1999 Deluxe : Interviews, reviews, presse....

Toutes les infos et les commentaires sur cette réédition deluxe
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PrinceFrance
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08 septembre 2019, 20:19

D'après ce lien (https://ultimateprince.com/prince-1999- ... ssue-news/), l'estate aurait déjà annoncé le sortie d'un 1999 deluxe cette année.

Une video du 3 aout de violet reality (ils avaient fait de bonnes predictions sur le PR deluxe) de debut aout 2019 dit
To summarize the video:
1. It was compiled and basically finished in 2017
2. 1999 Deluxe was possibly delayed for Piano & Microphone 1983 and again delayed for Originals.
3. It will include Prince's original version of "Jerk Out" (which was going to be on Originals but was bumped off because Jay-Z insisted on including "Love Thy Will Be Done."
4. The original "piano version" of "Something in the Water (Does Not Compute)" will be included (this version was recorded at his home studio in mid-April 1982, while the released version was done at Sunset Sound later that month).
5. They will not censor the original versions of "Extraloveable" (originally recorded in 1982, released in 2011 as "Xtraloveable") or "Lust U Always".
source: https://forums.stevehoffman.tv/threads/ ... on.866722/

Voici aussi la page de notre cher Calhoun national: https://calhounsquare.fandom.com/fr/wiki/1999_Deluxe
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Greghost
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08 septembre 2019, 21:11

Oui en gros, configuration comme celle prévue à l’origine pour PR deluxe et on a jamais vu le first avenue...


Donc entre les rumeurs, les spéculations et ce qui sortira vraiment, attention ! Au risque d’ être déçu.
Gregory looks just like a ghost...
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Hugo Spanky
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10 septembre 2019, 22:06

https://thevioletreality.com/exploring- ... d93cb8633e
Financièrement, ça va tirer sur la corde, surtout juste après le coffret Emancipation. Mais c'est un menu faramineux.
Free Extraloveable !
ranxzevox.blogspot.com
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slimongi
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11 septembre 2019, 00:49

Article du Variety avec quelques petites infos supplémentaires

https://variety.com/2019/music/news/pri ... 203331220/
La connerie c'est la décontraction de l'intelligence
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11 septembre 2019, 18:20

https://www.francetvinfo.fr/culture/mus ... 12221.html
L'exploitation du catalogue de Prince et de ses riches archives reprend là où Originals, l'album de titres écrits par Prince pour d'autres, nous avait laissés ce printemps. Nous sommes toujours en 1982, période hyper prolifique pour le Kid de Minneapolis. A cette époque, Prince compose frénétiquement, comme il respire. Purple Rain ne sortira que deux ans plus tard mais le jeune musicien fait déjà des étincelles avec l'album 1999 qui contient les hits 1999 et Little Red Corvette mais aussi avec les clips en rotation lourde sur la chaîne musicale MTV.



Des raretés à foison

Le Prince Estate, qui gère sa mémoire et sa musique depuis sa mort en avril 2016, annonce avec Warner la réédition de l'album 1999 en version remasterisée et augmentée le 29 novembre. L'édition super deluxe (5 CD + 1 DVD ou 10 vinyles + 1 DVD), qui entend "souligner la formidable créativité" de Prince à cette période, contient tous les titres du Kid de Minneapolis sortis en 1982, y compris les faces B et les différentes versions (promo, radio edit etc) de 1999, Lady Cab Driver ou Little Red Corvette mais aussi D.M.S.R., single promo publié uniquement en Grande-Bretagne.

Le coffret propose surtout 23 titres rares et inédits enregistrés entre novembre 1981 et janvier 1983. Parmi eux, les inédits Vagina, probablement écrit pour son groupe satellite Vanity 6, Bold Generation, écrit pour le groupe The Time et Turn It Up, écarté de l'album 1999 car trop similaire à Delirious. Mais aussi les funks dévastateurs Irresistible Bitch (face B du single Let's Pretend We're Married) et Possessed, bien connus des fans via les concerts de Prince improvisés dans de petites salles et les albums pirates.



Un album live et un DVD de la tournée 1999

Egalement au menu de cette édition super deluxe un album live d'un "late show" (concert de fin de soirée après un concert officiel plus tôt le même jour) de la tournée 1999 enregistré à Detroit le 30 novembre 1982. Mais aussi le DVD d'un concert intégral et inédit de la même tournée filmé à Houston le 29 décembre 1982. Des paroles manuscrites de plusieurs titres (dont celles de Little Red Corvette) et des clichés rares d'Allen Beaulieu complètent ce festin Deluxe.

"Je n'avais pas l'intention d'enregistrer un double album, mais je n'arrêtais pas d'écrire", déclarait son altesse pourpre en novembre 1982. "Je compare toujours l'écriture de chansons à une fille qui frappe à la porte. On ne sait pas à quoi elle va ressembler, et puis tout d'un coup, elle est là."

Voici le détail des deux CD d'archives que contient le coffret 1999 super deluxe :

CD Vault, Part 1

1 Feel U Up
2 Irresistible Bitch
3 Money Don't Grow On Trees
4 Vagina
5 Rearrange
6 Bold Generation
7 Colleen
8 International Lover (Take 1, live in studio)
9 Turn It Up
10 You're All I Want
11 Something In The Water (Does Not Compute) (Original Version)
12 If It'll Make U Happy
13 How Come U Don't Call Me Anymore? (Take 2, live in studio)

CD Vault, Part 2

1 Possessed (1982 version)
2 Delirious (full length)
3 Purple Music
4 Yah, You Know
5 Moonbeam Levels **
6 No Call U
7 Can’t Stop This Feeling I Got
8 Do Yourself A Favor
9 Don't Let Him Fool Ya
10 Teacher, Teacher
11 Lady Cab Driver / I Wanna Be Your Lover / Head / Little Red Corvette (tour demo)

Tous les titres sont inédits, à l’exception de la version alternative de ** parue en 2016 dans la compilation 4Ever.
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slimongi
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11 septembre 2019, 23:23

https://www.superdeluxeedition.com/news ... -material/

Review de la sortie par Paul du site bien connu de Superdeluxe edition....il semble que notre ami qui n'est pas 1 Fan à l'air de fortement apprécier ce qu'il a entendu , il a eu droit à 1 preview de l'album semble-t-il (notamment les inédits)...les listenings parties devraient se multiplier sous peu , en tout cas des promos existent déjà sous formes numériques je suppose !

"I have listened to ALL the bonus ‘vault’ audio on this set and there’s some incredible songs and recordings on here, including the early 1982 version of ‘Possessed’ (the later recording has already been a bonus track on the Purple Rain reissue), the full unedited six minute version of ‘Delirious’, an recording of B-side ‘Irresistible Bitch,’ live in the studio takes of ‘International Lover’ (sung without the falsetto) and ‘How Come U Don’t Call Me Anymore?’ and of course loads of completely unreleased songs such as ‘Money Don’t Grow On Trees,’ ‘Rearrange,’ ‘Bold Generation,’ ‘Purple Music,’ ‘You’re All I Want’ and, er, ‘Vagina’. Most of this was recorded in and around 1982.

