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A watered-down, horn-heavy version of this song appears on Pleased to Meet Me, but the demo is THE version. It’s a perfectly messy, essential recording.
Bey’s version is pretty great too, but The-Dream’s original demo is a little less melodramatic. There’s a rough-sounding percussiveness that makes this version hit harder. Oh, and the vocal harmonies on the chorus — so good!
This version is less jaunty than the White Album version and more, well, sexy.
We’ve mentioned it before, but it bears repeating: This is so, so good.
The official Alice version is nice too, but it’s really refreshing to hear Tom Waits be a little less campy and more unadorned.
This turned into Graduation’s “Homecoming.” The demo is more successful at being celebratory without seeming pompous or faux uplifting.
Recorded on an eight-track in a bedroom, this version is achingly intimate where the studio version is cloyingly cutesy.
Charmingly off-the-cuff and breezy. Stevie sounds so wonderfully natural.
Strips away some of the dark nihilism JAMC sometimes indulged in and replaces it with a beautiful, chiming pop song.
The original version of Bulletproof Wallets was notoriously ravaged by sampling payment issues. No remake was hit harder than “Flowers” — the final album version feels chintzy and dated in comparison.
“Too Far Gone” is a gem from Chrome Dreams, an unreleased batch of demos that Young recorded in the ’70s. It didn’t appear again until it was re-recorded — slicker, more canned-sounding — for 1989’s Freedom.
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