New York, NY (September 18, 2016) – Poet and blogger Geoffrey Dicker announces his fourth book, ”JOURNAL OF GRIEVANCES” which will be available to purchase through Amazon on September 20, 2016. The book marks Dicker’s first novel, a fictional autobiography, told in an unconventional way – through daily journal entries.
The official synopsis of JOURNAL OF GRIEVANCES:
Warning: this book is recommended for immature audiences only. It contains ridiculous amounts of adult language and really twisted situations. “Journal of Grievances” is a controversially raw and uncensored look into the ups and downs (both in and out of the bedroom) of a struggling, single gay male writer in New York. Told through daily journal entries on his year long approach to 40, the protagonist spills his guts with hilarious wit as he waxes philosophically and analyzes his raunchy sex life, drug addictions, debauched relationships, life encounters, and his frustrations with society while navigating through relationship drama and job-loss as he struggles to find his place in the world. This is Geoffrey Dicker’s first novel. He asks that if you are easily offended by profanity or graphic depictions of gay sex to please not buy this book. Alternately, he advises the reader to flip to any page and promises that within 2 sentences, you’ll be laughing.
“I’d like to think of this book as a gay loner version of ‘Sex and the City’ meets ‘Curb Your Enthusiasm’ meets ‘Catcher in the Rye,’ in other words – it’s completely fucked up! It’s an unconventional coming of age story with zero filters and even less apologies. All of the characters in this story remain nameless because what matters are their actions and how they affect the main character. Despite the story containing generous helpings of extreme gay sex, I think people – straight or gay – will relate to the situations and moral dilemmas the main character often finds himself in,” Dicker says.
He continues, “I’ve read so many books that never teach me anything new or make me think differently or at the very least, make me smile. JOURNAL OF GRIEVANCES will make the reader do all of these things, hopefully repeatedly. There are 11 months worth of daily journal entries and one month worth of random ideas, including a short story told almost exclusively in the F-word. You’ll never be the same again after reading this book.”
Photos, videos, words and autographs obtained by G.
If you are unfamiliar with any of these bands, songs or albums listed below, I urge you to open your mind and check them out. Maybe they won’t be your taste or maybe they will change your life! And now… According2g.com’s top 15 albums + songs of 2015!!!
Currents by Tame Impala
“Currents” by Tame Impala. By now you should know I am obsessed with this band. They fuse psychedelic rock and and pop seamlessly on this album, their third, and I can’t get enough of it. Lead singer Kevin Parker’s voice sounds like a fusion of John Lennon and George Harrison with a little bit of reverb on his vocals. The opening track “Let It Happen” is over 7 minutes long and I listen to it over and over and over again and months later, I am still not sick of it. By now you’d think I’d have the lyrics memorized, but the processing on his voice makes the end part sound like he’s signing “Shoobie doobie doobie” to me. And I’m not complaining! It makes me smile every time I put this song on repeat. The songs on “Currents” move away from being so rock oriented and this collection of tracks are the grooviest songs Tame Impala has done to date. If this is the direction they are headed in, I am ready to take the ride. I recommend this album, but if albums aren’t your thing, check out “The Less I Know The Better,” “Let It Happen,” “Eventually,” “Cause I’m A Man” and “New Person, Same Old Mistakes.” If those songs don’t rock your world, we are no longer friends 🙂
Honeymoon by Lana Del Rey
2. “Honeymoon” by Lana Del Rey. I’m really glad the world finally stopped hating Lana Del Rey and came to the realization that there is no one else out there in the music scene that is like her. From her dark lyrics to her noir-esque music, Lana’s songs sound like mini 5 minute soundtracks to David Lynch films that don’t exist yet. Love her or hate her, no one else opens an album with a 6 minute song that is nearly a capella, save for an orchestral arrangement when the name of the song is sung. Her lyrics are badass (“you could be a bad motherfucker, but that don’t make you a man”) but she still gets her heart broken (“Ever since my baby went away, it’s been the blackest day/ All I hear is Billie Holliday/ It’s all that I play”) and in between she name checks legends and talks about many of our favorite subjects including getting high by the beach, appreciating art deco and invites you to move to California and become a freak like her. Oh Lana, you have my heart!
