baboon2004
Darned cockwombles.
Gett Off is one of his top 10 tracks IMO. Obviously it sounds very much of its time, but that level of sleaze and attitude is very rarely found elsewhere.
More's the pity... great fucking music.
Gett Off is one of his top 10 tracks IMO. Obviously it sounds very much of its time, but that level of sleaze and attitude is very rarely found elsewhere.
...i think his drums are one of the most outstanding elements of his music, and what separates him from loads of other 80's street funk artists.
...like which 80's street funk artists in particular ?
under the cherry moon
Sometimes It Snows In April used to guarantee a tear.
Not his best moment though obv.
It's weird to compare the trio though. I mean, at the end of the day, they're all talented but we gotta remember, one is an actual musician. The other two are performers.
babyface doesnt have the range of prince though, and i used to love babyface. rick james is the nearest comparison up to around 84 at least (they even had girl groups to compete), at which point rick started to take the drum machine/synths route like everyone else was doing. not sure who else to compare prince to in the 80s, apart from MJ (the obvious competition), or terence trent darby, lenny kravitz, maybe thomas dolby, stevie wonder, bowie maybe? i think prince was basically in the 80s what bowie was in the 70s.
yes bowie is the best comparison, which is weirdly something i've never thought of despite being a prince fan 4 eva.
I read somewhere that for a while Prince would hire out a few rooms in a studio complex with an engineer in each and jump between them all day.
- program a beat or two
- play a guitar or keyboard part
- play another
- say "that bit's the verse, that bit's the chorus, that bit's the bridge"
- go into another room and repeat the process while the engineer worked in the first room
That's probably a very good way of avoiding a key problem in composition, getting too familiar with your own tune to hear it like it's audience will hear it.
Lisa said:You know, he’d start with the drums but he’d already have the song in his head... And he’d like go and press “Record” on the machine and then run over to the drums and you’d kinda hear like him jumpin’ over things and trippin’ over wires, sit down on the drums, and then count himself off, tick, tick, tick.
And then he’d like play and he’d like have ... sometimes he’d have like a … lyrics written down on a piece of notebook paper and so he’d try to like sing it in his head and sometimes you’d hear him like kinda grunting and singing a little bit of the song on the drum track. And then he’d imagine in his head like … he told me this, like you have to kick the bass player’s ass. Like when you’re playing the drums, like kick the other guy’s ass, like put things in there that’s gonna make the other guy … which was all him, you know … do something unexpected or like, try to keep up, you know. So it was so cool ‘cause then he’d go … he’d do … the drum track would be down and then he’d go and get the bass and play the bass and then that weird drum lick would come up and then he’d go, “Oh,” you know, like the bass player, and then try to keep and then try to kick the guitar player’s ass, etcetera, etcetera.