Prince And The Revolution – Parade

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Parade

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  • This stunning copy offers insanely good Shootout Winning Triple Plus (A+++) sound or close to it from start to finish 
  • Both of these sides are rich, full-bodied, Tubey Magical and wonderfully present with tons of bottom end weight
  • Exceptionally quiet vinyl throughout — Mint Minus to Mint Minus Minus
  • “Prince & the Revolution shift musical moods and textures from song to song… All of the group’s musical adventures, even the cabaret-pop of “Venus de Milo” and “Do U Lie?” do nothing to undercut the melodicism of the record, and the amount of ground they cover in 12 songs is truly remarkable…” – All Music

This vintage Warner Brothers pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What amazing sides such as these have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1986
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We Listen For on Parade

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Christopher Tracy’s Parade 
New Position 
I Wonder U 
Under The Cherry Moon 
Girls & Boys 
Life Can Be So Nice 
Venus De Milo

Side Two

Mountains 
Do U Lie? 
Kiss 
Anotherloverholenyohead 
Sometimes It Snows In April

AMG Review

Undaunted by the criticism Around the World in a Day received, Prince continued to pursue his psychedelic inclinations on Parade, which also functioned as the soundtrack to his second film, Under the Cherry Moon. Originally conceived as a double album, Parade has the sprawling feel of a double record, even if it clocks in around 45 minutes. Prince & the Revolution shift musical moods and textures from song to song — witness how the fluttering psychedelia of “Christopher Tracy’s Parade” gives way to the spare, jazzy funk of “New Position,” which morphs into the druggy “I Wonder U” — and they’re determined not to play it safe, even on the hard funk of “Girls and Boys” and “Mountains,” as well as the stunning “Kiss,” which hits hard with just a dry guitar, keyboard, drum machine, and layered vocals. All of the group’s musical adventures, even the cabaret-pop of “Venus de Milo” and “Do U Lie?” do nothing to undercut the melodicism of the record, and the amount of ground they cover in 12 songs is truly remarkable …