I like Emotional Pump, but offering it to Joni Mitvhell... What was he thinking?!

At the very first listen, I noticed the outro of Rebirth Of The Flesh being an unfortunate noticeable paste-on job and felt very disappointed. I had hoped to be able put the Camille album together using this track, but the ending sounds so awful, I'll just have to stick with the outtake version from the Crystal Ball bootleg instead.

I also noticed the sound distortions on Wally, but it still beats the bootlegged mono version.

It was a great pleasure to just delete the samples of Cosmic Day and Jealous Girl from my computer and now enjoy the full versions. I wish I could have deleted the sample of Telepathy too.

I'm seriously enjoying the songs intended for Bonnie Raitt.

This CD seems shorter than the previous two. Surely they could have squeezed the Wendy version of Eggplant on here along with the Lisa version of A Place In Heaven.

HollywoodSt said:

I’m getting Cinnamon Girl vibes from Jealous Girl, also I may be blind but where is Jealous Girl version 1?

It's from 1981 and would belong on a Deluxe edition of the Controversy album.

[Edited 10/1/20 4:10am]

glamlife2 said:

SquirrelMeat said:

I agree with you its 'come to the Crystal Ball'. I was thinking of the later 'welcome' line in The Ball.

I'd love to know which version is on the original Camille album.

If the edited version is on it, then the 'come to the crystal ball' line seems out of place, but without it the song ending is far too abrupt.

My guess would be one of two options:

1. The edit is used, but the 'come to the crystal ball' line is replaced with a tight cut to the squelch at the beginning of Housequake.

2. The full version is used and Housequake doesn't have the squelch.

Personally, I'd lean to option 1.

There was a boot from Japan that came out some months after the test pressing of Camille was auctioned by Karen K.... it claimed to be a recording of the test pressing and it used the standard edit with the Crystal Ball ending. But I doubt their claim. I'll bet Questlove or Karen K could answer! I still need to get used to this new Outro version... I might use this "full length" version on my own Camille version, I haven't decided yet. But for my Crystal Ball playlist I'll have to re-create the edit and the segue into machine-gun version intro for Play In the Sunshine. (Sadly another segue that we don't have in remastered quality, only on boot.)

Oh but I think your option 1 idea is very cool - maybe I'll try that instead. Probably would sound great! And it's even funny because it would sound like Camille telling his background peeps to pipe down with all that Hey Hey shouting.

[Edited 9/30/20 7:55am]

[Edited 9/30/20 7:57am]

Apparanetly 4 or 5 edits of the track are with some and it is said that the Camille album version doesn;t have the 'Welcome 2 the Crystal Ball' ending.
Some months ago it was posted about the differences of 4 or 5 versions including, i think, the Camille album version (https://prince.org/msg/7/...?&pg=3) but he erased the post becuase he posted it by mistake on the board instead of a orgnote for someone.

fredmagnus said:

We'll never know for sure you're right but i also tend to think that this fade was not intented by Prince at the time but made later to hide the warble that's coming back at the very end of the song. Because it creates a very annoying kind of vibrato to the horns and other instruments which sound out of key because of that issue.

The version on Wally Safford's tape [<-- should we say this publicly, really?] is the final mixdown. Why would Prince have added this fading later ?

If you're absolutely certain the leak is the final mixdown and not some temp cassette mixdown, then it is indeed suspicious.

After an initial pass through all 3 vault CD's, doing dishes and cleaning and shit, I think this the superior disc. Or at least the most consistent one. I'll have to give each one the headphone test though.

How have I never heard Big Tall Wall before? That beat is sick. Love that track.

I Need a Man jumped out at me too because that sounds like a hit for somebody. I think it's real catchy. Those are the 2 that got stuck in my head and made me hit rewind but I like the whole disc.

scififilmnerd said:

HollywoodSt said:

I’m getting Cinnamon Girl vibes from Jealous Girl, also I may be blind but where is Jealous Girl version 1?

It's from 1981 and would belong on a Deluxe edition of the Controversy album.

[Edited 10/1/20 4:10am]

Yet we have a song from 1979 on this set. I don't think the rules are so hard and fast.

TheEnglishGent said:

LoveGalore said:

TheEnglishGent said:

Yet we have a song from 1979 on this set. I don't think the rules are so hard and fast.

Was Jealous Girl considered for the album?

This version is from 1987, and the 1981 version was aimed at The Hookers.

JorisE73 said:

glamlife2 said:

There was a boot from Japan that came out some months after the test pressing of Camille was auctioned by Karen K.... it claimed to be a recording of the test pressing and it used the standard edit with the Crystal Ball ending. But I doubt their claim. I'll bet Questlove or Karen K could answer! I still need to get used to this new Outro version... I might use this "full length" version on my own Camille version, I haven't decided yet. But for my Crystal Ball playlist I'll have to re-create the edit and the segue into machine-gun version intro for Play In the Sunshine. (Sadly another segue that we don't have in remastered quality, only on boot.)

Oh but I think your option 1 idea is very cool - maybe I'll try that instead. Probably would sound great! And it's even funny because it would sound like Camille telling his background peeps to pipe down with all that Hey Hey shouting.

[Edited 9/30/20 7:55am]

[Edited 9/30/20 7:57am]

Apparanetly 4 or 5 edits of the track are with some and it is said that the Camille album version doesn;t have the 'Welcome 2 the Crystal Ball' ending.
Some months ago it was posted about the differences of 4 or 5 versions including, i think, the Camille album version (https://prince.org/msg/7/...?&pg=3) but he erased the post becuase he posted it by mistake on the board instead of a orgnote for someone.

I forgot about that post, thanks.

It would seem logical that the Camille album version would be the edit without the 'Come to the Crystal ball line. just for the reasons:

1. It removes the 'slander' line about stealing.

2. It packs more punch that the longer version.

3. It fits perfectly when the 'Crystal Ball; line is replaced with the squelch of Housequake as the interupting element.

SquirrelMeat said:

JorisE73 said:

Apparanetly 4 or 5 edits of the track are with some and it is said that the Camille album version doesn;t have the 'Welcome 2 the Crystal Ball' ending.
Some months ago it was posted about the differences of 4 or 5 versions including, i think, the Camille album version (https://prince.org/msg/7/...?&pg=3) but he erased the post becuase he posted it by mistake on the board instead of a orgnote for someone.

I forgot about that post, thanks.

It would seem logical that the Camille album version would be the edit without the 'Come to the Crystal ball line. just for the reasons:

1. It removes the 'slander' line about stealing.

2. It packs more punch that the longer version.

3. It fits perfectly when the 'Crystal Ball; line is replaced with the squelch of Housequake as the interupting element.

I like this idea - I'd just love to get confirmation that is the version on Camille. Wonder if Neversin knew for sure - I never saw his post before it was erased, just read the following posts. But I'll try this edit myself. It's taking me time to get used to this outro version....

Re-reading that thread also reminded me that I'll never get the answer about the weird sound at the end of the early boot version of ROTF. I'll assume it's a bootleggers glitch after all until some other explanation reveals itself (that version was on Camille's Crystal Ball 3LP boot from 1988 when it was called Souly-A-Colia).

I stand firmly that it's "Come To The Crystal Ball" not "Welcome" in the edit version - but so many org'ers seem to disagree!

glamlife2 said:

SquirrelMeat said:

I forgot about that post, thanks.

It would seem logical that the Camille album version would be the edit without the 'Come to the Crystal ball line. just for the reasons:

1. It removes the 'slander' line about stealing.

2. It packs more punch that the longer version.

3. It fits perfectly when the 'Crystal Ball; line is replaced with the squelch of Housequake as the interupting element.

I like this idea - I'd just love to get confirmation that is the version on Camille. Wonder if Neversin knew for sure - I never saw his post before it was erased, just read the following posts. But I'll try this edit myself. It's taking me time to get used to this outro version....

Re-reading that thread also reminded me that I'll never get the answer about the weird sound at the end of the early boot version of ROTF. I'll assume it's a bootleggers glitch after all until some other explanation reveals itself (that version was on Camille's Crystal Ball 3LP boot from 1988 when it was called Souly-A-Colia).

I stand firmly that it's "Come To The Crystal Ball" not "Welcome" in the edit version - but so many org'ers seem to disagree!

I really wish I hads seen the original post from Neversin.
He has the original testpressing LP so he should konw for sure by now. I hope he didn't leave here for good so hopefully he can clear this up, but it seems judging from a small post on another thread he could be gpone for good here

JorisE73 said:

glamlife2 said:

I like this idea - I'd just love to get confirmation that is the version on Camille. Wonder if Neversin knew for sure - I never saw his post before it was erased, just read the following posts. But I'll try this edit myself. It's taking me time to get used to this outro version....

Re-reading that thread also reminded me that I'll never get the answer about the weird sound at the end of the early boot version of ROTF. I'll assume it's a bootleggers glitch after all until some other explanation reveals itself (that version was on Camille's Crystal Ball 3LP boot from 1988 when it was called Souly-A-Colia).

I stand firmly that it's "Come To The Crystal Ball" not "Welcome" in the edit version - but so many org'ers seem to disagree!

I really wish I hads seen the original post from Neversin.
He has the original testpressing LP so he should konw for sure by now. I hope he didn't leave here for good so hopefully he can clear this up, but it seems judging from a small post on another thread he could be gpone for good here

Oh wow - he must be seriously loaded to have that!

Wish I'd seen it too. ROTF is one of my all time fave tracks - and waited so long to have an official release (since getting that boot in 1988). I'd also like to know about any other variations with tracks on the Camille LP. (I know If I Was Your Girlfriend lacks the wedding march intro. But don't know about any others specifically.)

parker said:

databank said:

parker said:

I Need A Man is a total jam

Whenver he says the "I don't want it" line in the chorus I always think of 2pac's "If There's A Cure For This"

LoveGalore said:

Revolution81 said:

databank said:

Revolution81 said: Apparently they haven't, this one is supposed to be as left by Prince not a new mix.

-

Well I beg to differ. You can hear on the leaked version there is absolutley no fade out or even a need for one.

Seems to me they have done it to try to hide an obvious tape defect. Its sacrilege IMO. It's like tearing out the last page of "Romeo and Juliet" because it had a tea stain or fading to black before the last scene in "Gone wiith the Wind" or something because they couldn't be bothered to spend the time/effort/money in trying to fix some damaged tape.

Some warble i could forgive, but that fade out is a piss take. I'd rather listen to the bootleg.

.

I know I'm rambling on about the problems on "Wally", but this fade out is indeed weird. The tape warble at the end of the song is obvious, so the fade out is not masking it. The fade out ends with one or two seconds of guitar remaining at the most, so, yes, they probably tried to hide/mask something, like a cut or something even more noticeable than some tape warble.

olb99 said:

Revolution81 said:

-

Well I beg to differ. You can hear on the leaked version there is absolutley no fade out or even a need for one.

Seems to me they have done it to try to hide an obvious tape defect. Its sacrilege IMO. It's like tearing out the last page of "Romeo and Juliet" because it had a tea stain or fading to black before the last scene in "Gone wiith the Wind" or something because they couldn't be bothered to spend the time/effort/money in trying to fix some damaged tape.

Some warble i could forgive, but that fade out is a piss take. I'd rather listen to the bootleg.

.

I know I'm rambling on about the problems on "Wally", but this fade out is indeed weird. The tape warble at the end of the song is obvious, so the fade out is not masking it. The fade out ends with one or two seconds of guitar remaining at the most, so, yes, they probably tried to hide/mask something, like a cut or something even more noticeable than some tape warble.

Michael Howe, talk to us!!

databank said:

Michael Howe, talk to us!!

he tried to give a speech about it, but i couldn't understand him because his voice was all warble-y and they faded him out early. he was trying to address the wally situation but someone put flown-in string overdubs on top of his voice and it was really distracting.

lustmealways said:

databank said:

Michael Howe, talk to us!!

he tried to give a speech about it, but i couldn't understand him because his voice was all warble-y and they faded him out early. he was trying to address the wally situation but someone put flown-in string overdubs on top of his voice and it was really distracting.

databank said:

lustmealways said:

he tried to give a speech about it, but i couldn't understand him because his voice was all warble-y and they faded him out early. he was trying to address the wally situation but someone put flown-in string overdubs on top of his voice and it was really distracting.

.

At this point, my only way to sanity is Michael Howe contacting me using an orgNote with a full explanation for all those problems. Or maybe the Peack & Black guys talking about them for five minutes or more in their 20-hour review of SOTT SDE.

big tall wall v2 is one of those things that really doesn't belong on this set but people would lose their minds if it wasn't on here

SpookyPurple said:

cortez said:

Question about "Rebirth", hopefully this is a good place for it.

The boot version has a slightly different middle where he doesn't say the thing about wife -- but also seemed a little heavier(?) like the beat sounds a bit harder.

I'm wondering if anyone knows what I mean and if it is the mix or just the slightly distorted quality of the bootled that creates that effect

I'm with you - the bootleg just hits harder because the guitars and bass sound more prominent. This official version sounds thinner. And though the tacked on outro is clearly from a different source, I do prefer the sound/mix of the outro portion. Love having a clean version of this song but will prob still listen to the boot now and then.

Any idea what the difference is attributeable to? The one I'm referring to maybe tailored a bit for Camille album....

olb99 said:

databank said:

.

At this point, my only way to sanity is Michael Howe contacting me using an orgNote with a full explanation for all those problems. Or maybe the Peack & Black guys talking about them for five minutes or more in their 20-hour review of SOTT SDE.

I think if you wait in front of Iron Mountain with a big enough offering of cocaine, like maybe 15 or 20 kg's? I'm told coke can buy you any friendhip in LA.