From The Vault & Previously Unreleased, which is entirely non-album tracks except for the “Hallway Speech” edit of “Computer Blue”
Single Edits & B-Sides, just like it sounds
Live at the Carrier Dome DVD
I prefer listening to my own vinyl rip of Purple Rain to the remaster, so I’ve combined all of the non-album material (from both From The Vault… and …B-Sides) into one playlist, and made an “Alternate edits” playlist of the original material using the longest alternate edits available (so dance mixes and the “Hallway Speech” “Computer Blue,” and 7″ edits if longer edits aren’t included). Here’s the result:
From The Vault, Previously Unreleased, & B-Sides:
17 Days (B-Side Edit)
Erotic City (“Make Love Not War Erotic City Come Alive”)
Love and Sex
Electric Intercourse (Studio Version)
The Dance Electric
Our Destiny / Roadhouse Garden
God (7″ B-Side Edit)
God (Love Theme from Purple Rain)
Velvet Kitty Cat
Katrina’s Paper Dolls
Another Lonely Christmas (Extended Version)
We Can F**k
Purple Rain (alternate edits):
Let’s Go Crazy (Special Dance Mix)
Take Me With U (7″ Single Edit)
The Beautiful Ones (2015 Paisley Park Remaster)
Computer Blue (“Hallway Speech” Version)
Darling Nikki (2015 Paisley Park Remaster)
When Doves Cry (7″ Single Edit)
I Would Die 4 U (Extended Version)
Baby I’m A Star (7″ B-Side Edit)
Purple Rain (2015 Paisley Park Remaster)
(The 7″ edit of “Purple Rain” is just disappointing to listen to. Not through any fault of Prince’s; it’s just not a song that can be edited and retain anything resembling its musical effect.)
The result is a very good new Prince double-LP (From The Vault…) that sits nicely between 1999 and Sign O’ The Times in a universe where Purple Rain never existed. It’s not quite as strong as those records (both classics) but it’s close, and that’s saying a lot. It’s raw, it’s loose, it’s raunchy, and it’s a lot of fun. There are a couple clunkers in the second half (I’d say the same of Sign; really every Prince record has them, except for Purple Rain and 1999) but that’s part of the deal with Prince’s genius. Getting a new peak-era Prince double LP in 2017 is amazing.
Hearing the alternate edits in a Purple Rain tracklist I know incredibly well is a good way to trick my ears into noticing new details in the songs. Worthwhile listening on its own, it also enhances repeat listens of the original album, thoroughly accomplishing the point of releasing a deluxe edition like this.
Prince and the Revolution, Purple Rain (Deluxe Expanded Edition) – 5/5, would go crazy again
This is just my method, but next I’ll wire the hardware-to-hardware connections. Then I’ll do the circuit boards, and finally I’ll wire the boards into the enclosures.I changed how I do my finishes slightly, with good results (purple knobs are the new finish vs. red knob on the old finish above).
Today I was back at the iron for the first time in a couple months, it seems, wiring in some modifications to my Fender Squier P-J Bass.
I wanted to try wiring the pickups in series, and figured I might as well do other stuff while I was in there, so I also added mods to put the pickups out of phase with each other, and a different tone capacitor. The diagram is below.
First off, I had the wrong value potentiometers (I used them anyway, but may switch them out for the correct values some other time). The stock pots were 500KA for the neck volume, 500KB (not sure why linear taper) for the bridge volume, and 500KA for the tone. I had 250KA for all (based on Seymour Duncan’s “P-J BASS, 1 VOLUME, 1 BLEND, 1 TONE” schematic).
Next, the volume controls were wired with the hot input from the pickup to lug 2 and the output on lug 3, instead of the opposite (which I think of as “normal”). I followed the stock wiring, against my plan (I updated the drawing), but I may switch it to normal (hot in to lug 3, out from lug 2).
I used DPDT push-pull pots for all three controls; in all cases down is the stock wiring, and up is my mod.
The neck pickup volume control, when pulled out, puts the pickups in series. This results in an overall volume boost and a tone closer to the neck pickup’s sound than the bridge’s tone. It’s a great sound, and worth doing the mods just for this.
Pulled, the bridge volume control puts the pickups out of phase with each other. It’s a thin, edge-y sound, not something I’d probably use a lot but maybe cool for overdubs, specific song sections, or if I ever start a post-punk band.
The tone control pulled engages a 33nF tone capacitor, instead of the stock 68nF. This raises the cutoff frequency of the low-pass filter, retaining more treble, and it seems musically useful all the way down to its minimum setting. (The minimum setting on the stock cap is way too bassy for any use I can think of.)
Overall I’d highly recommend the pickups-in-series mod, and straight up changing the tone cap to 33nF if not making it switchable.
I’m going to get some kind of black pickguard. Maybe after that’s in, I’ll do a demo video of the wiring mods.
Scott recorded a bunch of sax the other weekend; it felt like more sax-per-minute than anything we’ve done previously, so i decided to revisit near and far, comets, signs, and the b-sides to see if that impression was accurate. Here are my notes.
near and far
Through “Nexus” sax has only appeared twice, I think; “Well” (a long, really good solo after “Cornerstone”) and the pop solo in “Fourbee.” This might have been a function of time; we tracked and mixed in 4 days, with a second round of mixes later, and they weren’t long days
“The Broken Anger” – I’d forgotten about the vocal processing in the outro. Hearing it makes me feel better about some of the studio production trickery planned for V for Voice, like it’s not a new thing
At the time we recorded this I definitely thought just playing cool chord progressions (no lead voice) was interesting. I’ve learned to put more sounds over those; the ear needs a hook to guide it along
I’ve unintentionally re-created some of the tracklisting flow of near and far on V for Voice; a down-the-middle opener, then a strummy follow-up, rocker at #3, experiments in the back half… for V we moved the genre exercise to the b-sides at least
It would appear from iTunes I haven’t listened to near and far in its entirety since 2010, at least. That’s about halfway between its release and today
Interesting choice on the final note of “Constellations,” had forgotten that
The chorus effect on “Staircase” and “Under My Protection” makes interesting bookends to the record. I don’t recall that being intentional
<Egregious drum jam>
The intro to “Wait… You’re Where?” marks a huge stylistic shift, bigger than I remembered, especially going straight into it after “Under My Protection.” I wonder if that’s how people heard it at the time
Much more interesting dynamics and textures here, though the songs still might benefit from some lead lines (“The Bridge” has some and sounds better for them, for example)
The musical ideas are holding up for me – there’s a palpable jump in excitement and interest from near and far (nothing against it) – and part of me wishes we’d had the time/money/experience/knowledge to execute the technical aspects of these records better and present them in more direct, even light
Five songs into comets, I think the only sax has been in “Major & Minor.” There’s been lots of cool Scott drumming though
Listening to all the GK bass on comets, I realize for the first time that V for Voice will be the first time we actually use a real bass guitar
I’ve probably said it elsewhere but Scott deserves major credit for performing these songs as he learned them. On many tunes, when we’d sit down to start recording, he might have heard a rough idea at practice months earlier, the guitars would have already been recorded to a click, and he hadn’t had much or any time to just practice drums and build his chops. That all adds up to a really tough situation to drum in
Pretty decent Who’s Next tribute on “What Sounds Are Real?”
I’m noticing a more marked shift from chord progressions on near & far to riffs on comets than I’d heard before
Signs and comets are really separate records to me, combined in one package just to get them both out at all. Comets was largely written first and the songs stand alone, where the signs songs share a vibe (and, largely, a key and scale)
I still would like to re-record some of this heavier, in more of a Kowloon Walled City style, crushing and brutal but with space to breathe, at some point
The mastering sessions for signs.comets were a Friday/Monday, comets first. Signs sounds better as a result; at Doug’s suggestion I put some body back in the snare and guitars over the weekend in between sessions. Not knowing much about mastering I’d been referencing these mixes to “A Praise Chorus” (insane, in retrospect) and had kept trying to make things brighter and more aggressive to match
There’s sax on first song, unlike near & far or comets!
I like and appreciate “Choose To” and its place on the record more and more with time
The “Easter III” theme riff, while I love it, is a shadow of a weirder, better riff that came to me in a dream that I could never nail down
It’s forever weird to me that “Hymn for our TMD” became a fan fav, but I dig it
Hey, “Say Something” is super catchy!
<Is reminded of Bush-era political concerns, when the wars we were against we were at least sure the President would start on purpose and not with a misunderstood tweet>
Some of this is really open and raw, lyrically
I’m not sure if the “Snow in the East” vocal is a demo I just decided to keep or what. The outro might indicate that to be the case
“Was I In Bon Jovi…” from Furious Instance basically counts as a b.side here, being recorded at the same time as the rest of it (and the back half of it is really raw, too, for me at least)