WhiteSandsHideaway11 said:

Whiskas31 said:

fragglerock said:

RJOrion said:

WhiteSandsHideaway11 said:

Bruh.. reading a lot of y’all’s comments.. I’m actually shocked.. the vault material in this set is great.. if these tracks had (87) dated next to them y’all would be fawning.. if anything this has taught me not to read comments here before actually listening.. [Edited 10/27/23 23:44pm]

Nah there's a huge difference in quality and sound compared to the mid 1985 to early 1987 period. Those SSL consoles at Paisley were too clean sounding and took the edge out of his music. They changed his sound. Then he mastered the music way too loud which destroyed the dynamic range

[Edited 10/28/23 12:25pm]

RJOrion said:

fragglerock said:

WhiteSandsHideaway11 said:

ghostof82 said:

Shocked at some of the negativity here. This is a great set, the vault tracks are varied and full of surprises, like three new Prince albums, and the concert, well that's just jaw-dropping stuff right there. My goodness Prince wasn't human, he was something else.

It's hard to find something not to like.

RJOrion said:

fragglerock said:

Ooh touched a nerve did I? Like I said, they'll never admit it 😂

Like i said...you need counseling and/or medication, ASAP cased closed...you got 2 responses from me and thats it...i dont debate or argue with fools...carry on

So lets get this straight...because people dont like the songs that YOU like, or the songs you THINK they should like

LOL ahh the irony. right back atcha 😂😂😂

[Edited 10/28/23 18:44pm]

Did I like the unreleased songs on Prince's album? Are they important stuff?

They are interesting, there are fewer hidden jewels than the previous SDEs, even fewer pieces that fans were waiting for but - with a view to having an increasingly complete picture of Prince's music-making - this collection offers moments of enjoyable music and here and there also thrilling.

But what's inside?
Meanwhile there are a series of pieces that are closer to the sound of the original album, alternative versions or pieces that were designed for the album's initial setlists: Cream, Live 4 Love, Daddy Pop, Insatiable, Horny Pony, Thunder, The Last Dance (a reworking of Jughead), Diamonds & Pearls are presented in unreleased versions alongside pieces like Schoolyard and Something Funky which were in the initial configuration of the album. This part alternates interesting pieces, reworks that in some cases were as successful as those later put on the album (Insatiable), and useless things, like the one minute longer version of the tacky title track or the bare one of the overrated Cream. Note the delicate instrumental ballet included in Thunder Ballet and the version of Schoolyard which is not the one that has been around as a bootleg for years, but is more complete here.

.
A second group of songs which - listening to the various CDs - I find to have their own compactness, are a series of secondary songs which, put together, would create a "normal" pop album with jazz/rnb nuances from the late eighties. Listening to these pieces in succession I had the impression of finding myself in front of a multiverse where Prince had started making, instead of Diamonds & Pearls, a generic album with semi-electronic production. Keyboards, drum machines, backing vocals and production a la Boy George, Cameo, or other MTV rotation music. I'm talking about songs like Get Blue, Skip To My You My Darling, Tip 'O My Tongue, Hey U, The Voice, Trouble, Pain, Open Book. An album with this tracklist would have been an excellent "normal" commercial album by Prince, to which you could also add things like Martika Kitchen, Spirit or Don't Say U Love Me, which however already have a more nineties sound. They are mostly pieces that Prince then gave to other singers and which here and there send out some flashes of their own beauty: the jazzy voice in Pain, the groove of Trouble and Hey U, the absolute and dreamy pop of Open Book.

.
A third group could be that of the "monsters", unreleased songs, demos and oddities: the coarse rap with decelerated vocals of Work That Fat, the very elegant blues of I Pledge Allegiance to Your Love, the unexpected jazz of Letter 4 Miles and the rock of Darkside and Blood on the Sheets, the demo (still very bare) of Standing at the Altar and the fiery one of Streetwalker, the unreleased (still unfinished) of Alice Through the Looking Glass with its minor chords, the witness of that which will be Gett Off with the feet still in Love Machine and a refrain taken from Lovesexy (Glam Slam '91), the out-of-time ballad of Hold Me and - perhaps - the two best pieces on the album, Lauriann and My Tender Heart, a slow, saccharine and passionate and an absolutely radio-friendly and energetic pop-rock piece. They are all songs that don't belong together, they wouldn't have made sense on the album but which show our multiple musical interests even in the unfortunate, artistically speaking, early nineties. No one could really believe that the same person went on to record such different things musically from one day to the next, such as styles, voice registers, instrumentations..

And - despite all this stuff - a lot of it is missing. There is always a question of what was or was not included in a collection of this type, but it remains inexplicable why songs from this period such as I Wonder and above all I Hear Your Voice were excluded.

.
A good triple to add to the collection of released songs, but still waiting for the next one. There are still eras full of things that have barely been touched: Gold and Parade to name two. Let's hope we don't have to wait years to get them in overpriced packages like this very expensive SDE.

The live stuff is amazing. Michael is killing the drums, dude is so underrated. It was interesting hearing the audience sing Sexy MF at the chorus 6 months before the song was released. Prince sounded surprised

[Edited 10/29/23 13:33pm]

Oh man, what happened between the mid-80s and this period? Not going to listen again, unfortunately.

Phishanga said:

Landonfunkmonkey said:

WhiteSandsHideaway11 said:

Phishanga said:

Oh man, what happened between the mid-80s and this period? Not going to listen again, unfortunately.

Dang that sucks.. I’m so glad I’m not in this camp… I am actually WAY more satisfied with this SDE that the SOTT SDE.. and SOTT is my favorite album.. but to each their own..

Glad you're enjoying it!

btw the singing verse of Hey You reminds me Vavoom

Marco81 said:

Landonfunkmonkey said:

Marco81 said:

Can ypu share the link where he said that?

https://m.facebook.com/gr...149715813/ He mention Well done as well.

Thanks!

The "Originals" shouldn't really be analyzed they're like "Vault" or "Unreleased" material. They're not stuff he threw away in a room, it's material he actively ensured got released, just not under his own name.

Like some of the new fan favs like "Open Book" or "Get Blue" he didn't bury from the world, he put them out, they were on albums, just as a songwriter instead.

Similar sentiment for praising the Estate for unearthing some new undiscovered crevice in the Prince mythos. Uh, no, there's documentation on all the songs he gave away that came out because he gave them away and they came out. Came out in the 90s. The Estate should have access to all the Originals; I'm more interested in what the ratings of the actual new new material here is.

RJOrion said:

SoulAlive said:

RJOrion said: