OMG...you totally just reminded me of Jack Black's character Barry in the film High Fidelity - when he bashes the older guy who came into the record store looking for Stevie's I Just Called To Say I Love You for his daughter, and Jack lays into him hard..." do you even know your daughter? There's NO WAY she likes that song...oh wait, is she in a coma??" Then John Cusack (Rob) comes out bitching at Barry for running out another customer, and Barry says, "Rob, top 5 crimes perpetrated by Stevie Wonder in the 80's and 90's. Go. Sub question - is it in fact unfair to criticize a formerly great artist for his latter day sins...is it better to burn out or fade away?? * Oh man, I LOVE that movie | |
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Where did she do that? Can I read or hear it somewhere? I'd love to. FREE THE 29 MAY 1993 COME CONFIGURATION!
FREE THE JANUARY 1994 THE GOLD ALBUM CONFIGURATION | |
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The single version (played in the video for this song) is one of his defining vocal moments. Defining career moments, come to think of it.
THE song that hooked a teenage me. It was playing in the car, I turned my head, made a face and asked "Who or WHAT IS THIS?!" I was hooked. The rest is history... I Love U, But I Don't Trust U Anymore... | |
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She discussed it during both of her long interviews/discussions with Toure. In the most recent discussion she speaks more clearly about it. Here's the link: * https://www.stitcher.com/podcast/dcp-entertainment/toure-show/e/57981288 * Great information if you haven't already heard it.
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Defining vocal/career moments????!!!!!! Oh my goodness, you are a young pup who missed out on 1999 and Purple Rain, ATWIAD, Parade, and SOTT!!!!! | |
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Oh, there's more than one Touré interview?! I just listened to one - Susannah Melvoin On Loving And Almost Marrying Prince - and couldn't understand why there was no mention of Come Home as I had been told there would be. Must hear the other one too as soon as possible. FREE THE 29 MAY 1993 COME CONFIGURATION!
FREE THE JANUARY 1994 THE GOLD ALBUM CONFIGURATION | |
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Oh yes, you will LOVE the newer interview!! Much more detail. A few bits repeated, but some new information and/or elaboration of the other bits. * It's another long one, so grab a glass of wine and enjoy it | |
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This song does absolutely nothing for me. We don’t mourn artists because we knew them. We mourn them because they helped us know ourselves. | |
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It'd be fucking great if we could get it on Spotify.
Then again we'd just get the shitty Gold Experience version and not the bonafide classic original single so maybe who cares? [Edited 2/28/19 17:15pm] A certain kind of mellow. | |
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Love this song. I remember Prince playing it at a Paisley Park party on December 25, 1993 in the atrium. He had cut all his hair off. I remember the ads in papers too. Then the big reveal at the Beautiful Experience concert. Great memories! TRUE BLUE | |
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How do you gather I "missed" it because I was a kid when those other classics were released? Like if I haven't listened to those same albums a million times (and you only mentioned the classic albums ANYBODY would know, but I digress) that's like saying "oh man, you weren't around when Beethoven released his first 8 symphonies... you missed so much, young kitty." As if that's the way it works and people can't own or play the fuck out of stuff released BEFORE they were born. MOST of the music I'm a fan of is "before my time."
My claims have nothing to do with the other material you mentioned. So let's break it down.
1. Defining vocal moments. I stand by this, specifically the notes he hits towards the end of the song. I will put it up there with his screams at the end of Darling Nikki, that yell towards the end of Endorphinmachine and others.
2. Defining career moments. Yes. He wanted out of WB and they were calling his bluff, arguing he'd limit himself to one album a year, cuz he needed their promotion machine to succeed. And he had the biggest hit he's had since. Check the charts for this song. I think you can argue this gave him the confidence to go his own way as an independent artist, for most of his projects from 1996-2014.
I Love U, But I Don't Trust U Anymore... | |
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Musze said:
How do you gather I "missed" it because I was a kid when those other classics were released? Like if I haven't listened to those same albums a million times (and you only mentioned the classic albums ANYBODY would know, but I digress) that's like saying "oh man, you weren't around when Beethoven released his first 8 symphonies... you missed so much, young kitty." As if that's the way it works and people can't own or play the fuck out of stuff released BEFORE they were born. MOST of the music I'm a fan of is "before my time."
My claims have nothing to do with the other material you mentioned. So let's break it down.
1. Defining vocal moments. I stand by this, specifically the notes he hits towards the end of the song. I will put it up there with his screams at the end of Darling Nikki, that yell towards the end of Endorphinmachine and others.
2. Defining career moments. Yes. He wanted out of WB and they were calling his bluff, arguing he'd limit himself to one album a year, cuz he needed their promotion machine to succeed. And he had the biggest hit he's had since. Check the charts for this song. I think you can argue this gave him the confidence to go his own way as an independent artist, for most of his projects from 1996-2014.
Actually, his acapella on For You easily rivals his vocals in this song, and how can you compare his screams in Darling Nikki to his soft falsetto? They are completely different sounds/styles. * From what I understand this song was a chart hit in the U.K. but less so in the US. Prince was quickly losing his larger US fan base. Regarding the "making a hit on his own" bit - I think you are forgetting the major fallout that he experienced as a result of the battle with WB. | |
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