The live audio performance comes from the late midnight show in Detroit from 30 November 1982. The early show has circulated amongst fans but apparently this later show has never leaked. The DVD offers the 29 December show (recorded in multi-cam) live at the Houston Summit."
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12 septembre 2019, 19:48

Allez ...Michael HOWE en Interview et Review de l'ensemble du corpus inédit de cette BOX SUPERDELUXE......TRACK/TRACK REVIEW>>>>>>>SPOILERS
MERCI AU SITE SUPERDELUXE



https://www.superdeluxeedition.com/inte ... ore-152985

Warner Music’s recently announce reissue of Prince‘s album 1999 has sparked massive interest in the 35 previously unreleased bonus tracks. SDE spoke to Prince ‘vault’ archivist Michael Howe, who helped to put this set together in conjunction with the Prince Estate and the record label, and asked him about some of this unheard material…
BOLD GENERATION

MH: I don’t believe this ever trickled out into the fan community, and really is the only example of something on the entire set of expanded body of work that we had to source from a cassette rough mix, because there was literally no other existing version.

Even a two-inch [reel] was recorded over, so we didn’t even have a trace of what the original track was, but we did find a cassette rough mix of it and made it as sonically appealing as we possibly could, given the limitations, but that’s the kind of forensic approach that we tried to take.

I am virtually certain it was initially intended for The Time and obviously never ended up getting released as it currently exists, and turned into the song ‘New Power Generation’, which is something that ended up on Graffiti Bridge I guess, but this is a much more organic sort of approach I would say.
FEEL U UP / IRRESISTIBLE BITCH

SDE: This medley is a good example of Prince reworking something which sounded great in the first place. I mean ‘Irresistible Bitch’, I actually prefer this version, I think, to the released version, but there’s some obvious differences. The drums sound like a drum machine on this version. They sound real on the normal version.

MH: Coming out of Controversy, Prince was particularly interested in being as self-sufficient as possible and is starting to play with the drum machine and doing a tremendous amount of experimentation in the studio, so I think the influence of something like what Gary Numan was doing, and maybe some of the early British New Wave kind of stuff seeped into his creative energies. And I think it’s more apparent in something like these early versions, than on other unreleased tracks like ‘Vagina’ or ‘Turn It Up’. It’s pretty interesting, the sort of dichotomy of genres or styles that he was exploring.

SDE: And was this originally conceived as one big long track, or was it always two separate tracks that he happened to fuse together on this particular day?

MH: It’s a good question. I mean they are technically two individual tracks, but there is a cassette rough mix of what we would consider the complete version which then we replicated basically to present this tethered version of ‘Feel U Up’ and ‘Irresistible Bitch’. So we believe that this is what the intention was, at least given the rough mix that was done by Prince on a cassette. We are trying to take as few creative liberties as possible, I mean zero creative liberties.

SDE: And were you actually mixing any of these unreleased songs? Were you having to go back to multi tracks or were there stereo versions where you could just leave as is?

MH: Yeah there were cases where we had to mix from the multis, but we always used the rough mix, the existing mix as the template, so we would just basically mix match the two–inch to whatever the source of the rough mix was. In most cases these rough mixes, because they’re so early, are on cassettes, which aren’t really suitable for commercial release, at least from a sonic standpoint, so when we get the mix from the two inch we make it sound as if it’s the mix on a cassette, but with today’s technology, so you’re not hearing hiss and wow and flutter and dropouts and all kinds of other crap.

MONEY DON’T GROW ON TREES

SDE: This is a good example of something that’s like the opposite of ‘Irresistible Bitch’. It’s a kind of breezy, guitar-y kind of band song isn’t it?

MH: Yes it is. I mean presumably he was contemplating this for inclusion on 1999 – given the time period – but it’s certainly, as you say, breezy and less preoccupied with weighty matters than some of the other stuff that he working on at the time.

VAGINA

SDE: When I saw the title, I cringed a little bit, but it’s actually quite a good and surprisingly rocky number. Is this a number that might have ended up as a Vanity 6 song at some point?

MH: Absolutely. I mean the sort of genesis of it is that when he met Denise [Matthews], who became Vanity. He envisioned her name, her public name, to be ‘Vagina’, which she unsurprisingly sort of side-stepped. I mean, particularly now, [lyrically] it’s a very timely, topical piece, given LGBTQ movement and the general focus on gender issues, and it’s remarkable that he was thinking about this stuff in late 81 or early 82, which is eons ago at this point, but I certainly like the way it’s sort of unembellished and you can just hear him kind of thinking aloud a bit as he’s doing it.

REARRANGE

SDE: This is a quite a commercial sounding track. Apparently there was a 1988 remix but I’m assuming this is the early version.

MH: This is the early version. That’s exactly right. I don’t know that I’ve even listened to the 88 remix of it, because it wasn’t appropriate for inclusion here, but the rough mix, which is this version, is the December 8th – I think it’s December 8th, I’m sort of working from memory here – but he cut this and a couple of other things in December of ’81 at Sunset with Peggy McCreary.

COLLEEN

SDE: This is an instrumental, with a story behind it. It’s [engineer] Peggy McCreary’s middle name, isn’t it?

MH: Yes it is. We included this really because it’s one of those things that fans kind of know exists or have heard exists, and it would have been a glaring omission, I think, if we had left it off. I thought its inclusion would be a fun little nugget.

INTERNATIONAL LOVER (take 1)

SDE: ‘International Lover’. This is take 1, live in the studio. Set the scene for this one then. Would this have been literally the first time he’s going through it in the studio? It sounds like it’s just piano, drums and vocals, this particular version.

MH: It is. It was another track that was contemplated for The Time. In fact, Morris Day is playing drums on the track, so Prince is running through the track with Morris, live on piano and vocal, and decided, I think, to keep the song for himself. I don’t know if there was precedent for it, but this was certainly an example of something that was at least contemplated for a protégé artist or another artist that Prince said “I think I’m going to keep this one”. And I love this version. I mean I think there’s a vulnerability here, and the way he’s kind of articulating the vocal and talking to Peggy, and I mean it’s just a remarkable kind of peek behind the curtain.

This is something we didn’t really know existed. This was on the two-inch reel. I’m thrilled to be able to include it, because I think it’s so sonically arresting and such a special way to hear it.

TURN IT UP

SDE: Apparently Prince decided to not bother putting this on 1999 because he came up with ‘Delirious’ which he thought was much better. Was that the story?

MH: I think so. I don’t know that with certainty, but that’s the rumour. You can hear in spirit that it’s kind of an up tempo sort of breezy pop song the way ‘Delirious’ is. Obviously ‘Delirious’ was a much more complete thought – in my estimation – than ‘Turn It Up’ and he made a wise creative decision, but it’s very much in the spirit of it, and that explanation would make sense to me if that were the case, yeah.

YOU’RE ALL I WANT

SDE: This didn’t get released, but we can hear that [B-side] ‘Horny Toad’ stole some musical cues from this particular number didn’t it?

MH: Yeah, there were a couple of versions of this, one of which has vocals from an ex-girlfriend of Prince’s called Kim Upsher, but this is the solo Prince version. The different version that exists with her vocal, is the same bed track and basically the same Prince vocal as what is here.

SOMETHING IN THE WATER (DOES NOT COMPUTE) ORIGINAL VERSION

SDE: This early version is not dissimilar to the one on the album, but there’s piano in it and it does have a different feel, doesn’t it?

MH: It does, yeah. I mean the differences are somewhat subtle, but this is a slightly more organic sounding version to me and I like it. This is something I believe that has circulated. I’m not sure it’s circulated in this quality obviously, because we took it right from the master, but to the extent that we want to, you know, to trace the creative arc here we thought it important to include.

POSSESSED

SDE: ‘Possessed’ is an interesting one, because we’ve already had this on the bonus disc of the Purple Rain reissue haven’t we?

MH: Yes but it’s not this version. There’s a later version that appeared in the movie and on the Purple Rain deluxe. This is the 1982 version that is substantially different than the version that has been officially released at this point.

SDE: I think this version is much better, to be honest.

MH: I do agree.

DELIRIOUS

SDE: What’s the story with Delirious? This is a six minute version. The album’s about four minutes and then the single was about two and a half minutes. So was the album version simply an edit of this full length version?

MH: Yes it is. And it’s another thing that fans know exists and I think would be a glaring omission if we didn’t include it, but it’s not a different master. It’s the same master.

CAN’T STOP THIS FEELING I GOT

SDE: This ended up on Graffiti Bridge, didn’t it, but this is obviously a much earlier version. It’s not massively different, but it obviously has that sound of the production of the 1982 era.

MH: Yes it does. There’s much more humanity to it, I think, than the version that ended up on Graffiti Bridge, which was entirely re-tracked. I mean this was a different master completely.

TEACHER, TEACHER

SDE: ‘Teacher Teacher’ is brilliant, because it’s got lots of Wendy and Lisa on it, and it sounds like a bit sort of later era almost. But that’s a wonderful track.

MH: Yes it is. I mean that was recorded on 16 track actually, before Prince I think even had access to 24 tracks at Kiowa Trail in his home studio, and obviously it morphed into something that Wendy and Lisa sort of took and made into their own later, but this early version is a pretty interesting view.

LADY CAB DRIVER / I WANNA BE YOUR LOVER / HEAD / LITTLE RED CORVETTE (TOUR DEMO)

SDE: This is the last track on the second disc of unreleased vault material on the 5CD+DVD set [also featured on the 10LP box]. What exactly are we listening to here?

MH: So as best we can ascertain, what happened was during a break, there were two legs to the 1999 tour and there was a break in January of 83, and during that break Prince recorded this sort of medley of Lady Cab Driver, I Want to be Your Lover, Head, and Little Red Corvette, which he envisioned as part of the live show for the second leg of the tour. He recorded this demo, basically gave it to the band to teach the band this thing.

And they played it, from what I can tell, only once, in Lakeland, Florida, which was the opening date of the second leg of the tour, and that show strangely was not well reviewed by the local press. It sort of got panned I think… I don’t know, but for whatever reason – you know, Prince was reading the reviews or didn’t think the show went well himself – but for whatever reason I believe they dropped medley as it existed from future live shows. They tweaked it a bit, but this version, with all of these tracks and this order was played, I believe, only once and then abandoned for the rest of the tour.

But to have a studio, a work tape basically of it sort of surprised me, because I didn’t realise that he would do those kinds of things to teach the band. I thought it typically happened just in rehearsals. So it was kind of a nice nugget to find and certainly to include here.

SDE: So would Prince have gone back to various multi tracks and brought things in, or is this all new recording?

MH: No it’s all new recording. I think it was done in one session with a couple of overdubs and that’s it. I mean he didn’t take elements of existing masters and link them together. This was just a brand new master.

SDE: Okay and the audio of the live show included in the super deluxe CD and vinyl sets. What can people expect from that?

MH: It’s awesome. So there were six shows in Detroit as part of the first leg of the 1999 tour, two per day for like three days in a row, I think, and this show was the midnight show on the first day, 30 November 1982.

The very first show, the early show on 30 November has circulated among collectors as a cassette board mix. This show, the late show, we mixed directly from the two-inch multi track reels and has never circulated before, and is just a spine-tingling performance. So not only is it something that collectors presumably do not have and have never heard, but it is as sonically compelling as we’re possibly going to get. Dave Rivkin, you know David Z, the guy who actually captured the audio at the show, he mixed it for us, so it’s basically as the audience was hearing it in the room at the time, which is how we try to approach everything that we do here.

SDE: Has there been anything that you felt should go on the set that you have been unable to find?

MH: The only potential omission, I mean something that I was looking for that is rumoured to exist is a 1982 studio version of ‘Raspberry Beret’, which I simply have not found – and this is conjecture, I don’t know with certainty – but I think it’s because the two inch master that ended up being released on Around the World in a Day was basically an embellished version or an overdubbed version of whatever Prince started in 82. So there’s no distinguishing characteristic, enough, to determine, at least from the track sheets and the notes, what might have been from 82…

SDE: So what you’re saying is that it wasn’t two obvious separate reels sitting on different shelves. It was one thing he was working on.

MH: No. There were no separate reels, there were no cassette rough mixes that we found, there was no trace, and we’ve turned over a significant amount of rocks looking for it. It was a pretty exhaustive search. I mean I know there are soundtrack versions and those kinds of things, but from a studio standpoint I have not found evidence of it. I’m not saying it doesn’t exist and that we won’t stumble across it at some point

SDE: Tell me about the remastering. With the drum machines and the synths of the early 80s, can you realistically get an album like 1999 sounding very much better than it already sounds with the technology at hand today?

MH: I think so. I think so, yeah. I mean Bernie Grundman, who obviously mastered all of the stuff back then is the guy who has been doing all of the remasters for us, and he’s doing it right from high res transfers of the original half inch flat analogue reels, and he’s doing a remarkable job.

I mean I think the album, the remastered album, has a dimension and a sort of depth, a sonic depth that it had been lacking since its release. I mean it’s not perhaps an entirely different listening experience for the untrained ear, but for somebody that’s familiar with the album I think it’s much more satisfying sonically.

SDE: Finally, there might be some people that would question whether we need all these seven-inch edits and promo mixes included as part of this reissue? What do you think they bring to the table?

MH: Well, in something like a super deluxe edition [box] the idea is to trace the entire creative arc as completely as we can, so offering those mixes and things that maybe collectors have had or have been in the marketplace, but in one collection, remastered in chronological or sequential order, we think paints the most compelling picture of the expanded body of work would be, it just seems like it would be incomplete without having those things. I’m sure you’ve heard me say this before, but the way we approach these releases is to do it with as much completeness and respect and integrity as the body of work deserves, and moving forward without including those things just seems like an incomplete thought.
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lord farell
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12 septembre 2019, 20:35

Impatient d'entendre cette INTERNATIONAL LOVER (take 1) !

"This is something we didn’t really know existed. This was on the two-inch reel. I’m thrilled to be able to include it, because I think it’s so sonically arresting and such a special way to hear it."
(Michael HOWE )
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lord farell
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12 septembre 2019, 20:57

"I mean I think the album, the remastered album, has a dimension and a sort of depth, a sonic depth that it had been lacking since its release. I mean it’s not perhaps an entirely different listening experience for the untrained ear, but for somebody that’s familiar with the album I think it’s much more satisfying sonically."
(Michael HOWE)

vraiment ça promet
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fredmagnus
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12 septembre 2019, 23:15

Merci pour cette interview passionnante.

Michael dit qu'il a cherché jusqu'à l'épuisement la version originale de "Rasberry Beret". En vain. Apparemment les masters originaux de 1982 ont été complétés en 1985 pour les sessions de ATWIAD et il n'a pas trouvé de K7 contenant un rough mix du morceau original.

En lisant l'interview, on se rend vraiment compte de l'ampleur de la tâche mais aussi des conditions difficiles dans lesquels il travaille. Tout est resté en l'état pendant près de 40 ans et s'est progressivement dégradé, de nombreuses bobines comme "Bold Generation" ont tout simplement été effacées pour permettre l'enregistrement de nouvelles chansons, etc...On comprends mieux quand même pourquoi tous les titres ne sortent pas avec une qualité optimale.
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15 septembre 2019, 18:40

Ainsi donc le son de cette édition remasterisée serait DANTESQUE. Bon, ok.
Alors je pose une question : une deuxième déflagration est-elle possible ?
Je veux dire, on connait tous ce disque par coeur (personnellement je considère avoir une puce numérotée 1999 greffée dans mon cerveau), alors peut-on encore être surpris au point d'en être déstabilisé. Ma puce peut-elle griller ?
Michael Howe dit que "l'album remasterisé a une dimension et une sorte de profondeur, une profondeur sonore qui lui faisait défaut depuis sa sortie". Cette nouvelle profondeur sonore va-t-elle agir en profondeur dans nos cerveaux ?
Je n'en sais rien du tout mais en tous cas je vous le souhaite.
meloman
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24 septembre 2019, 19:37

slimongi a écrit :
12 septembre 2019, 19:48
Allez ...Michael HOWE en Interview et Review de l'ensemble du corpus inédit de cette BOX SUPERDELUXE......TRACK/TRACK REVIEW>>>>>>>SPOILERS
MERCI AU SITE SUPERDELUXE



https://www.superdeluxeedition.com/inte ... ore-152985

Warner Music’s recently announce reissue of Prince‘s album 1999 has sparked massive interest in the 35 previously unreleased bonus tracks. SDE spoke to Prince ‘vault’ archivist Michael Howe, who helped to put this set together in conjunction with the Prince Estate and the record label, and asked him about some of this unheard material…
BOLD GENERATION

MH: I don’t believe this ever trickled out into the fan community, and really is the only example of something on the entire set of expanded body of work that we had to source from a cassette rough mix, because there was literally no other existing version.

Even a two-inch [reel] was recorded over, so we didn’t even have a trace of what the original track was, but we did find a cassette rough mix of it and made it as sonically appealing as we possibly could, given the limitations, but that’s the kind of forensic approach that we tried to take.

I am virtually certain it was initially intended for The Time and obviously never ended up getting released as it currently exists, and turned into the song ‘New Power Generation’, which is something that ended up on Graffiti Bridge I guess, but this is a much more organic sort of approach I would say.
FEEL U UP / IRRESISTIBLE BITCH

SDE: This medley is a good example of Prince reworking something which sounded great in the first place. I mean ‘Irresistible Bitch’, I actually prefer this version, I think, to the released version, but there’s some obvious differences. The drums sound like a drum machine on this version. They sound real on the normal version.

MH: Coming out of Controversy, Prince was particularly interested in being as self-sufficient as possible and is starting to play with the drum machine and doing a tremendous amount of experimentation in the studio, so I think the influence of something like what Gary Numan was doing, and maybe some of the early British New Wave kind of stuff seeped into his creative energies. And I think it’s more apparent in something like these early versions, than on other unreleased tracks like ‘Vagina’ or ‘Turn It Up’. It’s pretty interesting, the sort of dichotomy of genres or styles that he was exploring.

SDE: And was this originally conceived as one big long track, or was it always two separate tracks that he happened to fuse together on this particular day?

MH: It’s a good question. I mean they are technically two individual tracks, but there is a cassette rough mix of what we would consider the complete version which then we replicated basically to present this tethered version of ‘Feel U Up’ and ‘Irresistible Bitch’. So we believe that this is what the intention was, at least given the rough mix that was done by Prince on a cassette. We are trying to take as few creative liberties as possible, I mean zero creative liberties.

SDE: And were you actually mixing any of these unreleased songs? Were you having to go back to multi tracks or were there stereo versions where you could just leave as is?

MH: Yeah there were cases where we had to mix from the multis, but we always used the rough mix, the existing mix as the template, so we would just basically mix match the two–inch to whatever the source of the rough mix was. In most cases these rough mixes, because they’re so early, are on cassettes, which aren’t really suitable for commercial release, at least from a sonic standpoint, so when we get the mix from the two inch we make it sound as if it’s the mix on a cassette, but with today’s technology, so you’re not hearing hiss and wow and flutter and dropouts and all kinds of other crap.

MONEY DON’T GROW ON TREES

SDE: This is a good example of something that’s like the opposite of ‘Irresistible Bitch’. It’s a kind of breezy, guitar-y kind of band song isn’t it?

MH: Yes it is. I mean presumably he was contemplating this for inclusion on 1999 – given the time period – but it’s certainly, as you say, breezy and less preoccupied with weighty matters than some of the other stuff that he working on at the time.

VAGINA

SDE: When I saw the title, I cringed a little bit, but it’s actually quite a good and surprisingly rocky number. Is this a number that might have ended up as a Vanity 6 song at some point?

MH: Absolutely. I mean the sort of genesis of it is that when he met Denise [Matthews], who became Vanity. He envisioned her name, her public name, to be ‘Vagina’, which she unsurprisingly sort of side-stepped. I mean, particularly now, [lyrically] it’s a very timely, topical piece, given LGBTQ movement and the general focus on gender issues, and it’s remarkable that he was thinking about this stuff in late 81 or early 82, which is eons ago at this point, but I certainly like the way it’s sort of unembellished and you can just hear him kind of thinking aloud a bit as he’s doing it.

REARRANGE

SDE: This is a quite a commercial sounding track. Apparently there was a 1988 remix but I’m assuming this is the early version.

MH: This is the early version. That’s exactly right. I don’t know that I’ve even listened to the 88 remix of it, because it wasn’t appropriate for inclusion here, but the rough mix, which is this version, is the December 8th – I think it’s December 8th, I’m sort of working from memory here – but he cut this and a couple of other things in December of ’81 at Sunset with Peggy McCreary.

COLLEEN

SDE: This is an instrumental, with a story behind it. It’s [engineer] Peggy McCreary’s middle name, isn’t it?

MH: Yes it is. We included this really because it’s one of those things that fans kind of know exists or have heard exists, and it would have been a glaring omission, I think, if we had left it off. I thought its inclusion would be a fun little nugget.

INTERNATIONAL LOVER (take 1)

SDE: ‘International Lover’. This is take 1, live in the studio. Set the scene for this one then. Would this have been literally the first time he’s going through it in the studio? It sounds like it’s just piano, drums and vocals, this particular version.

MH: It is. It was another track that was contemplated for The Time. In fact, Morris Day is playing drums on the track, so Prince is running through the track with Morris, live on piano and vocal, and decided, I think, to keep the song for himself. I don’t know if there was precedent for it, but this was certainly an example of something that was at least contemplated for a protégé artist or another artist that Prince said “I think I’m going to keep this one”. And I love this version. I mean I think there’s a vulnerability here, and the way he’s kind of articulating the vocal and talking to Peggy, and I mean it’s just a remarkable kind of peek behind the curtain.

This is something we didn’t really know existed. This was on the two-inch reel. I’m thrilled to be able to include it, because I think it’s so sonically arresting and such a special way to hear it.

TURN IT UP

SDE: Apparently Prince decided to not bother putting this on 1999 because he came up with ‘Delirious’ which he thought was much better. Was that the story?

MH: I think so. I don’t know that with certainty, but that’s the rumour. You can hear in spirit that it’s kind of an up tempo sort of breezy pop song the way ‘Delirious’ is. Obviously ‘Delirious’ was a much more complete thought – in my estimation – than ‘Turn It Up’ and he made a wise creative decision, but it’s very much in the spirit of it, and that explanation would make sense to me if that were the case, yeah.

YOU’RE ALL I WANT

SDE: This didn’t get released, but we can hear that [B-side] ‘Horny Toad’ stole some musical cues from this particular number didn’t it?

MH: Yeah, there were a couple of versions of this, one of which has vocals from an ex-girlfriend of Prince’s called Kim Upsher, but this is the solo Prince version. The different version that exists with her vocal, is the same bed track and basically the same Prince vocal as what is here.

SOMETHING IN THE WATER (DOES NOT COMPUTE) ORIGINAL VERSION

SDE: This early version is not dissimilar to the one on the album, but there’s piano in it and it does have a different feel, doesn’t it?

MH: It does, yeah. I mean the differences are somewhat subtle, but this is a slightly more organic sounding version to me and I like it. This is something I believe that has circulated. I’m not sure it’s circulated in this quality obviously, because we took it right from the master, but to the extent that we want to, you know, to trace the creative arc here we thought it important to include.

POSSESSED

SDE: ‘Possessed’ is an interesting one, because we’ve already had this on the bonus disc of the Purple Rain reissue haven’t we?

MH: Yes but it’s not this version. There’s a later version that appeared in the movie and on the Purple Rain deluxe. This is the 1982 version that is substantially different than the version that has been officially released at this point.

SDE: I think this version is much better, to be honest.

MH: I do agree.

DELIRIOUS

SDE: What’s the story with Delirious? This is a six minute version. The album’s about four minutes and then the single was about two and a half minutes. So was the album version simply an edit of this full length version?

MH: Yes it is. And it’s another thing that fans know exists and I think would be a glaring omission if we didn’t include it, but it’s not a different master. It’s the same master.

CAN’T STOP THIS FEELING I GOT

SDE: This ended up on Graffiti Bridge, didn’t it, but this is obviously a much earlier version. It’s not massively different, but it obviously has that sound of the production of the 1982 era.

MH: Yes it does. There’s much more humanity to it, I think, than the version that ended up on Graffiti Bridge, which was entirely re-tracked. I mean this was a different master completely.

TEACHER, TEACHER

SDE: ‘Teacher Teacher’ is brilliant, because it’s got lots of Wendy and Lisa on it, and it sounds like a bit sort of later era almost. But that’s a wonderful track.

MH: Yes it is. I mean that was recorded on 16 track actually, before Prince I think even had access to 24 tracks at Kiowa Trail in his home studio, and obviously it morphed into something that Wendy and Lisa sort of took and made into their own later, but this early version is a pretty interesting view.

LADY CAB DRIVER / I WANNA BE YOUR LOVER / HEAD / LITTLE RED CORVETTE (TOUR DEMO)

SDE: This is the last track on the second disc of unreleased vault material on the 5CD+DVD set [also featured on the 10LP box]. What exactly are we listening to here?

MH: So as best we can ascertain, what happened was during a break, there were two legs to the 1999 tour and there was a break in January of 83, and during that break Prince recorded this sort of medley of Lady Cab Driver, I Want to be Your Lover, Head, and Little Red Corvette, which he envisioned as part of the live show for the second leg of the tour. He recorded this demo, basically gave it to the band to teach the band this thing.

And they played it, from what I can tell, only once, in Lakeland, Florida, which was the opening date of the second leg of the tour, and that show strangely was not well reviewed by the local press. It sort of got panned I think… I don’t know, but for whatever reason – you know, Prince was reading the reviews or didn’t think the show went well himself – but for whatever reason I believe they dropped medley as it existed from future live shows. They tweaked it a bit, but this version, with all of these tracks and this order was played, I believe, only once and then abandoned for the rest of the tour.

But to have a studio, a work tape basically of it sort of surprised me, because I didn’t realise that he would do those kinds of things to teach the band. I thought it typically happened just in rehearsals. So it was kind of a nice nugget to find and certainly to include here.

SDE: So would Prince have gone back to various multi tracks and brought things in, or is this all new recording?

MH: No it’s all new recording. I think it was done in one session with a couple of overdubs and that’s it. I mean he didn’t take elements of existing masters and link them together. This was just a brand new master.

SDE: Okay and the audio of the live show included in the super deluxe CD and vinyl sets. What can people expect from that?

MH: It’s awesome. So there were six shows in Detroit as part of the first leg of the 1999 tour, two per day for like three days in a row, I think, and this show was the midnight show on the first day, 30 November 1982.

The very first show, the early show on 30 November has circulated among collectors as a cassette board mix. This show, the late show, we mixed directly from the two-inch multi track reels and has never circulated before, and is just a spine-tingling performance. So not only is it something that collectors presumably do not have and have never heard, but it is as sonically compelling as we’re possibly going to get. Dave Rivkin, you know David Z, the guy who actually captured the audio at the show, he mixed it for us, so it’s basically as the audience was hearing it in the room at the time, which is how we try to approach everything that we do here.

SDE: Has there been anything that you felt should go on the set that you have been unable to find?

MH: The only potential omission, I mean something that I was looking for that is rumoured to exist is a 1982 studio version of ‘Raspberry Beret’, which I simply have not found – and this is conjecture, I don’t know with certainty – but I think it’s because the two inch master that ended up being released on Around the World in a Day was basically an embellished version or an overdubbed version of whatever Prince started in 82. So there’s no distinguishing characteristic, enough, to determine, at least from the track sheets and the notes, what might have been from 82…

SDE: So what you’re saying is that it wasn’t two obvious separate reels sitting on different shelves. It was one thing he was working on.

MH: No. There were no separate reels, there were no cassette rough mixes that we found, there was no trace, and we’ve turned over a significant amount of rocks looking for it. It was a pretty exhaustive search. I mean I know there are soundtrack versions and those kinds of things, but from a studio standpoint I have not found evidence of it. I’m not saying it doesn’t exist and that we won’t stumble across it at some point

SDE: Tell me about the remastering. With the drum machines and the synths of the early 80s, can you realistically get an album like 1999 sounding very much better than it already sounds with the technology at hand today?

MH: I think so. I think so, yeah. I mean Bernie Grundman, who obviously mastered all of the stuff back then is the guy who has been doing all of the remasters for us, and he’s doing it right from high res transfers of the original half inch flat analogue reels, and he’s doing a remarkable job.

I mean I think the album, the remastered album, has a dimension and a sort of depth, a sonic depth that it had been lacking since its release. I mean it’s not perhaps an entirely different listening experience for the untrained ear, but for somebody that’s familiar with the album I think it’s much more satisfying sonically.

SDE: Finally, there might be some people that would question whether we need all these seven-inch edits and promo mixes included as part of this reissue? What do you think they bring to the table?

MH: Well, in something like a super deluxe edition [box] the idea is to trace the entire creative arc as completely as we can, so offering those mixes and things that maybe collectors have had or have been in the marketplace, but in one collection, remastered in chronological or sequential order, we think paints the most compelling picture of the expanded body of work would be, it just seems like it would be incomplete without having those things. I’m sure you’ve heard me say this before, but the way we approach these releases is to do it with as much completeness and respect and integrity as the body of work deserves, and moving forward without including those things just seems like an incomplete thought.
Une version de possessed 1982 ?...Je croyais que la toute premiere version datait de Mai 83 ?...
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musicum
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24 septembre 2019, 22:23

M. Howe a écrit :We are trying to take as few creative liberties as possible, I mean zero creative liberties.
Aucun autre postulat ne serait acceptable.
" Et ils dient : "Chevaliers somes,
Qui an noz afeires alomes. "

(Chrétien de Troyes - Le Chevalier de la Charrette )
Elvis Paisley
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25 septembre 2019, 01:01

musicum a écrit :
24 septembre 2019, 22:23
M. Howe a écrit :We are trying to take as few creative liberties as possible, I mean zero creative liberties.
Aucun autre postulat ne serait acceptable.
La belle histoire...

À l'écoute de certains titres de Originals, on peut quand même avoir de sérieux doutes.
Et c'est bien parce que ça a dû lui venir aux oreilles qu'il lâche cette petite phrase.
Sim Theury is my hero ! (Mais faut dire que des fois il déconne grave...)
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Hugo Spanky
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25 septembre 2019, 16:05

Elvis Paisley a écrit :
25 septembre 2019, 01:01
musicum a écrit :
24 septembre 2019, 22:23
M. Howe a écrit :We are trying to take as few creative liberties as possible, I mean zero creative liberties.
Aucun autre postulat ne serait acceptable.
La belle histoire...

À l'écoute de certains titres de Originals, on peut quand même avoir de sérieux doutes.
Et c'est bien parce que ça a dû lui venir aux oreilles qu'il lâche cette petite phrase.
Vu l'immense qualité des bootlegs consacrés aux titres studio, la tentation va être grande de retoucher aux bandes afin de pouvoir prétendre sortir un produit encore meilleur en terme de son. Originals sonne presque uniformément d'un bout à l'autre, non seulement c'est incohérent avec son contenu, mais ça engendre en plus une lassitude qui le rend difficile à écouter en entier. Espérons que le remastering de 1999 ne soit pas un prétexte pour surgonfler au passage les "inédits" et donner à l'ensemble un lustre contemporain à base de compression à outrance.
Free Extraloveable !
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Silk
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28 septembre 2019, 13:31

L'interview de Michael Howe donne tout de même sacrément envie d'entendre tout ça, s'il en était besoin.

Je rejoins en partie les critiques sur le fait que les packages "obligent" à dépenser plus alors qu'on serait essentiellement intéressé par les inédits - mais d'un autre côté le "coût par CD" reste raisonnable si on considère la version CD Deluxe, comme ça a été dit aussi. De plus, je trouve que la démarche de ces coffrets à le mérite de la cohérence et du respect de l’œuvre, en incluant inédits et lives dans un contexte créatif et temporel.

Pour ma part j'ai toujours aimé avoir les vinyles, pour l'objet, le son et parce qu'une bonne partie des albums ont été conçus spécifiquement pour ce support (visuels, ordre des titres, etc.). Mais je pense me contenter des CD pour les sorties à venir (voire même du streaming, mais j'en doute). En effet j'ai acheté Original en LP et je regrette presque un peu. J'aime beaucoup le contenu mais ce n'est pas un "vrai" album, du coup le support vinyle me parait un peu "fake". Bon c'est un ressenti personnel. Et je respecte tout à fait la démarche des collectionneurs qui de toutes façons, prendront tout ou presque.

Pour en revenir aux coûts qui animent bien les débats, certes à ce rythme les fans s'engagent vers des dépenses conséquentes et régulières avec ce flot de rééditions - un flot que l'on réclame à cor et à cris depuis... toujours.
Mais rappelons nous que, du vivant de Prince, être fan avait déjà des conséquences financières assez importantes, entre concerts, déplacements, productions dans leurs différentes versions... Il faut sans doute accepter de devoir continuer à consacrer un certain budget à notre passion, dans les limites du possible.

Enfin il y a des solutions moins onéreuses comme le streaming. Même si je n'en suis pas un grand fan, je m'en suis pour le moment contenté pour écouter Piano 1983, en particulier sur YouTube Music, qui à l'avantage de permettre une écoute gratuite, dans l'ordre et avec possibilités de naviguer dans l'album et dans les titres (il faut juste rester à proximité pour zapper rapidement les pubs...).
Elvis Paisley
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25 octobre 2019, 11:22

Les impressions de Raphy sont en ligne :

http://www.schkopi.com/index.php/2019/1 ... partielle/
Sim Theury is my hero ! (Mais faut dire que des fois il déconne grave...)
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slimongi
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25 octobre 2019, 13:21

Elvis Paisley a écrit :
25 octobre 2019, 11:22
Les impressions de Raphy sont en ligne :

http://www.schkopi.com/index.php/2019/1 ... partielle/
Celui de Fred aussi

http://muziq.fr/prince-1999-super-delux ... Dt6Le4qVik

;)
La connerie c'est la décontraction de l'intelligence
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calhounsquare
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25 octobre 2019, 17:08

Et sur Calhoun Square, le résumé de tout ce qui s'est dit à ce jour sur cette sortie :)
https://calhounsquare.fandom.com/fr/wik ... luxe?renew
Calhoun Square : récits, analyses, infos
Ma boutique sur Discogs
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Matthieu
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25 octobre 2019, 17:25

C'est loin le 29 novembre...
Merci pour les reports.
:)
Merci Prince, c'était génial.
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jojo 94
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25 octobre 2019, 17:31

Mille fois merci pour ces premières impressions :super: :super: :super: .Ca va être très dur d'attendre le 29 mais après....... :dance4me: :dance4me: :dance4me:
:papy: :symbol:
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slimongi
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04 novembre 2019, 18:53

http://www.funku.fr/2019/prince-tous-le ... 8SPmyV54Yg


Review de tous les titres inédits

:siffle: :siffle:
La connerie c'est la décontraction de l'intelligence
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Matthieu
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04 novembre 2019, 20:29

Yo !
Moustache gracias Slim :super:
Merci Prince, c'était génial.
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Greghost
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04 novembre 2019, 22:41

slimongi a écrit :
04 novembre 2019, 18:53
http://www.funku.fr/2019/prince-tous-le ... 8SPmyV54Yg


Review de tous les titres inédits

:siffle: :siffle:
« Puissent les prochaines rééditions Princières contenir de tels trésors, tout en privilégiant la qualité à la quantité.« 
Et encore le paradoxal système du fam.
Gregory looks just like a ghost...
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fredmagnus
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05 novembre 2019, 15:42

Greghost a écrit :
04 novembre 2019, 22:41
slimongi a écrit :
04 novembre 2019, 18:53
http://www.funku.fr/2019/prince-tous-le ... 8SPmyV54Yg


Review de tous les titres inédits

:siffle: :siffle:
« Puissent les prochaines rééditions Princières contenir de tels trésors, tout en privilégiant la qualité à la quantité.« 
Et encore le paradoxal système du fam.
Oui, merci beaucoup à Funk-U pour cet article passionnant mais je ne comprends pas cette conclusion alors que cette logique de "tout" sortir permet à tout un chacun de faire sa playlist rêvée et que nous avons tous des goûts différents.

Comment peut-on se plaindre d'en avoir trop ??! Il s'agit d'une sortie posthume, rien de plus. L' album parfait est déjà sorti...son titre est "1999".
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slimongi
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05 novembre 2019, 16:35

fredmagnus a écrit :
05 novembre 2019, 15:42
Greghost a écrit :
04 novembre 2019, 22:41
slimongi a écrit :
04 novembre 2019, 18:53
http://www.funku.fr/2019/prince-tous-le ... 8SPmyV54Yg


Review de tous les titres inédits

:siffle: :siffle:
« Puissent les prochaines rééditions Princières contenir de tels trésors, tout en privilégiant la qualité à la quantité.« 
Et encore le paradoxal système du fam.
Oui, merci beaucoup à Funk-U pour cet article passionnant mais je ne comprends pas cette conclusion alors que cette logique de "tout" sortir permet à tout un chacun de faire sa playlist rêvée et que nous avons tous des goûts différents.

Comment peut-on se plaindre d'en avoir trop ??! Il s'agit d'une sortie posthume, rien de plus. L' album parfait est déjà sorti...son titre est "1999".

De + et c'est leur droit , je trouve leur chronique légère , pas enthousiaste et d'une certaine froideur disons le pour le projet et les inédits eux mêmes ??
Modifié en dernier par slimongi le 06 novembre 2019, 01:10, modifié 1 fois.
La connerie c'est la décontraction de l'intelligence
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manu3121
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05 novembre 2019, 17:46

slimongi a écrit :
05 novembre 2019, 16:35

De + et c'est leur droit , je trouve leur chronique légère , pas enthousiaste et d'une certaine froideur disons le pour le projet et les inédites eux mêmes ??
C'est exactement ce que j'ai ressenti. J'avais le sentiment de lire une critique d'un mec blasé.
Si on parallélise la critique de Raphael et la leur, on a le sentiments qu'ils n'ont pas écouté la même chose :)
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slimongi
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06 novembre 2019, 01:09

manu3121 a écrit :
05 novembre 2019, 17:46
slimongi a écrit :
05 novembre 2019, 16:35

De + et c'est leur droit , je trouve leur chronique légère , pas enthousiaste et d'une certaine froideur disons le pour le projet et les inédites eux mêmes ??
C'est exactement ce que j'ai ressenti. J'avais le sentiment de lire une critique d'un mec blasé.
Si on parallélise la critique de Raphael et la leur, on a le sentiments qu'ils n'ont pas écouté la même chose :)

Exact mon Manu !!
La connerie c'est la décontraction de l'intelligence
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lord farell
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06 novembre 2019, 15:18

Pas enthousiaste Funk-U ? Je vous trouve sévère, et même très sévère.
Au fil de la critique, on peut relever les adjectifs suivants :
foudroyant, éclatant, irrésistible, fascinant,
et aussi les expressions : avec délice, surpasse allègrement, le Graal
etc..
Je ressens moi aussi, parfois, une certaine froideur, mais elle provient je crois de la distance, une objectivité, celle que Funk-U a réussi à mettre par rapport à ce chef-d'oeuvre. Car même si c'est difficile de juger sans avoir écouté, je trouve que leur critique est précise, claire et argumentée. C'est un truc franchement pas évident à faire quand on admire un disque ! Donc bravo Funk-U !
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Hugo Spanky
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07 novembre 2019, 12:13

Le papier de Funk U est tout à leur honneur, ils ont laissé le fan à la maison et ont usé d'objectivité. Des chutes de studio restent des chutes de studio, qu'on nous les vendent comme telles et tout le monde sera content.
Free Extraloveable !
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fredmagnus
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07 novembre 2019, 16:49

Hugo Spanky a écrit :
07 novembre 2019, 12:13
Le papier de Funk U est tout à leur honneur, ils ont laissé le fan à la maison et ont usé d'objectivité. Des chutes de studio restent des chutes de studio, qu'on nous les vendent comme telles et tout le monde sera content.
Si je peux me permettre, le terme "chutes de studio" me paraît vraiment inapproprié lorsque l'on connait la richesse de l'oeuvre inédite de Prince. Ce terme peut sans doute convenir pour la grande majorité des artistes mais pour Prince c'est différent. Un exemple parmi tant d'autres, lorsque l'on écoute "In All My Dreams", on ne peut pas décemment se dire qu'il s'agit d'une "chute de studio".

Cela dit, je suis d'accord avec le fait qu'il faille désormais privilégier une logique d'archives inédites et non pas chercher à recréer de toute pièce de "nouveaux" albums comme si Prince était encore vivant.
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Greghost
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08 novembre 2019, 09:23

fredmagnus a écrit :
07 novembre 2019, 16:49
Hugo Spanky a écrit :
07 novembre 2019, 12:13
Le papier de Funk U est tout à leur honneur, ils ont laissé le fan à la maison et ont usé d'objectivité. Des chutes de studio restent des chutes de studio, qu'on nous les vendent comme telles et tout le monde sera content.
Si je peux me permettre, le terme "chutes de studio" me paraît vraiment inapproprié lorsque l'on connait la richesse de l'oeuvre inédite de Prince. Ce terme peut sans doute convenir pour la grande majorité des artistes mais pour Prince c'est différent. Un exemple parmi tant d'autres, lorsque l'on écoute "In All My Dreams", on ne peut pas décemment se dire qu'il s'agit d'une "chute de studio".

Cela dit, je suis d'accord avec le fait qu'il faille désormais privilégier une logique d'archives inédites et non pas chercher à recréer de toute pièce de "nouveaux" albums comme si Prince était encore vivant.
Je n’apprécie pas non plus l’expression d’HUGO ou celle de démos etc.. Cependant, je nuancerai également ton commentaire.

Un titre comme All my dreams devait figurer sur un album (annulé). Il y a donc malgré tout une certaine hiérarchisation des titres du Vault, à mon humble avis.
Gregory looks just like a ghost...
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slimongi
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14 novembre 2019, 14:27

Je trouve que au niveau Promo çà s'emballe pas trop à 15 jours de la sortie , très peu d'interviews de Howe , Carter et des différents intervenants sur le projet ??

My 2 cents koi !
:modo:
La connerie c'est la décontraction de l'intelligence
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slimongi
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26 novembre 2019, 15:56

Nouvelle interview de M.HOWE l'Archiviste du Vault !


https://www.ilikeyouroldstuff.com/news/ ... ince-vault



un extrait
“I would say the vast majority of The Vault is not officially released,” Howe says. “It’s difficult to quantify, but there is a lot more unreleased material than there is released material - I can tell you that much. As well as Prince music in The Vault, there are sessions with an array of other artists and players whose work intersected with Prince’s work. I can think of one collaboration with an artist in The Vault no one even knows about.

::d ::d ::d
La connerie c'est la décontraction de l'intelligence
fabberio
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26 novembre 2019, 20:19

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Greghost
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26 novembre 2019, 23:33

slimongi a écrit :
26 novembre 2019, 15:56
Nouvelle interview de M.HOWE l'Archiviste du Vault !


https://www.ilikeyouroldstuff.com/news/ ... ince-vault



un extrait
“I would say the vast majority of The Vault is not officially released,” Howe says. “It’s difficult to quantify, but there is a lot more unreleased material than there is released material - I can tell you that much. As well as Prince music in The Vault, there are sessions with an array of other artists and players whose work intersected with Prince’s work. I can think of one collaboration with an artist in The Vault no one even knows about.

::d ::d ::d
Qu’il y ait beaucoup plus de titres dans le Vault que de titres officiellement ou non officiellement sortis, ce n’est pas une news. C’est enfoncé des portes ouvertes.
Modifié en dernier par Greghost le 27 novembre 2019, 00:36, modifié 1 fois.
Gregory looks just like a ghost...
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Diamond Dog
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27 novembre 2019, 13:14

"Duff McKagan unboxes PRINCE's 1999 REMASTERED SUPER DELUXE EDITION!"

https://youtu.be/K8fTK-h5_Ls

"This record taught me so much about music in the early years of forming my style. Truly honored to be a small part of this amazing release!"
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Jamie Starr
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29 novembre 2019, 00:15

Un article en anglais dans le New York Times :
Prince’s fifth album, “1999” was apocalyptic, sexy, funky, funny, innovative, earthy, electronic, sly, righteous, euphoric and almost entirely — give or take a few vocals and a guitar solo — a one-man show by Prince Rogers Nelson on every instrument and vocal. Every song exults in the architectural savvy of a musician who, from the drumbeat up, seemed to know exactly how he’d be jamming with himself as he built the song.

https://www.nytimes.com/2019/11/27/arts ... eview.html
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choub
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29 novembre 2019, 11:34

Funk-U

Dans les coulisses de 1999 Deluxe avec l’archiviste Michael Howe

http://www.funku.fr/2019/dans-les-couli ... hael-howe/
I know that I'm not gon' sleep 2nite
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Greghost
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29 novembre 2019, 22:37

choub a écrit :
29 novembre 2019, 11:34
Funk-U

Dans les coulisses de 1999 Deluxe avec l’archiviste Michael Howe

http://www.funku.fr/2019/dans-les-couli ... hael-howe/
Je trouve la réponse à la question du remaster très langue de bois et comme il n’y autre question de dessus, ça tombe bien.

« En résumé, il s’agit tout simplement d’un nouveau transfert digital réalisé à partir du master créé en 1982. » bah voyons.


Inventaire toujours pas terminé. Énorme.

Ils bossent sur plusieurs projets. :super:
Modifié en dernier par Greghost le 29 novembre 2019, 22:50, modifié 1 fois.
Gregory looks just like a ghost...
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Jamie Starr
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07 décembre 2019, 20:38

Etude de Purple Music dans Rolling Stone (en anglais)

https://www.rollingstone.com/music/musi ... now-918020
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Jamie Starr
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07 décembre 2019, 20:41

Et dans Le Monde mais il faut être abonné lire l’article en entier :

https://www.lemonde.fr/culture/article/ ... _3246.html
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Matthieu
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08 décembre 2019, 12:06

The Doors, Prince, REM et même Motörhead se font beau pour les fêtes de fin d’année.
Petit papier dans l’édition du dimanche de Ouest France.
À retenir, cette conclusion concernant Prince : Gargantuesque.
Merci Prince, c'était génial.
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Matthieu
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08 décembre 2019, 12:08

Manque un ‘X’ à beauX, désolé.
Merci Prince, c'était génial.
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Greghost
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08 décembre 2019, 12:51

Matthieu a écrit :
08 décembre 2019, 12:08
Manque un ‘X’ à beauX, désolé.
Tu sais que tu peux éditer tes messages. Icône en forme de crayon. ;) :merci:
Modifié en dernier par Greghost le 08 décembre 2019, 22:17, modifié 1 fois.
Gregory looks just like a ghost...
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Matthieu
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08 décembre 2019, 21:23

Déjà je corrige,
😈
Merci Prince, c'était génial.
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ronnie talks to francia
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02 janvier 2020, 21:27

gosendo
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03 janvier 2020, 22:50

ronnie talks to francia a écrit :
02 janvier 2020, 21:27
Interview de Jellybean


https://www.thecurrent.org/feature/2020 ... -interview
Sympa. La légende d'une photo m'a surpris : " Jellybean Johnson performing with The Time on the Soul Train 2019 cruise aboard Holland America Line's vessel, Nieuw Amsterdam, in January 2019" je rêve de faire une croisière si en plus c'est The Time ou The NPG qui jouent sur le bateau quel kiffe (comme quoi c'est pas toujours des groupes has been!)
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