errrr all of them!

i would die 4 U ( 30 minute rehearsal)

lets go crazy

i wish u heaven

RJOrion said:

i would die 4 U ( 30 minute rehearsal)

lets go crazy

i wish u heaven

I was blown away by Kiss which i hadn't heard until about 10 years ago.

Doozer said:

I Wish U Heaven pats 1, 2 & 3. So many unexpected twists and turns. A great example of how Prince could make a song so radically different between the album and extended versions.

I absolutely LOVE that extended version of I Wish U Heaven but it is probably the only song where I prefer the short album version because I think the added parts take the vibe of that song into a whole different direction.

Don´t get me wrong, I love both version and agree with you 100% about making the song drastically different but that is exactly why I prefer the album version when it comes to this song. Simply because the added parts take me away from the original feel and atmosphere of this song.

It´s weird though because I love listening to both.

It´s just that in this case, the original is , in my opinion, perfect as it is.

I prefer most extended versions over the album version. It´s very rare that I prefer the original album version if there´s an extended version because once you´ve heard the extended song, the album version feels incomplete or edited.

The only exeption is I Wish U Heaven.

As much as I love the extended version with the extra parts, these days I prefer the simplicity and the romantic lyrics of the album version.

The extra parts are great and nice to listen to, and a whole different experience, but they kind of change the vibe of the original song a tad too much for me.

Of all the versions of I Hate U, I prefer the remix with the booming bass and the funny adlibs.

It takes the song to a whole different level and sounds more passionate than the album version.

I like Gett Off but I prefer Violet the Organ Grinder.

And I prefer the long version of Gett Off over the album version.

That long version (vinyl) is so rare and expensive these days. I still regret not buying it when I saw it at a record store back then. It was comparatively cheap, too, despite being a very limited release.

Doozer said:

I Wish U Heaven pats 1, 2 & 3. So many unexpected twists and turns. A great example of how Prince could make a song so radically different between the album and extended versions.

Right on!!! This extended version also shows off Prince's humorous side as well:

You're sister's ugly,

That's the truth,

Eats pizza in the back yard, (although what I hear is 'She pees in the back yard')

Sleep on the roof

Don't forget: TAKE ME WITH U

The Scandalous Sex Suite was a bit special.

sulls said:

Don't forget: TAKE ME WITH U

?

Is there a long version? Never heard of it.

Shes Always In My Hair.

SquirrelMeat said:

You just have to listen to the full length versions of the editted tracks from the 1984-1988 period to understand that the guy was breathing music night and day. The public got a glimpse, but will never appreciate his sheer love for the jam and carefree attitude Vs 'singles' and 'formats'.

Although it took till 1993 to boil over, the post 1999 album period clearly led to him feeling constrained.

Good points.

"America" and "I Would Die 4 U" come to mind.

I think some of us morphed into fans-for-life-no-matter-what when we slowly realized, through press rumours, the Electric Mojo phone interview, hearsays and finally the first bootlegged tapes, that he was actually much more impressive than we already thought.
From that moment on, I started to buy anything he put out (the PP Records protégés, the bootlegs) without questioning.
For example, "So Strong" was pretty expensive to own, considering you had to buy (and wilfully suffer) a whole album of squeaks just to get it. But hey, actually Riot In English doesn't suffer the comparison with Carmen Electra or Child Of The Sun.
They're all good EPs, polluted with overproduced overextended good ideas.

I feel sad for the generations who haven't lived through the renewed excitement of getting your Prince 45 RPM Maxi-Single at the Wrecka Stow and dropping the needle on both sides.

This thread is a bit odd, as many singles are edits of what we call "extended versions" (in fact the original).
Song where the Single Version is much, much worse? "Purple Rain". Or was it "When Doves Cry"?
I think you may say that many Prince's singles were ruthless castrations of the originals.
Damn the four minutes limit.

"Feel U Up" isn't the same without the "lemmetouchyourbodybabycomeon".
"Good Love" needs its partout.
"Hello" without the sped-up guitar solo? Heck no.

"Paisley Park" could be the most blatant faux-pas (with the useless "Glam Slam" and "Hot Thing"),
if there weren't such fantastic guitar shreds trampled under the zoo menagerie (beware the Animal Kingdom).
Dolphins make their first appearance on a Prince's record.

The "Partyman Video Mix" is much, much better than the album version and should be on it.
Ain't nothin' but a muffin, we gotta lotta butter to go.
Camille wouldn't be back for a while after this one.

[Edited 6/12/18 17:01pm]

[Edited 6/13/18 19:54pm]

[Edited 6/13/18 19:56pm]

[Edited 6/13/18 19:57pm]

[Edited 6/13/18 19:58pm]

kingricefan said:

Doozer said:

I Wish U Heaven pats 1, 2 & 3. So many unexpected twists and turns. A great example of how Prince could make a song so radically different between the album and extended versions.

Right on!!! This extended version also shows off Prince's humorous side as well:

You're sister's ugly,

That's the truth,

Eats pizza in the back yard, (although what I hear is 'She pees in the back yard')

Sleep on the roof

You heard correctly.
Possibly all over the flowers she planted.

[Edited 6/13/18 19:59pm]

KoolEaze said:

sulls said:

Don't forget: TAKE ME WITH U

?

Is there a long version? Never heard of it.

The unreleased version with longer outro. It's GORGEOUS!

See now that's what I thought he was saying there! But one time I looked up the lyrics and it said 'Eats pizza in the backyard' so I just accepted it as the truth. Thanks for backing me up on that!!

bonatoc said:

kingricefan said:

Right on!!! This extended version also shows off Prince's humorous side as well:

You're sister's ugly,

That's the truth,

Eats pizza in the back yard, (although what I hear is 'She pees in the back yard')

Sleep on the roof

You heard correctly.
Possibly on all over the flowers she planted.

kingricefan said:

See now that's what I thought he was saying there! But one time I looked up the lyrics and it said 'Eats pizza in the backyard' so I just accepted it as the truth. Thanks for backing me up on that!!

bonatoc said:

You heard correctly.
Possibly all over the flowers she planted.

Are you familiar with The Time?
The first two albums are the backdoor entry to Prince's humour.
Knowing them to death is kind of mandatory, in a sense: the path that leads to Camille and the Sex Of It starts there.
Morris may be the impersonator (and what an hilarious actor, so original), but you can bet this — these! The Butler, Alfred, "we don't like policemen" — characters they created is first and foremost Prince in many ways. A fictious Street Prince.
It's Jamie Starr, Baby.

Hear this Prince's genius twist: the band is still called "Vagina", only it's more subtle.
It's a play on words on "Vanity's sex". Pronounce it in slow motion. Get sexy with it.
Hey, plus, it works with any girl's first name!

Jamie should never have left the building.
He came back many years later and bought a mashed potatoes joint,
but that's another story.

The reason the side protégés were great
was because of his involvement for his friends.
The quality of those albums screams of good times.
"The Family", right?
It's so Freudianly blatant.

Poor Michael. At the apex of his talent, his time spent in a studio always resulted in some sort of anguish.
There's an angst in Michael's voice, and the world, cruel as it is, or maybe merciful,
encourages the man who can cry singing. The sobs, the permanent sobs. The high gospel hee-hees, even the sex has pathos.
The sheer joy "Off The Wall" didn't last long.



Because SKipper? He was having a fucking blast!
Close friends/collaborators, trust, flying pies, root beer, pussy, laughters
(the only way to handle that much relentless work rhythm),
but most of all and Lawd be prez'd, laughters on tape, up until sophisticated, cracking humour emerges ("Movie Star", the Lovesexy Demon.Angel Camille.God [or was it Bob] voice riding the roller coaster of spiritual.sexual emotions.
Submarines conquering virgin seas. You can't get any sexier than that.

But Michael's sense of humour was himself disguised as a bunny,permanently chased, ending up in a desert
dancing with Himself In The Mirror, or playing Transformers®, I'm sorry Captain Eo,
but I'm going Uptown. I need Girls and Boys and a sense of party that is not either paranoid or religious for the masses.
Strangers in Moscow, talk about sinister phony paranoia. Michael got headshot by his success and that is so, so sad.
I'd rather go back to the gutter and find Ben, maybe seeing you two hanging out together.
But enough of Michael reappraisals. I just hope he could look at the bright side of life more often
than these precious moments when he was truly vocally invincible.
Who's sobbing? This is gospel, and it doesn't take Stevie Wonder to tell the difference.


