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Printablestymie said: This is one of my favorite posts ever!
 how could i have forgotten about her post???  and she wuz so ready, too... | |
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stymie said: Anji said: CalhounSq on being Prince's bitch:
This is one of my favorite posts ever! That's it, I've had it! I give up... I'M READY.
I'm ready to rape my savings account, get on a plane & breathe thick, hot Minneapolis air. Get rained on, get mud on my clothes, FUCK UP a pair of shoes, risk heat stroke AND exhaustion... I'm ready to sleep all day & exist on energy drinks and greasy fast food for a week, to piss full strength Red Bull & leave the party staggering, ears ringing, yawning like I'm 95... I'm ready to be SO hyped I can touch the rafters when I jump up, put a dent in the floor coming down. To pack a neckbrace for ALL NIGHT LONG. Wanna jam all night & not sing? FINE. Do the entire show from behind a curtain? WHOO-HOO!! Play a 20 minute version of Jughead, I'll GLADLY suppress the urge to hurl... Oh yes, I'm READY... Ready to do whatever he wants the crowd to do, say whatever he wants us to say. Cheer for the camera as if I'm at a show?? OKAY! Say "interferons" until MY blood is dead?? NO PROBLEM!! I'll crack open a bible AND pick up the trash. I can pass out napkins @ the veggie burger stand but only after I carry P's cuss jar around on a crushed velvet pillow & make sure NPG water is stocked & ready to go - WHERE'S THE STOCK ROOM??? I'm ready to write OTAN on my forehead and crawl across the floor. To wear good girl clothes & stop cussing the minute my plane lands - veganize me! To burn piles of bootlegs... okay, scratch that, but I'm EAGER to fall to my knees, beg, plead, help Prince sell copies of ONA-L! out the trunk of my car - whatever it takes! I succumb, I'm turning myself over to him. I wanna be the best fan in the crowd, sing along when he says "SING IT!", listen when it's time to shut the fuck up - I wanna be his slave, his screaming whore, his bottom bitch. Oh yes, I'm gettin' Pimps Up, Hoes Down up in here y'all - I'M READY... Come on Prince, let's make a date for JUNE. I got my red pumps on... Uh, I got some sexy yet comfortable shoes on, my ass is in the air & I'm bending over... Make me forgive you for every strand of hair you've ever cut, every moon earwrap & ant-trail moustache, every time I've slept on cold concrete with no pillow, every note of Horny Pony AND Courtin' Time. Give it to me... and give it to me good. JUNE, man, fuckin' June...  
Yes! I still can't believe the power of this almighty post alone didn't convince P to arrange a Celly for 2003! The Normal Whores Club | |
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Supernova on Dirty Mind' s influences: To tell you the truth I can't remember the first time I heard this album. Although I wasn't a child when I heard it back then and I was into Prince (but not as intensely as in the near future after this album).
But I put this album in Prince's top 5 or 6 discs of his career. It's minimal, hard, hardcore, passionate, intense, punk-ish, urgent, iconoclastic, and really mysterious when I think about it. This was his first album he put together a cohesive statement. Nobody sounded like this. NOBODY. He didn't care what you thought about him, his look or his music. It was his way or the highway. He was allowing you to come along for the ride, or to get off the rollercoaster, because he was going to blaze his own trail regardless of whether or not you wanted to keep up with him. And although you could hear that it was minimalist, at the same time you can hear the threads of rock/funk/punk/pop and new wave. It makes you wonder just who Prince was listening to back then. Because even though you can pinpoint the genres, you can't pinpoint who exactly this guy was listening to. And then you realize he was probably listening to the voices inside his head. 
. [This message was edited Wed Jul 16 20:20:48 PDT 2003 by Anji] | |
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Handclapsfingasnapz said:[quote] stymie said: This is one of my favorite posts ever!
Damn that woman | |
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Brother915 AKA Southernbrother on The Song "Hello"
Inspired by Snatch's thread, I'm sure many of you remember the controversy surrounding LIL MAN with him not showing up at the all-star recording for the USA FOR AFRICA's song "WE ARE THE WORLD" back in 1985 after the American Music Awards (after he got robbed of at least 6 awards). I thought "Hello" was one of the best examples of him speaking to the media and his critics through him music. He wasn't giving interviews much in the 80's, so what did he do. Made a great song telling his side of the story. I thought these lines were genius ..."we're against hungry children...our breakfast stands tall...there's just as much hungry HERE AT HOME". I thought that was brillant. What he was basically saying was, you guys are making such a big deal about me now showing up for this recording session, but hey there are people starving here on the home front as well and hey I am concern, I am willing to give a song to your project. He didn't give an interview to state his position, he just snucked this song on the B-side of his "Pop Life" single. I remember when I bought the single back in 85' and was SURPRISED to hear this B-side single(surprise to hear him address his critics). I thought it was brillant and I think it is one of his greatest B-side songs.
Then he turned around and gave the USA FOR AFRICA album an awesome song "4 The Tears In Your Eyes". That people, is how he came to be called YOUR ROYAL BADNESS  | |
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giotto on how Sign 'O' The Times was received:
Upon the release of 'Sign O' The Times' I remember a peculiar thing happened here in the UK. Barring the likes of 'Q' and 'Melody Maker', a large proportion of the music press were very quick to dismiss 'S.O.T.T.' as "a duff LP" and "uneven". Another publication declared it to be full of "demos" and (my all-time favourite) "not a patch on Parade". The founder of Controversy magazine even confessed in conversation that 'S.O.T.T.' had left her "cold".
As a mere concept, the album appeared disjointed and disconnected and, heard cold, it simply did not seem to work. O, what a difference a few more months were to make... More peculiar still was observing the subsequent avalanche of praise that was heaped upon 'S.O.T.T'. by both UK and European critics alike. But this peculiar and highly amusing phenomenon manifested itself only after two significant events: the unveiling of the first European concerts, which were my privilege to witness - especially since the tour managed to miss the UK altogether - and the release of the 'S.O.T.T.' concert film. Upon the above evidence, whether by design or by accident (and I am inclined to believe it was by accident)'S.O.T.T.' has definitely worked as a slow-burn campaign. Indeed, the album's reputation has exponentially grown in stature with the passage of time and seems to forever be gaining new adepts (always only after a couple of listens, though!). Both the tour and the film were, I believe, catalysts and instrumental in the album embedding itself to such a significant degree in people's hearts and affections. Afterwards, when this triunvirate events were consolidated,when not only the album but now also the tour and the film were catching fire in tandem all over Europe, only then was everybody ready to fall over each other to declare 'S.O.T.T' a masterpiece; even if the album itself and the singles from it had significantly failed to set the charts on fire just a few months back. The US press remained largely unimpressed, however(Rolling Stone magazine labelled it "incomprehensible")and sales of the album amazingly remained relatively poor on both sides of the Atlantic. Having said all that, I believe Eric Leeds had a point when he said that they had "momentum" with that album and that the critical success that had been achieved in Europe would have had a ripple effect in the US had Prince decided to take the tour to America. It is widely believed that Prince made the biggest mistake of his career by not touring America with 'S.O.T.T.' Ironically, and despite the relative lack of album and singles sales, the critical expectation and momentum generated by 'S.O.T.T.'s aftermath, not to mention the buzz that surrounded the live shows at the time, was still so great that it propelled Prince's following release, 'Lovesexy', to the top of the charts. Arguably on the back of the critical momentum and the expectation 'S.O.T.T.' generated, 'Lovesexy' became Prince's first ever UK number one album. It would be good to keep a sense of perspective and remember that S.O.T.T. initially received a lukewarm response from fans and critics alike. Commercial success has always eluded 'S.O.T.T.'and it probably continue to do so until the cows come home. But as a critical landmark, it has grown in stature with the passage of time. It's legendary status is now greater than ever.  | |
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JediMaster on worshipping Prince:
I think it is fine to get inspiration and insight from an artist's music. However, I do think you should be careful to elevate anyone... Prince is a human being, and while he may be able to lend you insights, he is also just as likely to make horrible mistakes like the rest of us. If you follow another human being, you are likely to be dissapointed. There is a fine line between learning from a person, and putting them into some worshipful status. You should seek insight and wisdom from all around you, and not trust all of your life's developments to one person. I do think that many people become way too worshipful of their favorite musicians, actors, writers, etc. I've even been guilty of it myself in the past. It leads to an inevitable fall, when the person you're fixated on winds up making a very human mistake.
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Supernova on becoming an independent spirit:
...for some people when they look back at certain points in their lives they realize what got them through whatever they were going through, although they don't always realize what's getting them through it as it's happening. It's like an epiphany in retrospect. I completely understand this. As kids, and even young adults sometimes, we're still in the process of finding ourselves, so to speak. Everybody gravitates to what they relate to, even if they can't pinpoint the tangibles of exactly why they relate to it at the time that they're in the process of becoming an independent spirit of their own. And all independent spirits have been heavily influenced by someone, or something, or both.  | |
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Anji said: JediMaster on worshipping Prince:
I think it is fine to get inspiration and insight from an artist's music. However, I do think you should be careful to elevate anyone... Prince is a human being, and while he may be able to lend you insights, he is also just as likely to make horrible mistakes like the rest of us. If you follow another human being, you are likely to be dissapointed. There is a fine line between learning from a person, and putting them into some worshipful status. You should seek insight and wisdom from all around you, and not trust all of your life's developments to one person. I do think that many people become way too worshipful of their favorite musicians, actors, writers, etc. I've even been guilty of it myself in the past. It leads to an inevitable fall, when the person you're fixated on winds up making a very human mistake.
Wise words from a Jedi. Indeed...I often think that I grew up more fully when I realized that Prince was my equal and not some magical demigod. Fear is the mind-killer. | |
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Brendan on the Peach fuzz of ONA Live:
Get your “It Ain’t Over” disc out and click over to track 6. Turn your dial to the “no, not that loud!” mark and strap the headphones on as tightly as they’ll buckle. Now get ready for a ride that’s advertised to go the distance, but thankfully is stopped by TKO just before permanent damage is achieved.
Yes, I’m talking about experiencing a “Peach” as it slides down your throat; and it feels a little something like this… We’re allowed ninety seconds of foreplay at the beginning, use it wisely to slowly feel your way around the foundation of this groove. By the time the house lights make contact with skin your aroused peach fuzz should be lightly beaded with sweat. Notice the presence of the urgent bursts of horn. They’re here to sweet talk you, but they’ll be back later to visit your ass. You should be pacing yourself like a marathoner. We got time. We got time. Prince just announced we’re going 20 and we’ve got 3 minutes before we hit the first bolt of wicked intensity. At the 4:30 mark Prince becomes an irrepressible tease with an “uh oh!” and the spoken delivery of the lyrics to “Peach” overtop of an infuriatingly irresistible, I’m-shaking-things-I-didn’t-even-know-were-a-part-of-me groove. At precisely 5:17 Prince mercifully stops the tease with a shouted “turn around” which dives us directly into 7 glorious seconds of the opening charge of the former rock and roller. On a bleeping dime this MoFo drops out of this full-on hard rock penetration into gorgeously realized chicken-scratch guitar, a maneuver delivered with such immense precision as to afro-tize at least three straight-haired folks right on the damn spot. It’s as if he has dropped from straight intercourse into clitorial stimulation with one continuous heart-thumping transfer of energy. But Prince announces, “It Ain’t Over” and with a slight shiver he sends his band into a shuffle that drops the dance floor a good foot underneath the tremendous weight of the chaotic burden being placed upon it heretofore. But not an orgasm is to be heard until Prince pulls out his secret weapon (Renato “Fingers” Neto) with a request for the production of a solo that can roll eyes straight to back of head and curl toes straight up into tiny knitted balls of fusion. Oh lord, uh, we, are, uh, we, uh, yeaaah, that’s it -- we maaade it! But it still ain’t over. No, it ain’t over by a long shot. We going back for second helpings. You say “two minutes of thighs on ice?” Good, because our thighs are quivering like a heroin addict breaking it straight without methadone. Now that we’re chilled, slowly start to work the limbs back to limber because lights return at 8:18, followed by hands in the air, chants and fierce requests for clapping. At 8:50 flirting horns re-stimulate the nether regions and we’re now with second wind. “What do I hear? Sounded good to my ear,” Prince repeats with a delivery more intensely worked than James Brown at the peak of his powers. This astonishing discharge of passion has us up and rolling again into the fiery depths of full-on loss of joint control, led by what can only be described as an orally stimulated release of dragon breathing on the “2 and 4” so that handclaps will know where to meet. People without rhythm just found it. The band is now worked into such a well-honed lather that a simple “y’all know what to do” produces an exactitude of action thought to be foreign to all but diamond cutters and brain surgeons. And here comes the payoff, a muted horn from hell fueled with more strength than any 3 steroid abusers have a right to. And this damn trombone just keeps juking and jiving, sliding and striding, then punching to the cortex over and over and over like a drug-free Mike Tyson until it puts the multi- in multi-orgasm. Yep, that’s the fire marshal at the back of the club standing on his chair and waving the building permit at Prince like that of an ultra-worried trainer fearing his fighter has taken far too much punishment. And at the notes of the final count the crowd drops in unison to the floor in a sweaty ball of humanity. This is funk. SHE’S A PEACH! Oh no, and now “Dorothy Parker” is calling and I’ll never get to sleep. And then I have to go back and hear that guitar solo on “Joy In Repetition” just one more time. And then there’s…ugh. Just swallow hard and keep telling yourself, “Sleep is overrated. Sleep is for those without chicken grease.” | |
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Danm Anji, This is an amazing list and shows the exact reason why we are all here in the first place. We aren't talking about musical notes and words, we are talking about soundscapes and messages that revolutionized most of our lives.
You are awesome for creating such an excellent thread!  2010: Healing the Wounds of the Past.... http://prince.org/msg/8/325740 | |
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Some of you may remember this post I wrote about 3 years ago. It's from the days of the Old Purple and Black Org but it was in the commentary section for a while and got published in Uptown. This is one of the posts I'm most proud of... :
OUR CLOTHES, OUR HAIR, WE DON’T CARE
Those are the words sung by a very young Prince clad in bikini briefs, thigh high stockings, and trenchcoat, with mussed hair and raccoon eyes. A young man displaying what many would see as freakish behavior, but to me it was the behavior of a rebel hell-bent on being free and proclaiming his freedom proudly. The loss of freedom is what bothers and saddens me the most about Prince turning to religion. It’s a sad sad day as a Prince fan to actually be thrilled and excited because he didn’t censor the word “masturbate” from the song Darling Nikki. I fully support Prince’s spiritual search and wish him well but it saddens me that Prince would rather blindly follow a religion and their teachings instead of thinking for himself on how to handle very important issues in his life. Certainly the bible and other “holy books” contain many teachings that should be applied to daily life but when the leaders of an organization dictate to you how to think, there are problems. When you make a choice such as no longer using curse words, it seems like the right thing to do. But I ask, are you doing it to please yourself/God or the people in your religion who say it’s wrong. Words only have the meaning we apply to them. At one time Gay was a positive word, now it’s one that some people have negative feelings about because it’s used to label someone who is homosexual. Why are curse words any different?? Prince makes a great point in stating that he does not want to use curse words for fear of associating himself with all the negativity that comes from how and why the words are used in an evil way. I don’t agree that it is the right thing to make a blanket choice and exclude all language that is “deemed” offensive by your church. For example: In the song Baby Knows Prince sings “she’ll make you feel like your stuff aint brown 2night” instead of “she’ll make you feel like your shit don’t stink”. What is negative about using the word “shit” in that context? If someone can actually cause you to feel that your shit won’t stink when it comes sliding out of your asshole, I’d say they succeeded in making you feel pretty damn wonderful! I bet Prince would have some cockamamie religious answer if actually posed with why it would be bad to use the word shit instead of stuff in that song. In my opinion that does not show that someone has free thought, it shows me that someone is following religious dictates blindly. Prince used to be a freedom fighter and now he is a follower, not on the path of freedom but on one of manipulation and mind control. My experience with organized religion has shown me that the leaders will encourage you to have a personal relationship with God BUT if you don’t filter your relationship through the leaders and agree with what they say, it means that you aren’t having one. In my opinion, Prince was certainly on the right path during the Lovesexy era. He obviously discovered an incredible spirituality that he chose to put to music and share with his fans. I’m not saying that the Lovesexy album is one that a fan would hinge their spirituality on but it is clear that Prince found something real and something he wanted to share. The purity and sacredness of that spiritual knowledge is one of the things that has attracted me to that album for all these years and one that helps to make it my favorite. I know that Prince has been through a lot of hell in the last 8 years or so. Feud with label, death of a baby, broken marriage. These are all very serious and life altering events. I understand that for me to sit and comment on his choices may seem out of line to many of you, but as a fan for 22 years I feel the need to express my sadness at having to witness the demise of a one time rebel. I know that we all grow up, but why does that have to mean the death of all the strength and vibrancy of youth? I have no doubt that Prince will continue to make incredible music with intense and deep lyrics and I’m still enjoying Prince’s music as much as ever. However I do wonder how much more fun the ride would be if he weren’t submitting himself to the mind control and manipulations of religion. In my opinion there is a vast difference between “religion” and “spirituality”. They are not the same. In my opinion, the point is not that Prince’s music is going to suffer without curse words and the point is not that I NEED to hear Prince curse ever again. The point is that essentially Prince is apologizing and expressing guilt over his past. THAT is the most disturbing part about this whole “Prince does not use curse words in his music anymore”. It’s not the decision itself that bothers me, it’s the motivation behind the decision. Prince has been convinced that what he did in the past (using “curse” words) was wrong and that he needs to go against his past by changing and censoring lyrics. I can respect Prince’s decision to cease using curse words but I DO NOT RESPECT him censoring and butchering songs in the name of that decision. Prince never used foul language gratuitously. He never used it maliciously to tear others down unless of course it was a call out and call outs have their place. Prince has nothing to be ashamed about as far as his past is concerned. The fact that he ever cursed in the past has no ill effect on his fans, not then and not now. The only reason it is having an ill effect on Prince is because of the guilt and fear that is being embedded in his brain. Prince was NEVER led by guilt and fear. I can’t believe that after all he’s been through to “get free” he has ended up allowing himself to become bound by religious dictates. Speaking from the experience of one who spent their childhood in “the church”, Prince’s answers and diatribes on this subject sound scripted to me, they don’t sound genuine and from the heart. Guilt and fear are incredible motivators that religion uses to herd the flocks in the direction deemed appropriate by the leaders. In my opinion, it’s wrong to lead people with guilt and fear. People should be led by love. I was 14 when Purple Rain came out. It was the first album I bought with my own money. Purple Rain contains one of the most controversial songs-Darling Nikki. I remember, not too long after the album came out, that I read a book that dealt with “dirty lyrics”. The book warned parents not to let their kids listen to the music of various artists and one of them was Prince, specifically dealing with the song “Darling Nikki”. What the religious zealots failed to realize (or recognize) is that Prince included a beautiful psalm at the end of the song. One of the first things that I did when I bought that record was to tape the end of Darling Nikki, take apart the tape, reverse it and put it back together so I could hear what Prince was singin. I heard the most beautiful Angelic harmony—Hello, how are you? I’m fine. Cuz I know that the Lord is coming soon. Coming, coming soon. THAT spoke volumes and volumes to me. Not the fact that he sang a vicious ode to a magazine abusing whore. Religious zealots hear a song and they only take away from it the message they WANT to hear as opposed to the message that is really there. Prince always has had a balance of expressing both his desire for raw sexuality and his need to love and be loved. For example: Darling Nikki (joyously acknowledges the Lord at the end) Temptation (learns at the end that love is better than sex), Lovesexy (Mixture of spirituality, sex and then followed by expression of true love *when 2 R in Love*), Joint 2 Joint (the song ends with him realizing that he needs to be devoted to one woman). I understood these messages and I’m sure most of you did too. If you were to have told Prince back in the 80s, or even in the early 90s, that he would censor his music and change lyrics and stop cursing for fear of being a sinner he would have surely laughed in your face. I fully support Prince’s right to express his views but I don’t want to hear him preaching. If he wants to tell the world how he feels I’d rather hear it in a song. Prince is not a preacher; he is a musician-poet-entertainer extraordinaire. Leave the preaching to the preachers. It has been a frustrating experience to have waited 7 years for the man to finally be free from his contractual obligations only to have him bound and obligated to more restrictions. I envisioned a truly free spirit playing cold hard music, not a man bound up by rules and regulations of a religion. There was a report on Prince.org for one of the listening parties for the Rainbow Children. See www……. for the report. Here is an excerpt: (put the part about “individual”) The “moderated” discussion at one point revolved around the word “individual” and dissected it into pieces “in-divide-u-all”. The very notion that a Prince sponsored discussion would object to individuality and attempt to “educate” the attendees that it’s wrong to seek individuality should scare the hell out of every single Prince fan. THAT is the biggest proof that Prince has been brainwashed. The fact that God created us as unique individuals should be celebrated. For one of the most unique individuals in the history of music to support the denouncement of individuality is a true testament of how Jehovah Witness teachings are misleading Prince. Prince has been on a steady course of alienating his fans for the last few years. The alienation continues with his religious fervor. For the first time, Prince’s music is starting to mirror the narrow mindset he displays in interviews and on his website. Prince’s music used to attract people from ALL walks of life and now it’s becoming exclusive as opposed to inclusive. The glory of Prince’s music is that anyone could feel comfortable embracing it. I even know of an athiest that loves the Lovesexy album, even with all the spiritual overtones. The focus of Prince’s music these days has less and less to do with sharing what he believes with the listener and more to do with telling the listener what they should believe. The majority of the fans aren’t interested in being converted. I know that most of my friends that were at the listening parties for The Rainbow Children resent the attempt at conversion. I too would have been insulted and upset to be subject to the manipulation of those listening parties. The main objective wasn’t to find out what the “fams” really thought about the music, the main objective was to try and force Prince’s narrow minded views on the fans. In summary, Prince’s cursing in the past does not negate how much of a role model and a positive influence he was for many of us who were teens in the 80s. I was an outcast during much of my childhood & I would bet that a large section of Prince fans were too. As an outcast, I identified with Prince. Although he was an outcast to many, I admired that he flew in the face of that and did his own thing with pride and confidence, no matter what people said about him. As an outcast, I spent much of my time in my room, listening to my favorite musician. I feel that his music saved my life. It gave me hope and provided so much joy at a time in my life when I often felt no hope for tomorrow. I was never alone as long as I had the music. That is what I would tell Prince if I had the chance. I would let him know that his fans benefited from his talent and that it’s not really that important to focus on the fact that he cursed here and there in his music. The messages in his music rang true and clear despite the “foul” language. Organgrinder the Magnificent 2010: Healing the Wounds of the Past.... http://prince.org/msg/8/325740 | |
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SupaFunkyOrgangrinderSexy said: Some brilliantly written stuff...
