I always like the weird little 'tags' he sometimes uses at the end, which have nothing to do with the main body of the song. Think 'Do Me Baby,' 'Paisley Park,' stuff like that. Also 'Dark,' with its (intentional?) little quote from 'I Wish U Heaven.'

the end of 'Neon Telephone', as if it were a song on it's own

the end of the well know 'Darling Nikki' part. ''olleH...''

the incredible wild long guitar pat of the HallWaySpeech version of 'Computer Blue'

the end of the 'Kiss' extended version song, the fight

the beautiful ending of 'Something In the water (does not compute)'

Yesterday I was listening to "Rock Hard in a Funky Place" and couldn't help but smile with the tag he put on the the end: "What kind of fuck ending was that?"

As for proper outros (as opposed to tags), my favorite is probably the funky breakdown at the end of "La, La, La, Hee, He, He". (That song as a tag as well, when he quietly says: "Play that back." Nothing special about that tag, but it felt like an Easter Egg the first time I heard it as a teen.)

My second favorite outro is probably the one on "Groovy Potential".

I'll give an honorable mention to the outro on"Get on the Boat".

The guitar solo at the end of Cant stop this feeling I got.

jazzz said:

For me, it's Eric and Atlanta going off the deep end on Mountains, I want that 20 seconds of Brass brilliance looped into a continous cycle recorded on a chip and played in my coffin until it ceases to exist.

lurker316 said:

As for proper outros (as opposed to tags), my favorite is probably the funky breakdown at the end of "La, La, La, Hee, He, He". (That song as a tag as well, when he quietly says: "Play that back." Nothing special about that tag, but it felt like an Easter Egg the first time I heard it as a teen.)

"Play that thang..."

i.e. the chant when he rips the bass solo, no?

nayroo2002 said:

lurker316 said:

As for proper outros (as opposed to tags), my favorite is probably the funky breakdown at the end of "La, La, La, Hee, He, He". (That song as a tag as well, when he quietly says: "Play that back." Nothing special about that tag, but it felt like an Easter Egg the first time I heard it as a teen.)

"Play that thang..."

i.e. the chant when he rips the bass solo, no?

That part (the bass solo) is great too, but that's in the middle of the song. That's not the outro.

The outro begins with about 25 seconds left in the song. It's mostly chicken scratch guitar with some horn stabs and hand claps. Funky as all get-out.

Then, if you keep listening, after the very last note of the outro (with literally 2 seconds left in the song), Prince says: "Play that back." It's at a very low volume and easy to miss.

"Mountains". Claire Fischer's weird string arrangement and horns (with the offbeat) make it sound strange. and then the funk groove with the lush acoustic guitar makes it just right...It makes you want to hear more... A lot of the song endings on the "S.O.T.T" album have that thing going on too.

PJMcGee said:

jazzz said:

SPYZFAN1 said:

Not sure how long is considered the actual outro and I’m in a bit of a rush so unable to offer any explanations right now. However, off the top of my head in this moment, I just love the way all the following build through the home straight and how all of them end perfectly to my ears.

The Beautiful Ones

Love 2 the 9’s

How Come U Don’t Call Me Anymore

Lovesexy

Shockadelica

Housequake

If I Was Your Girlfriend

Movie Star

Feel U Up (Long Stroke)

lurker316 said:

nayroo2002 said:

"Play that thang..."

i.e. the chant when he rips the bass solo, no?

That part (the bass solo) is great too, but that's in the middle of the song. That's not the outro.

The outro begins with about 25 seconds left in the song. It's mostly chicken scratch guitar with some horn stabs and hand claps. Funky as all get-out.

Then, if you keep listening, after the very last note of the outro (with literally 2 seconds left in the song), Prince says: "Play that back." It's at a very low volume and easy to miss.

No.

He says, "Play that thang" as a hark back to the solo chant.

THAT'S why i love this song

To each thier own, right?

u got the look and neon telephone

PJMcGee said:

i forgot, ICNTTPOYM

he takes it into miles davis/can you hear me knockin territory in that second part

i guess the actual final ending isnt amazing

but the lead up to it is one of the greatest passages prince ever played

also, batdance

i always liked the second part and the evil laugh at the end lol

[Edited 9/6/22 11:35am]

Play in the Sunshine. That whole slowed down part. Wow. It's so unexpected, beautiful, and soulful. And it makes the record scratch into Housequake work so well.

thisisreece said:

paraded said:

Play in the Sunshine. That whole slowed down part. Wow. It's so unexpected, beautiful, and soulful. And it makes the record scratch into Housequake work so well.

Ooh, that's a good one. "Let's get outta here." "Yeah."

The outro on "TIME" is fantastic, would really, really, really love to hear where that went for however long it went there, reminds me of a funky Emancipation era vibe on it.

claudemorton said:

The outro on "TIME" is fantastic, would really, really, really love to hear where that went for however long it went there, reminds me of a funky Emancipation era vibe on it.

Yeah!

Most of the track is basically just a phone conversation while Prince is goofin around on the bass, but, then he hangs the phone up and the full-fleshed song starts, only to fade out