So all of a sudden, close friends grow apart,
Prince is all busy building a "complex" (that may be Freudian too),
a basement to store, day after day, an immense biography,
driven by a neurosis worth of a Guinness Book addict (pun motherfucking intended).
Ina few years it's not fun anymore, it's sinister: thieves in the temple, thunder, songs about money.

Thank God it didn't last that long, but it left some Vault very dispensable leftovers (all things considered),
and it lent to some severe(d) abandonments with people he deeply loved, and those were not his best moves.
It was his parents reproduction phase, paranoia and the constant fear of being betrayed.

Let's have a thought for the injured along the way.
Paisley Park has some sort of... heck no, it has no charm at all.
A warehouse this is not. It doesn't smell of fun, it smells of carpet and marble.
No wonder human interactions were kept at bay, or transformed by the very solemnity of the place.
Truth is, PP flopped as a studio because there were no vibes, except maybe
the ones of SKipper taking its paranoid revenge at everyone ("Acknowledge Me"),
women, tall men, his record company, his fans.

Pity The Breakdown awakenings came so late, because heck, take Appolonia 6 side A, as an example:
It's still one heck of a "best three songs sequence starting a pop album" contender.
Underated like the first three songs of Steve McQueen or the first three songs on Maybe You've Been Brainwashed Too.
This Could Be Us and all that jazz.
Prince needed friends. And true friends know when to stand up against you,
especially if you're in power, that's how much they care.




But back to Appolonia's Sex triumvirat of extended minutes of teenage girlie pop
that redefined feminine sexuality in pop music 4 ever.
Madonna may have teased everyone playing the virgin, she was a brat.
The real dangerous girl, the one that goes all the way, was the one in the camisole,
even if she couldn't sing, even if she couldn't dance. That's not the point in Teenage Girlie Pop.
It's amateurs night with a fervour. Fuck the subtle innuendos. Some teachers are hot, and a young woman's mind often wanders.


Well for starters it's a first name thing but I try to be objective: please give your good headphones a Happy Birthday treat, it has live cowbell for crying out loud, some of his best synths programming, some of his best lyrics, a catholic double-entendre, the "in your position", the sexual competition among women, the "famous book by Nabukov" Sting wink, the reproductive nature of sex as a danger... That's Valmont material, right there. And probably a High School Prince sympathetic souvenir.
They're already dressed and hairdressed like Madame de Pompadour.

It has one of the best last minute. I'd die for the instrumental.
Not that the girls don't act well (well they don't actually sing, except 4 Brenda), it's hilarious all along, but I'm all ears for SKipper and can actually see him playing all this stuff live over the Linn, track after track and there are many. Incredibly underrated arrangements in this one. Everything is hilarious, the lyrics, the sounds, the impersonations.
But most of all, pay attention to the keyboard parts on the left and the right.
Stereo delight. Fucking aural 3D. QSound my ass.



Then, there's Sex Shooter, enough said.
The ultimate ode to the phasered flanger.
FX as an instrument. No bass ever sounded like Prince's.
Time will come when we will have to recognize him as one of the best bass players ever.
This bass line makes you climb the wall. It's all synths when it should be all guitars,
but then again, it already sounds a bit dirty like smeared VHS porn, as it is.
By the end, needles go into the red, and you're in heat as well and so is your amplifier.
It's horny, and quite frankly, pretty vulgar. Like a sex shot, if I may. And that's precisely the beauty of it,
the last pants of the Rude Boy's writing.




As for my shameless sexual fantasy of a car, while it certainly isn't a Limousine, I certainly picture it the very same electric blue that glows out of this fuckingly absurd synth line that climbs and falls over skyscrapers glass, two dissonant basses unre...ly propel this lust luxury vehicle, cylinders pumping in semi-tones, quarters and halves and youth passing by fast, under pink neons glowing in the dark purple cold steel of Manhattan in the winter — by the time the song is over, the night has totally fallen [he won't show up, that prick]) when it comes to bubblegum pop. This shit sends Butch Vig and all EDM right back to school. It's a teenager's desolation of the Midwest malls rows. Brenda's only hope left is to pass her own driver's license and show him.
Near the end, the girls seem to take their revenge on Skipper himself.
They give it all out, they walk, don't walk, and the tortured games of love drives everyone to mad places.
Prince and Sheila's musical relation was something fierce. Again, the extended portion is the more interesting.
Everybody's got a jam tonight. A floating romance, suspended in anonymous traffic.


I was so dissapointed when the one in the Peach and Black Podcast was not moved by the album.
Especially Captain, who usually knows good funk. But he's not an eighties dude.
Or maybe he didn't turn up the infrabasses?
They just didn't get this was an album completely intended for teenage girls.
High school, feminine ejaculation, no driver's licence yet, the best girlfriends secret club,
the last teddy bear before the losing of innocence. Have thou lost any sense of Oberheim romance?

Try it this summer, it's a summer album, spend a month with side A, you'll see.
Don't forget to flatten the basses a bit and turn the voume up, this is pre-Loudness Wars.
So many production details.

So there you have it, here's a whole side A of extended versions.
It's Prince perfecting his craft. Every song is over five minutes and is as interesting as 1999 the album.
Leave your a-priori. This is the sound of the Warehouse and the Trail.
The mindless joy of Prince feeling he's slowly getting there.
Soon talent will overcome even fame. It's a question of faith.

Before the Big White Mansion puts a cold winter's coat of snow
over the joy of friends having mindless fun in the studio.

I mean the balls on this Man. He's a star at 26, and puts out just personal stuff, like a big smelly finger,
funny stuff, pastiches, crazy fuzz riffs and young girls follies.
A true artist. Fuck them awards, Jamie.

[Edited 6/13/18 19:06pm]

[Edited 6/13/18 19:08pm]

[Edited 6/13/18 19:17pm]

[Edited 6/13/18 19:21pm]

[Edited 6/13/18 19:46pm]

[Edited 6/13/18 19:50pm]

[Edited 6/13/18 19:52pm]

[Edited 6/13/18 20:18pm]

[Edited 6/13/18 23:12pm]

LovePaisley said:

Always a pleasure to "ride the winds of your mind" Bonatoc. [Edited 6/13/18 18:51pm]

Phew, I escaped "farts".
It's bad already to suffer from chronic purplogorrhoea.

You're sweet.

[Edited 6/13/18 23:04pm]

1999 and The Time albums are stuffed with indispensable minutes.
Don't make me go all Salieri on you
and lecture about displacing one single note and all the structure would fall,
I hate this kind of pompous shit.

As a good friend of mine once said, a guy that mastered live jazz recordings,
all the big names, yes, him too, and so he said about SKipper :

"What is fantastic about Prince, is his sense of timing.
He has the most precise timing ever."

And for days I thought about it thinking he was only referring to Prince's abilities
to make the Linn feel alive no matter what he tries, but this is only half of the sentence.
This was coming from a guy who only listens to fucking high quality shit, all day long, all year long.
He spots musical breaths on the spot.

Gimme one, huh. Gimme two, huh. Gimme five, shit.

My friend was also referring to the theatrics of Prince's music.
Like "Controversy" needs the repeated ad-lib'd bridge to really blossom,
"The Walk" needs the whole nine minutes and a half to tell the whole sketch,
edit it and it would be less fun, in addition of being a crime.

Now that I think about it, it's obvious :
Prince brought back the instrumental in pop music.
Stand up, guitar man! Make your mama proud!

I mean anything past seven minutes is either Pink Floyd or some epic shit from Led Zep.
Ten minutes in music meant boredom: extended versions, even by major artists, were seldom interesting, not to mention fun.

Prince could give us twenty minutes of jam
and we'd still be clapping our hands and stomping our feet.

Sexy dancer extended version

Computer Blue! I really liked the song before the release of PR Deluxe, but the extended CB hallway speech version is AMAZING!

bonatoc said:

SquirrelMeat said:

You just have to listen to the full length versions of the editted tracks from the 1984-1988 period to understand that the guy was breathing music night and day. The public got a glimpse, but will never appreciate his sheer love for the jam and carefree attitude Vs 'singles' and 'formats'.

Although it took till 1993 to boil over, the post 1999 album period clearly led to him feeling constrained.

Good points.

"America" and "I Would Die 4 U" come to mind.

