I don't think it's that great of a song like people seem to think it is, to me. I think "Nothing Compares 2 U" and "Desire" are stronger songs, as is "Mutiny" and "High Fashion."

The lyrics are spicy, but the production is just meh.

In fact, while The Family was a great set in general, I think the two instrumentals sorta dial it back, compared to Jill's album which is solid front to back.

Great song. Cool video. The song is very catchy and The Family performed it perfectly.

LOVED it since I first heard it. The strings at the beginning of the 12" always reminded me of the soundtracks to one of those old 1950s-1960s educational films we were shown in elementary school and always reminded me of Autumn. So glad Prince's vocal version has finally leaked and hopefully it will find its way onto an Estate release.

TrivialPursuit said:

I don't think it's that great of a song like people seem to think it is, to me. I think "Nothing Compares 2 U" and "Desire" are stronger songs, as is "Mutiny" and "High Fashion."

The lyrics are spicy, but the production is just meh.

In fact, while The Family was a great set in general, I think the two instrumentals sorta dial it back, compared to Jill's album which is solid front to back.

Can you explain why the comparison of this album with Jill Jones album?

This is one of those songs that no matter how hard I try, I can't seem to memorize the lyrics!

Which, for a Prince song is rare for me.

Outstanding song. I have Prince's version too and I like his a little better.

This is one of those songs, that informed me Prince was on a whole different level.
This like I Don't Want 2 Leave U(the Time) and Dear Michaelangelo(Romance 1600) just a few to name, the Screams of Passion, when I first heard it I could not discern what I was hearing it was so colorful. It flowed like a water color painting. The Clare Fischer strings is the thing that takes this song from hot to spicy

OldFriends4Sale said:

Can you explain why the comparison of this album with Jill Jones album?

.

I can't speak for Trivialpursuit, but to me, the Family album and the Jill Jones album are somewhat the bookends to the Parade album. It is where the Clare Fischer orchestration is most prominent and part of the album, as opposed to some songs.

.

In that regard, I understand how they are compared, or why comparisons between them come up easily.

.

Regardless, it's a great trio of albums. (although all have their flaws) The screams of passion, to me, is not one of the stronger tracks on the Family album. Together with River Run Dry, it's the least noteworthy, imo.

I really like the rehearsal version of it on the Feline soundcheck boot. That's some good stuff, right there!

Prince was a tiny man, but his hormones sure wasn't .....the man was all about sex, sex, sex! Seems like he had sex on the brain 24/7, in which is why most of his songs and song titles have something to do with sex.

mediumdry said:

OldFriends4Sale said:

Can you explain why the comparison of this album with Jill Jones album?

.

I can't speak for Trivialpursuit, but to me, the Family album and the Jill Jones album are somewhat the bookends to the Parade album. It is where the Clare Fischer orchestration is most prominent and part of the album, as opposed to some songs.

.

In that regard, I understand how they are compared, or why comparisons between them come up easily.

.

Regardless, it's a great trio of albums. (although all have their flaws) The screams of passion, to me, is not one of the stronger tracks on the Family album. Together with River Run Dry, it's the least noteworthy, imo.

I actually never thought of Jill Jones albums in the same connection with Parade, that's a new connection for me

.

I sorta thought of it more in connection with SOTT but not even that, because it's an album of material that spans from For You or Prince to 1982 1983 1984 1985 1986 (outtakes) and a couple 1987 current pieces. I never thought it felt anythink like Parade or the Family album.

.

LOL I always thought it was one of the strong tracks, getting the vibe and direction he was attempting, I think it's a very strong album. I love Jazz too so that kicks in along with I see this album almost as audibly more related to Madhouse for some reason.

I love it! That and A Love Bizarre are two of my favorite protege songs. The lyrics are so sensual. Prince maturing from the in your face sexual approach.

Love it

inovio said:

And hearing the Screams of Passion piece with Prince & the Revolution is heaven. I want to see video of that. For me hearing this doesn't take away from the Family album song version either.

