PRINCE The 1986 Box Set - A Year in The Life

The "1986" Box Set: A Year in the LIfe
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Nov
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The 1986 Box Set: A Year in the LIfe
Parade was a disaster. The temptation is to go right back into the studio and make a
killer album, but I think half the problem with Parade was that I recorded it too soon
after Around The World, and I just didnt have enough good material ready. Im not
gonna make that mistake again.
Prince, according to A Documentary by Per Nilsen
p.68
Prince: The 1986 Box Set

(December 1985-January 1987)
A Year in the Life
The period from the end of 1985 to early 1987 (1986) was one of Princes most prolific
periods for recording and performing music.
"The 1986 Box Set: A Year In The Life" is a summary of the year, which saw Prince
tour the Parade album while recording music that became 1987's Sign O' The Times. It
contains over 12 folders of studio tracks, 4 key live shows, 2 pro shot live videos, a tour
rehearsal and an interview to follow Prince through one calendar year.
It is also a tale of two halves:

1. First half of 1986 (December 1985- July 1986):
Final tracks recorded for Parade

He formally expands the Revolution to include horns & the fellas
Construction starts on Paisley Park Studios in Chanhassen
He increasingly records studio tracks with input from Wendy and Lisa
Release of the Parade album and the single Kiss
In early June, assembles the 2nd configuration of the planned fifth Prince & The
Revolution release Dream Factory, starts the Hit & Run Tour in the Detroit, and
gives a rare radio interview with Mojo.
2. Second half of 1986 (July 1986 January 1987):
Under the Cherry Moon released and flops

Wendy & Lisa inform they want to leave the group but are convinced to stay.
From sometime in July - for whatever reasons - Wendy and Lisa were no longer
directly involved in Prince studio recordings
The Parade Tour goes to Europe and Japan.
He breaks up the Revolution the 9 September Yokohama show is the last
performance of Prince and The Revolution.
He records tracks for Sheila Es third album
After the group effort of The Flesh, records the Madhouse album by himself (w/
horns)
Starting with Housequake, starts recording much darker and funkier tracks,
creating Camille using a sped-up voice with more horns in his music
Plans the release of Camille, which turns into the 3 LP opus Crystal Ball
Due to Parades poor sales, Warner Bros objects to a 3 LP release, so Prince
assembles the double LP Sign O The Times
Records funky tracks that were later compiled for the Black Album
Start of the self-described dark Camille period, to which Lovesexy was the eventual
response.
From King Lear to Michael Corleone, the descent into darkness - after a period of bliss
has always been more interesting and provided the most dramatic tension in the
creation of art.
"The 1986 Box Set: A Year In The Life"

1. Dec 1985-Jan 1986 The final Parade Sessions
2. 22 January 1986
The Flesh
3. 03 March 1986
Live at 1st Avenue, Minneapolis [test gig]
4. 03 June 1986
Dream Factory [2nd configuration]
5. 07 June 1986
Interview with Electrifying Mojo
6. 07 June 1986
Live at Cobo Hall, Detroit [video]
7. Dec 1985-July 1986 Unreleased 1986 Pt 1
8. 22 July 1986
Tour Rehearsal
9. 22 August 1986
Live at Isstadion, Stockholm [video]
10. 24 August 1986
Live at Le New Morning, Paris [small club]
11. 25 August 1986
Live at Le Zenith, Paris [stereo soundboard]
12. 09 Sept 1986
Live at Yokohama Arena, Yokohama [final show of Prince
with the Revolution]
13. September 1986
The Sheila E Sessions
14. October 1986
Madhouse 8
15. 05 November 1986 Camille
16. 30 November 1986 Crystal Ball
17. July 1986Jan 1987 Unreleased 1986 Pt 2
18. 15 January 1987
Sign O the Times
19. January 1987
The Black Album Sessions
20. 1986 1987
The Singles
The 1986 A Year In the Life Box Set was inspired and informed by The Bliss
Project, The Dawn 4.0, the Sign O The Times Ridiculously Deluxe Edition [IFM
Records], The Godfather and two books by James Shapiro - the first is 1599: A Year in
the Life of William Shakespeare - the year he completed Henry V, wrote Julius Caesar
and As You Like It, and started Hamlet (aka studio); staged Julius Ceasar (live) and reopened the Globe Theatre (his Paisley Park). The second book is 1606: William
Shakespeare and the Year of Lear, the year Shakespeare wrote three of his darkest plays:
King Lear, Macbeth and Antony and Cleopatra.
Thanks to all the [*Fight Club*] forums, all the record labels, and all the folks who post
& share.
Thanks to Princevault, The Vault, Funk Bible, Digital Garden, Per Nilsen A
Documentary, Databank, and The Cover Experience.
A labor of love, this project is one big IMO. Special Thanks to Bliss2, DrJohnny,
ElGorillos and Paul H for their support, contributions, advice and feedback
Thanks to SilverTongue for the artwork (and Nikki Evans)
Thanks to Max for the 3D box set insert
Thanks to Hamish for the physical CD Box Set design and photos
Posted 11th November 2015 by Mace2theO

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2.
Nov
11
Review - The 1986 Box Set
The 1986 Box Set A Year in the Life

Late last year the beautifully curated 1986 box set appeared online and it has had pride
of place at my house ever since. The 20 disc set covers 1986 in all forms, live recordings,
studio recordings, out takes and released songs. Some people collect live bootlegs, other
unreleased studio tracks, and most people have a happy mixture of both. Personally I love
live recordings (hence the blog) but this set has proved irresistible to me, the discs are
never far from the stereo, and I am compelled to write about it. As passionate as I am,
even for me 20 discs of material is too much for me to discuss in detail, so this week I
will be presenting an over view of 1986 in general and how well this set covers this
extraordinary year.
Posted on March 18, 2016 @ 'Prince off the record'
The 1986 Box Set A Year in the Life

In 1987 I was 15 years old. Everywhere I went I carried Sign O The Times under my
arm, not the cassette tape or the CD, but the full vinyl album. It was statement about who
I was and what I was about. Obviously I couldnt play it when I had it with me but I used
to love the feeling of it in my hands and I would spend hours poring over the art work
and lyrics. I had never seen such a beautiful piece of complete art in my life. Its only 30
years on that I fully realize that although Sign O The Times was released in 1987, it is
actually a product of 1986s extraordinary body of work. I may have listened to Sign O
The Times all through 1987 but it sprung from the fertile ground of 1986.
It was not alone- a great many other creative ghost albums from 1986 have slowly
revealed themselves over the years- The Flesh, Dream Factory, Camille, Crystal Ball as
well as the genesis of The Black Album. The breadth and scope of 1986 is phenomenal,
Prince touches on many different genres and seems to be at the peak of his powers in all
fields- performance, song writing, command of the studio, creativity, as well as
productivity. The 1986 Box Set brings together all these different strands and presents
them in way that I get a better feel for what was happening. I can see clearly how it all
ties together, the moves and motivations in what I am listening to. When I see it all laid
out I can see that at the heart of it all is a lot of humanity and for me this is key thing to
remember as I listen to all this music.
There are several things that immediately spring to mind when I think of 1986. Firstly is
the feeling of joyful camaraderie and humour. Its well that Prince filmed Under The
Cherry Moon in France, for its two French words that are at the front of my mind as I
first begin to listen to this set, joie de vivre and esprit de corps. There is a joy and
playfulness in the music, and in the bands performances. It wont last all year, but
certainly early on they look like they are having a great time together. Have a look at
Wendys face as she plays at the Shelia E show, she is strutting and having a great time,
definitely one funky lady, as Prince was fond of telling people at the time. You can see
that smile fixed upon her face, and the rest of the band is following suit. Again in the
Cobo set you can clearly see it, I too feel uplifted as I watch them all play together as a
tight unit, especially when standing in line playing Mutiny- the music is flowing easily,
and they seem to be close to family. Its the same all through the first half of 1986, the
band is smiling and laughing, and you can hear that in the live recordings in this set. In
Princes singing its there, and you can see it in the live clips. They are a close knit unit,
and it seems that Prince has reached the point where he trusts the band, and they have a
lot of freedom under his direction. He certainly calls all the shots during the tour, but the
band have freedom to jam and play their own thing, Eric Leeds in particular seems to
propel the music in new directions, and who doesnt love that moment in the shows
where he gets to play solo before being cut off by Prince Eric, shut the fuck up! My
mother used to hate it as I stomped around saying this- I sure was a strange kid when I
was younger. Even scripted impromptu moments like this as he talks with the band, or
the audience, reveal his feelings towards the band, and raise the curtain on a performer
that previously seemed a little cold and clinical.
This new humane aspect to Princes music for me makes it much more accessible, and
long lasting. The thing that first attracts me is the humour, it runs all the way through
1986, firstly with The Revolution-both live and in studio, and then later in the year when
he goes it alone. Listening to Data Bank for example, we can hear the good times in the
studio, and whether it is scripted or not, there is no denying that it is done in a very light
mood. Who doesnt find it funny as the band plays on ignoring Princes instructionssomething which I imagine would never happen in real life. Later in the year, after The
Revolution has crumbled and the dark clouds have gathered, Prince still retains his
humour, and expresses it in his lyrics. Whatever is going on in his personal life, there is
still moments to make you smile. A lot of these songs are on the unreleased CD from the
second half of the year, as well as the Black album, and of course Sign O The Times still
has plenty to make me smile.
The music is infused with a new humanity as well as emotion both positive and, later in
the year, negative. Knowing what we about Princes life at the time, we can see that he is
pouring a lot of his personal life into these songs. The final sessions of Parade hint at this,
and it becomes much more apparent as the year progresses. Listening to the warm-up
show at First Ave we can hear a mixture of all these feelings, Princes love songs, a big
splash of humour, as well as a dig at former colleagues with Mutiny and of course his
symbolic chopping down of the Oak tree and turning it into a wooden leg. He is much
more human than the funk machine we know from earlier years, and the smutty imp is
replaced by someone I can relate to and warm to. The music has the full gamut of
emotions, and no matter what my mood, when I listen to this I can find something I relate
to.
In 1986 his love songs become more meaningful, personal, and as a consequence deeper.
He is obviously a happy man in love, at least before April of that year. The songs early in
the year speak to this love, and later in the year after his world is transformed he still
writes plenty of great songs based on love lost. When I connect Princes personal life to
his musical life its hard not to look at a song like Strange Relationship and connect it to
what is happening in his world. Likewise the song Mutiny which I have spoken of
previously is heavy connected to what is happening with his other personal and
professional relationships. He taps these emotions to great effect, and some of his most
powerful music is drawn from this well.
There is a darker undercurrent running beneath all this emotion, humour and music.
There is a dynamic tension in 1986, it propels everything in the year and its extremely
fertile. The shiny pop vehicle that he rides in on in early 1986 is not the same as the one
he leaves in. You only have to look at his personal appearance to see the change. Looking
crisp and clean at the start of the year in his black and whites and short cropped hair, by
the beginning of 1987 he has taking on a more rough and tumble look, his hair grown out,
and a more adult look. He has moved away from the timeless Peter Pan and closer to the
sort of person I could expect to meet down the street. The contrast in looks is matched in
the contrast of styles he produces through the year. Everywhere I look I see tensions
between different sounds and movements. We have the conflicts in The Revolution, both
personally and musically, then the tension between his Funk work and his Jazz
work.There is the discord between his private life and his professional life. All of it gives
a tightness and drive. He is moving in several different directions at once, and tension in
the band and in his music can be heard. Wendy and Lisa may have railed against being
Just another funk band, yet they still played on some of the funkiest songs he has put
out to date. After the band split it gets darker and funkier as Prince regroups and is free to
go where ever he pleases musically. You can hear the darkness descend in songs like Big
Tall Wall, it is balanced by lighter moments, but its definitely there. Prince is so prolific
that the ideas are bouncing off each other and the connections between his personal life
and musical life are blurred. He is a driven man, and everything is thrown into the music.
The Black Album bookends this set with Parade, and although dark by name and sound,
the lyrics create a further tension, demonstrating a healthy sense of humour against the
darker music. Its a conflicted year, with the joy of The Revolution early on and a
flowering of the music, before Prince brings it to a crashing end in Yokohama smashing
his guitar on stage and signalling the end of the Revolution but not his creative spirit as
he continues to deliver some fantastic music later in the year. When I listen to the studio
recordings, and I mean really sit down and listen to them carefully, I can hear this
tension, the light against the darkness, the deep against the shallow, the band against the
individual, the funk against the full spectrum of music. This conflict is what makes this
year so interesting, and best of all Prince had the tapes rolling the whole time.
If humanity and feeling is the most important thing I take from 1986, the second would
be productivity, work ethic and the sheer quantity of music Prince recorded and
performed in the year. This box set is 20 CDs, plus extras. Full credit to get it down to
that, it could easily have been much more. If it was me it would have stretched out to 40,
it all feels essential. But these 20 CDs capture the key moments perfectly, if anyone was
looking for the essential must listens, this is it. I would love to take any non-believing
music fan and sit them down to listen to this, its all here. The glorious highs of The
Revolution live shows, the unreleased songs that any other artist would kill to release, the
released albums, the unreleased albums, an amazing after-show full of rarities and a
couple of CDs of Princes Jazz leanings, all of it essential and all of it of the highest
standard. I have been listening to this music for 30 years, and I am still shaking my head
that all of this could have been produced in one year. Prince may have sung You dont
have to watch Dynasty but he obviously didnt spend much time watching TV himself,
and I am surprised he even found time to sleep. If I could have heard all of this in 1986, it
would have blown my tiny teenage mind, its probably just as well that a lot of this music
has leaked out slowly over the years.
Live bootlegs are the thing for me, and the ones presented here are among the very best
from Princes career. Sure, there are better recorded bootlegs from other interesting
periods of his career, but most people would agree that the ones in this set are among the
most essential. The show from the 3rd March I have written about before, it may not be
the best, but it most certainly is my favourite. The old Prince is fused with the new, and
he delivers a show that touches on everything I love about him, his showmanship, he
ability to play a mixture of instruments well, his great vocals, and most of all his song
writing skills, it all starts and ends in the songs themselves. Then there is the beloved
Cobo show, I dont think I have ever met a Prince fan who didnt own a copy of this and
cherished it. It is indeed untouchable. The next live shows each capture a moment of the
evolution of the band and Prince, the Stockholm show shows them at their peak, the Le
New Morning show captures what we would consider the start of Princes after shows
(despite its dubious recording quality) and then a beautiful soundboard of the Paris
concert where A Beautiful Night was recorded live for Sign O The Times. Each one of
these shows is worthy of its inclusion, and I rate them all very highly. Dont be put off by
the sound of the Le New Morning after show, the amazing set list more than makes up for
it what I wouldnt give for a set list like that nowadays. Finally to top it all off we have
the final show of The Revolution. An interesting historical document, the fact it is their
final show makes its inclusion a must. Prince smashing his guitar brings the end to an era
and the live shows in this set.
The unreleased music and albums in this set throws up a great mix of style and flavours.
Prince is experimenting here and pushing himself. The things I first gravitate to are the
jazzy flavoured CDs, The Flesh shows Prince dipping his toe in the water before
immersing himself more fully with Madhouse later in the year. I rate both highly and for
me Junk Music is the must listen track, if you havent heard it I suggest you skip straight
to it now. The two CDs of unreleased tracks throws up all sorts of interesting tracks, and
is a real grab bag of sounds and styles. Its a lolly scramble with many flavours and
colours to try, and again I have to remind myself that this is all coming from one guy in
one year. These are trumped for me by the unreleased albums presented here- The Dream
Factory, Crystal Ball, Camille, The Black album (later released). Each of them has a
distinct flavour and sound. The Dream Factory to my ears is the most cohesive as well as
sounding the most like a band effort. Its the album I listen to most of the tfour and in
some ways its a disappointment that it didnt get released at the time. I can understand
why the record company was reluctant to release it in this flood of material, just as I can
understand Princes frustration in producing all this great material and being unable to
release it. Crystal Ball has an unsettled sound to it, and I feel it reflects well the state of
play in late 1986. It has an unease about it and a darkness. Camille is a somewhat
artificial creation, more a fan made creation than an actual album, it nevertheless is a lot
of fun, and I give it a lot of play in my car. The Black album is the dark funk album of the
four, but as I mentioned earlier, Princes tongue is firmly planted in cheek with his lyrical
content. Who knows what the world would have made of it in 1986, by the time it was
released times had moved on, but its still a great party album.
The box set opens with the final Parade sessions, and at the other end we have Sign O
The Times which is a nice exclamation mark at the end of it all. Its self a hotchpotch of
everything that has come before, it encapsulates everything that has happened in 1986
and neatly sums up the year in its four sides. Love songs, live tracks, sex songs, spiritual
songs, psychedelic songs, funk songs as well as some good old fashioned rock, Prince
picks something of everything he has done through the year and throws it in. No need to
tell you I have heard it thousands of times, yet its still an essential addition to this
boxset.
The final thing that marks 1986 as an outstanding year, is not just the quantity of the
music, but the quality. Sure there is a lot of songs there, and honestly every one of them
is worthy of its place. Prince was untouchable, and everything he tried in 1986 came off
for him. He experimented with a range of styles, and mixed them into his own sound
producing something unique. In 1986 he did this over and over, I could pick any song
from this year and hold it up as an example. His jazz moments get a lot of praise, and
then again we cant forget he also produced the funky Black album to boot. Listening to
all this albums and songs now, anyone of them would hold its place on a released album.
Prince did a lot in these 52 weeks, and he did it oh so well. The band influence can be
heard early on, and later in the year he is still taking on other influences as he works
alone. In 1986 I knew Prince was good, I just didnt realize how good until a few years
later as these songs came to light.
Prince plays many different styles over the span of the box set, and for me the two that
are of the highest standard and both worth mentioning are the Jazz stylings, and the hard
funk. Again, they feed back into the dynamic tension that drives 1986, and the unsettling
nature of hearing one man produce both at such a high quality in a small period of time.
Parade may have had hints of Jazz, but its The Flesh where Prince first begins to flesh it
out (excuse the pun). The Parade sessions end in January and then in the same month
Prince records this collection of Jazz flavoured songs. You could argue that its not really
a jazz album, but the intent is there, as is the sound, helped notably by Eric Leeds. I have
to constantly remind myself that these are the essentially the same group of people that
recorded Anotherloverholeinyohead just a few weeks previous. Prince gets a chance to do
it all again later, with his Madhouse configuration later in the year. Here he strips it back
to just him and Eric Leeds, and this time its no studio experiment, this time he is
recording for release. Looking at it now it seems a mad idea, but when you look at the
body of work from 1986 in makes perfect sense. Of course he want to record a jazz
album and put it out, this is Prince were talking about. I am not a fan of everything on
the album, but I am full of admiration for the fact it is done, and it does stand on its own
as an album.
This being 1986 there is an opposite to this, and that would be The Black album. Its easy
to point at similarities too, the Black album is conceived as an album that focuses on one
style and aspect of Princes music, and of course it does feature 2 Nigs United 4 West
Compton which works as a jazz fusion funk jam. Elsewhere though, the colours are
drained out and this is a lean mean funk album. The lyrics as noted earlier are fun and
light, even if the music is hard edged. Again, I arent a fan of everything on the album,
but it does hold true to his vision, and like everything else in the year its done to a high
standard.
There is no doubt in my mind that 1986 is the peak of Princes productivity and creativity,
and as such the 1986 boxset is absolutely essential. If I was to introduce a newbie to
Prince, this would be the place to start. It reveals him not as a pop star or performer, but
as a true artist. True, he is playing the game in his live shows, but its in the studio where
he is pushing boundaries and himself. When I listen to this set, I dont hear pop songs, I
hear art, art that will last long after Princes star has faded. There will be those in future
who wont have grown with his music as I have, nor seen him live, and its box sets like
this that will remain as testament to his genius and vision. There is more to it than this
however, for me the music here is not just about Prince, it is deeply personal to me, and I
carry a variety of associations with it. It represents not just a milestone in Princes life, but
also a series of milestones from my own as it has sound-tracked my life for the last 30
years. 1986- A Year In The Life has actually lasted me a life time. Good times and bad, I
have had this music with me all the way through my journey, providing comfort and
uplifting moments when I needed it. I may have carried Sign O The Times with me all
through 1987, but this collection of music from 1986 I have carried with me for all my
life.
-Hamish
http://www.princerecordings.com/the-1986-box-set-a-year-in-the-life/

Labels: Prince Off The Record review
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3.
Nov
11
Track list - The 1986 Box Set
Prince: The 1986 Box Set

Track list
DISC 1 The final PARADE Sessions (December 1985 - January 1986)

1. An Honest Man (1:31) [1998 Crystal Ball]
2. An Honest Man (Instrumental) (4:22) [Movie rip]
3. Mountains (Extended Version) (9:54) [Fun With Vinyl]
4. Anotherloverholenyohead (Extended Version] (7:49) [Fun With Vinyl]
5. Kiss (Extended Version) (7:18) [Ultimate]
Bonus Tracks
6. Kiss #1 1:17 [Work It 2.0 Updated] (April 1985)
7. Mazarati - Kiss #2 4:04 [Work It 2.0] (April 1985)
Bonus Disc - Parade [24bit-192kHz] (Dec 85 final)
DISC 2 - THE FLESH (22 January 1986)

Side 1:
1.
Junk Music (19:42)
Side 2:
2.
Up From Below (4:48)
3.
Y'All Want Some More? (1:32)
4.
A Couple Of Miles (4:30)
Session Bonus Tracks

#1 - High Calonic 10:10 [The Flesh Sessions (cleaned)]
#2 - Voodoo Who 5:19 [The Flesh Sessions (cleaned)]
#3 - U Gotta Shake Something 15:16 [T Outtakes-SaTim]
Source: The Flesh 2014 [2015 Leaked]
DISC 3 - Live at 1st Avenue, Minneapolis (03 March 1986) Test gig
1. Around The World In A Day 3:44
2. Christopher Tracys Parade 3:44
3. New position 1:59
4. I Wonder U 1:47
5. Paisley Park 7:20
6. Alexa de Paris (aborted) 0:17
7. Raspberry Beret 4:54
8. Alexa de Paris 4:57
9. Controversy/What Have You Done for Me Lately? 2:45
10. Mutiny/Dream Factory 7:17
11. Soft & Wet 2:48
12. I Wanna Be Your Lover 4:25
13. Head 8:19
14. Interlude 1:06
15. Under the Cherry Moon 3:06
16. Pop Life/Frre Jacques 4:36
17. Girls & Boys/Holly Rock 9:40
18. Life Can Be So Nice 4:21
19. Purple Rain 15:10
20. Whole Lotta Shakin Goin On 2:55
21. Anotherloverholenyohead 5:39
22. Mountains 7:02
23. A Love Bizarre 6:11
24. America 16:23
25. Interlude #2 0:59
26. Kiss 6:30
Source: City Lights (Sabotage #444-449) Soundboard
DISC 4 - DREAM FACTORY (03 June 1986)

Side 1
1. Visions (2:14) [Foefur's Remaster]
2. Dream Factory (3:07) [1998 Crystal Ball Version]
3. It's a Wonderful Day (3:45) [Eye #291-294]
4. The Ballad of Dorothy Parker (4:00) [Foefur's Remaster]
5. It (5:10) [Foefur's Remaster]
Side 2
6. Strange Relationship #1 (4:25) [Foefur's Remaster]
7. Teacher Teacher (3:09) [Eye #276]
8. Starfish and Coffee #1 (2:46) [Work It 2.0 Updated]
9. Interlude (1:00) [Foefur's Remaster]
10. In a Large Room with No Light (3:14) [Eye #107-109]
11. Nevaeh Ni EcalP A (0:53) [PimpSandwich]
12. Sexual Suicide (3:34) [Work It 2.0 Updated] [Aug 1985]
Side 3
13. Crystal Ball #1 (11:10) [Work It 2.0 Updated]
14. Power Fantastic (6:07) [Work It 2.0 Updated]
Side 4
15. Last Heart (2:59) [Work It 2.0 Updated]
16. Witness 4 the Prosecution (3:57) [Work It 2.0 Updated]
17. Movie Star (4:27) [Work It 2.0 Updated]
18. A Place in Heaven #2 (Sung By Lisa) (2:45) [Foefur's Remaster]
19. All My Dreams (7:12) [Foefur's Remaster] [April 1985]
DISC 5 - Interview with Mojo (06 June 1986)
WHYT-FM Prince Phones DJ The Electrifying Mojo
DISC 6 - Live at Cobo Hall, Detroit (07 June 1986) Birthday show [Video]
Around The World In A Day
Christopher Tracy's Parade
Raspberry Beret- Controversy - Mutiny
Happy Birthday
How Much Is That Doggy In The Window - Lady Cab Driver (instrumental)
Automatic
D.MS.R.
Anotherloverholenyohead
Soft and Wet
Head (incl. Electric Man)
Pop Life
Life Can Be So Nice
Whole Lotta Shakin'
Mountains
Kiss
Bonus - Prince and Sheila E - A Love Bizarre (SF 03 March 1986) [UCI]
Source: UCI Hybrid video (European + Japanese TV)
DISC 7 - Unreleased Pt 1 (Dec 1985-July 1986)
Prince - A Place In Heaven #1 (Sung By Prince) 2;49 [FBG 29]
Prince - Baby Go-Go 4;40 [Eye Records 227-230]
Prince - Big Tall Wall 5;39 [The Work Enhanced]
Prince - Big Tall Wall 5;53 [The Work Enhanced]
Prince - Can't Stop This Feeling I Got #2 2;09 [FBG]
Prince - Crystal Ball #2 9;51 [Work It 2.0 Updated]
Prince - Crystal Ball #3 9;29 [Foefur's Remaster]
Prince - Data Bank #1 7;56 [FBG 29]
Prince - Data Bank #2 8;25 [Work It 2.0 Updated]
Prince - Dream Factory #1 2;41 [Work It 2.0 Updated]
Prince - Dream Factory #2 2;38 [PimpSandwich]
Prince - Eternity #1 3;39 [Work It 2.0 Updated]
Prince - Eternity #2 3;55 [Eye #276]
Prince - Euphoria Highway 2;03 [Work It 2.0]
Prince - Everybody Wants What They Don't Got 2;09 [Silverline 51-52]
Prince - Get On Up 4;32 [Work It 2.0 Updated]
Prince - Girl O' My Dreams #2 1;23 [Work It 2.0 Updated]
Prince - Go #2 1;37 [Eye #107-109]
Prince - Go #3 4;47 [Eye #227-230]
Prince - I Could Never Take The Place Of Your Man 6;54 [Foefur's Remaster]
Prince - It Aint Over Til The Fat Lady Sings [Eye Records 291-294]
Prince - Neon Telephone #2 3;53 [Work It 2.0]
Prince - Others Here With Us 2;43 [4DF #090] (April 1985)
Prince - Seq1_Girl O' My Dreams #1 1;26 [FBG 29]
Prince - Seq2_Can't Stop This Feeling I Got #1 2;09 [FBG 29]
Prince - Seq3_We Can Funk #2 5;30 [FBG 29]
Prince - Sign Of The Times #1 3;40 [Work It 2.0 Upd]
Prince - Sign Of The Times #2 (Instrumental 5;14 [Movie End Credits]
Prince - Splash #2 4;00 [ Premium 60-61]
Prince - Train 4;18 [Foefur's Remaster]
Prince - We Can Funk #3 5;28 [Work It 2.0 Updated]
Prince - We Can Funk #4 5;53 [Work It 2.0]
Prince - Witness 4 The Prosecution #1 3;51 [FBG]
Prince - Wonderful Ass #2 6;16 [FBG 29]
Prince - Wonderful Ass #3 10;02 [Work It 2.0 Updated]
Prince - Wonderful Ass #4 6;18 [Work It 2.0 Upd]
Prince and Miles Davis - Can I Play With U #1 4;02 [April 2015 Leak] mp3
Prince and Miles Davis - Can I Play With U #2 6;27 [Eye #227-230]
Source: The Bliss Project
DISC 8 - Tour Rehearsal (22 July 1986)

1. Around The World In A Day (2:07)
2. Christopher Tracy's Parade (3:03)

3. New Position (2:09)
4. I Wonder U (3:02)
5. Raspberry Beret (2:44)
6. Delirious (1:07)
7. Controversy (2:36)
8. Mutiny (2:08)
9. Life Can Be So Nice (0:23)
10. Soul Psychodelicide (59:04)
Bonus tracks
#1- Soul Psychodelicide [Foefur's 20 minutes will do edit]
#2 - Prince & The Revolution - America 13:10 [1986, date location unknown] [mp3]
Source: Parade Around The World (Sabotage #135-137) Soundboard
DISC 9 - Live at Isstadion, Stockholm (22 August 1986) [Video]
Around The World In A Day 2:24
Christopher Tracys Parade 3:04
New Position 2:08
I Wonder U 3:05
Raspberry Beret 2:29
Delirious 1:04 + Controversy 1:35
A Love Bizarre 5:41
Do Me, Baby 7:25
How Much Is That Doggie In The Window? 0:41
Automatic 1:48
DMSR 0:42
When Doves Cry 4:53
Under The Cherry Moon 4:43
Anotherloverholenyohead 6:38
17 Days 3:44
Head 13:27
Pop Life 3:43
Girls & Boys 4:21
Life Can B So Nice 3:48
1999 4:49
Mountains 2:58
Kiss 4:21
Purple Rain 11:59
Source: UCI
DISC 10 - Live at Le New Morning, Paris (24 August 1986) one off small club
performance
1. I Can't Get Next To You 3:45
2. Love Or $ 5:39
3. Red House 3:56
4. An Honest Man 3:57
5. Strange Relationship 7:56
6. Last Heart 2:05
7. Head 11:37
9. Soul Power 8:30

10. Controversy 1:58
11. A Love Bizarre (including Sex Machine) 9:22
12. Jazz Jam
1:11
13. Do Me, Baby 8:18

14. 17 Days 7:14
15. Susannah's Pajamas 2:32
Source: Burn It Up [Premium 037-038] Audience VG-
DISC 11- Live at Le Zenith, Paris (25 Aug 1986)

2. Christopher Tracy's Parade 2:56
3. New Position 2:17
4. I Wonder U 3:00
6. Delirious 1:04
7. Controversy 1:35
9. Do Me, Baby 6:46
10. How Much Is That Doggy In The Window? 0:32
11. Lady Cab Driver (instrumental) - Automatic 1:48
12. D.M.S.R. 0:42
13. When Doves Cry 5:41
14. Under The Cherry Moon 3:41
15 Anotherloverholenyohead 6:43
16. 17 Days 4:56
17. Head 10:04
18. Pop Life 4:30
19. Girls and Boys 6:28
20. Life Can Be So Nice 3:49
21. 1999 2:52 [Optimum]
22 Its Gonna Be A Beautiful Night 8:49 [Rocks #75]
23 Mountains 2:34 [Optimum]
24 Kiss 4:10 [Optimum]
25 Purple Rain 8:07 [Optimum]
Sources: Parade Around The World (Sabotage 135-137)* + Paris Parade (Optimum) + R U Ready Paris [Rocks #75]
Soundboard (* = stereo soundboard)
Disc 12 - Live at Yokohama Arena, Japan

(09 September 1986) Final performance of Prince with The Revolution
1-1 Around The World In A Day 2:06
1-2 Christopher Tracy's Parade 2:59
1-3 New Position 2:04
1-4 I Wonder U 3:14
1-5 Raspberry Beret 1:51
1-6 Delirious 1:13
1-7 It's Gonna Be A Beautiful Night 0:47
1-8 Controversy 0:51
1-9 A Love Bizarre -featuring Sheila E 7:29
1-10 Do Me, Baby 5:56
1-11 How Much Is That Doggy In The Window? 0:38
1-12 Automatic 1:47
1-13 D.M.S.R. 0:32
1-14 When Doves Cry 5:12
1-15 Little Red Corvette 1:00
1-16 Do U Lie? 0:58
1-17 The Ladder 2:31
1-18 Condition Of The Heart 1:46
1-19 Under The Cherry Moon 3:11
1-20 Anotherloverholenyohead 7:14
2-1 Love Or Money
4:37
2-2 Head 10:42

2-3 Pop Life 4:30
2-4 Girls & Boys 3:47
2-5 Life Can Be So Nice 3:36
2-6 1999 4:42
2-7 America 6:50
2-8 Kiss 3:55
2-9 Sometimes It Snows In April 4:13
2-10 Purple Rain 10:01
Tour Bonus Tracks
#1 Little Red Corvette (Japan SBD) [Sabotage #444-449]
#2 Do U Lie (Japan SBD) [Sabotage #444-449]
#3 The Ladder (Japan SBD) [Sabotage #444-449]
#4 Condition of the Heart (Japan SBD) [Sabotage #444-449]
#5 Sometimes It Snows In April (Japan SBD) [Sabotage #444-449]
#6 Manic Monday (NL) [Sabotage #444-449]
#7 The Dance Electric (LA) [Sabotage #444-449]
Source: Septembre [Papercorn 03-04] Audience EX-
DISC 13- SHEILA E sessions (September 1986)
One Day (I'm Gonna Make You Mine) (4:47)
Koo Koo (3:24)
Pride And The Passion (4:05)
Boy's Club (3:56)
Love on A Blue Train (5:33)
B-sides and 12 Inches

Koo Koo (Remix) (5:10) [Fun With Vinyl]
Love On A Blue Train (Full Version) (7:35) [Japanese EP]
Source: [Germany-Paisley Park]
DISC 14 MADHOUSE 8 (October 1986)

Side 1:
1.
One (7:18)
2.
Two (5:29)
3.
Three (3:16)
4.
Four (2:24)
5.
Five (1:18)
Side 2:
1.
Six (4:28)
2.
Seven (4:09)
3.
Eight (10:06)

Six (End Of The World Mix) 12 Inch (6:16)
Six and a Half -B side (2:35)
Source: DJ Emmins Remaster
DISC 15 CAMILLE (05 November 1986)

Side 1
1. Rebirth of the Flesh (4:56)
2. Housequake (4:36) [Irunkandji Music]
3. Strange Relationship (3:59)
4. Feel U Up (6:32)
Side 2
5. Shockadelica (6:11)
6. Good Love (5:06) [Irunkandji Music]
7. If I Was Your Girlfriend (4:57)
8. Rock Hard in a Funky Place (4:30)
Source: Black Album (Foefur's Remaster) and The Flesh + Crystal Ball [Irukandji Music]
DISC 16 - CRYSTAL BALL (30 November 1986)

Side 1
1.
Rebirth of the Flesh (4:54)
2.
Play in the Sunshine (5:05)
3.
Housequake (4:41)
4.
The Ballad of Dorothy Parker (4:02)
Side 2
1.
It (5:10)
2.
Starfish And Coffee (2:50) 1
3.
Slow Love (4:22) 2
4.
Hot Thing (5:39)
Side 3
1.
Crystal Ball (10:21)
2.
If I Was Your Girlfriend (4:47)
3.
Rock Hard in a Funky Place( 4:30)
Side 4
1.
The Ball (4:29)
2.
Joy in Repetition (5:00)
3.
Strange Relationship (4:00)
4.
I Could Never Take the Place of Your Man (6:21)
Side 5
1.
Shockadelica (6:05)
2.
Good Love (5:06)
3.
Forever in My Life (3:30)
4.
Sign "" the Times (4:56)
Side 6
1.
The Cross (4:46)
2.
It's Gonna Be A Beautiful Night (9:01)
3.
Adore (until the end of time) (6:29)
Source: The Flesh + Crystal Ball [Irukandji Music]
DISC 17-Unreleased Pt 2 (July 1986Jan 1987)
Prince Adonis & Bathsheba 5:30 [Eye #276-279]
Prince - Cosmic Day 1;51 [Eye Records 291-294]
Prince - Cosmic Day 3;09 [leaked mp3 fan-made]
Prince - Crucial #1 (sax) 7;16 [Work It 2.0 Updated]
Prince - Crucial #2 (gtr) 7;23 [Work It 2.0 Updated]
Prince - Housequake (Razormaid) [Eye R291-294]
Prince - I Could Never Take The Place Of Your Man 12'' Remix 8;05 [Source Unknown]
Prince - Joy In Repetition #1 5;08 [Work It 2.0]
Prince - Joy In Repetition #2 5;25[Work It 2.0]
Prince - Make Your Mama Happy [1998 Crystal Ball]
Prince - Superfunkycalifragisexy #1 7;13 [Work It 2.0 Updated]
Prince - Superfunkycalifragisexy #2 [Instrumental] 3;37 [Anthology Vol 1 -12]
Prince - Telepathy (Prince Vocal) [Silverline 69-70]
Prince - When The Dawn Of the Morning Comes 4;05 ( Mazarati - Champagne Saturday_B-side of Stroke) [Fun
With Vinyl]
Prince - Witness 4 The Prosecution #3 4;53 [Work It 2.0 Updated]
Prince - Wouldn't You Love To Love Me #3 6;15 [Work It 2.0 Updated]
Prince and Bonnie Raitt -I Need A Man 5;11 [Eye Records 291-294]
DISC 18 SIGN THE TIMES (15 Jan 1987)
Side 1:
1.
Sign O' The Times (4:56)
2.
Play In The Sunshine (5:05)
3.
Housequake (4:36) [Irunkandji]
4.
The Ballad Of Dorothy Parker (4:02)
Side 2:
1.
It (5:10)
2.
Starfish And Coffee (2:50)
3.
Slow Love (4:22)
4.
Hot Thing (5:39)
5.
Forever In My Life (3:30)
Side 3:
1.
U Got The Look (3:47)
2.
3.
4.
I Could Never Take The Place Of Your Man (6:28)
Side 4:
1.
The Cross (4:46)
2.
It's Gonna Be A Beautiful Night (9:01)
3.
Adore (6:29)
Sources: Digital Pirate

Housequake (7 Minutes Mo' Quake) (7:11)
La, La, La, He, He, Hee (Highly Explosive) (10:45)
U Got The Look (Long Look) (6:42)

Hot Thing (Extended Remix) (8:32)
Shockadelica (Long Version) (6:14)
DISC 19 THE BLACK ALBUM (January 1987)

Side 1:
1.
Le Grind (6:44)
2.
Cindy C. (6:14) [March 1987]
3.
Dead On It (4:37)
4.
When 2 R In Love (3:58) [October 1987]
Side 2:
1.
Bob George (5:36)
2.
Superfunkycalifragisexy (5:55)
3.
2 Nigs United 4 West Compton (7:00)
4.
Rockhard In A Funky Place (4:30)
Sources: Foefur's Remaster
DISC 20 The Singles + (1986 - 1987)
Released in 1986
U.S. 7'' Single 1986-02-05 Kiss + Love Or $
U.S. 7'' Single 1986-05-07 Mountains + Alexa De Paris
U.S. 7'' Single 1986-07-02 Anotherloverholenyohead + Girls & Boys
94 East - If You Feel Like Dancin' [Dance Version] 6:58 [Anthology - GetBlue]
94 East - Just Another Sucker [Urban Club Version] 5:22 [Anthology - GetBlue]
94 East -If You Feel Like Dancin' [Dance Version] 6:34 [Anthology - GetBlue]
Kenny Rogers -You're My Love [Album Version] 4:09 [Anthology - GetBlue]
Mazarati - 100 MPH [Album Version] 7:23 [Anthology - GetBlue]
Mazarati - I Guess It's All Over [Album Version] 4:47 [Anthology - GetBlue]
Mazarati - Players' Ball (Extended Version) 8:10
Mazarati - Strawberry Lover [Album Version] 5:26 [Anthology - GetBlue]
Prince - Alexa De Paris (Extended Version) 4:56
Prince - Anotherloverholenyohead (Extended Version) 7:49
Prince - Kiss (Extended Version) 7:18
Prince - Love or $ (Extended Version) 6:50
Prince - Mountains (Extended Version) 9:54
Sheila E. - Holly Rock (7'' Single Edit) 3:50
Sheila E. - Holly Rock (Extended Version) 6:35
Sheila E.- Love On A Blue Train (Full Version) 7:35
Released in 1987 (recorded in 1986)
U.S. 7'' Single 1987-02-18 Sign 'O' The Times + La, La, La, He, He, Hee
U.S. 7'' Single 1987-05-06 If I Was Your Girlfriend + Shockadelica
U.S. 7'' Single 1987-07-14 U Got The Look + Housequake
U.S. 7'' Single 1987-11-03 I Could Never Take The Place Of Your Man + Hot Thing
Deborah Allen - Telepathy (Album version) 5:06 [Fun With Vinyl]
Deborah Allen - Telepathy [Club Mix] 7:55 [Fun With Vinyl]
Deborah Allen - Telepathy [Instrumental] 5:05 [Fun With Vinyl]
Jill Jones - 77 Bleeker St. [Extended Version] 4:37 [Fun With Vinyl]
Jill Jones - Baby Cries (Ah Yah) [Extended Version] 6:45 [Fun With Vinyl]
Jill Jones - For Love [4-Play Remix] 7:24 [Fun With Vinyl]
Jill Jones - For Love [Bonus Beats] 4:53 [Fun With Vinyl]
Jill Jones - G-Spot [Remix] 6:16 [Fun With Vinyl]
Jill Jones - Mia Bocca [Dub Version] 5:56 [Fun With Vinyl]
Jill Jones - Mia Bocca [Extended Version] 6:11 [Fun With Vinyl]
Madhouse - 6 (End Of The World Mix) 6:16 [Fun With Vinyl]
Madhouse - 6 And A Half 2:35 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go [7'' Alge Mix] 4:02 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go (Album version) 5:25 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go [Dub _ Acapella] 6:23 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go (Superstitious Mix) 6:48 [Fun With Vinyl]
Prince - Hot Thing (Dub Version) 6:51
Prince - Hot Thing (Extended Remix) 8:52
Prince - Housequake (7 Minutes MoQuake) 7:11
Prince - La, La, La, He, He, Hee (Highly Explosive) 10:45
Prince - Shockadelica (Extended Version) 6:14
Prince - U Got The Look (Long Look) 6:42
Sheena Easton - Eternity [Dub] 6:13 [Fun With Vinyl]
Sheena Easton - Eternity (Shep Pettibone Mix) 6:25 [Fun With Vinyl]
Sheila E. - Koo Koo (Remix) 5:10 [Fun With Vinyl]
Taja Sevelle - If I Could Get Your Attention (Album version) 3:43 [Anthology - GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me (Album version) 4:07 [Anthology - GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Jellybean 12'' Vocal Remix] 6:59 [Anthology - GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Jellybean Dub] 5:29 [Anthology - GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Joe Blaney 12'' Vocal Remix] 6:53 [Anthology - GetBlue]
(1988)
Taja Sevelle - Wouldn't You Love To Love Me [Paisley Park Mix] 6:09 [Anthology - GetBlue] (1988)
Three O'Clock - Neon Telephone (Extended 12'' Version) 6:29 [Fun With Vinyl]
Three O'Clock -Neon Telephone (Single Version) 3:58 [Anthology - GetBlue] (1988)
Source: US Singles courtesy of Bliss2, otherwise as noted
MEDIA PACK
01 The Vault (p 64-78)

02 Funk Bible - 1986 Chapter
03 Per Nilsen - 1986 Chapter
04 1986 Tour Programme
05 Mojo Interview Media
06 Magazines and Covers
07 Paris Zenith Media
08 Yokohama Japan Media
09 CD Covers Released
10 Singles Covers
11 The Videos

Labels: tracklist
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4.
Nov
11
Background - The 1986 Box Set
BACKGROUND PART 1 Dream Factory to Sign The Times

Since the release of Purple Rain, each successive album included more of a collaborative
effort between Prince and female band members Wendy and Lisa. Dream Factory was
the pinnacle of this collaborative effort. It was going to be marketed as a group record,
not a Prince record, remembers Alan Leeds. Whatever Dream Factory meant to him, it
was inspired by the camaraderie of that group of people during that period of time.
Dream Factory evolved quickly from a 9-track single album to a double-LP with an everchanging track list of songs considered or rejected. A final configuration of the album
was finally decided upon and the album was mastered.
However in July 1986 Wendy and Lisa informed Prince that they wanted to leave the
band. Like so many others who collaborated with Prince, their creativity was limited,
despite significant contributions to his music. Their involvement was obviously very
important, but they still did that "to enliven" Princes ambitions, embellishing his music
more than contributing to the composition of songs. They had also become increasingly
disillusioned with Prince's decision to expand the Revolution with non-musicians, such as
Wally Safford and Gregory Allen Brooks, and Prince's increasing machismo that these
new members brought with them.
Unhappy and vocal about their feelings, they were eventually convinced to remain with
the band and to go on tour that year with the "Hit and Run" shows. However, Prince felt
spurned and by the end of the tour he had already decided he would dissolve The
Revolution once the tour was complete. Besides a desire to go back to one-man recording
projects, it was argued that few in the group could keep up musically with Prince given
the direction he wanted to go.
After the cancellation of the Dream Factory project, Prince went right back into the
studio to record new material. He wrote a track called "Housequake" with a speeded
vocal that resembled a woman's voice. He was so pleased with the track that he
composed an entire album's worth of material in the same altered vocals. The voice itself
began to take on the persona of "Camille" (named after the French hermaphrodite) and an
album was configured. Camille was to be released in 1986, consisting of 8 tracks. The
album was to be released under the name of "Camille" (who would not be pictured on the
cover) and not as a "Prince" album.
Quite different from Parade, the Camille LP concentrates mostly on hard, tight danceoriented funk and rock. Many songs are horn-boosted, and the majority of the material
has much more of a funky edge to it than anything since 1999. The initial Camille album
lacked a unified lyrical or musical theme, aside from the fact that all the songs showcased
Princes speeded-up voice. Still, the Camille character seems to have been a vehicle for
Prince to explore mans inner conflicts and the struggle between good and evil. Prince
soon started to conceive a film project based around the character. One idea was that he
would portray himself and Camille; only at the end of the film would it become apparent
that instead of two separate individuals, the two characters were two sides of one splitpersonality. Although the movie idea was never followed up, there were echoes of
Camille in the Gemini persona Prince invented for the Batdance and Partyman
videos from the 1989 Batman album; a dual-personality character split between Batman
and Joker, or once again, good and evil.
The album reached the mastering stage and had been given a catalogue number. As
Prince continued recording songs, he felt the need to expand beyond a single album, so
changed his plans and eventually he decided to combine various tracks from Dream
Factory, Camille and other newly recorded tracks into a 3-LP opus called Crystal Ball.
Songs with contributions made by Wendy & Lisa were either toned down, or removed
altogether.
His record company at the time, Warner Bros, balked at the idea, convinced the sales
would be slim on a triple album, especially on the heels of the relatively poorly-selling
Parade. Warner and Prince compromised and agreed to a double album. Disappointed,
Prince cut 7 tracks but quickly added a duet with Sheena Easton. The set was renamed
Sign The Times and the title track appropriately describes a chaotic state of the world
which coincided with Prince's own troubles. It is rumored that the forced editing of his
masterpiece started the long decline of Prince's relationship with Warner Bros. that would
later result in a very public battle with the record company.
(The Vault/Per Nilsen A Documentary)
BACKGROUND PART 2 - Sign the Times to The Black Album
In 1986, Prince recorded the magnificent double-album, Sign "O" the Times. Released in
1987, it is widely regarded by Prince Connoisseurs as his definitive work. Prior to SOTT,
Prince's albums were patchy affairs exhibiting undeniable moments of musical genius,
but roughly 25% of any given Prince album tended to be self-indulgent soupy soul-funk
shite. Not so with SOTT. Fans were excited by the album's consistency and hoped that
this marked a turning point for the little purple guy. The follow-up to SOTT was awaited
with much a
nticipation. In late 1987, the follow-up arrived, an untitled affair adorned with a simple
black cover. There was no title as such, only the production code printed in peach
lettering on the spine of the album. It quickly became known as "The Black Album".
Before the album could be released officially, however, Prince recalled all copies and
abandoned the entire project, leaving roughly one hundred promotional vinyl copies in
circulation, copies that would be widely bootlegged in the coming years. Word soon got
around about the recall, and Prince released a statement explaining why he had done what
he had done. Of course when Prince explains something, it's usually less than
straightforward.
It seems that there was an aspect of Prince's personality, which he referred to as

"Camille", who wanted to prove the critics wrong who were saying that Prince had lost
his ability to write good music. In Camille's desperation to prove the critics wrong, he
inadvertently surrendered himself to something called "Spooky Electric" and ended up
producing the Black Album, a corrupt thing filled with violence and sex. Fortunately
Camille realised his error in time and managed to thwart the Black Album's release.
Artwork - JT Wynn
As recompense, the Lovesexy album was recorded in 1987 and released not long after in
early 1988, an album that was supposedly diametrically opposed to the evil of the Black
Album. While the Black Album was obsessed with sex and violence, Lovesexy was an
album of joy, love and love of God. The whole story was featured in an essay that
appeared in the 1988 tour program, and it's probably worth reprinting that essay in full
here.
Time upon a once

There was a boy named Camille
Now this boy named Camille didn't know how 2 feel.
Sometimes he was lonely
sometimes he was sad
but most times
he just took 4 granted
all the nice things that he had.
Some people said they loved him

but Camille said
"Contempt!
Winter, Spring,
Summer, or Fall,
love is no good
unless it's felt by all"
So, naive & terrifically in need

Camille started looking for answers
His paintbrush the questioner,
his canvas the arena,
Camille set out to silence his critics.
"No longer daring" - his enemies laughed.
"No longer glam, his funk is half-assed...
one leg is much shorter
than the other one is weak.
His strokes are tepid,
his colors are meek."
So Camille found a new color.

The color black:
strongest hue of them all.
He painted a picture called Le Grind -hittin' so tall.
And then Cindy C -THE vogue fantasy.
Horns & vocals 2 die 4.
Lollipops -- in yours!
Stroke after stroke callin' all others a joke.

Superfunkycalifragisexi.
Camille rocked hard in a funky place. Stuck his long funk in competition's face. Tuesday came. Blue
Tuesday. His canvas full, and lying on the table, Camille mustered all the hate that he was able. Hate 4 the
ones who ever doubted his game. Hate 4 the ones who ever doubted his name. "Tis nobody funkier -- let
the Black Album fly." Spooky Electric was talking, Camille started 2 cry. Tricked. A fool he had been. In the
lowest utmostest. He had allowed the dark side of him 2 create something evil. 2 Nigs United 4 West
Compton. Camille and his ego. Bob George. Why? Spooky Electric must die. Die in the hearts of all who
want love. Die in the hearts of men who want change. Die in the bodies of women who want babies that
will grow up with a New Power Soul. Love Life, Lovesexy -- the feeling u get when u fall in love, not with a
girl or boy but with the heavens above. Lovesexy -- endorphin. Camille figured out what 2 feel. Glam Slam
Escape -- the Sexuality Real. Tonight we make love with only words. Girls first. This feeling's so good in
every single way.
God is alive! Let Him touch u and He will quench
every thirst. Let him touch u and an aura of peace will adorn u.
God is alive!
Let Him touch u and your own Lovesexy will be born.
Let Him touch u, let Him touch u, and Heaven is yours.
Welcome 2 the New Power Generation.
The essay is stuffed to the gills with the titles of songs both from the Black Album and Lovesexy.
The whole thing makes a fascinating story in a car-crash sort of way. The problem arises when
you actually listen to the Black Album, and then compare it to Prince's output from Lovesexy
over the next few albums as things got much, much worse.
The Black Album is indeed a dark album when compared to the rest of Prince's output. There's a
sexually aggressive, almost gangster-like mood prevalent, even more sexual than his earlier work
on albums like Controversy and Dirty Mind, due in part to the dirtybassfunk and driving beats of
the accompanying music, but due even more so to the blatancy of his lyrics. Prince has always
sung about fucking and dancing, but elsewhere he's at the very least attempted to clothe it
somehow in an attitude that, while not necessarily subtle, had a certain coyness to it. On the Black
Album he just comes right out and says it. "I just hate to see an erection go to waste," he says on
Rock Hard in a Funky Place. Other songs deal with taking people home so you can tie them to a
chair and masturbate in front of them, or licking yo' mama on the knees. The song Bob George is
a good example of the violent character of the album. It's sung in a pitch-deepened voice from the
POV of a pimp character disciplining his woman, who's cheating on him with a music manager.
"You seein' that rich mothafucka again. What's his name? Bob. Ain't that a bitch? What's he do
for a livin? Manage rock stars? Who? Prince? That skinny mothafucka with the high voice?
Please. Who do I look like, baby? Yesterday's fool? Don't you know I could kill you now? You
fuckin' right. I got a gun. You think I don't? Then what's this? Oh, you quiet now."
The music is deep, dark and funky, often stripped right back to just the bass and drums. It's a little
dated since it was recorded, there's no denying that, but there's also no denying that from the
opening bars on the first track, you can feel the funk shoot straight to your pelvis. And that is the
essence of the matter. Good dancing uses the hips, and so does good fucking, and that's what the
Black Album is about: fucking and dancing. "Gonna show you what your hips are made 4,"
Prince says on "Le Grind", and there's no arguing with that.
It's a real shame that Prince reacted the way he did to the Black Album; turning his back on this
kind of music was a decision that perhaps he shouldn't have made. There's an unselfconscious
attitude to it; an attitude of fun, of play. You can almost hear Prince smirking as he delivers some
of the lines. You can almost hear him dancing as he sings. As it should be.
http://www.renewal.org.au/princeblackalbum.html *(since taken down)
Vibe: Wendy & Lisa interview
What Had Happened Was: Lisa Coleman and Wendy Melvoin