I think some of us morphed into fans-for-life-no-matter-what when we slowly realized, through press rumours, the Electric Mojo phone interview, hearsays and finally the first bootlegged tapes, that he was actually much more impressive than we already thought.
From that moment on, I started to buy anything he put out (the PP Records protégés, the bootlegs) without questioning.
For example, "So Strong" was pretty expensive to own, considering you had to buy (and wilfully suffer) a whole album of squeaks just to get it. But hey, actually Riot In English doesn't suffer the comparison with Carmen Electra or Child Of The Sun.
They're all good EPs, polluted with overproduced overextended good ideas.

I feel sad for the generations who haven't lived through the renewed excitement of getting your Prince 45 RPM Maxi-Single at the Wrecka Stow and dropping the needle on both sides.

This thread is a bit odd, as many singles are edits of what we call "extended versions" (in fact the original).
Song where the Single Version is much, much worse? "Purple Rain". Or was it "When Doves Cry"?
I think you may say that many Prince's singles were ruthless castrations of the originals.
Damn the four minutes limit.

"Feel U Up" isn't the same without the "lemmetouchyourbodybabycomeon".
"Good Love" needs its partout.
"Hello" without the sped-up guitar solo? Heck no.

"Paisley Park" could be the most blatant faux-pas (with the useless "Glam Slam" and "Hot Thing"),
if there weren't such fantastic guitar shreds trampled under the zoo menagerie (beware the Animal Kingdom).
Dolphins make their first appearance on a Prince's record.

The "Partyman Video Mix" is much, much better than the album version and should be on it.
Ain't nothin' but a muffin, we gotta lotta butter to go.
Camille wouldn't be back for a while after this one.

[Edited 6/12/18 17:01pm]

[Edited 6/13/18 19:54pm]

[Edited 6/13/18 19:56pm]

[Edited 6/13/18 19:57pm]

[Edited 6/13/18 19:58pm]

You don't like Glam Slam and Hot Thing?

I would add I Could Never Take the Place of Your Man. It is so catchy and upbeat!

Lets Work (Dance Mix)

gandorb said:

I would add I Could Never Take the Place of Your Man. It is so catchy and upbeat!

why can't you? the full version cooks even more than the single version, as was his habit in those days.

paulludvig said:

bonatoc said:

"Paisley Park" could be the most blatant faux-pas (with the useless "Glam Slam" and "Hot Thing"),
if there weren't such fantastic guitar shreds trampled under the zoo menagerie (beware the Animal Kingdom).
Dolphins make their first appearance on a Prince's record.

You don't like Glam Slam and Hot Thing?

Ow come on. The original mix is already on the verge to be over the top, but at least sonically it's mixed to blend into the album.
It has to be somber.

Here come these atrocious eighties artefacts, the useless bits of instrumentals, garage doors slammin' snare reverbs à la Phil Collins, yuck, suddenly Glam Slam's all shiny, where's the mystery, where's the dusk?
These fucking gated reverbs turned to 100% wet, too much cocaine my friend.
And don't start me on the atrocious synth riff probably played by a guy who thinks he totally gets Prince, the sad buffoon.
And after eight minutes of polite boredom (well, of course, the few seconds of Prince almost a capella are great to hear, but I'm not THAT nuts), it ends with an aural torture. It's impossible to come up with this lead synth sound not knowing how atrocious it is. This is a massacre of the original song. And a typical example of the shit you usually got when you bought a maxi-single from any artist in the eighties. These are not "extended" versions, they are stretches.

"Hot Thing", I'm partial. But I liked it, great pictures on the maxi-single, but every fan bought it just based on that, the content was not exciting.
Shep Pettibone must have been recommended by Madge, he's very good on her material, but Willam Orbit is a much more subtler musician, and Prince's music requires subtleness.

Maxi-45 singles had, for the most part, the instrumental version of the song on side B. While I would crave for the original album mix without vocals, I say don't you fucking touch the structure, and also don't make "Hot Thing" shine all chromy when it's supposed to be sticky and moist. What the fuck is a delay to do with this song? Who needs echo?
It's supposed to happen in a very small room, almost in a closet, and Mad Eric and Prince have to go crazy in a very small space, not in a fucking "Medium Hall #24" shitty Lexicon preset.


Shame ICNTTPOYM maxi-single didn't get the extended treatment.
I mean the maxi-single with the bootlegged version, the one with the longest Claptonish bridge.

bonatoc said: