TrivialPursuit said:

lavendardrummachine said:

Possibly, but most of it's identical and doesn't hint to another vocal, and like I said, the stem we do have shows how he did the same trick.

Look sis, people have verified it. So you're on your own trying to argue a different point. Duane Tudahl noted this in his book, Prince and the Purple Rain Studio Sessions 1983-1984, on the Sunday, February 19, 1984 entry:

"Prince was a little more experimental than usual with his vocals, putting what sounded like a slight delay—but was actually a different take of the vocals—on one of the channels. This surreal audio effect was only on his main vocal; the background vocals were not given the same treatment."

I'm taking his word - a man who went above and beyond to research just these sort of details that Prince fans enjoy scrapping over - over anyone else's.

I agree with lavendardrummachine. You can run the song through https://melody.ml/ to get a very decent vocal extraction and then sync both sides up in any audio program to see both vocals match perfectly.

Duane got some synths being used wrong in the SOTT sessions and the reason why Prince wrote "Lisa" on the multitrack box for "Yes" so he's not infallible.

Oh many many songs, but I would really want to hear A Love Bizarre's percussions.

I would like to make a whole instrumental mix

Dance Electric - Just to hear all the seperate tid bits especially a heavy guitar instrumental mix. Acapella Mix. I would turn it into a 20 minute extended version if I could.

The Future

That weird keyboard section and Claire Fisher section would make for some great listening

When The Dawn Of The Morning Comes

There is just so much going on in that song instrumentally and vocally I would enjoy the heck out of deconstructing it.

17 Days

That chunky Linn Drum and instruemts just talk to me. Hopefully if that were to come it would be in its extended format with Brenda's vocals nice and clear.

cb70 said:

TrivialPursuit said:

I'm taking his word - a man who went above and beyond to research just these sort of details that Prince fans enjoy scrapping over - over anyone else's.

I agree with lavendardrummachine. You can run the song through https://melody.ml/ to get a very decent vocal extraction and then sync both sides up in any audio program to see both vocals match perfectly.

Duane got some synths being used wrong in the SOTT sessions and the reason why Prince wrote "Lisa" on the multitrack box for "Yes" so he's not infallible.

Getting a synth wrong, versus talking to Sheila or whoever - who was quoted directly above the part I copied and pasted - about how the song she played on was recorded. Well... I suppose I'm erring on the side of a more reliable source, aka those who were there.

Did y'all forget the internet wasn't around in 1984/5, and that sometimes you just had to do something on your own to make a sound like that happen? No one had an Apple Lisa or Apple II sitting there messing with vocal effects.

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I'd go with "Old Friends 4 Sale" (original version) so i can find out whats being said buried in the mix at around 2min30 - 2min40.

and "wally" would be cool

Revolution81 said:

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I'd go with "Old Friends 4 Sale" (original version) so i can find out whats being said buried in the mix at around 2min30 - 2min40.

Ohhh, yes! Or all the other little samples and sounds he puts in stuff. I think about the "irresistible bitch" lyric wound into the rhythm on the same track. Or the samples in "My Name is Prince." etc etc

TrivialPursuit said:

Purple And Gold...says nobody.

LoveGalore said:

Sure, but Sheila is as reliable as wet toilet paper. And you don't need a high tech set up to create a doubled-up vocal. He did it countless times before then. So while Bobby Z has repeatedly stated "Baby" is all distinct vocal tracks (and you can tell), I think the fact "Pop Life" is perfect (to some ears) is worthy of considering - even when it's written in a book.

Well listen, I'm no fan of Ms. Lemon Cake Revisionist. But that's a very distinct and unique statement for Tudahl to make. It's not conjecture. If it was, it would've injected into other areas too, making false claims. Because, as others stated earlier, he mis-noted a synth doesn't discredit the whole book, and it certainly doesn't discredit a unique statement like a double lead vocal on "Pop Life."

And you're right, people just recorded shit as they needed it. No high tech, just record it again. It could've very well been a take meant to be the lead, but he wanted to do another, then decided, hey - this could be doubled as a quasi-echo. We can all agree that ATWIAD has a lot of experimentation on it. To think that "Pop Life" isn't part of that, with it's "throw the bum out" nonsense, etc., would be obtuse.

If folks would just listen, it's obvious it's not the same vocal. The innotation, expression - there are differences in it that some 21st century tech effect couldn't make in 1984.

TrivialPursuit said:

LoveGalore said:

Hey, I'm just being devils advocate cuz it's kinda fun to take shots at Sheila, lol. I have heard that it was two takes as well. Ultimately I'm with you - gimme dem stems.

I was Team Apollonia until she started talking about writing "The Glamorous Life." Evidence? A torn page from her journal. Uh huh. Get some tissue paper and pencil rub over the page behind it for proof.

Sheila's another whole situation.

As far as stems... I think "When Doves Cry" would be a more interesting one. All those harmonies, the missing bass line, all those keyboard parts.

TrivialPursuit said:

LoveGalore said:

TrivialPursuit said:

I was Team Apollonia until she started talking about writing "The Glamorous Life." Evidence? A torn page from her journal. Uh huh. Get some tissue paper and pencil rub over the page behind it for proof.

Sheila's another whole situation.

As far as stems... I think "When Doves Cry" would be a more interesting one. All those harmonies, the missing bass line, all those keyboard parts.

I want to just walk around my apartment naked and blasting the drum pattern.

You should Chaturbate that shit.

I'd really like to disect Joy In Repetition, especially for the two distinct guitars solos at the end.