Had a listen to "Endorphinmachine" for the first time in years. I never was quite keen on this track until today, where it's grown on me.

Aside being a rock-pop track, it sounds very ambitious and "I can go for my dreams, all I got to do is believe". Very uplifting. It's like the 90's answer to "Let's Go Crazy".

Still don't get when Prince calls out Tommy Barberella, but Tommy's keyboard solo is drowned out/ muted by Prince's guitar.

Thoughts?

[Edited 3/22/19 23:27pm]

[Edited 3/22/19 23:28pm]

SoftSkarlettLovisa said:

Had a listen to "Endorphinmachine" for the first time in years. I never was quite keen on this track until today, where it's grown on me.

Aside being a rock-pop track, it sounds very ambitious and "I can go for my dreams, all I got to do is believe". Very uplifting. It's like the 90's answer to "Let's Go Crazy".

Still don't get when Prince calls out Tommy Barberella, but Tommy's keyboard solo is drowned out/ muted by Prince's guitar.

Thoughts?

[Edited 3/22/19 23:27pm]

[Edited 3/22/19 23:28pm]

He played this at "The Forum" one of the nights I was present during the long, long run at The Forum in 2011. That track absolutely got better with time.

The original combo Come/Endorphinmachine (March 1993) could have been the best opening to any Prince album.

But he changed the arrangements, he changed the configurations and he changed his name - and everything went downhill afterwards...

ForbiddenFruit said:

The original combo Come/Endorphinmachine (March 1993) could have been the best opening to any Prince album.

But he changed the arrangements, he changed the configurations and he changed his name - and everything went downhill afterwards...

Those 2 records, Come and TGE, it was very hard for us to appreciate them objectively because thanks to bootlegs and promo material we'd practically been privy to their conception and evolution from the Glam Slam Ulysses sessions towards the final product, with so many versions and configurations in between. Except for Solo and Letitgo we'd heard each and every track on both records before release and I guess there isn't a fan who would have liked to have such or such version of such song instead of the final one, or such or such song instead of another song that was finally included. Imagine how we would have felt if we'd heard Electric Intercourse or the Hallway Speech Computer Blue before PR was released, All My Dreams before Parade or Crystal Ball before SOTT, or if we'd heard the original mix of Insatiable before getting D&P... This is not how things are usually done: artists do not give fans open access to work in progress like this and therefore works are usually received for what they are, not what they could/should have been. We need to keep that in perspective when considering our frustrations over this or that on Come and TGE (or even Exodus, since we got the outtakes pretty much immediately after the album got released and could moan about Super Hero or Funky Design having been removed). I kind of chose to let go of it all and accept the albums the way they were when released, because I couldn't allow myself to be frustrated like this. But in a way Prince let us witness the growth of those 2 records and I was also grateful for this, frustrating as it may have been when it came to some of his final choices.

Interesting. Can you tell me more about this original combo Come/Endorphinmachine (March 1993)? Thanks!

databank said:

hardwork said:

Interesting. Can you tell me more about this original combo Come/Endorphinmachine (March 1993)? Thanks!

There´s an orger named Scififilmnerd who created a fantastic thread many years ago where he posted a very detailed chronology of the Come album and its songs.

Highly recommended if you are interested in that era.

SoftSkarlettLovisa said:

Still don't get when Prince calls out Tommy Barberella, but Tommy's keyboard solo is drowned out/ muted by Prince's guitar.

I think that is Tommy. He sometimes played his keyboards through a wah-wah pedal, as can be seen in The Beautiful Experience TV special.

Never liked it, still don't. That era of guitar rock from him was so Vegas-y and overblown in an uninteresting way.

[Edited 3/23/19 12:48pm]

KoolEaze said:

hardwork said:

Interesting. Can you tell me more about this original combo Come/Endorphinmachine (March 1993)? Thanks!

There´s an orger named Scififilmnerd who created a fantastic thread many years ago where he posted a very detailed chronology of the Come album and its songs.

Highly recommended if you are interested in that era.

This .... Come album http://prince.org/msg/7/317254

And Emancipation http://prince.org/msg/7/342786

some here would call anything from that era "earsore" but i don't, what a gift to music lovers the man was. so many songs I haven't even listened to that closely and may never get around too.

PeteSilas said:

some here would call anything from that era "earsore" but i don't, what a gift to music lovers the man was. so many songs I haven't even listened to that closely and may never get around too.

You think so ? I think that era is among the most popular eras among fans. The only thing that some dislike about it is the heavy use of triggered samples and backing vocals but I´ve never really heard anyone complain about that era. On the contrary, most people on the org have nothing but fond memoires of the 1993-1995 era.