Alex Kapranos of FFS (Franz Ferdinand and Sparks)
3. “FFS” by FFS (Franz Ferdinand and Sparks). Who would have thought pairing 90s rockers Franz Ferdinand and 70s duo Sparks would have been such a great idea, but whoever matched these two bands up deserves a medal. The 16 song (if you have the deluxe edition) album is as theatrical as a Broadway show and has enough grooves and quirky lyrics to make you listen to this album repeatedly, whilst occasionally laughing out loud at the absurdity. The opener “Johnny Delusional” talks about not being attractive and trying to impress a hot woman. With song titles like “Dictator’s Son,” “The Man Without a Tan,” “The Power Couple,” the band knows how to take the piss out of themselves. In fact, the regular edition of the album closes out with “Collaborations Don’t Work,” and “Piss Off” which is obviously telling critics to piss off, since the results of this collaboration (that does work!) are some of the best work either band has done. The deluxe edition features the song “So Many Bridges” and just from hearing the title, you think it’s going to be a reflective song, and instead they sing about how there are “so many bridges in the world to jump off from.” This album rules!
4. “Thirty One” by Jarryd James. Jarryd James is a singer/songwriter from Australia who has a nice mixture of soul, R&B and pop in his songs. In the age of the piano ballad that makes you want to slit your wrists, Jarryd James is the relief as his music has a beat and many times, a funky little groove. His album has yet to make a splash in America, but I think with the right marketing, he has the potential to be a big star. I happened to see that he was playing a concert in New York and the promoter inserted a youtube link to his track “Do You Remember?” and I pressed play, heard about 5 seconds of the song and said “I need to see this guy sing.” It was a great decision and I enjoyed every song I heard that night and when his album came out, I found the same love for every track on the record. If you are looking for a starting point, let me recommend “Give Me Something” (for a more upbeat taste) and if you need a slow jam, check out “High.” I really hope Jarryd’s career takes off because I love this album so much. I am looking forward to hearing more from Jarryd James and you should be too!
5. “25” by Adele. Hello! A brilliant album of sad songs. Adele is so charming when she is interviewed (I’ve met her 3 times and I can confirm the charm), her laugh makes the world a brighter place. But sad songs are her specialty, so we’ve gotta let Adele be Adele. Luckily songs like “Send my Love (To Your New Lover)” and “Water Under the Bridge” give us a glimpse of Adele when she is at her most up beat. The world is her oyster, so hopefully we will get a tour and more music without having to wait years in between. But Adele lives by her schedule perhaps if more artists did that, we’d get more artful works such as “25.”
6. “Dopamine” by Borns. If T. Rex were alive and making music with the band MGMT in the age of the millennial, it would sound a lot like Borns. His songs are groovy and soulful with a little bit of psychedelia mixed in. You’ve got to watch the video for his single “Electric Love,” and if the song and video don’t blow you away, then try the title track “Dopamine,” which will have you repeating the chorus “wanna feel that stream of dopamine” over and over again. “10,000 Emerald Pools” and “The Emotion” are two of my favorite songs on this great debut. If you scour the archives of this site, you will find videos of Garrett Borns covering Bowie and Elton John. You’re welcome!
7. “Back In Time” by Judith Hill. Judith Hill is so bad ass! She’s sung backing vocals for a list of legends including Elton John, Stevie Wonder and Michael Jackson and for her latest album “Back in Time,” Prince produced it! This production gives us a throwback to the purple proteges of the 1980s when every song on the record is great and it sounds like a Prince production. I saw Judith Hill perform a few of these songs live and the studio renditions don’t do her voice justice because this woman can SING! If you don’t throw your hands up church style when you hear songs like “Cry Cry Cry,” you might need to get your ears checked. “As Trains Go By,” the album’s opener is that funk that is sorely missing from Prince’s own output these days and “Jammin’ in the Basement” will make you do just that. Hopefully the world will catch on to the amazing Judith Hill because she deserves to have a career as great and powerful as her voice.
8. “Kylie Christmas” by Kylie Minogue. Aside from a handful of rock songs, I typically despise Christmas music. I was pleasantly surprised to find Kylie Minogue’s Christmas record to be a mix of classic x-mas songs with traditional arrangements (“It’s The Most Wonderful Time of the Year” “Santa Claus is Coming To Town,” where they’ve seamlessly spliced in Frank Sinatra’s voice) to 1980’s covers (“2000 Miles” by the Pretenders, “Christmas Wrapping” by The Waitresses – but Kylie’s version is paired with Iggy Pop! and “Only You,” a Yaz(oo) cover “Only You” paired with funny man James Corden – proving he’s got a nice set of pipes) to a disco Christmas song – “100 Degrees,” a duet with her sister, Danii Minogue. It’s got a little something for everyone and you’ll need the deluxe edition if you want some of the better tracks on the album. Ho Ho Ho!
9. “Caracal” by Disclosure. Not as strong as their debut, the sophomore release from the cute Lawrence brothers has some really strong tracks. In fact, when the tracks are strong, they hit it out of the park and when they are weak, they are little more than album filler. Their collaborations with The Weeknd (“Nocturnal”), Sam Smith (“Omen”) and Lorde (“Magnets”) make you wish they would do full albums with these artists.
10 “Uptown Special” by Mark Ronson. Mark Ronson + Kevin Parker of Tame Impala = G Heaven. There are in fact 3 collaborations with the pair including “Daffodils,” which is a track so funky, I’ve had it on repeat a lot this year. But the collaborations don’t stop there, Ronson also works again with Andrew Wyatt of the electronic group Miike Snow (sic) as well as producer Jeff Bhasker and there’s even a little bit of Stevie Wonder’s harmonica featured to open the album. The record also features the mega smash “Uptown Funk” with Bruno Mars, and to be honest, Bruno’s music is so derivative to my ears that this song sort of sounds like a Saturday Night Live parody of Eddie Murphy doing James Brown, but that’s just me. The music is funky though, and that’s what matters. This record is a little patchy in comparison to Ronson’s last effort “Record Collection,” but I still love it.
11. “The Gates” by Young Empires. There is no greater champion for this band than me, and I was so excited that their full length debut record has finally seen the light of day. Their music is dance rock, funk punk or “haute rock” as they like to say. Call it what you want, there are 10 tracks to shake your ass on the dance floor and some of my favorite songs are the reggae tinged “Never Die Young,” “So Cruel,” and “Mercy.” Below, you can check out a live version of “Sunshine.” Apologies for it being so dark – that’s rock and roll!
Matt Bellamy of Muse
12. “Drones” by Muse. Not their strongest album, but there are so many Muse moments, from their very political lyrics, to Matt Bellamy’s high pitched voice, stadium anthem ready choruses and my favorite moment on the album – the song “Revolt” where Matt Bellamy tells the listener to do exactly that! FUCK YEAH MUSE!
Bernard Sumner of New Order
13. “Music Complete” by New Order. Peter Hook is noticeably absent on bass, but there are guest stars a plenty that range from good “Superheated” (featuring Brandon Flowers of The Killers) to really good “Tutti Frutti” and “People on the High Line” (featuring Elly Jackson of LaRoux) to cringe worthy “Stray Dog” (featuring Iggy Pop). The strongest tracks on the record, according2g are the obvious tribute to Peter Hook “Unlearn This Hatred” and “Plastic.”
Simon LeBon of Duran Duran
14. “Paper Gods” by Duran Duran. Duran Duran’s career in the 2000s has been all over the map as they released the near-career killing, but mostly pleasant “Pop Trash,” the comeback, but not hugely popular album “Astronaut,” the absolutely horrible “Red Carpet Massacre” (PLEASE don’t ever work with Timbaland again), the criminally underrated “All You Need Is Now” and the spotty “Paper Gods.” As FFS somewhat rightly noted in entry number 3, collaborations don’t work. This rings true for some truly WTF moments as DD have collaborated with Kieza on the otherwise good track “Last Night In the City” but she over-divas her vocals and that has no business on a Duran Duran album. The first single “Pressure Off” also suffers from the ill conceived collaboration with Janelle Monae. Don’t count Duran Duran out though – their live show is still great and Simon LeBon’s voice sounds better than it has in years. They perhaps need to just focus on their strengths which are best made with the 4 remaining members of the band.
15. “Unbreakable” by Janet Jackson. It’s just so good to hear Janet sing again after the death of her brother and almost a decade long hiatus, she could sing the phone book and it would have made the list. Don’t ever leave us again Janet! And check out “No Sleeep” (sic). It’s classic JJ!
16 / 17. “Rebel Heart” by Madonna and “Black Messiah” by D’Angelo and The Vanguard. Both of these albums were released at the end of 2014, so they don’t really count. Well, Madonna’s record leaked over 6 months early and didn’t see an official release until 2015, but the versions she picked to give the fans something different than what leaked are nearly all inferior to the leaked versions. A pity, since this was Madonna’s strongest studio effort in a decade! On the other hand, “Black Messiah” is a fucking masterpiece by the recluse of R&B, D’Angelo. Every song on it is not only great, but essential listening. Let’s hope he is inspired, after the universal love he got for this album, to continue to release music in intervals shorter than every 14 years.
Here are my Top 15 songs of 2015. I’m going to save the commentary, so seek out these tracks!
Erik Hassle – “No Words”
Nervo (featuring Jake Shears, Kylie Minogue, Nile Rodgers) – “The Other Boys”
In the 1980s when I was a kid and I turned on the radio to the current pop music stations, I vividly remember my parents thinking our music was “just a bunch of noise” in comparison to the classic rock and roll of the era they grew up in. Years later, we gained an appreciation of each others music primarily based on the lasting effects both kinds of music had on the world. I’ve always tried to stay current on the latest in music and in the streaming music generation and it gets harder and and harder to find music that I could find myself wanting to listen to one time, let alone over and over again. I have found myself retreating to “obscure indie bands” so that at a minimum, I can listen to music being made and sung by actual musicians. I am really not a fan of the autotune world we live in, where it takes over 5 writers to compose the most simplistic and banal lyrics imaginable. I have also found that mainstream radio, which I used to enjoy so much, is so offensive to my ear drums, I’d rather listen to silence than what the current pop channels have to offer.
With that being said, for a lot of the modern music super stars, I am familiar with their names (primarily because they can’t seem to keep out of the scandal pages for being despicable people – but we’ll save that discussion for another time), and I find I don’t know the music that makes them famous. When a name keeps popping up, I often take a chance and go see them live and I experience their music for the first time when they are standing before me. Also a discussion for another time – try it some time. It really takes you out of your comfort zone and I can say from doing this hundreds of times, there are not a lot of people that are willing to take this chance. When I did this for Miley Cyrus last year, I found myself feeling like an “old person” as I was completely shocked at how bad her music was (despite thinking she had a good voice) and also what a bad role model she is for teens, her main audience, who attended the concert without parental supervision, dressing up like complete sluts and in winter time, no less! Trust me, I am one of the most liberal people you’ll ever meet and I found myself cringing with horror, which messes with my head because it makes me feel like I am an old person who is judging the youth.
Enter Abel Tesfaye, also known by his stage name: The Weeknd (sic). Three of his songs slipped onto my radar: “Nocturnal,” a dance track with Disclosure, “Prisoner,” a duet with Lana Del Rey (a track I don’t really care for, but I like Lana’s vocals) and “Can’t Feel My Face,” an uptempo track that almost rips off the music for a song called “Jaded” by Soul Decision verbatim (but I like that song). That was enough for me to go see The Weeknd, who played 4 sold out shows at New York arenas (2 at Madison Square Garden and 2 at Barlcays Center in Brooklyn). If a performer can play to approximately 70,000 people over the course of 1 week, his music must be something special, so I took a chance and went to see him at Barclays Center on November 19, 2015.
At the conclusion of The Weeknd’s show, I found that he has a decent voice and I enjoyed the light show that included explosions and fire. What I didn’t enjoy was walking out of the concert feeling dumbfounded in a similar manner (but with different circumstances) like I did when I left the Miley Cyrus concert a year ago at the same venue. I should also point out that I do my best to avoid the news, but occasionally, items hit my radar, typically after they are discussed ad nauseum. One such item is “Black Lives Matter.” It’s hard to escape that sound byte. With what little I know on the matter, one way to make that so is for all of us, black, white or green to start treating each other with respect. Seems like a no-brainer to me, but to the 70,000 that sang along word for word to songs by The Weeknd, the so called “N-Word” was uttered so many times that I lost count. In my opinion, it sets any progress this movement might have made backwards by leaps and bounds and not only is this guy selling out arenas, but he is also winning awards for his music! WHAT??? Nearly every song is bragging about being high out of his mind, fucking, beating up and degrading bitches (his words, not mine) and causing havoc with his niggaz (his words, not mine). Sounds like he should be in jail instead of being celebrated as the “new Michael Jackson.” This is like a Kathy Bates in Misery moment, where you want to shout “HAVE YOU ALL GOT AMNESIA!?” Do parents know what their kids are really listening to? And if so, Madonna and 2 Live Crew are owed an apology because at the time, they were mocked for being too scandalous and that stuff could be taught in church in comparison to what The Weeknd was telling his followers! So with that, I decided to compile a list of 10 of the most horrifying lyrics I heard at The Weeknd’s concert. The items that make the list are included for their horrifying lyrical content, because if we wanted to do one with all the bad grammar and misspelled words, we could be here for days.