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And my assessment of TRC when it first came out:
RISE TO THE OCCASION
As one of the most vocal Org members regarding Prince’s personal choices and how they have been affected by his religious endeavors, I thought it was important to post my review/opinion of The Rainbow Children. First off, WOW!!! I am totally blown away by this album. I have about a bazillion thoughts and comments but first let me give my review: THE RAINBOW CHILDREN-Uptempo Jazz. This is the current intro to the NPGMC. Slowed down voice throughout. I love how this song builds Rise…..Rise…..Rise, Rainbow Children Rise. Instrumental intro to MUSE-The coupling of the guitar and flute is stellar. Who would have thought the two instruments could compliment each other so well? It’s a powerful moment to hear the guitar tone down it’s strength to allow the flute it’s moment to sing. Najee’s contributions to this album are crucial at times like this. Having him on this album was a very wise choice. MUSE 2 THE PHAROAH-The word I’d use to describe this song is Lush. The harmonies are beautiful. I believe I’ve read comparisons to D’Angelo on this one. I really shouldn’t have to point out that without Prince’s influence, we wouldn’t have the D’Angelo of today. Sorry, but D’Angelo & all the clones (as talented as I think many of them are) have NOTHING on Prince. “Would U rather Be dead or be sold?” DIGITAL GARDEN-Every bit as righteous as the segment on one of the Ahdio shows. Tribal kind of beat with more lush instrumentation. The guitar towards the end really conveys something about the Banished ones. Haven’t yet put my finger on it but it’s amazing how Prince manages to use the guitar to give you a sense of an action, or person(s) and you hear the guitar not just as a musical instrument but as an added voice telling part of the story. THE WORK-I was not impressed when this was released. This song caused me not to have too much expectation for this album. We all know that Prince could do this kind of song in his sleep. With that said, I really really dig this song in CONtext to the album. It really fits in so well right here. I definitely appreciate its contribution and am beginning to love it. EVERYWHERE-This song totally caught me off guard. I don’t even know how to explain it but it’s excellent! SENSUAL EVERAFTER?-Not sure of the song title but more beautiful guitar. MELLOW-This song accurately reflects the title. You really can get lost in the mellow. 1+1+1=3 – OK, just when you’re ass is Mellow, the funk supreme comes to smack that ass! This song is killer. I just love it to death. Classic Prince. So much going on with the guitar. It’s too much. One thing that struck me is that the power to dance is such an irresistible power that the Banished ones are willing to fight for it. THE WEDDING FEAST-Not really a song but kind of a segue. It’s funny. You could see this part totally being played out on a Broadway stage. SHE LOVES ME FOR ME-What a beautiful song. Again, classic Prince. GENETIC RECORDS DIVISION-Insight into the future?? I love the jam behind it and how it takes you into…… FAMILY NAME-Damn, this is funky too. More killer guitar. EVERLASTING NOW-This song kicks! It is so good to hear Prince jamming like this. Don’t be tricked by the title of the song, this ain’t no hymnal. LAST DECEMBER-Perfect closing to a perfect album. Think about the message. Some more excellent guitar. Comments: This album is truly AMAZING!!! Whoever said that this album demonstrates that Prince does not need outside help with the production couldn’t be more correct. The production on this album is simply flawless. It’s complex but not confusing. Very clean, not polished…..just clean. This is the most free Prince has sounded in years. The “live” vibe of the album is remarkable. I hope that Prince does put on a well-produced tour for this album. The possibilities are endless regarding how killer a tour this album would make. This album is full of so many surprises. Each song fails to prepare you for the next experience. For example “The Work” into “Everywhere” or “Mellow” into 1+1+1=3. It really sets a contrast that is remarkable. I haven’t been this surprised by Prince in years. John Blackwell's inclusion in the band is the smartest thing that Prince could have done for his music. A great drummer is the backbone to any band. I’m so damn happy this man is in the band. He has many great moments. Some have been bothered by the slowed down voice, but I kind of see the voice as the voice of a spirit. Filtered so that we are able to hear from it without going mad or crazy. I love albums that tell a story and that is just what the slowed down voice does, narrates. This album needs to be tracked. Not because it’s not good enough to listen to all the way through but because you are definitely gonna need your fix of certain songs. I understand and hear the comparisons to James Brown, Sly Stone and Santana. However NOTHING they’ve ever done touches this album. I know, Apples & Oranges. So don’t compare Prince to these other artists when it’s clear that he stands alone in his own category. He may be “influenced” by these artists but he’s created something that stands on it’s own. I have said many times on the Org that the first Prince album in 7 years (since Come) should kick ass and you know what? IT DOES! I’ve heard a few folks that really don’t dig the album or only like a couple songs and I can’t understand HOW that is possible. Different strokes for different folx I guess. However, there is no denying how wonderfully crafted this album is. It is so fresh and so alive. As a fan of many types of music genres, this album totally satisfies my hunger for intense and creative musical experiences. I admit, I was concerned about the lyrical content. My fear was that Prince would come off as pious-holier-than-thou-I-am-right-and-you-are-wrong. There really isn’t much concern with regards to the lyrics. The album tells a story. If you look at it from that vantagepoint, the few references spawned by his current beliefs don’t really matter. The biggest mistake that anyone can make is to embrace his or her philosophical differences in regards to Prince and his beliefs and reject a purely magical journey that most of us have been waiting years to take. This album has my full support. Organgrinder The Magnificent 2010: Healing the Wounds of the Past.... http://prince.org/msg/8/325740 | |
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i'm afraid. 
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stymie said: Anji said: CalhounSq on being Prince's bitch:
This is one of my favorite posts ever! That's it, I've had it! I give up... I'M READY.
I'm ready to rape my savings account, get on a plane & breathe thick, hot Minneapolis air. Get rained on, get mud on my clothes, FUCK UP a pair of shoes, risk heat stroke AND exhaustion... I'm ready to sleep all day & exist on energy drinks and greasy fast food for a week, to piss full strength Red Bull & leave the party staggering, ears ringing, yawning like I'm 95... I'm ready to be SO hyped I can touch the rafters when I jump up, put a dent in the floor coming down. To pack a neckbrace for ALL NIGHT LONG. Wanna jam all night & not sing? FINE. Do the entire show from behind a curtain? WHOO-HOO!! Play a 20 minute version of Jughead, I'll GLADLY suppress the urge to hurl... Oh yes, I'm READY... Ready to do whatever he wants the crowd to do, say whatever he wants us to say. Cheer for the camera as if I'm at a show?? OKAY! Say "interferons" until MY blood is dead?? NO PROBLEM!! I'll crack open a bible AND pick up the trash. I can pass out napkins @ the veggie burger stand but only after I carry P's cuss jar around on a crushed velvet pillow & make sure NPG water is stocked & ready to go - WHERE'S THE STOCK ROOM??? I'm ready to write OTAN on my forehead and crawl across the floor. To wear good girl clothes & stop cussing the minute my plane lands - veganize me! To burn piles of bootlegs... okay, scratch that, but I'm EAGER to fall to my knees, beg, plead, help Prince sell copies of ONA-L! out the trunk of my car - whatever it takes! I succumb, I'm turning myself over to him. I wanna be the best fan in the crowd, sing along when he says "SING IT!", listen when it's time to shut the fuck up - I wanna be his slave, his screaming whore, his bottom bitch. Oh yes, I'm gettin' Pimps Up, Hoes Down up in here y'all - I'M READY... Come on Prince, let's make a date for JUNE. I got my red pumps on... Uh, I got some sexy yet comfortable shoes on, my ass is in the air & I'm bending over... Make me forgive you for every strand of hair you've ever cut, every moon earwrap & ant-trail moustache, every time I've slept on cold concrete with no pillow, every note of Horny Pony AND Courtin' Time. Give it to me... and give it to me good. JUNE, man, fuckin' June... And the first time I ever read it! That is fucking classic! I love you Cali!  2010: Healing the Wounds of the Past.... http://prince.org/msg/8/325740 | |
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I'm flattered to be included here, Anji. Thanks.
I sound so deliciously pretentious! Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ χρόνος ἀπαιτεῖ.” | |
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Yeah, what Lammastide sed...definitely flattered that not only was one of my posts included on this thread, but that it was even remembered...lol
Anji | |
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CalhounSq on whether Prince is divisive:
is Prince "divisive"?
DIVISIVE: Creating dissension or discord. DISCORD: Lack of agreement among persons, groups or things. Tension or strife resulting from a lack of agreement; dissension. *** I constantly hear Prince referred to as "divisive" when it comes to spiritual or racial topics. But obviously any "lack of agreement" there may be amongst his diverse fanbase exists already, it's just not readily discussed b/c most often we're collectively wrapped up in the bliss of a song, the anticipation of a tour, a funky utopia where nothing matters but the music. I suppose that's fair - it's what we know of him, what we've come to expect, what we love about the way his music makes us feel... but how many of us realize that feeling of unity via the funk is indeed momentary? An illusion? That you can cling to it if you want but something WILL inevitably (@ least momentarily) shake you out of it? Instead of blaming Prince for that shake, we need to look @ ourselves. Prince is NOT divisive. The divisions are already there among people who disagree despite any unawareness of disagreement. And agreement will never occur w/o the presence of truth, the ability to look @ truth, & ulitmately the acceptance of truth. Now PLEASE hear this - I'm not saying Prince knows "the truth" about religion or race history. But I am saying it's wrong to fault him b/c of your inability to discuss issues that are very real in the world (even if it's not your world). It's wrong to hold him responsible for your illusion, i.e. "we were fine before he said this, this & that... why can't we just dance?" Everything is not fine & has never been. And just as you are allowed (encouraged even) to grow & learn all you can, so can he - why hold him to a lesser standard? Should he never feel free to bring something else to the table? To speak his mind? Anything more than skimming the surface of race or religion is extremely hard for some to even consider, let alone discuss rationally. He gets nailed w/ terms like "racist" & "divisive" when he's only doing what he's always done by speaking his mind & sharing what's on his heart. Yet that practice isn't appreciated on the whole, only when it suits our individual needs - how fair is that? I think some people feel betrayed when Prince does anything other than promote that cozy utopia, make you feel sexy & compliment the veil you're wearing. How dare he even have a thought that might actually make you lift that thing, let alone share it. And let me repeat, I ain't sayin he knows the way & to digest his version of "truth" word for word. Find the truth for yourself, just don't be mad @ him b/c he's exercising his right as a thinking being w/ a pen & paper. It's appauling the way folks want nothing more than to shut him down as quickly as possible if he dares to ponder something different from what your ear is ready to hear. Prince is a grown-ass man, not a puppet. As much as I'd like him to sing Red House instead of Purple House, he's gonna do it the way he wants (LOL). As much as some don't want so much religion in his music (me being one of them) or worship of any particular slant, he's gonna inject as much as he wants of whatever variety he wants. As much as some don't wanna think about his race, he's gonna throw out a reminder every now & again for those that forget. He does what he feels - it's his life, his path. He's not divisive, but the feelings WE have about certain topics are. Point the finger where it belongs - stop glaring @ him for a moment & take a good look @ yourself...  | |
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Supernova on overexposure to Prince:
I think some Prince fans are subject to the overexposure they put themselves through. If memory serves me, in a recent Prince thread where someone asked how often do you listen to Prince the vast majority said they listen to something by Prince everyday. EVERY single day.
Admittedly, he has a large catalog, including bootlegs of outtakes and live material; but I really think most Prince fans (at least most of the ones here) need to look outside of the Purple Palace and find some equally compelling music to occupy their time and expand their horizons. It IS out there. If I listened to Prince every single day that I listened to any type of music I might be sick of him too. ANY music by any artist can be overplayed to the point of you becoming jaded by it - if you play it to the point that some here say they do. Man/Woman cannot live by Prince alone.  | |
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chipmonk said An apology to Supafunky/the Lovesexy faithful:
Let me explain… SupafunkyOrgangrinderSexy has always said Lovesexy saved his life. For good reason that he has explained…Lovesexy was there for him through sexuality, drama, etc…life issues. He said he found a way to live because of the inspiration Lovesexy gave to him...this is a well known statement. I remember in my momma amp days folks clowned the “lovesexy saved me life” statements form some etc. Hell even I was thought it was kind of odd...kind of. Especially since I never appreciated Lovesexy for what it was until a decade later. Well here it comes up again on Org v2.0 and in a thread… I called Lovesexy fake and Supa said “you say fake, I say Salvation!”..I was like “whaaa? LOL!”… others have also haile d lovesexy as someting that got them through troubled times Well here I sit in my lonely room...lookin’ for my sunshine The recent 1999 birthday..1999 is legal now..21 ya know…had me thinking (yeah it hurt): I know erry note like my dick knows the palm of my hand…I can’t say enough about the album, the innovation, the inspiration etc. I even went as far as simply copying and pasting my old comments because I’ve spent my whole damn net life praising –hailing it (hi Nu lol) and can’t come up with hardly anymore to say about it. My love has been professed more than enough… I gave it a 4 million dollar diamond ring and it wasn’t because I fucked another cd in Colorado either. Seems like some found in Lovesexy, what I had found a few years earlier in 1999. Supa and others said they found salvation so to speak in Lovesexy...I found a lot or just as much in 1999 as well...and never knew it…well I did but I never consciously said it to myself...I’ve thought it yes.. 1999 was my coming out in music so to speak. It is what got me into music almost...sure I had Monster Mash on 45’ and others etc but 1999 brought me into the record stores and appreciating other thangs. It also caused me my low attention span on the radio by becoming a radio dial flipper...flipping channels to find any station playing Prince since 1999 was the one that made him grand and ubiquitous..dang u 1999! Hehe It also made me compare..I was like ..DD isn’t like Prince...uh uh…O’bryan is sort of like it but aint it…oh this new Stones is the jam but it aint 1999 or Prince etc...but it got me into listening to other music ..I mean actually “listening” and giving me a focus so to speak...a focus, a hobby, inspiration, joy, hope etc…all the things Supa said Lovesexy brought to him...just in different ways and for different reasons but ultimately the same funkay thang in the end… So I apologize to Supa and others for laughing at his/their …”faith”..in Lovesexy...I still have my qualms with Lovesexy but so what. We all get in where we can fit in and some cd’s fuck you better than others...it all depends on the music and the person. There is no one size fits all condom. 1999 popped my cherry (even though I had been taken with the Controversy 45 and I Wanna be Your Lover ). And I married 1999 so we can bareback or missionary or whatever with no qualms..and others can to Lovesexy because they married Lovesexy..he said salvation..1999 was mine in retrospect..so I officially apologize to Supa and to Lovesexy for not realizing each person has their own religion and faith. All n all an apology to those who hail Lovesexy. Prince did this. .... Even though Prince has always had a religious background-overtone in his lyrics and career, it was always seen as open ended or universal ala Lovesexy. Not a single doctrine. When he supposedly did begin to show a more organized religion side to his music with TRC it created a hailstorm from his fans. Sides were taken, controversy ensued and things would never be the same in purple fandom. Things have still been split down the middle and the after taste of his religious stance still effects how some fans regard his most recent amount of material. I once said the fans views may now be tainted for a myriad of reasons but now the TRC religion has pushed it to its highest levels I feel. This is why TRC has been his most controversial record ever. It was not Darling Nikki and it was not Head…and even though the brilliant Controversy had controversy as it’s title, that was not it either. It seems that a similar thing had happened with another artist from MN that had a loyal following and lead the way in musical outrage and style. Bob Dylan. A folk hero to electric rock star...when he performed in an electric style ( plugged in if u will) for the first time in concert with “almost” no warning at the Newport Folk Festival, the crowds booed and almost ate him alive. They booed because they didn’t like seeing Bob plugged in. But Bob kept on keepin’ on. However he did return with one last song played on acoustic ( for many reasons none so obvious—it was not giving in, it was slamming it down the throats of the old guard fans who would not let an artist be…well, an artist). He had his plugged in vision and said nothing was going to keep him from doing it and he continued to play. Some say it was "rock ‘n’ roll’s greatest transformation". Just as Princes new direction continues to be at the forefront of his new style. He was daring enough (or prolific enough may be an excuse for safety) to release his new direction TRC, NEWS, etc. suspect when Prince had a Dirty Mind, separate from his disco r’n’b hits of before, there were some who left. And just as Dylan has been seen as a spokesman for his troubled generation in the 60’s Prince could be seen as a spokesman for ribald liberation , lewdness, lasciviousness etc in the early eighties. And both would probably deny ( and have) the label put upon them. Dylan said “I don’t write protest songs” and his buddy Joan Baez said “Bobby was never a marcher, I don’t think I ever saw him on a march”. Prince has went on record stating that his songs were less about sex per se’, and more about love. Both Dylan and Prince may have been boolshetten because they did do those things..maybe they were just on the inside that they did not realize that they did write in those terms they were labeled as, as well...many times. Then Dylan had a spiritual or religious conversion much later in his career. Sound familiar? Uncut writes “Here was the man once hailed as rock’s premier revolutionary force and it’s most valiant voice of freedom, remade as a Conservative religious reactionary”…sound familiar..? Sounds as if Princes supposed or possible conversion to a specific faith could be juxtaposed with Dylan’s situation. The same attitude that happened with his acoustic to plugged in style was happening with his new religious stance. Seems like Dylan had his own “dark night of the soul”. Again in Uncut it is stated “Even the story of his conversion sounded like something out of a sci-fi tale. As Dylan later described it, he was alone in a hotel room in Tucson after a show. Suffering from an unspecified illness he found himself fingering a small crucifix that had been thrown onstage a few nights previously. Then he felt it-nothing less than the power of Jesus, Lord of Lords, King of Kings. Jesus put his hand on me, it was a physical thing. I felt it all over me, my whole body trembled. Th e glory of the lord knocked me down and picked me up”. Biblical imagery has also always been a part of Dylans career. Prince’s dark night of the soul: in Per Nilsens’ DMSR The First Decade Although Prince never fully explained to Warner Bros why he wanted to pull the album, a number of factors behind the decision later came to light. A week prior to the planned release date, Prince had taken the Black Album to MN club Ruperts to gauge the audience reaction to the record. At th e club, he met singer-songwriter-poet named Ingrid Chavez. According to her, they started talking and drove out to Paisley Park together. Suddenly Prince left, saying he had a stomache-ache. She later learned that Prince had been nervous and was going through a conscience crisis that made him realise that it would be wrong to release the Black Album. Prince has spoken of a crucial ‘dark night of the soul, when a lot of things happened all in a few hours’ and described a vision of a vast field with the letters G-O-D hovering overhead. ( He would refer to that night, Tuesday December 1st, as Blue Tuesday’ in the Lovesexy tour program. Prince became very concerned about what he perceived to be his responsibility to his fans and younger kids). He went on to do Lovesexy. Somewhat similar to Dylans tale. Many things were said to have lead Dylan to that point and time of religion..the death of Elvis (Miles Davis?), a divorce, critical disaster of a personal movie he was in etc…but he came out with Slow Train Coming with songs Goota Serve Somebody, When You Gonna Wake Up, Precious Angel that discussed the “horrors facing so called friends who had not heard the call of Jesus”., “I Believe In You” etc. But the music was as powerful as any of his previous heyday as is TRC. Later he would release the really overt SAVED. Live Dylans audience were “treated/subjected to between song sermons where Dylan preached to the unconverted and in Tempe AZ poured wrath onto student hecklers saying: ‘You may have your college education to hang on to now, but you’re going to need something very solid when these end times come”…TRC shows were said to include some stern warnings during Anna-stesia...and there were some heckles in some of the shows when the subject of religion came up. Picketing by aetheist groups put Dylan in a mood to give some of the most “dramatic and committed performances” of his live career. Similar to Prince and the TRC ONA tour…Prince s’ tour was a critical and fan viewed success. Dylan began mixing pre-gospel classics with new material...seems like Prince may be following suit. It seems hard to serve a saviour and a muse at the same time at least for Dylan…he changed his stance and output after 3 religion based releases…Prince seems to have done it all with TRC and the subsequent ONA tour. A famed jazz musician who’s name escapes me now had problems touring in Europe due to his Scientology religion. Right or wrong. Prince does not seem to have any problems with is stance on religion and tour promoters, in the staes or abroad. Bob Geldof is quoted as saying “I didn’t give a F*** about Electric Bob or Folk Bob, and I didn’t know anyone who did. It was the words, the voice, the shirt.” I don’t care about dirty mind Prince, or religious Prince. It’s the voice, the shirt, and the music for me (and obviously for others as well). Indeed. ---- Prince, Without The/A Net Do you remember being a fan before you entered the net and the Prince world on it? I’m not sure if the net has been a gift or a curse (effa Blueprint). Do you remember (Jill Scott) when you only knew about the official releases..and The Black Album was the boot that was king? Or going to a “real” record store and seeing Prince In Rock and others. Thinking, “what the hell is going on here? How did these songs get on here? What are these songs? How can I be down? Like Brandy I wanna be down heh. Remember not knowing the behind the scenes shenanigans…when Dave Hill’s A Pop Life was THE revelation and the info giant? Remember the time before the net erased the enigma from the chalkboard? Hell even Prince had a hand in doing that. He chopped down his own damn personal Joshua Tree by stating that the Rain was fake…. damn near. It was Universal Studios rain. Ignorance is bliss but so is being outside of the matrix and having the knowledge, not just power, comes great responsibility. There was no primer for anyone once the net hit…the purple was lived as a continuum. I guess the net was the next practical step and his efforts on it prove so. I remember an interview he gave ( Prince Talks? The 1985 RS one?) where he stated that it would be cool to materialize in “people’s cribs”. Well with the net he semi got his wish. And I remember he described critics as mama jamas in Izods…I guess I became a mama jamma but with more freakish dress. Remember thinking he could damn near do no wrong but with the net I found that there was a lot of criticism and even balanced my own views…maybe influenced it too much at times, for the good and the bad. I never knew how bad NPS was until I heard the news on the net ..Im not sure if that influence has kept me from blastin’ that release…I mean I remember Mad Sex, wasted Kisses and a few more being jams…but that’s where the net and the unreleased took over… Thank god for the net I proclaimed once I got the nerve to give my addy to someone to help me out with some unreleased. It was like a whole ‘other bizarro Prince career of releases. ANYONE REMEMBER CYBERSEEKERS LOL? Man I bought Return Of The Bump Squad soundboard for $60.00 and For Those Of U On Valium for like $40.00. But dayum if I didn’t feel as if I didn’t find me a goldmine…even though being burnt by bad deals and rip off artist…hey..ya play ya gonna pay a lil, so overall the good in unreleased wayyy outweighs da bad. I came after the Purple community was built. 98 era, after the CB drama but knee deep in the NPS aftermath and smack dab into the sue the fansites hoopla. Wow, what a baptism. My last pre-net release was Crystal Ball and NewPowerSoul. Late, I know but I always arrive late. I had no chance of being disappointed in CB because I didn’t know better….didn’t know what was out there that could have been on there …but so I can still at least appreciate CB because it was Prince without a (the) net. Finding other people who were purple was a trip and a half though as well. I remember entering a Prince related chat as a virgin and thinking.. “why are these people discussing everyday things and not concentrating on my question about Purple Rain?” Hehe. Remember before the empire took over and all the personal prince websites? It was great seeing and knowing that there were other fans…it took the net to see the other fans like you were out there because in real time the other fan u know is not as Deep Purple as you are. The people oh the people...where do they all come from. It takes and you get all kinds. The freak, the punk, the metal, the hip hop, the easy listener…they all meet at the same place and then go back to their respective genres and homes and friends and family…but everyone meets at the same purple place for a few minutes…Cheers bizarro…its like everyone knows your name but they may not always be glad ya came… Before the net on release day it was a special day for only you…you went to purchase...but damn if everyone else didn’t either spread out about the land because he would go top ten…where were these others in line? And what if there was no net or you were not on it. I think a lot of the info on Prince and his doings are largely due to being aware of the net and his place in it. Without a net would you-I- even knows about Pre NEWS Post TRC material…or the High material…or would we think he just semi retired. Cant really blame others for not knowing his current and last few years of activity if they aren’t familiar or follow the purple net because mainstream media is not covering him as before. Before the net times were simpler. You didn’t have all the baggage of the net website war etc and not every move was reported etc...some enigma remained...but its also like Pleasantville and who the hell wants that? Without a net there’s pretty houses all in a row but like the beginning of Lynch’s Blue Velvet, the underbelly of that peaceful pre net bliss are the worms and slugs and beetles in the yards battling it out. Prince without the net was innocence. Was cherry. All one did was hear about what Nik did and how pretty the Diamonds n Pearls were. All the while thinking that everyone was everyday people and that it was safe to walk at night in Uptown…and before the net it was safe to walk at night in Uptown because everything was about something else…before He even had his net cherry popped. We all had to graduate someday though…we could not be Re-Run hey hey hey hangin around Dee…for better or worse before the net we were actually more united as fans but now we ate from the net tree of knowledge so to speak. There are some who still are living with Prince without a net and they are the ones we get upset with at times…maybe we should actually envy them perhaps. I realize that when each one graduates , or does itin the back seat so to speak or however you want to call it…we have to both be glad and sad…it will never be the same for them and they can never go back to how it was…once you lose it you can never get it back. But hasn’t it cleared up your skin and made you feel good/sexier? 20,000 posts leagues under the purple sea you all rdhull . [This message was edited Fri Jan 9 2:18:24 PST 2004 by Anji] | |
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Brendan's review of N*E*W*S:
What follows is a hybrid of sorts; part review, part listing of my favorite musical moments, part general observations, part thinking out loud as to the possible story locked inside this musical work. And it seems somewhat logical to do it this way, as this album sounds like a hybrid of live improvisational jamming on loosely sketched-out blueprints and after-the-event studio wizardry that brought it all into a cohesive, deliberate, mostly premeditated whole.
“North” Highlights and Musings: 1) I like its overall unforced, serious-but-laid-back, organic charm. 2) So smooth and chilled out that it makes for the perfect antithetical complement to the album’s feverish closer. 3) It feels spot on at nearly 14 minutes. Not like a 4-minute track stretched out beyond purpose, or even 3 or 4 pieces molded together like we’ll hear later. 4) The near flawless nature of the composition that seamlessly melds the worlds of jazz, ambient, funk and rock. This is a very original piece that beautifully preps the vibe for what’s to follow. There are certainly traces of “North” in past Prince music, but he’s never been this successful or natural in pulling it all off. 5) The little quirks that are added here and there, like being able to hear the clacking of Eric Leeds’ sax keys at one point. 6) The train-whistle synths at 1:00 that signal the oncoming sax. 7) The way the conflictive sounds of the mystical strings and the gravel-throated guitar intertwine at 3:10. 8 ) The anguished guitar that peeks and pokes about before becoming “North’s” stunning centerpiece at 6:19. 9) The calming piano at 8:58 that caresses us back to health after the onslaught of melancholy. 10) Leeds’ sweetly coaxed butterfly sax notes at 11:38 that appear to give rise to the north wind. 11) The barren north winds that blow us out of the experience. A cry from a whale or a wolf can be heard in the distance at 12:43 and again at 13:14. It feels cold and lonely here. Snow blowing, causing a whiteout. Waves crashing against the icy shore. We long for some warmth, energy, neighbors, kinship. “East” Highlights and Musings: 1) The musical changes and transitions, the challenge, the complexity and the experimental vibe of the entire piece. Nothing Prince had done previously -- outside of perhaps the avant-garde “Cutz” from “Kamasutra” -- could have prepared you properly for this. 2) The “steel-drum” sound that eventually persuades the snake-charming flute out of its comfort zone. Are the natives being seduced out of their homeland? 3) The drum breakdown that foretells of building strife. 4) The angered metal guitar thrusts like that of a powerful army surging forward to stomp out rebellion, matched by oriental key figures that build in fervency and incite anxious, circling, hornet’s-nest guitar, and a sax that answers in kind. The pieces most troubling, most hostile, most intense moment. Colonialism pushing eastward? Communism forcing its hand in China and southeast Asia? Perhaps just the general and constant unrest in the region? 5) The nice transition from the powerful entangled sounds of west-meets-east-without-an-invite through the use of funk guitar that leads us straight into a wall of modern jazz, and later fusion with intensified sax that’s matched by gurgling organ and more funky guitar. 6) The irresistible combination of chicken-scratch guitar at 10:03 and the deeply funky baritone sax that it conjures. 7) Perhaps the sounds of the last gasps of a once great army’s influence slowly being deflated at 11:07. Listen in particular to the sounds at 12:02, that’s the same aggressive rock surges heard earlier. But this time they come across as weakened and in retreat. Is this the resistance giving out or the occupying force? 8 ) The standup electric double bass solo that stirs memories of the middle-marker breakdown in John Coltrane’s “A Love Supreme”. The aftermath of war? Digging out from under foreign rule? 9) Bringing the piece to a sober place of mourning with only the sad, lonely strings of the sitar. Perhaps grieving the current war-torn nations of Iraq, Afghanistan, and Israel/Palestine, to name but a few? “West” Highlights and Musings: 1) The opening 3:30 that nearly packs the aching, bittersweet beauty of “Purple Rain” or “Just My Imagination”. I wouldn’t be the least bit surprised to hear this turn up on a future project as a fully structured gospel/blues/rock/soul anthem. 2) After the harsh complexity of “East”, starting the “West” off in a more soulful and accessible direction seems just what the doctor ordered. 3) At 3:58 is that Columbus and his boys that can be heard sailing west in search of riches or the slave ships bringing over the human riches that will build much of the west? 4) The striding and soulful neo-Madhouse groove that is the “West’s” mid-section, delivering a strong sense of purposeful adventure. It feels as if we’re on a journey into the unknown, yet still confident and hopeful of what lies ahead. 5) Eric stepping proudly forward at 7:36 and delivering a statement funky enough to inspire a hip-hopper who has never even cracked a jazz album. 6) The way in which at 8:31 the groove immediately turns deadly serious with the introduction of Prince’s shrieking guitar that later gets squeezed out urgently in energetic licks of stinging pain until the whole piece slows down and settles in a dark place of utter depravity. Is this the slavery era in America and some of its aftermath? This section just shreds the soul. It’s like you’re being chained and whipped. One of the most starkly poignant passages in Prince history. 7) You almost get lost in each piece but there is always something at the end to snap you back to reality. On “West” it’s the drum rolls and sitar strings that signify the passing of another time and space. It feels as though we’ve mined everything we can out of this experience and so we knowingly shift our attitudes towards one of parting. But you can’t help but feel a great weight and regret for that which has passed as we roll onward to the pieces final movement. “South” Highlights and Musings: 1) Is that the Mothership landing on the “South” (or perhaps Prince’s version of Parliament’s Mothership, a whale with it’s soothing, discerning, cognitively omnipotent sounding cries, howls, whistles and songs), sent to deliver the enslaved from pain through the healing and understanding power of music? This could perhaps signify the staggering contribution to 20th century music of Black Americans that came directly out of the pain of hundreds of years of slavery. Music that has been and will be helping people of all races, cultures and creeds in good times and in bad for hundreds of years to come. Perhaps there’ll never be another artistic period so astonishing as the one which saw the creation of jazz, blues, R&B, soul, funk, disco/dance and rap, with huge contributions in gospel, rock & roll and eventually a majority holding on that which becomes pop. 2) It’s almost as if the Mothership is sending a perceptive beam of inspirational energy directly to Rhonda’s bass, moving her fingers to the fore with a bass line that sets the tone for perhaps the funkiest moment of our entire journey. 3) The section of long lament that is encouraged by the still fluttering Mothership. Could this signify the brutally prolonged struggle from 2/3rds human status to equality? And this too shall pass. 4) About 8:44 when the piano enters and the slow, mournful dirge starts to deliberately build into modern jazz ecstasy, eventually made climactic with the inclusion of dueling other-worldly guitar and sax exhalations at 10:00 that reach Charlie Parker-like spirituality. This just might be the album’s watermark. Upon first listen I was disappointed that Prince did not go completely interstellar on guitar. But upon further reflection of the piece as a whole, the explosion is perhaps tempered properly at just beneath boil until complete freedom and equality is a reality for all (North, East, West, and South). 5) The moody and bittersweet strings encountered at 12:00 that softly move us toward closure on waves of breathtaking emotion. 6) The piano that offers a solemn serenade to the purring Mothership poised for liftoff (or decent back into the hidden depths of the ocean). We’ve come a long way. We have a long way to go. Can we all come together or will we continue to fight and hate? Is this the end or merely the beginning of a whole new era? General Highlights and Musings: 1) The most amazing overall impression I get from listening to this album is that Prince has finally found his natural instrumental voice. And the result is a wonderful fusion of all that he was and all that was before him. It’s no longer like, “Oh, listen to the amazing ability of the rock/pop/soul man trying his hand at new things. Isn’t that nice and different and good for a rock/pop/soul man?” Now it’s like, “Oh, this makes complete sense.” 2) Perhaps this project was inspired in part by Prince jamming with his band on his last tour (see: “Tokyo”, “Copenhagen”, “Nagoya” and “Osaka”.) 3) There are many wonderfully toned keyboard synths scattered throughout this work. Think 70’s soul with a 21st century freshness. 4) The production is so right on that even the sound effects come across as purposeful. None of that plastic quality that has at times tainted Prince’s sound. 5) I like the silence at the end of each track that acts as a palette cleanser before each new taste. 6) A couple of the transitions – especially the first one out “West” -- are not as wonderfully inspired as the pieces they connect. But that flaw diminishes somewhat with familiarity. 7) A very visual/cinematic work. I can see a interpretive dance piece being produced for this music. And of course it would include Prince, his band and a string section laying low and playing live in the orchestra pit. 8 ) Defies categorization. To call “N*E*W*S” jazz is no more accurate than calling “SOTT” funk. There is truth in both labels. But there is also great disservice. 9) No doubt a terrifically talented quintet of world-class musicians. Everyone of the five players gets their time to stretch and shine. But Prince and Eric are most definitely the show. If Eric’s part was mostly his own voice -- and I suspect that it was -- this is a strong candidate for the greatest contribution/collaboration to a Prince project ever. 10) There are many small details scattered throughout that keep the experience richly rewarding. And the journey is a diverse one, allowing for plenty of time to think, plenty of time to relax, plenty of time to fret, plenty of time to groove, plenty of time to regret, plenty of time to expect, plenty of time to feel, plenty of time to hurt, and plenty of time to heal. And as is true almost always with Prince, no matter how angered, troubled, depressed or stressed the music gets, he always finds a way to end it with some level of hope and resolution. Summation: “N*E*W*S.” is a mature, nuanced, progressive, exhilarating work of art. Many years from now it perhaps gets viewed as the stunning achievement that it is relative to Prince’s oeuvre; or at the very least, the path that led Prince into territory that kept him an important voice in music well into his seventies. Brendan  | |
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Thanks for the mention - I haven't bothered logging in for a while, so only found out today - cheers Anji and thanks for having a long memory! | |
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Ok...so now Its my turn to be on this list 
*  ... ... ...* &  | |
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rd/ pumponmyfunk Do new schoolers understand the music as those who lived it?or is it non static zeitgeist
Does the fact that because u didn't live through the music at its current time take away understanding the music completely? here's what pumponmyfunk said previously on The Black album threadthat made me think about this: So you're listening to The Black Album almost 15 years after it was created? I can see why U only really like one song. U had to hear it back when it was first created/cancelled...It was def. funky and held next to the Love Sexy album as an artist batteling his own internal demons showed the artistic genius that Prince was...15 years later down the road where Rap is now mainstream Cindy C. is a mom and Prince no longer makes public his internal struggles of religion/lust if he still haves them, it doesn't have the "freshness" that it did back in '88...I personaly prefer Lovesexy but The Black Album def. has a place in the chapters that make up Prince's life... Now I tend to agree with this statement and I have always felt that but believe it or not my big mouth could not and did not put it to words ..esp. like this..and I wanted to but I was busy my thoughts were rambled thats why when I was new here Id say ahhh yall dont know! lol and sounding like a crotchety old timer saying "back in my day...now that was music" so typical and NOT what I wanted ot be BUT let me say this! which may qualify or go against..which is the/my dilemna Many newer folks or folks who got into the music at a much later date and did not live it at the current time have just as much if not more appreciation for some of the music..right? such as Moonbeam with 1999. for example..and my own lateness in discovering rock acts such as the stones in my youth and zep, etc but not in their heyday of th e early seventies (even they were staples on the radio--I didnt "get" the music at that time) I have a passion for the music that has got to be at least equal to what folks felt at the current time of release..sure I may not realize the impact or seen the impact as they did because I wasnt at the seminal ocncerts but still so is it actually safe to say that there may be some missing elelmnents that takes away form ..lets say.."understanding" the music as pumonmyfunk stated I feel of course that the zeitgeist juxtaposed with the music makes for a more comprehensive understanding ofd the music..bu then again most of music thast we rave about is timelss..it hjas its own zeitgeist each time u play it...maybe thats the thing.. music thats timeless has its own zeitgeist..allowing any and all--those who were current and those who came later..to feel the music just as well.. I kind of am wary about that..because when I put on some records like Black Album , I didnt really appreciate it back then--its th emyth I appreciated of it and some of the jams..now today I inderstand and appreciate it completely even more then th epast..as with Lovesexy and Parade..so sometimes th e zeitgeist can be a hinderance maybe..who know, Im just sayin binaryjustin Its strange that things which once seemed radical are now passe.
There are twenty-year old people who can never remember a time before Compact Discs. Apply the same principal to the music on the discs and I wonder if an 18-year-old gets the same rush from listening to the 12" mix of Kiss as a thirty-something who remembers hearing the single on the radio for the first time. Kiss is almost a standard now... When I first heard it, it sounded like the weirdest, strangest, funkiest thing I'd ever heard. Listening to Prince in my teenage years seemed dangerous. The Dirty Mind album sounded... dirty. Aside from the lyrics of Sister, a lot of the songs seem quaint now. In 1986, my teenage rebellion included listening to an album which had the word "Motherfucker" in its lyrics. These days, you could walk into your local record store and buy an album called "Fatherfucker". Lovesexy surprised me first and then thrilled me. It still thrills me but no longer surprises me. I may have lost the sense of surprise but that's counteracted by the nostalgia I've attached to the songs. If I'd first heard Lovesexy two years ago, I wouldn't be surprised by now but would I have the nostalgia to weigh out the loss of surprise? If you’re talking about understanding the music, sure it helps greatly to have been there. But if you’re talking about your ability to enjoy the music, absolutely not. If music is truly great, it will be great forever. If it was only great during it’s time period, then it’s a fad. Finding out the history of a given creation can be a very interesting and enjoyable process in and of itself. But I think its twisting things up a bit to say that this is a prerequisite to enjoying the creation. To switch art forms, when you look at a masterpiece painting, do you need to have an art degree and be able to fully understand the psychological makeup of the artist at the time of creation in order to enjoy it greatly? I don’t think so. Sure, someone who knows of all this background could help speed the understanding process up for you by putting everything in its proper context. But ultimately if your reasons for loving something are based in the intellectual, I’d say you’re only fooling yourself. A work of art either connects with you or it doesn’t. And you have either given the work of art a fair chance to speak to you, or you haven’t. If you’re saying you can only truly enjoy “The Black Album” by knowing it in the context of its “freshness”, then I’d say what excites you about music possibly has more to do about it’s cutting edge newness than its actual artistic merits. I think another factor could be (and we are certainly all guilty of this to one degree or another) in the intertwining of the excitement of our youth with the actual artistic quality of something. Simply put, there’s no way any artist is going to be able to create the same feelings of wonderment and discovery that I felt when I was 14 and everything seemed new and dangerous. Never mind my elders at the time scoffing at me with a knowing glance as I rambled on about how new and great something was, and that it was in fact newer and greater than anything before. You just don’t understand! They just let me have my fun, leaving me to find out the real truth with age and experience. Brendan And I think some might be confusing the issue of pining after the romanticism of their own totally unique experience (which they wouldn’t want one note of touched) with the issue of joy and understanding of art.
I wouldn’t be the least bit surprised to find out that 50 years from now some 14- or 15-year-old kid is being moved every bit as much or more than I was by “SOTT”. For someone to claim that their joy and understanding during the now will always be superior to that of future generations is somewhat arrogant, as if they own the true inspiration captured in the work of art just because they lived through it. “Oh you might like it, kid, but you’ll never truly ‘get it’” (pat on the head). My response is, “That might be true, but if I don’t end up ‘getting it’, it just might be because it wasn’t all that great to begin with.” Don’t tell me I have to posses some special key that was only cut in the 60s to fully understand and enjoy a great work of art that was created during that era. The only key I need is the one that opens my mind and keeps me interested in challenging myself. Everything else is an answer to a trivia question. This whole issue reminds me of the old joke about how every generation thinks that they invented oral sex. Sure, they know that they didn’t literally invent it, but certainly no generation before was this hip or hot to it, or doing it as much or as well. And certainly their parents would never do something that freaky. Yeah, right. . [This message was edited Fri Jan 9 2:15:29 PST 2004 by Anji] | |
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Harlepolis said: Brother915 AKA Southernbrother on The Song "Hello"
Inspired by Snatch's thread, I'm sure many of you remember the controversy surrounding LIL MAN with him not showing up at the all-star recording for the USA FOR AFRICA's song "WE ARE THE WORLD" back in 1985 after the American Music Awards (after he got robbed of at least 6 awards). I thought "Hello" was one of the best examples of him speaking to the media and his critics through him music. He wasn't giving interviews much in the 80's, so what did he do. Made a great song telling his side of the story. I thought these lines were genius ..."we're against hungry children...our breakfast stands tall...there's just as much hungry HERE AT HOME". I thought that was brillant. What he was basically saying was, you guys are making such a big deal about me now showing up for this recording session, but hey there are people starving here on the home front as well and hey I am concern, I am willing to give a song to your project. He didn't give an interview to state his position, he just snucked this song on the B-side of his "Pop Life" single. I remember when I bought the single back in 85' and was SURPRISED to hear this B-side single(surprise to hear him address his critics). I thought it was brillant and I think it is one of his greatest B-side songs.
Then he turned around and gave the USA FOR AFRICA album an awesome song "4 The Tears In Your Eyes". That people, is how he came to be called YOUR ROYAL BADNESS That is so weird. I have been singing we're against hungry children...our RECORD (not "breakfast") stands tall...there's just as much HUNGER (not "hungry) here at home" Our breakfast stands tall? hahahahaha. What was Prince thinking when he wrote that one! If that is what Prince sang on HELLO, that may be one of the goofiest lines ever. Great topic Anji. The expanded version of my book PRINCE and The Purple Rain Era Studio Sessions 1983-1984 was released in November 2018. (www.amazon.com/gp/product/1538114623/ref=dbs_a_def_rwt_bibl_vppi_i0) or www.facebook.com/groups/1...104195943/ | |
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eh, i won't be showin up on this chit...  | |
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