after some time... A strong "So Strong", Taja and a failed Good Question and a late Three O'Clock, I was starving even though I had the best of '86 on a K7 tape, TBA and Charade. And Wembley 1986 and Le New Morning 1986, and of course all the B-sides since 1984. But there was, like Jill, a summer album.

I bought the album on tape along with Paula Abdul's "Forever Your Girl", because of the singles à la "Control". it was Hollywood copying Prince in every way and every song, yet it's a little album that stands as a picture of how far apart Prince was in pop in 1990. It was that insane summer of the Gulf War.
"Time Waits" cemented my blind love for Prince. I mean the blindness of it.

"Interesting", "Train", "Come Home", "I Guess I'm Crazy" and of course "Time Waits For No One", which sounds like God talking to a procrastinator of the heart while time is ticking to God-Only-Knows what.

I'm happy to have the Mavis originals, but I think she did an incredible job on this album. Heck, I even like the two non-Prince songs, the reggae Light® and the fifties thang, Mavis is great on them even if they übersuck, and Prince was respectful enough to provide guide vocals only, not full SKipper, which would have been impossible not to mimick. With these, she has enough of the melody and a guide for the mood, but he must have been a torture for Prince: I think "Come Home" is a great gift, and could easily fit on SOTT, replacing poor "Slow Love", moving to the B-side of the ICNTTPOYM single.

It's finally the Adonis and Bat-cheetah and Excrucial toned down, and it's just perfect. Listening to this on an analog CrO2 tape on a 1983 Toshiba walkman, stuff for audiophiles, nothing surpasses the released version. Right from the intro, you're knock-out.

Mavis is a bit like a "Dog In Heat" on this album. The way she pants on "Intrigues me like a thief, to", man, this LP is priceless. Fantastic aural memories. And again, at the end, the Blue Angel, in the most minimalistic solo of all times. A Ray of Light. Like: you may be late, but God loves you. And all of a sudden SKipper looks like the dorky intellectual that does nothing but homework all the time and always scores A's or 9's and says with a pious voice "So if you ever gonna make a change, it'd better be right now", I suddenly want to pull over his twelve-year old Camille purple glasses and smash them on the sidewalk.

I shouldn't, because he's really singing to himself, but still. As a musician, you can't help flashes of jealousy. This shit is way heavier than "Man In The Mirror". Whereas Prince faces the danger of his muse never coming back if he stays in the same shoes, and it's unstoppable hi-hats from doom or heaven, Michael just looks in the mirror and suddenly we're in SmurfLand®, where Arafat shakes hands and not from Parkinson, and hungry fucked-up toyed-with Africa's little boy™ gets a biscuit from Vee Arr Zee Worrld!.
It's also Prince leaving one of his important relationships, you can tell.
It's about turning the page, even if you wish it wasn't about it.

I'm mad at the world.
This shit is too beautiful, and we're the only ones in the know.
Man, I'm past WDC since my fifth soul.
But the Blue Angel crying like a dove, before that sostenuto?
"Time Waits For No One" has one of his best soloes, it's the end of an era.
He had to change pedal settings after that.
You just can't top saying so much with so little on the guitar.
It truly is worth of a Lovesexy B-side.

Back on the subject, I'm fine with Mavis vocals and versions, but it truly is great to have X-Rays on Prince at work. But kudos to all the musicians and sound engineers that embelished the stuff while staying true to Prince. "Train" was a great single to hear on the FM.

bonatoc (on Clearasil): - Hey guys! Leave it on! It's the latest single from Prince! I mean, technically speaking, no, it's not him singing, but...
friends: - Who cares...
- that skinny motherfucker...
- oh man...
- such drag...
- you mean fag?
- change it now...

[Edited 7/21/17 12:31pm]

I had 2 warm up to this 1. The lyrics sounded like a million other Prince songs I've heard, but its mo deeper than that n his delivery (as usual) transcends them. Like it.

A beautiful, fully realized song. I am a sucker for songs such as this one in which sounds raw emotionally. I wouldn't want all his songs to be this way but it just makes Prince more fully human to me when he shares his vulnerable side in addition to his goofy side, sexy side, bad ass side, social justice side, romantic side, musician showcase side, dark side, corny side, back side.....well, let's not go further .

This is a grower for real . Come on come on home . Somebody help me... Beat is like IIWYG.

Out of all the tracks on both sets, I always come back to this one. Really good track. I hadn't heard Mavis' version until after this one. With all due respect to the legend, I love Prince's demo alot more.

I'm not in love with this song... yet. Does it fit into the SOTT era?

Really fantastic and unique vocal from Prince. He's rights in that range between his chest voice and falsetto.

bonatoc said:

Ugot2shakesumthin said:

Much better. Mavis is an amazing singer but it always sounded like she was just going through the motions on her Paisley Park album.

I always thought that this, and Jaguar were the best tracks on the Mavis Staples album. But as great a voice as Mavis is, these songs just did not fit her. Jaguar especially. That's the one I want to hear the Prince original of.

I never really liked "Jaguar"... The production is great, but I expect a crazy instrumental that never comes, it ends on 2 boring minutes, whereas, say, the Apollonia 6 album has at least 2 great codas, "Happy Birthday Mr. Christian" and "Blue Limousine". People with good taste consider these 2 tracks not so great, but the overdubs are jaw-dropping. Headphones mandatory. So much stuff is top-notch, the way the percussive sounds are tuned, all the tiny details.

Jaguar sounds too much like "Hot Thing" on top of "100 MPH", which is not bad at all, but it misses un je ne sais quoi de crazy dirty. Whereas "Interesting", it kinda weared off, but I went overboard at 17 years old right from the opening of this fine album.

"Time Waits For No One" acted in 1990 like "Jill Jones" did in 1987. It felt like I had finally a very good album from Paisley Park Records after some time... A strong "So Strong", Taja and a failed Good Question and a late Three O'Clock, I was starving even though I had the best of '86 on a K7 tape, TBA and Charade. And Wembley 1986 and Le New Morning 1986, and of course all the B-sides since 1984. But there was, like Jill, a summer album.

I bought the album on tape along with Paula Abdul's "Forever Your Girl", because of the singles à la "Control". it was Hollywood copying Prince in every way and every song, yet it's a little album that stands as a picture of how far apart Prince was in pop in 1990. It was that insane summer of the Gulf War.
"Time Waits" cemented my blind love for Prince. I mean the blindness of it.

"Interesting", "Train", "Come Home", "I Guess I'm Crazy" and of course "Time Waits For No One", which sounds like God talking to a procrastinator of the heart while time is ticking to God-Only-Knows what.

I'm happy to have the Mavis originals, but I think she did an incredible job on this album. Heck, I even like the two non-Prince songs, the reggae Light® and the fifties thang, Mavis is great on them even if they übersuck, and Prince was respectful enough to provide guide vocals only, not full SKipper, which would have been impossible not to mimick. With these, she has enough of the melody and a guide for the mood, but he must have been a torture for Prince: I think "Come Home" is a great gift, and could easily fit on SOTT, replacing poor "Slow Love", moving to the B-side of the ICNTTPOYM single.

It's finally the Adonis and Bat-cheetah and Excrucial toned down, and it's just perfect. Listening to this on an analog CrO2 tape on a 1983 Toshiba walkman, stuff for audiophiles, nothing surpasses the released version. Right from the intro, you're knock-out.

Mavis is a bit like a "Dog In Heat" on this album. The way she pants on "Intrigues me like a thief, to", man, this LP is priceless. Fantastic aural memories. And again, at the end, the Blue Angel, in the most minimalistic solo of all times. A Ray of Light. Like: you may be late, but God loves you. And all of a sudden SKipper looks like the dorky intellectual that does nothing but homework all the time and always scores A's or 9's and says with a pious voice "So if you ever gonna make a change, it'd better be right now", I suddenly want to pull over his twelve-year old Camille purple glasses and smash them on the sidewalk.

I shouldn't, because he's really singing to himself, but still. As a musician, you can't help flashes of jealousy. This shit is way heavier than "Man In The Mirror". Whereas Prince faces the danger of his muse never coming back if he stays in the same shoes, and it's unstoppable hi-hats from doom or heaven, Michael just looks in the mirror and suddenly we're in SmurfLand®, where Arafat shakes hands and not from Parkinson, and hungry fucked-up toyed-with Africa's little boy™ gets a biscuit from Vee Arr Zee Worrld!.
It's also Prince leaving one of his important relationships, you can tell.
It's about turning the page, even if you wish it wasn't about it.

I'm mad at the world.
This shit is too beautiful, and we're the only ones in the know.
Man, I'm past WDC since my fifth soul.
But the Blue Angel crying like a dove, before that sostenuto?
"Time Waits For No One" has one of his best soloes, it's the end of an era.
He had to change pedal settings after that.
You just can't top saying so much with so little on the guitar.
It truly is worth of a Lovesexy B-side.

Back on the subject, I'm fine with Mavis vocals and versions, but it truly is great to have X-Rays on Prince at work. But kudos to all the musicians and sound engineers that embelished the stuff while staying true to Prince. "Train" was a great single to hear on the FM.

bonatoc (on Clearasil): - Hey guys! Leave it on! It's the latest single from Prince! I mean, technically speaking, no, it's not him singing, but...
friends: - Who cares...
- that skinny motherfucker...
- oh man...
- such drag...
- you mean fag?
- change it now...

[Edited 7/21/17 12:31pm]

Good Review

I've loved Come Home since first listen, but one that has grown to become my favorite (at the moment!) is 101. What a spooky, hypnotic track. How P could just leave a song like this on the shelf and not release his version just blows my mind. Everytime I hear "new" Prince songs of such high quality circa 1986-87, I think to myself, "well, there can't be any more great P songs left in the vault from this era", but there ALWAYS is! Between Come Home, 101, Strange Relationship, Wally, etc. it seems like there could be a whole "relationship"-themed album to chronicle Prince and Suzannah's break-up.

[Edited 8/17/17 6:32am]

What a remarkable song. The thing that makes it so amazing is his vocals. They seem pulled back, as if the lead vocal is really a backing vocal. The subtleness of his voice brings the song out. Amazing.

dave1dmarx said:

Between Come Home, 101, Strange Relationship, Wally, etc. it seems like there could be a whole "relationship"-themed album to chronicle Prince and Suzannah's break-up.

Strange Relationship was first recorded in 1982 and is supposedly about Vanity.

dave1dmarx said:

I've loved Come Home since first listen, but one that has grown to become my favorite (at the moment!) is 101. What a spooky, hypnotic track. How P could just leave a song like this on the shelf and not release his version just blows my mind. Everytime I hear "new" Prince songs of such high quality circa 1986-87, I think to myself, "well, there can't be any more great P songs left in the vault from this era", but there ALWAYS is! Between Come Home, 101, Strange Relationship, Wally, etc. it seems like there could be a whole "relationship"-themed album to chronicle Prince and Suzannah's break-up.

[Edited 8/17/17 6:32am]

Who is Come Home originally by?

Astasheiks said:

dave1dmarx said:

I've loved Come Home since first listen, but one that has grown to become my favorite (at the moment!) is 101. What a spooky, hypnotic track. How P could just leave a song like this on the shelf and not release his version just blows my mind. Everytime I hear "new" Prince songs of such high quality circa 1986-87, I think to myself, "well, there can't be any more great P songs left in the vault from this era", but there ALWAYS is! Between Come Home, 101, Strange Relationship, Wally, etc. it seems like there could be a whole "relationship"-themed album to chronicle Prince and Suzannah's break-up.

[Edited 8/17/17 6:32am]

Who is Come Home originally by?

Prince. He gave it way to Mavis Staples

ok, thanks