Screams of Passion is one of my favorite songs. When I first heard it back in the day, I thought that it was amazing & still do. The only thing better would be Prince's version, I have heard his rehearsal version and its awesome.

Screams and Violet Blue from Jill's album almost seem like someone else wrote the lyrics or collaborated with him on them. They are way more poetic and lyrical than most of his output.

OldFriends4Sale said:

TrivialPursuit said:

I don't think it's that great of a song like people seem to think it is, to me. I think "Nothing Compares 2 U" and "Desire" are stronger songs, as is "Mutiny" and "High Fashion."

The lyrics are spicy, but the production is just meh.

In fact, while The Family was a great set in general, I think the two instrumentals sorta dial it back, compared to Jill's album which is solid front to back.

Can you explain why the comparison of this album with Jill Jones album?

I think they're cousins, in many ways. They both have that gritty all-in-one-room type production sound to them, they have Clare's strings. They're both strong protege albums. They're also one-offs, nothing before or after, so they remain unique and singular. I can hear Susannah singing "All Day, All Night," as much as I can hear Jill singing "The Screams of Passion." They sort of book end an era from post-Purple Rain thru the rougher sounding SOTT space. (Lovesexy is more gleaming, bright, treble-y, red-level peaking, whereas SOTT feels muddy sometimes, like it came out of that sweat shop in The Wiz, which isn't a bad thing.)

To me, things like Madhouse equate more with Lovesexy. A more open, brighter sound, new directions (as it were) in music.

If you group ATWIAD, The Family, Parade, SOTT, & Jill, that's a set of music right there.

Then you'd group Lovesexy, 8, 16 as an intermingled playlist. It seems with Batman, he wasn't either muddy or overly crisp in the production. He was back to the middle, evened out.

It's also a time when he wasn't writing hardcore R&B or funk type songs like he did for The Time or new wave stuff for Vanity 6, or however A6's album is classified. It seemed like a new era, a new bolt of fabric to cut new songs from. Listen to "Hello," or "She's Always In My Hair." It's the same grittier production as "All Day, All Night," "My Man."

However, Jill's album does feel more mature, in some ways, more complete. As I stated before, the instrumentals on The Family dials back the album a bit. There had to be other songs that would have fit on that record. Those instrumentals should've been Madhouse B-sides or put somewhere else.

TrivialPursuit said:

OldFriends4Sale said:

Can you explain why the comparison of this album with Jill Jones album?

I think they're cousins, in many ways. They both have that gritty all-in-one-room type production sound to them, they have Clare's strings. They're both strong protege albums. They're also one-offs, nothing before or after, so they remain unique and singular. I can hear Susannah singing "All Day, All Night," as much as I can hear Jill singing "The Screams of Passion." They sort of book end an era from post-Purple Rain thru the rougher sounding SOTT space. (Lovesexy is more gleaming, bright, treble-y, red-level peaking, whereas SOTT feels muddy sometimes, like it came out of that sweat shop in The Wiz, which isn't a bad thing.)

To me, things like Madhouse equate more with Lovesexy. A more open, brighter sound, new directions (as it were) in music.

If you group ATWIAD, The Family, Parade, SOTT, & Jill, that's a set of music right there.

Then you'd group Lovesexy, 8, 16 as an intermingled playlist. It seems with Batman, he wasn't either muddy or overly crisp in the production. He was back to the middle, evened out.

It's also a time when he wasn't writing hardcore R&B or funk type songs like he did for The Time or new wave stuff for Vanity 6, or however A6's album is classified. It seemed like a new era, a new bolt of fabric to cut new songs from. Listen to "Hello," or "She's Always In My Hair." It's the same grittier production as "All Day, All Night," "My Man."

However, Jill's album does feel more mature, in some ways, more complete. As I stated before, the instrumentals on The Family dials back the album a bit. There had to be other songs that would have fit on that record. Those instrumentals should've been Madhouse B-sides or put somewhere else.

This is a nice analysis. I would just say that Madhouse 8 at least belongs in the earlier grouping (ATWIAD, Parade, Family etc.) esp given the prominence of Eric Leeds on most (except ATWIAD)

This is a nice analysis. I would just say that Madhouse 8 at least belongs in the earlier grouping (ATWIAD, Parade, Family etc.) esp given the prominence of Eric Leeds on most (except ATWIAD)

I don't disagree with that. But for me, Eric and Atlanta were so prominent from Parade onward, it feels right to settle them into a Madhouse/Lovesexy joint.

That said, there are definite overlaps in aesthetic, production, writing styles, etc. ATWAID/The Family, goes into Parade/SOTT, which also gets to SOTT/Jill, then Lovesexy stems from SOTT (esp in band makeup and groove), and couples with Madhouse. Clare is thru out most of those, too. It's a bit two-steps forward, one-step back, to keep the same footprints throughout.

TrivialPursuit said:

This is a nice analysis. I would just say that Madhouse 8 at least belongs in the earlier grouping (ATWIAD, Parade, Family etc.) esp given the prominence of Eric Leeds on most (except ATWIAD)

I don't disagree with that. But for me, Eric and Atlanta were so prominent from Parade onward, it feels right to settle them into a Madhouse/Lovesexy joint.

That said, there are definite overlaps in aesthetic, production, writing styles, etc. ATWAID/The Family, goes into Parade/SOTT, which also gets to SOTT/Jill, then Lovesexy stems from SOTT (esp in band makeup and groove), and couples with Madhouse. Clare is thru out most of those, too. It's a bit two-steps forward, one-step back, to keep the same footprints throughout.

For some reason, Lovesexy to me is a totally different sound. I also never listen to it so I'm biased.

GaryMF said:

For some reason, Lovesexy to me is a totally different sound. I also never listen to it so I'm biased.

You're not wrong there. Lovesexy is white compared to the peach & black of SOTT. It's weird to get from ATWIAD to Lovesexy. But somehow, those protege albums and Prince albums hook those three years together. 4 Prince albums, and 4 offshoot albums from 1985-1988. Pretty amazing.

TrivialPursuit said:

OldFriends4Sale said:

Can you explain why the comparison of this album with Jill Jones album?

I think they're cousins, in many ways. They both have that gritty all-in-one-room type production sound to them, they have Clare's strings. They're both strong protege albums. They're also one-offs, nothing before or after, so they remain unique and singular. I can hear Susannah singing "All Day, All Night," as much as I can hear Jill singing "The Screams of Passion." They sort of book end an era from post-Purple Rain thru the rougher sounding SOTT space. (Lovesexy is more gleaming, bright, treble-y, red-level peaking, whereas SOTT feels muddy sometimes, like it came out of that sweat shop in The Wiz, which isn't a bad thing.)

To me, things like Madhouse equate more with Lovesexy. A more open, brighter sound, new directions (as it were) in music.

If you group ATWIAD, The Family, Parade, SOTT, & Jill, that's a set of music right there.

Then you'd group Lovesexy, 8, 16 as an intermingled playlist. It seems with Batman, he wasn't either muddy or overly crisp in the production. He was back to the middle, evened out.

It's also a time when he wasn't writing hardcore R&B or funk type songs like he did for The Time or new wave stuff for Vanity 6, or however A6's album is classified. It seemed like a new era, a new bolt of fabric to cut new songs from. Listen to "Hello," or "She's Always In My Hair." It's the same grittier production as "All Day, All Night," "My Man."

However, Jill's album does feel more mature, in some ways, more complete. As I stated before, the instrumentals on The Family dials back the album a bit. There had to be other songs that would have fit on that record. Those instrumentals should've been Madhouse B-sides or put somewhere else.

Thanks, I'm always open to hearing who the music especially from that 1980-1989 period interconnects with people

whodknee said:

Great song. Cool video. The song is very catchy and The Family performed it perfectly.

Agree.