After the jump, see if you are as horrified as I am or if you think I am an oldster that needs to get with the times. Please let me know in the comments section, and include your age if you would, please.
While the lamestream mainstream media was reporting on Prince reinstating his Instagram account, the real Prince news item of the day went unnoticed: an early incarnation of his 1991 classic album “Diamonds and Pearls” has leaked, and in perfect sound quality! I’ll get to the differences in a little bit, but can we just take a moment to completely lose our minds at how awesome this is! For decades, Prince fans have wondered how these things make their way out of Prince’s legendary vault, and we could speculate for days without a clear answer since reporters never directly ask Prince this million dollar question. One thing you should know if you are just a casual Prince fan: the man has had a 30+ year career and has released over 40 albums under his own name, has written the lyrics and words for another 20 albums for his “proteges,” has toured the world tirelessly throughout his career, sometimes performing as many as 3 shows a day (with completely different set lists) and never stops recording! At his Minneapolis recording complex, Paisley Park, a library of music known to die-hards as “The Vault” exists, and is rumored to contain thousands of unreleased songs. THOUSANDS! The average number of songs an artist releases in a 30 year career usually averages around 300, and this means that Prince is sitting on at least 700 songs that the world will never get to hear. That’s several 30 year careers worth of music if you don’t want to do the math! Whoa! Luckily for die-hards, songs mysteriously escape the vault from time to time, and many of the tracks are as vital as anything he has officially released. The creativity of this man is something of an anomaly, and that is something that is rarely celebrated in the press, and frankly should be mentioned in every article about him from now until eternity.
“Diamonds and Pearls,” The 13th studio album released by Prince on October 1, 1991 featured the debut of his new band, the New Power Generation. For the first time, Prince included a backing singer (Rosie Gaines) and a rapper (Tony M.) in the official band lineup. While Rosie Gaines was a perfect compliment to Prince’s voice, fans and critics did not feel the same way about Tony M. Prince’s 1980s “golden period” where basically every song he released was amazing, had started to wain, and Prince, for the first time in his career – up to that point – decided to follow a trend rather than set it. The result was an album that featured some brilliant tracks along side some cringe-worthy rap performances by both Prince and Tony M. Over the years, the Prince fan community has learned to love all the songs on the record, except “Jughead” which aside from his current output ranks as one of the worst songs he’s ever released. Meanwhile, in November of 1990, his box office bomb “Graffiti Bridge” had just been released and Prince submitted the first incarnation of one of his final classic albums. The bootleg “Diamonds and Pearls: Beginnings” features not only a vastly different track list, but every version of every song that eventually got released was dramatically changed. So this is what you will hear when you track this amazing bootleg down (read: please don’t come asking me for it!)
Something Funky This House Comes. The officially released album opens with the spiritually charged “Thunder,” but before that song was included, the album was set to open with the rap-heavy “Something Funky This House Comes.” Tony M. introduces each member of the band and gives them a chance to “do their thing.” A bold move for Prince to sparsely appear on the opening song, but eventually he changed his mind completely and the track remains unreleased officially to this day.
Daddy Pop. The song also sits as the second track on the officially released album, but this version is dramatically different. It features different vocals and the end rap verse by Tony M. is cut out completely in favor of an instrumental break down. The song shows off Prince’s bad-assery (not a word), where he plays the role of “Daddy Pop,” the funkiest man in the land who has “grooves and grooves up on the shelf,” (the first lyric to acknowledge the Vault). He also basically tell the competition to kiss his ass with the cut lyric, “Oh yeah, I turn the other cheek/ Swing… oops and miss / See this, kiss it!” Rosie Gaines is utilized greatly for the first time in her brief stint with the NPG as she plays off Prince towards the end, but all of that was cut from the final version. Personally, I think this version is much better than the officially released version.
Walk Don’t Walk. Not that much different than the officially released version, other than it’s a little more stripped down, and perhaps mixed differently.
Schoolyard. This song is Prince as his nastiest. Taking the view point of a 16 year old kid who is trying to get laid for the first time, it’s perhaps a little more true to life than we all know as around that time, Prince had met his future first wife, Mayte, who was 16 at the time of their meeting. Not only is the song funky, but the lyrics are the tongue-in-cheek Prince that is very absent from his recent output. Only Prince could have and get away with a chorus that contains the refrain “Schoolyard / Schoolyard / Gettin’ it on in the Schoolyard.” The first verse finds Prince fantasizing about his dream girl and when he hangs out with her and his friends, they sit too close in the car and with each turn “Carrie fell in my lap / He asked me where I wanted to / I said “yeah right, like you need a map!” The second verse finds the botched seduction with Prince getting turned down in favor of his girl getting stoned. “I said “Carrie, do you wanna dance?” / She said “mmm hmm, yeah, like later man. First let me smoke this weed.” / “I said “Damn! My cologne ain’t sayin’ shit if this is what she needs.” The bridge comes around and Prince finally gets laid. “Now boys and girls for the graphic part / Close your ears if you ain’t got a nasty heart.” He continues by slipping a condom on and having premature ejaculation! “Take a glove and fill it with hot baby lotion and slip it on / Pull it tight / That’s what Carrie was like / 1 stroke and I was done.” Despite being super funky, the song got shelved and has been circulating in sub-par sound quality among die-hards for 20 years – until now! He could never release a song like this now, because a Bill Cosby-like investigation of sex with underage girls would surely come up (and maybe it should? Just sayin’).
Diamonds and Pearls. One of the big hits off the album, after all these years, it comes a huge surprise to hear a Prince-only version of the song. The officially released version features Rosie Gaines mirroring Prince’s lyrics and she has her big solo in the middle of the song when she sings “D to the I to the A to the M / O to the N to the D to the Pearls of Love.” This version features music only during that part and your brain will still hear Rosie when that part comes on. I’d also like to take this time to give a shout out to the video, where during this part, Prince jumps off a couch and does the splits. BAD ASS!
Strollin‘. Again, not much different than the officially released version, but a slightly different mix. What was great about this song was that Prince showed the world that he could master any style of music from rock to funk and light jazz, in this case, often all in the same album. Not many people did that then, and certainly not that many people do it now. That’s yet another reason Prince is so great!
Interlude (Joyful Sound). This has been circulating as part of an early mix of “Willing and Able” among fans, and it’s basically just a false start and stop to the next track.
Willing and Able. Prince and the NPG take you to church with this song as Tommy Barbarella’s organ is featured prominently. The officially released version featured backing vocals by The Steeles, giving the song an extra gospel vibe, but this version features only Prince on vocals. The Tony M. rap verse at the end of the song is also absent and instead we hear that organ solo I previously mentioned.
Insatiable. This is the jewel in the crown of this set as this version of the sexy single is dramatically different. The music is more sparse, to give it a late night jam feeling, and while the vocals on the verses and chorus are the same, the second verse was cut out of the officially released version (despite the lyrics appearing in the CD booklet). As the song discusses Prince’s insatiable appetite for sex, he also talks about filming his lover for their tryst and as you hear the song, you will submit to any request Prince makes of you! The ad-libbing at the end of the song is quite different too, and Prince admits that he’s had too much wine, perhaps the only time in his entire catalog he’s admitted that he is wasted. An interesting historical document even if Prince’s ballads aren’t your thing.
Money Don’t Matter 2Night. The mix is different, but otherwise the politically charged track is the same.
Horny Pony. The track was eventually scrapped to make room for the hit song “Gett Off,” and later became the b-side to “Cream,” which was not on the first draft of this album! A bootleg version that is different than the b-side version has circulated among collectors for many years, and this version is different to that one! Gotta love Prince! It is closer to the bootleg version than the b-side version, with different lyrics than the one that got released, but this version is more stripped back and is a lot funkier than both other versions.
Live 4 Love. The final track on both this and the officially released version of “Diamonds and Pearls.” This version is slightly different from the original version that has been in circulation and much different to the officially released version. The lyrics are much more sleepy sounding, versus the released version that finds Prince asserting the lyrics much more forcefully. The robotic intro is gone from this version and once again Tony M.’s rap verse is nowhere to be found. The lyrics are also a lot different in several places and the song is about 1 minute shorter than the track that saw the light of day in 1991.
As you listen to this bootleg, you hear a whole different side to Prince, and again, the things he decided to throw away are often better than the best tracks from artists which we shall not name! It’s really remarkable. While the casual fan probably cannot comprehend how prolific this man is, die-hards across the world are simultaneously losing their minds as another puzzle piece of the genius known as Prince is revealed.