KoolEaze said:

databank said:

ForbiddenFruit said:

The original combo Come/Endorphinmachine (March 1993) could have been the best opening to any Prince album.

But he changed the arrangements, he changed the configurations and he changed his name - and everything went downhill afterwards...

Those 2 records, Come and TGE, it was very hard for us to appreciate them objectively because thanks to bootlegs and promo material we'd practically been privy to their conception and evolution from the Glam Slam Ulysses sessions towards the final product, with so many versions and configurations in between. Except for Solo and Letitgo we'd heard each and every track on both records before release and I guess there isn't a fan who would have liked to have such or such version of such song instead of the final one, or such or such song instead of another song that was finally included. Imagine how we would have felt if we'd heard Electric Intercourse or the Hallway Speech Computer Blue before PR was released, All My Dreams before Parade or Crystal Ball before SOTT, or if we'd heard the original mix of Insatiable before getting D&P... This is not how things are usually done: artists do not give fans open access to work in progress like this and therefore works are usually received for what they are, not what they could/should have been. We need to keep that in perspective when considering our frustrations over this or that on Come and TGE (or even Exodus, since we got the outtakes pretty much immediately after the album got released and could moan about Super Hero or Funky Design having been removed). I kind of chose to let go of it all and accept the albums the way they were when released, because I couldn't allow myself to be frustrated like this. But in a way Prince let us witness the growth of those 2 records and I was also grateful for this, frustrating as it may have been when it came to some of his final choices.

The Glam Slam Ulyses versions was SO much different than what was released. They were actually a lot better. I remember watching Carmen Elecktra as part of the dance troupe @ GlamSlam dancing her A-- off to them.

hardwork said:

SoftSkarlettLovisa said:

Had a listen to "Endorphinmachine" for the first time in years. I never was quite keen on this track until today, where it's grown on me.

Aside being a rock-pop track, it sounds very ambitious and "I can go for my dreams, all I got to do is believe". Very uplifting. It's like the 90's answer to "Let's Go Crazy".

Still don't get when Prince calls out Tommy Barberella, but Tommy's keyboard solo is drowned out/ muted by Prince's guitar.

Thoughts?

[Edited 3/22/19 23:27pm]

[Edited 3/22/19 23:28pm]

He played this at "The Forum" one of the nights I was present during the long, long run at The Forum in 2011. That track absolutely got better with time.

I remember being in attendance for that & decades earlier of its debut @ Glam Slam. So many memories I have.

luv4u said:

KoolEaze said:

There´s an orger named Scififilmnerd who created a fantastic thread many years ago where he posted a very detailed chronology of the Come album and its songs.

Highly recommended if you are interested in that era.

This .... Come album http://prince.org/msg/7/317254

And Emancipation http://prince.org/msg/7/342786

Or better yet, read the updated editions of those articles here: https://princevswarners.blogspot.com/

scififilmnerd said:

luv4u said:

This .... Come album http://prince.org/msg/7/317254

And Emancipation http://prince.org/msg/7/342786

Or better yet, read the updated editions of those articles here: https://princevswarners.blogspot.com/

Oh! Wow. Interesting blog.

callimnate said:

IMO Endorphinmachine is his LAST true Prince classic. Nothing matched it after that.

"Interactive" is "Endorphinmachine's" cousin.

ChocolateBox3121 said:

scififilmnerd said:

luv4u said:

This .... Come album http://prince.org/msg/7/317254

And Emancipation http://prince.org/msg/7/342786

Or better yet, read the updated editions of those articles here: https://princevswarners.blogspot.com/

Ohhhh thank you Book marked

luv4u said:

KoolEaze said:

There´s an orger named Scififilmnerd who created a fantastic thread many years ago where he posted a very detailed chronology of the Come album and its songs.

Highly recommended if you are interested in that era.

This .... Come album http://prince.org/msg/7/317254

And Emancipation http://prince.org/msg/7/342786

The Come article:


"Ultimate Come" exclusive..


Wow... I am so deeply impressed, incredible..

callimnate said:

ChocolateBox3121 said:

"Interactive" is "Endorphinmachine's" cousin.

Nah. Equally as good. Those two as openers for the Come album should’ve remained and would’ve kicked ass!! I have that configuration set as my default Come lp playlist.

jaawwnn said:

databank said:

Those 2 records, Come and TGE, it was very hard for us to appreciate them objectively because thanks to bootlegs and promo material we'd practically been privy to their conception and evolution from the Glam Slam Ulysses sessions towards the final product, with so many versions and configurations in between. Except for Solo and Letitgo we'd heard each and every track on both records before release and I guess there isn't a fan who would have liked to have such or such version of such song instead of the final one, or such or such song instead of another song that was finally included. Imagine how we would have felt if we'd heard Electric Intercourse or the Hallway Speech Computer Blue before PR was released, All My Dreams before Parade or Crystal Ball before SOTT, or if we'd heard the original mix of Insatiable before getting D&P... This is not how things are usually done: artists do not give fans open access to work in progress like this and therefore works are usually received for what they are, not what they could/should have been. We need to keep that in perspective when considering our frustrations over this or that on Come and TGE (or even Exodus, since we got the outtakes pretty much immediately after the album got released and could moan about Super Hero or Funky Design having been removed). I kind of chose to let go of it all and accept the albums the way they were when released, because I couldn't allow myself to be frustrated like this. But in a way Prince let us witness the growth of those 2 records and I was also grateful for this, frustrating as it may have been when it came to some of his final choices.

For what its worth i heard the album versions first and still mostly prefer the earlier versions.

Fair enough, I realize I'm in a minority favoring the more overdubbed versions (that probably goes with my excessive taste for electronic music and synthpop and my relative lack of interest for rock), but I was there at the time and I remember our expectations growing for months, with each of us having their idea of which songs and which versions they'd have liked to see on the records. It was really different. I think it's part of the reason why Scifi also wrote those articles: we literally witnessed the genesis of those 2 albums, which was unheard of at the time for Prince fans and totally fascinating, but inevitably leading to some frustrations with the final products. I for one was not frustrated with the overdubs, but by other things such as Race not being the video version, BJB being a shorter edit of the horns part, We March not being similar to the live version and half a dozen songs I fancied not ending-up on TGE.

databank said:

jaawwnn said:

databank said: For what its worth i heard the album versions first and still mostly prefer the earlier versions.

Fair enough, I realize I'm in a minority favoring the more overdubbed versions (that probably goes with my excessive taste for electronic music and synthpop and my relative lack of interest for rock), but I was there at the time and I remember our expectations growing for months, with each of us having their idea of which songs and which versions they'd have liked to see on the records. It was really different. I think it's part of the reason why Scifi also wrote those articles: we literally witnessed the genesis of those 2 albums, which was unheard of at the time for Prince fans and totally fascinating, but inevitably leading to some frustrations with the final products. I for one was not frustrated with the overdubs, but by other things such as Race not being the video version, BJB being a shorter edit of the horns part, We March not being similar to the live version and half a dozen songs I fancied not ending-up on TGE.

Which ones were those, out of curiosity?

Mikado said:

databank said:

Fair enough, I realize I'm in a minority favoring the more overdubbed versions (that probably goes with my excessive taste for electronic music and synthpop and my relative lack of interest for rock), but I was there at the time and I remember our expectations growing for months, with each of us having their idea of which songs and which versions they'd have liked to see on the records. It was really different. I think it's part of the reason why Scifi also wrote those articles: we literally witnessed the genesis of those 2 albums, which was unheard of at the time for Prince fans and totally fascinating, but inevitably leading to some frustrations with the final products. I for one was not frustrated with the overdubs, but by other things such as Race not being the video version, BJB being a shorter edit of the horns part, We March not being similar to the live version and half a dozen songs I fancied not ending-up on TGE.

Which ones were those, out of curiosity?

Interactive (short mix). Terrible dilemma: P. Control is one of P's best openers ever IMHO, and he obviously thought that, too, but it implied sacrificing the whole NPG Operator concept a lot, just by skipping Interactive and the Operator interlude.

Days Of Wild, well, it was fucking DOW! Nuff said.

Acknowledge Me and Ripopgodazippa, crude sacrifice to get rid of those 2

Love Sign: I always felt it would have been a great addition to TGE even though it never apparently was considered for it.

Those 5 were like the ones that really broke my heart back then even though there were many great songs (including Funky Design and Mad that I fancied a lot, too). Thanks God I hadn't heard Hide The Bone yet back then or I'd have cried not having it either.

This being said I love everything on TGE and there could only have been 15 additional minutes, so some had to go

I mustve watched the VH1 honors performance about 100 times. From the Symbol album up to TGE was my favorite time to be a Prince fan. Which is odd, because it was one of the most challenging to be a fan.

DarkKnight1 said:

I mustve watched the VH1 honors performance about 100 times. From the Symbol album up to TGE was my favorite time to be a Prince fan. Which is odd, because it was one of the most challenging to be a fan.