Keith Murphy (2009)
The Revolution duo on Prince's lost dream
When talking to keyboardist Lisa Coleman and guitarist Wendy Melvoin about their
experiences working with mercurial funk-rock God Prince, the stories are seemingly
endless. So much so, that we couldnt fit the bulk of the duos interview into our 51 Best
Albums That Never Were package, which highlighted Princes now mythical 1986
unreleased project Dream Factory (Paisley Park). These days Wendy and Lisathe most
celebrated members of the Purple Ones classic 80s backing band The Revolutionare
still making uncompromising music with the release of the latest album White Flags of
Winter Chimneys (wendyandlisa.com).
As for Prince, the 50-year-old music icon is as prolific as ever. The superstar is releasing
a three-disc CD set, LOtUSFLOW3R, MPLSoUND and third album from protg Bria
Valente through an exclusive deal with retail chain Target on March 29. So whats it like
recording with a prodigious talent who can write a song as easy as brushing his teeth
as Coleman muses? Read on.
VIBE.com: The Dream Factory album remains one of Prince's most coveted
unreleased works. What do you recall about the start of the studio sessions?
Wendy: When we were working on it, it wasnt called the Dream Factory. It wasnt that
record. The time between Parade and Princes Sign O The Times was an incredibly
prolific time for me, Lisa and Prince together. There were so many songs that didnt end
up on any records that later ended up on Sign O The Times. At that time I remember
Susannah, my sister, was doing a lot of vocals on that record.
Lisa: There also another record that people refer to called Crystal Ball. But I remember
doing songs that were 15 minutes long and all these different sections.
Wendy: There was also Roadhouse Garden which was unreleased as part of that as
well.
Lisa: We were traveling and working everyday.
Prince's songwriting prowess has now become legendary. What was it like to work
when an artist who could write a song and record it in one day?
Lisa: Prince, he can write a song a day. I remember that whole time as being so creative.
We were really exploring a lot of things. It was buying new gear.
Wendy: Lisa and I bought the Fairlight [sampling synthesizer] into the situation.
Lisa: The Fairlight was just inspiration for a writer like Prince for all of us. There were
flute sounds, wind sounds, voice samples, hand clap sounds. We would just build these
songs around it.
"All My Dreams is arguably the highlight of Dream Factory. You can hear
influences from jazz to 1930's Hollywood musicals within the framework of that
track. This was a pretty ambitious track.
Wendy: It reminded me of classic Kid Creole and The Coconuts. Prince had this cool
sort of personality when he was singing it. One track he sang through a megaphone and
the other track was a clean track and he mixed the two. And Lisa and I were doing these
crazy background vocals.
Lisa: Prince would tell us when we would be doing background vocals, Sing like you
are Betty Davis. If we werent in the studio we would watch old black and white films
and that whole Puttin On The Ritz era.
It was during this time that the Revolution was on tour with Prince for the Hit &
Run tour. How were you guys able to keep the frantic pace of touring and the
marathon recording sessions Prince was known for?
Lisa: You know I got to say we were not doing drugs (laughs). If we had, it would have
been bad.
Wendy: I save my wine consumption for now, as an older dame.
"Visions" seemed to be a huge curve pitch for Prince. How did he approach you
(Lisa) about creating a short avant-garde jazz piano instrumental?
Lisa: Prince had being thinking of ideas of doing piano interludes on a record. He had
just got a new grand piano in his house. His studio was downstairs in this basement. It
was all improvisational. I played it once and thats what that is. I havent played it since.
We were just testing out the set up. Susan Rogers recorded it and miked the piano. He
didnt even have any inputs that day. We were just running a cable from upstairs
(laughs). We were just testing out the gear. Prince wasnt there. He just asked us to do
some thing. He said, Make them two and half minute pieces. So I recorded a few and
thats what Visions is.
Then there's Witness 4 The Prosecution." There's a very hard rocking vibe to that
track, but Prince being Prince also decided to add a gospel feel to it.
Lisa: That was good stuff. That was a moment when we were all in a room and Prince
pressed play and just said, Do you like it? [laughs] I do remember being in the room
singing those background vocals and getting up really high, trying to work that vibrato.
[laughs]
Can you shed light into the track Strange Relationship," a song Prince had
recorded and given to you to finish?
Wendy: We got a master tape that had Princes vocals, piano and drums. He said, Take
it and finish it. So Lisa and I went back to Los Angeles and created the other parts to it.
The sitar sound came from a sample from the Fairlight.
How did you feel when you heard "Strange Relationship" on Prince's landmark '87
work Sign O The Times, stripped of you and Lisa's contributions?
Wendy: Jealous that our name was not on it and that he took us off.
Your relationship with Prince seemed to be the closest out of anyone from '84 to '86.
What do you feel was Prince's motive for letting you and Lisa go and disbanding the
Revolution?
Wendy: That was the relationship he, me, and Lisa had. It became this triumvirate, a
three-headed monster. And that was the main reason why he let us go. He wanted to
express himself completely. We were doing so much work. Thats the way I rationalize it
now. Prince may have other reasons why he let us go. Hes never really talked about that.
But we were led to believe that he needed to get back his mojo.
Lisa: That was hard. After getting fired I remember two things: The morning I was blowdrying my hair thinking, Did we just get fired? [laughs] And then when Sign O The
Times came out. We listened to it like, Oh wow...we are gone. It was like a breakup
and seeing your boyfriend with another girl.
Looking back, what comes to mind thinking about your time with Prince during one
of his most productive periods?
Wendy: That was a creative time for Lisa and I as well. We wanted to show Prince
things he had never heard before. And we are very proud of that.
Your current album White Flags of Winter Chimneys features some of the same left
field, quirky, experimental hallmarks that can be found on the Dream Factory. Are
we going to see a Wendy & Lisa tour anytime soon?
Lisa: We are looking into that now. Even back when we had a big record deal it was like,
We dont have enough money to put you in a room. We might be in New York in the
summertime so we might set up a residency.
Wendy: What would ultimately be cool because we work with so many great musicians,
we have this band called Edith Funker with Questlove, Erykah badu, Doyal Bram Hall,
James Poyser and Jazzy Jeff. We cut songs and we are trying to finish a record. Quest has
been out on the road for about a year now and Erykah has been out for a year, but what
could be great is if we could all go out as this revue. Thats my goal.
http://www.vibe.com/news/online_excl...wendy_melvoin/
*(since taken down)
Susan Rogers on Princes Sign O The

Times
Part One
In 1987 Prince released the double album Sign O The Times. It covered
a wide range of musical and lyrical styles, and some music critics, historians and fans
consider the album as one of Princes greatest releases. Sign O The Times is included
on several Best Album lists, including the 2003 Rolling Stone Magazines 500
Greatest Albums of All Time and VH1s 100 Greatest Albums. The album made it to
number four on the U.S. Billboard R&B Album chart and number six on the U.S.
Billboard 200 chart, with the support of songs such as U Got The Look, If I Was Your
Girlfriend and the title track, Sign O The Times, which topped the Billboard R&B
chart and made it to number three on the pop chart. The album also contained hidden
gems such as the jazzy tune The Ballad of Dorothy Parker and the classic ballad
Adore. At the helm was Princes audio engineer Susan Rogers, currently an associate
professor in the Department Of Music Production & Engineering at Bostons esteemed
Berklee College of Music. She recently took some time to talk with Daddy Rock Star
about the recording of the Prince classic.
Daddy Rock Star: Before we get into Sign O The Times, tell me a little bit about
your background, how you got into audio engineering and how you came to work
for Prince.
Susan Rogers: I started in 1978 when there werent a lot of women engineers, and there
still arent, but I wanted to be in the music business, I wanted to make records. I started
as a maintenance technician to get my foot in the door. I was the person who repaired
consoles and tape machines and I didnt go to school but I was self taught in electronics. I
bought the books and read them. So I began as a maintenance tech and my first job was
as a trainee for a company called Audio Industries in Hollywood. After three years there
I was a service tech for a company called MCI Console and Tape Machines. From there I
went to work for Crosby, Stills and Nash at their studio in Hollywood as their studio
maintenance tech. Prince hired me in 1983 because he needed a technician and it turns
out that he didnt really understandand he didnt need to understandthe distinction
between a maintenance tech and a recording engineer. He figured if you knew the
equipment you could use the equipment, which is a really safe assumption, so I became
his engineer really out of convenience for him. It worked out great for me of course
because that was my first big break. I was his engineer from 1983 until late 1987/early
1988 when I left; that was through Sign O The Times and The Black Album, so I started
with Purple Rain and the last unofficial record would have been The Black Album. From
1988 until 2000 I was an independent engineer and producer, and after 2000 I left the
music industry to earn my PhD in Cognitive Psychology. I specialize in Music
Perception and Cognition. Now Im at Berklee, where Ive been since 2008, teaching
engineering and production and the audio sciences.
DRS: A lot of music critics and Prince fans often call Sign O The Times Princes
greatest post-Purple Rain album. How would you respond to that statement?
SR: Frankly I think all threeAround The World In A Day, Under The Cherry Moon, and
Sign O The Timesare equivalent artisticallytheyre all different. Sign O The Times
represented the third record after Purple Rain. As an artist, the first record you ever
make is just a point and anything after that is a direction, so follow up records build on
what came before. But the interesting thing is when you have a massive hit record you
get to start over. This is what artists do. So when you have a record that totally says
youve arrived, after you arrive, you get to start a new journey. You can think of Purple
Rain as being a singular point, the apex of where Prince was. So now that hes shown the
depth of what he can do, that hes hugely talented and very creative, now he has to show
the breadth of it and how far he can go stylistically. So he did Around The World In A
Day, which was heavily influenced by rock music, and Under The Cherry Moon, which
was very heavily influenced by pop musica new kind of pop music. It was probably his
least R&B/funk-oriented record. Other than Controversy, I think Sign O The Times
was one of his most socially conscious records. Sign O The Times represented a
departure for him lyrically; he was growing and trying new things lyrically. He had some
new textures and new sounds there as well, but definitely the single Sign O The Times
was social commentary, and it was a serious social commentary more so than, for
example, Ronnie Talk To Russia. It was a serious attempt at social commentary and it
was timely, so he was expressing heres where Im going, everybody.
DRS: When the album came out, I bought it and a group of friends came over and
we all listened to it. One of the songs that sparked the most conversation was If I
Was Your Girlfriend. Ive heard that you were instrumental in the release of that
song as a single, is that true?
SR: Prince asked me what I thoughtand thats not something that he normally didbut
he was on the fence as to whether or not it should be a single. I think the record label was
saying, No, dont do it, but he wanted to so he asked me what I thought and I offered
the opinion which tipped the scales. I told him, I think you should do it. Ive never
heard a man sing from this perspective before and as a woman I enjoy hearing that. Its a
unique message, it makes you interesting, its intriguing. I would do it. And I think it
was a bad call. (laughing) I think ultimately looking back on it, it wasnt a good choice as
a single. Its a brilliant song but I think with Sign O The Times Prince was awareand he
said this often, so Im not reading into thingsthat his black audience was drifting away
from him. After Around The World In A Day and Under The Cherry Moon, the music
was less rooted in R&B and less rooted in funk and even pop styles that Sly Stone had
familiarized us with, it had less of that, so Prince was making a conscious effort with Sign
O The Times to win back some of his original audience. If I Was Your Girlfriend,
musically and lyrically, may not have been the right choice for winning back that
audience. It wouldnt have been the right choice for winning back a rock and roll
audience or pop audience, either. Where it would have been a good choice would have
been for winning back the art fans, the music critics and scholars and the art lovers that
could recognize that this is a new message. The risk takers musically would be the ones
who would respond to that and I didnt recognize that at the time.
DRS: I remember when that song first came out, that lyrically, the women I knew
really dug it and understood where Prince was coming from, but initially, a lot of
guys I knew didnt get it.
SR: I could see where it might turn men off. I could see where they would say, No guy
talks like that, but its what women want to hear. And a woman would look at a man
saying that and say, Yes, thank you for recognizing that I think differently from you and
wouldnt it be nice if just for brief periods of time we could be on the same page and you
could be my friend and not my adversary and we could think the same way. Thats what
hes trying to say. Kate Bush said itPrince was a big fan of Kate Bushand she said it in
her song with that famous line come on angel, come on darling, lets exchange the
experience. It has multiple meanings but what shes saying is come on let me be you
for a minute and you be me, lets exchange this.
DRS: Thats the song Running Up That Hill right?

SR: Right, he played that record to death! He loved that record.
DRS: Ive also read that Princes vocal on that song was accidentally distorted
during the recording, how did that happen?
SR: That was a blunder. He would record his vocals by himself in the control room. I
would set him up and then I would leave him alone and he would work entirely by
himself. It was the only way he could get the performance he needed; he needed that
privacy. But I made a mistake and Id inadvertently set the preamp 10db hotter than
normal so it was distorted. When he was done he would call me back into the room and
have me do a rough mix or set up for something else. So he left the room and I came
back in and Im doing a rough mix and I realize the entire vocal performance is distorted
and I thought, oh no, I bet he hasnt listened back to this in the speakers. Hes probably
just listening in the headphoneshes gonna come back into this room and have me
killed! (laughing) But he didnt mind at all and of course he heard ithes as sharp as
they come. Theres nothing that slips past him, but he heard it but he didnt
mind.
People have assumed that because these records were successful that we took the same
degree and care with the technique as we did with the art and thats completely false. I
mean, technically, sonically these records arent great. Many, many, many others in
which care was actually put into the technique and the craft sound better. Our records
sounded alright, their form served the function, but what was great about it and what
people were buying was not the sonic qualities. People were buying the art, the musical
attributes. In that sense, Prince didnt care; and any of those old records, if you listen to
Sly Stone or James Brown, youll hear distortion all over the place but it doesnt affect
the music at all.
DRS: Speaking of recording techniques, when I listen to a lot of music these days, it
seems really loud. Its not just a matter of things have progressed in technology,
but it just seems like the music is just louder for the sake of being loud. Maybe its
just another sign Im getting older (laughing). Am I off base with that? As an
engineer whos been around for years, what do you think?
SR: I know what youre saying. The technique these days involves hyper-compression
where in mastering, and sometimes even before, you squash out all the dynamics. You
level the dynamics such that theres no change in loudness going from the verse to the
chorus and the climaxes of the song dont get any louder than the quiet parts of the
song. The trend began in the 90sit originated from radio broadcasters who wanted
program levels to be uniformly loud. They didnt want any quiet moments that might
allow a listener to switch to a new station, so record makers started competing in the
same way by flattening out the dynamics so that your record would be louder than the
next guysand it sounds great when you put your record on and it just comes in hotter
than the next persons. We know, at least here in the Western world, consumers prefer
whichever audio source is louder. It can be a fraction of a DB hotter and the consumer
will say yeah, that one sounds better. But what has happened, by reducing these
dynamics were actually changing the emotional impact, (Im arguing this anyway) of
musical material because dynamics are what gives a song tension and releaseit gives it
a payoff. To take away the dynamics, you can listen longer because theres nothing
changing so you can listen for a longer period of time but youll probably be less
emotionally engaged than you would have been otherwise. Dynamics contribute to
emotion, but, that said, we are now writing and producing music such that you dont need
a lot of dynamics. Its changing the way composers and producers are working. How we
think of music nowadays we think of it as being kind of uni-dynamic.
DRS: Was there any particular recording experience that really stands out on the
album?
SR: The song Sign O The Times and the song The Cross. The Cross was one of
what I used to call Sunday songs. Some of his deepest, most introspective and most
important songs I noticed were recorded on Sundays.
DRS: I like every song on the album. I think Play In The Sunshine was a cool
song even though it wasnt released as a single.
SR: That was one of those songs that we knocked off very quickly. Prince did what
most people do. When he would conceive of an album there were core songs that were
the heart and the skeleton of the album. Purple Rain was a core song on the album
Purple Rain, and of course Sign O The Times was one of the fundamental songs for
that album. So when we would sequence a record sometimes wed take our core songs
and a few other tracks and we would sequence them together just to hear how the album
was going to sound. If there was something missing, if there needed to be a song that
would transition between two of the core or the more important songs, Prince would
actually write something specifically to serve in the sequence. So in that sense there were
the most important songs and then there were the album cutsthe things that were almost
interludes on the record. So the songs were never intended to be singles or even have any
important message. Thats what Play In The Sunshine was; it was just a bridge to get
us out of Sign O The Times and into the rest of the record. Slow Love was another
one of thosethat was an old one from the vault.
DRS: Was that the case with Its Gonna Be A Beautiful Night?
SR: I think we considered Beautiful Night more important. That was recorded live in
France. We were in the south of France and Prince was playing an outdoor event and we
had a mobile truck there from Germany and thats when we recorded the bed track, we
overdubbed it later, I think right there in the mobile truck.
Part two of my interview with Susan Rogers begins with the story behind the
recording of the song The Ballad of Dorothy Parker. Prince commissioned engineer
Frank De Medio to custom-build a recording console for his home studiothe same type
of console that De Medio built for Sunset Sound in Los Angeles, where Prince normally
recorded when he wasnt recording at home. Long story short, De Medio was taking
much longer than anticipated to complete the console and Prince, being extremely eager
to record, finally issued an ultimatum that De Medio deliver the console that week. The
console was delivered and installed but Rogers hadnt gotten the opportunity to test it
properly. Tested or not, Prince was ready to record and did so, even though, as it turns
out, the console wasnt working properly. However, technical issues aside, Prince
recorded the Sign O The Times fan favorite, The Ballad of Dorothy Parker.
Daddy Rock Star: So youve got this recording console thats not working
right. You eventually got it fixed but not before Prince recorded The Ballad Of
Dorothy Parker?
Susan Rogers: Right. I hadnt finished testing the audio wiring or anything; in other
words I had just soldered the last connection and Prince said, Lets record. He had
been asleep and had this dream about a woman and a bathtub and a waitress and all that,
he scribbled down all those lyrics very quickly and called it The Ballad of Dorothy
Parker. I dont know how aware he was of who Dorothy Parker actually was, but he
knew the name, so it wasnt the real historical Dorothy Parker; and it was inspired by
Joni Mitchell, I remember him saying that. Anyway, he came running downstairs, we put
in fresh tape and started recording. As always, hes playing every instrument and Im
just panicking on the inside because something doesnt sound rightits really dull,
theres no high end and I cant wait for this song to be finished because Ive got to check
it out and see whats going on. Of course the song is coming out really well and the
whole time Im thinking, I wish he would just stop, (laughs) but thats not going to
happen. The whole time he hasnt even said anything, hadnt even commented on it and I
know he hears it but hes really happy because he likes this song. At the very end, he
gave me my final instructions and he said, Theres something about this console that
doesnt sound like the one at Sunset Sound, its really dull, and then he goes upstairs and
goes to bed. Im thinking, Hell yeah its dull, theres no high end at all! (laughs) So he
goes upstairs and goes to bed and then I finally had a chance to test the board and it turns
out that it was working on only half the power, and one side of the bipolar supply had
gone out, so it was just drawing half the current. But he conceived of the song in a dream
so he didnt mind that at all because it gave it this dreamy-like quality.
DRS: Ive heard other artists, like Sheila E, mention that Prince isnt as concerned
with everything being technically perfect in the studio; hes more concerned with
the music being right.
SR: He was a perfect example of an artist who didnt need to rely on any special kind of
tool, any special conditions, any special kind of situations; he didnt believe in any
voodoo or magic associated with the work. If youve got the goods you can show up at
any studio with any console with any microphone he didnt care if he used his
expensive microphone or his cheap one, he didnt care you can record under any
circumstances if youre the real deal and thats how he was. He wasnt going to let a
little thing like no high end stop him from making music.
DRS: Was there anything in particular that Prince preferred when it came to
recording in regards to the studio set up?
SR: Well, a couple of things. One he wanted everything there and set up ahead of time
because he wanted to be able to move from instrument to instrument. Unlike most other
people his ideas came extraordinarily fast; at lightening speed compared to how most
people think so by the time he was done playing one part on one instrument he would
already have in his head the second part on another instrument. So you just had to have
everything set up, plugged in, sound on it, ready to roll because if you dont there wont
be time. In fact I even have a handwritten note from him at home that I saved that says
the more youve got plugged in and ready for me to go the faster Im going to be able to
work and then it says save my blood pressure. (laughing) So that was one thing, and
the other was his privacy. Unless his band was there he had to be completely alone. We
did NOT have visitors (with rare exceptions), we did not have visitors in the studio. He
needed that privacy. He needed his people around him, the people that he knew well and
that he could feel comfortable with. During that time I was one of them. When we were
at Sunset Sound, for a while it was Peggy McReary and then Coke Johnson, they were
employees of Sunset Sound, so during that time if he was recording I was there. I knew
how he liked to work, I could be quiet, I was his facilitator of recording, I made that
happen. So whether we were on the road or it was live or working on movies, if he was
working I was there and I was proud of that. It was hard work but I was proud.
DRS: So when you recorded you mainly worked out of two studios?
SR: Wed either be working out of his home in Minneapolis at his home studio or Sunset
Sound. Paisley Park was being built during that time so at the tail end of my tenure with
him I did work at Paisley Park, but after it was built he could work a whole new
way. Now he could have a staff of engineers so our time was through. So we either
worked at Sunset Sound in L.A. or we worked at his home or we worked in the
warehouse. He had a warehouse space that he leased where he left all his gear set
up. Thats where his band rehearsed and his live sound set up was there so it was either
at the warehouse, at home or at Sunset. This was all pre-Paisley Park.
DRS: As a musician Ive done my fair share of recording and definitely understand
the value of the engineer. I dont know if people actually realize the importance of
an engineer in regards to the chemistry with an artist. Its really important to have
someone you click with, as opposed to someone whos just pushing buttons.
SR: Thats true. I knew we were going to click when I had only worked with Prince for
about a week or two and he, Morris Day and Jesse Johnson were in the home studio
having a conversation about music. I was minding my own business, but it was a small
control room. So I was just being quiet, doing whatever it was that needed to be done,
keeping my mouth shut, but I think it was Morris who mentioned a song that I loved by
One Way featuring Al Hudson. When he mentioned the song I just said oh yeah! I
couldnt help myself, it was automatic and I said it under my breath but again, it was a
small control room. So when I said that they just stopped and looked at me and I looked
at them and it was like they all knew okay, weve got the same frame of reference dont
we? It wasnt a planned moment but I was glad that Prince realized yeah, your frame of
reference is the same as mine. We listen to the same music and I know what youre
talking about. I value what you value. I think he was glad to have an engineer who
shared his value system because thats important.
Part three of my interview with Susan Rogers concludes with discussion about a few
more songs from Sign O The TimesAdore, Housequake and U Got The Look.
Daddy Rock Star: A friend of mine told me that she didnt become a Prince fan
until she recently heard the song Adore on the old school station. I always hear
that song played on old school stations. Its an incredible ballad and still stands the
test of time. Was that one of those core songs you mentioned before?
Susan Rogers: Adore represented Princes conscious effort to write for black radio in
an attempt to counter criticism that he was primarily a pop writer and that his status was
diminishing as an influential R&B artist. I know this because he said so while we were
tracking it. The organ and vocal arrangements on Adore are purely gospel. I am not
sure Id say he considered it one of the most critical songs on the record because it stands
alone on Sign O The Times. Its interesting how easily he could adopt the gospel style
in his arrangements but so rarely did. I think his critics were accurate; Prince was a pop
artist, and personally I think thats high praise. Pop in and of itself is not a style; the pop
chart only reflects the condensed versions of more pure styles (e.g., hip-hop, dance,
country, punk). Prince wrote funk and R&B and arranged these songs in a popular style.
DRS: In regards to a couple of fan favorites, Housequake and U Got The Look,
is there anything that comes to mind about those songs as far as the concept or
recording of them?
SR: Housequake was done at Sunset Sound during a period when Prince was reexamining dance music. I believe his exploration of funk at this time was considering the
influences of rap and hip-hop, now firmly established as more than just musical fads.
DRS: And with U Got The Look, how was it recording with Sheena Easton?
SR: U Got The Look was also tracked at Sunset Sound. We spent much longer on it
than usualseveral days rather than the typical 24 hours it took Prince to track, overdub
and mix a song. I recall that it was tracked over the Thanksgiving weekend. We had
planned to take Thanksgiving Day off but we were in the middle of the Sign O The
Times album and stopping momentum was not easily done. The thing I remember most
about Sheenas visit was that when Prince asked her if shed like to take a minute and
warm up vocally, she replied that she was always warm vocally. For most singers this is
a hollow boast, but it was true in her case. She has an excellent voice and did the vocal
very quickly. Im sure that Prince was aware of U Got The Looks single
potential. He experimented with tempos; it started as a slower jam. Once he bumped it
up to dance tempo, much of the instrumentation changed. The hook is really strong
perfect pop material.
DRS: This album was long time in the making
SR: Yeah, at one point it was going to be triple album called Crystal Ball and the record
label argued against his releasing a triple album so he decided to make it a double album
and he reconceptualized it. So the record was really a long time in the making because it
was more than one record. So many songs went on it and then came off; which is why I
think The Black Album was a follow-up because unlike some of the other records, Sign
O The Times final realization was not how it was conceived.
DRS: Why do you think the Sign O The Times album still resonates with music
listeners and is still so relevant 25 years later?
SR: I think the relevance of Sing O The Times must be rooted in the strength of the
writinglyrics, melodies, harmonies, and rhythm. It is astonishing how well Princes
music holds up over the decades. Not only are the arrangements solid but the writing is
pretty invincible. Most of these titles can be stripped down to just their melodies or just
their rhythm tracks and they would be compelling and interesting. Lesser recorded works
are only viable because of novelty in the arrangements or the cult of personality
surrounding the vocalist him- or herself. If you can imagine stripping down a lesser song
to just its melody and lyrics and then learning its chord progression, you may find that it
is pretty insubstantial without the arrangements and recording techniques that support
it. Prince understood the art of recording more than practically anyone I can name. He
understood how a record functions for the listener; it needs to work in multiple contexts
and formats. It is one thing to be a gifted writer or performer but quite another to be a
recording artist.
DRS: What kind of music did you listen to growing up?
SR: When I was a kid growing up my favorite artists were Sly Stone, Al Green and James
Brown. Those were my favorites and that was the music of my childhood, thats what I
knew and thats what I loved.

DRS: Were you familiar with Princes music before you began working with him?
When I first heard Prince, I was young, I was in Los Angeles and I became an instant
fan. He was my favorite artist in the world. If someone had asked me in early 1983,
What would be your dream, if you were to write down on a piece of paper your fondest
wish and hope?, I would have written down to work for Prince. And that actually
happenedthe dream literally came true. So every single day I was in the studio, Ill
never forget the feeling with every new song I heard, nearly every time I would have the
experience of thinking this is the best song hes donethis is my favorite Prince song. I
was so lucky and I cherished every moment.
June 2012 (original post)
http://daddyrockstar.tumblr.com/tagged/Sign-O'-The-Times
http://daddyrockstar.tumblr.com/post/44236225279/susan-rogers-on-princes-sign-o-thetimes-part-3
or original post
http://soultrain.com/2012/06/20/celebrating-black-music-month-the-25th-anniversary-ofprinces-sign-o-the-times-part-1/
http://soultrain.com/2012/06/22/celebrating-black-music-month-the-25th-anniversary-ofprinces-sign-o-the-times-part-2/
Interview with Dr. Fink
Around the World in a Day/Parade era:
The 3 albums that were credited to Prince and the Revolution were very
specific about which tracks Prince performed on his own. But B-sides like 17
Days, Erotic City and She's Always in my Hair are credited as Produced,
Composed, Arranged and Performed by Prince and the Revolution. Do you
remember if the band did play on those tracks?
I think Erotic City was the one I didn't play on, but other members may have.
What was the overall perception from the rest of the Revolution when
Prince started working so closely with Wendy and Lisa in the studio? Was
there ever a sense of animosity over his close personal and working
relationship with them?
I never had any animosity about any ones working relationship with Prince. However,
I do wish I could have co-written more songs with Prince or other members of the
Revolution during my tenure with the group.
How did you feel when Prince announced that he was going to expand the
Revolution in 1986? How did the chemistry change between the key
members (You, Bobby, Mark, Lisa and Wendy) after the band expanded?
The Chemistry of the core members didn't change but we were all concerned at the
time how it might affect the overall chemistry of the group. Once we all got to know
each other things went pretty well after that.
Can you please share some of your memories from the Under the Cherry
Moon premiere party in Sheridan Wyoming? Including everyone's reaction
when you all found out that the premiere was going to take place in such a
small town.
We played at the Holiday Inn Ballroom which was the largest venue in Sheridan and
it just couldn't accommodate our large lighting rig because the ceiling wasn't high
enough. The lights were to close to us and it was very hot and bright so it was an
uncomfortable situation. Other than that we had a great show and had a lot of fun in
spite of the technical issues with the venue.
Two days after the premiere of Under the Cherry Moon, Prince and the
Revolution did a Hit & Run show in Denver Colorado. Joni Mitchell, someone
Prince has named as a major influence, joined the band that night on stage
for Purple Rain, what do you remember about this show?
I don't remember much about the show but I do remember meeting Joni after the
show which was a very special moment for me.
How did it feel being the only original Revolution member left in the band?
Did any of the new members ever come to you with questions and advice on
how to deal with Prince?
I was extremely disappointed with Prince's decision to let Lisa, Wendy and Bobby go.
Mark decided to leave on his own a short time after them. It felt strange being
without them, I missed all of the former members of The Revolution tremendously
and I tried to keep in touch with them. The new members didn't really ask me for
any advice about how to handle Prince.
For those of us who have been fans from the early days, it didn't seem like
Prince interacted the same with band members after the Revolution
disbanded. Do you feel that Prince would keep new band members at more
of a professional-only level after the Revolution?
Yes and No because I felt he was friends with certain members more than others.
Some members chose to keep it at a professional level only.
Matt, thank you taking the time to answer our questions. We wish you the
best in all your future projects
JessE and the GBNetwork (2006)
Ingrid Chavez mixed tape
Susannah Melvoin on "Starfish and

Coffee"
In case you missed it, here's the story I did and shared on Housequake about the
story of Starfish and Coffee.
"I remember Minneapolis vividly. The air smells of water and earth and the lakes
that spread throughout the city become deserted of people. I loved it and I loved
what was to become an extremely beautiful time in my life. I can narrow down
one particular day in 1986 that was particularly special: the day I wrote Starfish
and Coffee with Prince.
Sitting around the kitchen table would be Prince, his engineer Susan Rogers, and
myself. It was a time Susan and myself spent every day with Prince recording or
keeping each other company. Prince and I spent many hours together, either in the
studio working or driving around Minneapolis talking to each other and listening
to music. We talked about our histories and our secrets, and on a couple of
occasions I told him stories of a 12 year-old girl I had known named Cynthia
Rose.
My sister Wendy and I knew Cynthia intimately because we shared six years
together in a classroom, plus a bus ride to school with her. It was on these bus
rides that I got to know Cynthia.
Cynthia never had much interest outside of her own personal space, so watching
her was an unedited version of what was going on her head. Im certain if Cynthia
were in school today, shed still be as interesting and extraterrestrial as she was
back then. I think Cynthia was dropped off from another world. A world filled
with extraordinary images. Images only Cynthia knew the meaning behind.
Her favorite number for many years was the number 12. I knew this because
shed rock back and forth in her seat asking you if you knew what her favorite
number was for the day. It was always a shock to her that anyone knew that her
favorite number was 12. Id say, "I think its twelve, right Cynthia? She was
totally amazed and joyous that I had guessed it right. I mean, who'd have guessed
it?
Id watch how she would ecstatically experience the world. Cynthia would tell
you over and over again how amazing and meaningful the number 12 was. Id ask
her "why?" The answer never changed. It was always "because it makes me
happy," said as she etched a huge happy face with her finger on the damp foggy
bus window. Most of those bus rides Cynthia sat rocking in her seat, gently
repeating her favorite number.
Cynthia would also tell me what she had for breakfast, and every day it was the
same: Starfish and PEE PEE! I never understood the combo meal. And frankly
nobody else could, either. This seemed like the deal breaker for most kids. More
importantly, the kids in our class had no interest in how Cynthia came to get her
morning breakfast! I thought it was tender and funny and I listened to her tell me
anything she wanted to say, whether it was firmly planted on earth or from her
planet of tender-hearted people who love numbers and draw smiley faces on
foggy bus windows.
Sixth grade was the last year our class was to be together and it was the first bus
ride of that year that I noticed something was different about Cynthia. She sat
quietly in her seat staring out of the window. When we arrived at school, and as
the bus pulled into the lot, Cynthia turned my way, looked me in the eyes and
asked me if I wanted to know something special. I couldnt wait!
We stepped outside of the bus and walked a couple of feet when she leaned into
me and said, "Do you want to know what my favorite number is!? I said, "it's
twelve, right?" Cynthias answer? "It's TWENTY!" Then, in her beautiful martian
like way, she smiled into her hands and said, "because it really makes me happy!
And she ran off in her Groucho Marx, Martian kind of way, repeating the number
20.
That year turned out to be a very funny year for Cynthia and myself. On one
occasion I happened to leave class for a visit to the ladies room. Im about to walk
out of the bathroom when I hear the sound of water splashing and giggling
coming from one of the stalls. I somehow had a feeling it was Cynthia Rose, the
giggle sounded unattached to a real person. It sounded naive and desperate,
almost like the sound of crying into a jacket-muffled and hysterical.
So, as I knocked on the stall door I asked if it was Cynthia. More giggles, no
answer. I looked under the stall and saw Cynthias shoes. Right as I asked her
what she doing in there, she threw the stall door open. There she was with a big
red apple in between her teeth, soaking wet hair and face. She took a bite of the
apple and said, "Im was bobbing for apples in the toilet. It's so much fun!"
I was horrified by what she was doing. Cynthia looked at me in what was to be
the last time we would have eye to eye contact. She became long-faced and
reflective, something Id never seen from her. Cynthia took my hand as I grabbed
as many paper towels as I could gather to dry her off. Without a peep, she looked
at my hands as they dried her hands.
This is the story about the exceptional Cynthia Rose, who was just one of twenty
five kids- Kevin, Christopher, Wendy, Sharon and Susannah just to name a few of
us- who spent everyday together for six years. For those six years we started off
every day greeting Ms. Kathleen at her classroom door. Wed be in line outside
the classroom. She'd open the door, and one by one we would greet her and shake
her hand and walk to our seats for just another day at school. And all of us were
ordinary. All of us, except for Cynthia Rose.
This is a true story I would tell Prince every so often when asked about it. We
both agreed that she was worth writing about, this tender- hearted girl. We both
wondered if Cynthia Rose was still living and still number drunk, and if it still
made her happy.
One fall afternoon in Minnesota I was at Prince's kitchen table when he came up
the stairs from his studio, sat next to me and asked if I would to tell him the whole
story of Cynthia Rose again. A few hours later he asked me if Id write it down
for him.
On that afternoon when Prince asked if Id write down this story, I had no idea
what was about to transpire downstairs in his studio. Prince requested that I not go
downstairs until he was finished with the track. But just before he went back
downstairs, he sat down at the table and said to me the Pee Pee's gotta go. Then
asked if coffee was doable instead. "Yes, yes, yes. Of course."
Ten hours later Susan came upstairs to get me. I walked into the studio and Prince
was standing at the console with a tired, gentle smile on his face. He said, "Here it
is."
The rest is history."
2 January 2016
https://www.facebook.com/susannahmelvoinartistpage/posts/201955743482242
Inside Miles Davis Prince Obsession, As

Detailed By Davis Family and
Collaborators
Inside Miles Davis Prince Obsession, As Detailed By Davis Family and

Collaborators
by Ron Hart at Pitchfork.com
April 22 2016
When Miles Davis began recording new music again in 1981, it wasnt too long before he
recognized the future in a young funk rocker out of Minneapolis named Prince Rogers
Nelson. His shit was the most exciting music I was hearing in 1982, Davis wrote in his
brilliant 1990 autobiography. Here was someone who was doing something different, so
I decided to keep an eye on him.
In fact, there are multiple pages in Miles: The Autobiography where Davis focused on his
appreciation for the Purple One, comparing Prince's vocal delivery to Sonny Rollins
saxophone-playing and musing on his funk pedigree like a learned aficionado. When the
folks at Davis then-new label Warner Bros. informed him mid-decade that labelmate
Prince considered him among his musical heroes, you can envision the smile beaming
from the trumpet greats face as he penned, I was happy and honored that he looked at
me in that way. Miles saw himself in Princea man who always wanted to push his art
in new and challenging directions despite what was considered proper within the confines
of such superfluous terms as "jazz," "pop," or "R&B." For both men, it was all just
varying layers of social music, as Davis termed his craft during a 1969 interview in
Rolling Stone.
Hes got that church thing up in what he does, Davis continued in his autobiography.
He plays guitar and piano and plays them very well. But its the church thing that I hear
in his music that makes him special, and that organ thing. Its a black thing and not a
white thing. Prince is like the church to gay guys. Hes the music of the people who go
out after ten or eleven at night. He comes in on the beat and plays on top of the beat. I
think when Prince makes love he hears drums instead of Ravel. So hes not a white guy.
His music is new, is rooted, reflects and comes out of 1988 and 89 and 90. For me, he
can be the new Duke Ellington of our time if he just keeps at it.
Indeed, Prince left behind an amount of recorded music thats comparable to the Dukes
own massive output, possibly even more. And thats only counting the stuff thats not in
the mythical vault whose fate has yet to be determined. But one of the most treasured
items behind that door is the storied Rubberband recording session between
Prince and Miles, which took place at Paisley Park on March 1, 1986. For now, all
we have is that YouTube clip of the two giants performing Auld Lang Syne together at
Paisley Park on New Years Eve 1987, and a great version of a song Prince wrote for
Davis that Miles performed in concert two months before his death in Nice, France,
called Penetration, proving the Purple influence was imbued in his trumpet right until
the very end.
Pitchfork spoke with some of Davis loved ones and dearest collaborators for a deeper
look into how Prince influenced Miles' final decade.
Easy Mo Bee, collaborator on 1992s Doo-Bop
I didnt know that Prince and Miles Davis had done some recording together until his
manager at the time, Gordon Meltzer, brought up the Rubberband sessions. Matter of
fact, there were two songs from the Doo Bop album, High Speed Chase and Fantasy,
that they took from the Vault. We had gotten six songs done, me and Miles, but then he
passed away. And thats when Gordon came to me and said, Listen, we have two songs
to make a complete album that were gonna take from the Vault. Now Im not 100
percent sure, but I think that High Speed Chase had come from those Rubberband
sessions with Prince. You would never get to know that, because the horn part was given
to me as an a cappella track and a new song was built around it. But theres only one
Vault, and thats the one at Paisley Park.
Phil Freeman, jazz critic
Oh, [the collaboration between Miles and Prince] definitely happened; theres a
listing on the Miles Ahead fansite of a session from March 1, 1986 featuring Miles,
Prince, Eric Leeds on sax, Adam Holzman on keyboards, and Marcus Miller on
bass. Im sure theres more than were aware of. How much more is the question. I
doubt its a whole albums worthprobably two or three songs. And honestly, Im not
that certain it would be amazing if we actually got to hear it. Princes forays into jazz
fusion have been pretty weak in my opinion.
Marcus Miller, Davis bassist and chief collaborator during the 1980s
Prince was really influential to us during that Warner Bros. period. Miles really dug
what he was doing at that time. As a matter of fact, Prince wrote some music that he sent
to Miles, a track called Can I Play With U. So they handed it to me and had me mix it
to work into the Tutu album. But when Prince heard it, I think he felt it was too different
from the rest of the album and wound up taking it back. But his presence was there on
that record. And I think subconsciously knowing that the song was a little bit different
from the rest of the album, I wrote Full Nelson, which is the last song on Tutu, to kind
of bridge the gap. It had more of a feel that Prince was doing at the time, and I thought it
would be an interesting way to bridge Can I Play With U in there. But they wound up
not using it, so Full Nelson is on its own on that album. But I was aware that Miles
really dug what Prince was doing and really wanted to incorporate that feel into his own
music.
http://pitchfork.com/thepitch/1114-inside-miles-davis-prince-obsession-as-detailed-bydavis-family-and-collaborators/
Susan Rogers Interview #2
How do you compare Sign o the Times, sonically, to other Prince works?
Sign o the Times was arguably the best sounding of the Prince albums I participated in
(Purple Rain; Around the World in a Day; Parade; Sign o the Times; the Black album).
Much of it was recorded at Sunset Sound in Los Angeles and at Princes home with our
new custom DeMedio/API recording console. We added the Fairlight sampling keyboard
around then and it was featured prominently. Prince used his basic Oberheim synthesizers
less but still relied on the Yamaha DX7 synth. The album featured the Linn LM1 drum
machine but he played drums on this record more than he had on previous albums.
Around the World in a Day and tracks from the never released Black album received less
sonic attention than Sign o the Times, Parade, or Purple Rain. (I cannot say that these
two albums received less creative attention, but they were completed more rapidly.) Sign
o the Times was carefully crafted, for the most part. The drum track on The Cross is
noticeably out of time, and Forever in My Life and It were each done pretty quickly.
In contrast, songs like Adore and U Got the Look received an exceptional amount of
attention to detail.
Slow Love, I Could Never Take the Place of Your Man, and Strange Relationship
were older songs that were pulled from the vault and reworked for inclusion. There were
some unusual sonic elements, including the distorted vocal on If I Was Your
Girlfriend, the muffled, lofi sound on The Ballad of Dorothy Parker, and the outofsync backing vocals on Forever in My Life. All of these were unintentional happy
accidents.
Some experimentation was deliberate, such as the backwards drums on Starfish and
Coffee. The basic track for Its Gonna Be a Beautiful Night was recorded in a mobile
truck for a live performance in France.
How about other albums released around that time?
Bon Jovi, U2, Whitney Houston, Madonna, Bob Seger, and Duran Duran all had hit
singles in 1987. Princes work in relation to these artists was like an art house film maker
compared to big budget studio films. We worked quickly and valued ideas over execution
or art over craft, you might say. Frequently tracks were completed from beginning to end
(i.e., final mix) in less than 24 hours, by just the two of us. That is unheard of for charttopping artists who typically work with a team including producers, engineers, mixers,
songwriters, and studio musicians.
Do you recall any specific stories from the recording sessions? Prince recording
vocals alone in the room, etc.
There were plenty of unforgettable moments but they dont hang together as a narrative.
Sign o the Times was conceived as a triple album under a different title. We sequenced
(spliced together the final mixes of songs to form album sides A and B) a triple album but
ultimately Prince developed SOTT from a core set of songs written for another record.
Because his albums always center around a theme, new songs were written or reworked
to build around SOTTs core songs, which included Sign o the Times, Adore, If I
Was Your Girlfriend, and U Got the Look. Play in the Sunshine and Slow Love
are examples of songs that were included to complete a perfect album sequence.
This is to say that SOTT did not have a linear work flow. The most satisfying sessions for
me were those done in his home studio (SOTT was made before Paisley Park studios
were complete). We worked quietly and peacefully, for the most part, on songs like It,
Hot Thing, Forever in My Life, and Starfish and Coffee. Even though Sunset
Sound in Los Angeles was like a second home, the atmosphere in Minnesota had lower
pressure. I always felt as though he was most himself in Minnesota, working at home.
How did SOTT / working with Prince affect you as an engineer and musically? Any
lessons learned that you care to share?
Prince allowed me to transition from audio maintenance technician to audio engineer
when I came to work for him in 1983. I was a capable and experienced audio tech, but I
was an absolute beginner as a recording engineer. Many great records have been made by
people in that position and Prince astutely realized that an engineer with no preconceived notion of recording protocols would allow him to work without protest from
the sidecar. I was extraordinarily privileged to be able to make records with him.
When I left in 1988 and began working with other artists, I realized that I only knew
Princes way of working. Because his method was so rare, I had to learn how to make
records the industry way. All of Princes colleagues or imitators take a risk by observing
him for too long. They can start to believe that his genius is not so rare or that it just takes
discipline to match his output. The more I worked with others, the more I realized that
there is simply no one like Prince aesthetically or entrepreneurially.
I met an extraordinary duo in 1992 Tommy Jordan and Greg Kurstin and made
three Geggy Tah albums for Luaka Bop Records with them. I learned how to make
records with Prince, but Tommy and Greg taught me how to make music. This is because
Princes way of making music was less exploratory than any other artist Ive observed.
Musical parts and arrangements came so rapidly to him that it could seem as if he were
recording songs from memory. He has a particular genius for melody and rhythm, and he
is extraordinarily decisive and focused.
What we label genius or expert typically takes a decade or more to form. Greg Kurstin,
for example, recently produced Adeles latest single Hello and a host of other hit songs
over the past few years. This comes after working for over two decades as a musician and
producer. Prince was doing equivalent work in his first decade with no formal musical
training. It would be hard to find his equal in any musical era.
Interview by Barbie Bertisch of Classic Album Sundays New York City and originally
printed in Love Injection (Jan 2016)
Is The Water Warm Enough?

Cartoonist Hazel Newlevant discusses Wendy & Lisas contribution to Princes
legacy.
All images from Hazel Newlevants No It U Lover (2014)
The Wire (April 2016)
If you can do it all, and if you have a singular vision that combines genres and pushes
forward music, do you need anyone else? Who do you choose to surround yourself with?
Prince was the most talented multi-instrumentalist in a generation, a prodigious
songwriter and arresting performer. His reputation as a sole genius makes it easy to
overlook the contributions of his collaborators. He masterminded entire albums by The
Time and Vanity 6, playing every note on their records, and providing guiding tracks that
Morris Day and Vanity had to follow exactingly with their vocals. Princes hypercontrolled methods didnt sit well with everyone; many musicians quit his employ over
the years to seek creative freedom elsewhere.
Prince had a penchant for picking young, beautiful and unknown women to work with.
Some he chose more for their looks than musical talent, such as Apollonia, whom he
groomed to replace previous collaborator Vanity and to play his love interest in the 1984
film Purple Rain. Knowing this, it would be easy to mistake Lisa Coleman and Wendy
Melvoin, keyboardist and guitarist of The Revolution, his band of the era, for two such
extensions of Princes image. But the pair left their creative fingerprints indelibly on
Prince albums from Purple Rain through Around The World In A Day and Parade all the
way to the famously auteur-ish Sign O The Times, released after The Revolutions
breakup in 1986.
Understanding Wendy and Lisa, and how they affected Princes music, is key to the
conflict between Prince as a musical mastermind, who wanted absolute control over his
sound and image, and Prince as a collaborator.
Wendy had a way of breaking tension in the studio with her playful, forthright tone. She
could tease Prince as none of the other band members dared, and wasnt afraid to tell him
when she didnt like something. When writing Purple Rain, Prince started to work with
The Revolution more collaboratively. The members would often jam together until they
found a groove they liked, or Prince would leave them to work on their own parts, rather
than writing everything himself. Wendy and Lisa provided the sultry spoken word
introduction to Computer Blue: Wendy? Yes Lisa. Is the water warm enough?
Yes Lisa. Shall we begin? Yes Lisa. Their role in the Purple Rain film solidified
their public image. Although they didnt contribute to the composition of the track
Purple Rain as much as the film implies, the couples fictional conflict with Prince
about their creative input prefigured later, real-life conflicts.
Wendy shaped Princes music in another way, by introducing him to her twin sister
Susannah Melvoin. Prince was immediately taken with her, despite her being in a
relationship when they met, and wrote the song The Beautiful Ones for her. He created
a new group called The Family to showcase Susannah, along with former members of
The Time. After the huge success of Purple Rain, Prince was ready for a new musical
direction, and relied on Wendy and Lisa to help him get there asking them for input, or
to point out when a song sounded like something hed done before. On tour, Wendy and
Lisa played Princes records by white rock n roll acts from their childhood The
Rolling Stones, The Beatles and Led Zeppelin.
Prince returned to the studio in 1984 to record the next album. Lisas brother David
Coleman, a talented multi-instrumentalist in his own right, got it rolling by composing
Around The World In A Day for his sister. He used a wide variety of sounds oud,
cello, finger cymbals, darbuka. When the girls played the song for Prince, he liked it so
much he made it the title track of his new album. He rerecorded the song with Davids
blessing, and used this wider sonic palette throughout Around The World In A Day.
Wendy and Lisa lent their vocals to album hits like Pop Life and Raspberry Beret.
Critics were surprised by how quickly the new album came together. Its true that I
record very fast, Prince told MTV. It goes even quicker now that the girls help me.
Parade, the next album, features more of Wendy and Lisas songwriting. Sometimes It
Snows In April, a song about the death of a friend, has a spare arrangement, primarily
framed by Lisas signature jazzy piano playing, punctuated with Wendys electric guitar
strumming. Princes voice soars over top on the verses, before they join him for the
chorus, their voices harmonising. The whole song is by just the three of them. The songs
elegiac tone seems even sadder and more beautiful in light of Princes own death in
April.
The collaboration became even more enmeshed while working on a projected follow-up,
called Dream Factory. This album promised to be Prince & The Revolutions most
sprawling and musically ambitious yet. It was never released instead, Prince recycled
many of the highlights into Sign O The Times. Wendy described the process of writing
Strange Relationship: We got a master tape that had Princes vocals, piano and drums.
He said, Take it and finish it. So Lisa and I went back to Los Angeles and created the
other parts to it. The sitar sound came from a sample from the Fairlight. Dream Factory
also contained improvised, instrumental tracks by both Wendy and Lisa, recorded as they
warmed up in Princes home studio. These added a casual intimacy to the album, and
Prince clearly cared about showcasing their musicianship.
The Dream Factory sessions were a period of deep creative and personal connection
between the three. Prince asked Wendy and Lisa to be his surrogates in an interview with
Rolling Stone, where Wendy described their relationship: Its silly, us all being so
intense about it and swooning over each other, but its meaningful. Not that the rest of the
band doesnt understand Prince they do. Were just a bit more spiritual with him.
However, near the end of recording Dream Factory, Wendy and Lisas relationship with
Prince soured for a number of reasons: Prince still had an on-again, off-again romance
with Wendys sister Susannah the lyrical inspiration for Strange Relationship and it
angered Wendy to see him womanising while he expected Susannah to remain faithful. If
Prince arrived at the studio in a bad mood, they suspected hed been fighting with
Susannah the night before. He started changing their contributions without consulting
them, and continued to expand The Revolution. It swelled to 12 members, including a
second guitarist and backup-dancing bodyguards. Prince wanted everything bigger, more
full of entertainment, while the women wanted to rein it in.
When the pair visited Prince to demand to be treated as creative equals, he instead
decided to strip their contributions from Dream Factory. Wendy and Lisa remained to
finish the Hit N Run tour with Prince, before The Revolution dissolved in 1986. Prince
shelved many songs from Dream Factory, and on the ones he kept for Sign O The Times,
he rerecorded their parts. Lisa described hearing the final product: We listened to it like,
Oh wow...we are gone. It was like a breakup and seeing your boyfriend with another
girl.
This is not to take away from the artistic accomplishment of Sign O The Times. But that
record especially is lauded for being solely Princes handiwork, and its worth celebrating
his collaborators. Wendy and Lisa went on to explore their creative impulses as a duo,
recording albums together and scoring TV shows like Heroes and Nurse Jackie. Prince
found new and different ways of being Prince. The three were never able to fully
reconcile, due in part to Princes Jehovahs Witness faith, which led him to reject the
queerness he had once embraced, as a sinful lifestyle.
In a 1989 interview with the UK TV programme TV:AM, when told that Wendy & Lisas
new single Satisfaction sounded like Prince, Wendy responded simply, He sounds like
us. Lisa elaborated: You swap and barter and trade and learn and teach and steal and
give.
Hazel
Newlevants graphic novella If This Be Sin (along with more comics about Wendy, Lisa,
Prince and others) is available via her website - http://newlevant.tumblr.com/
http://www.thewire.co.uk/in-writing/essays/prince-1958-2016-is-the-water-warm-enough
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5.
Nov
11
Academic Context - The 1986 Box Set
"Prince Fans and Destabilized Concepts of the Album in the Digital

Age.
Alex Jeffery
(City University)
Ethnomusicology in the Digital Age

2013 Joint Annual Meeting of the British Forum for Ethnomusicology and ICTM-Ireland,
Queen's University Belfast
4 - 7 April 2013
(Excerpt)
Prince has a famously fractious relationship with both former record company Warner Brothers
and his fans. The easy availability of huge quantities of unreleased material online form an
archive which ardent fans, via torrent downloading sites, find difficult to resist. Princes refusal
to allow expanded reissues of his back catalogue has created a vacuum, which fans fill with their
own wish list track listings. These desires are subsequently revealed on fan sites, such as
Prince.org and blogsites devoted to the art of music reissues in general. I have carried out much
of my ethnographic research in this paper within Prince.org, and draw parallels with Sheenagh
Pughs work on fan fiction to analyze fan activity in the sphere of digital music.
Tom McCourts paper Collecting Music in the Digital Realm argues that the lack of materiality
in digital files heightens our sense of ownership, as well as our desire to sample, collect, and
trade music in new ways. Expanding on these ideas, I explore how Prince fans have asserted
their own agency in recalibrating two projects: Firstly, the 1984 album/film project Purple Rain,
which has the most demand for reissue. Secondly, I deconstruct a constellation of fan activity
surrounding an unreleased album project from 1986, Dream Factory. This project in particular
has stimulated fans sense of agency, as the large number of tracks that could be included in an
enactment of this album offers unlimited creative possibilities. The endless sorting and
regrouping of musical material which technology such as iTunes engenders here has a dual
purpose: to reconstruct and re-enact lost historical artefacts and also to reimagine them
according to the fans own personal preferences.
Presentation
Prince is an intriguing subject for scholarly work. His highly contradictory nature and
maverick business career leaves plenty of scope for further research. He has a famously
fractious relationship with his fan base (NPG Music Club/Lotus Flower). In 2009 and
2013, he threatened litigation against fan sites in for unsanctioned use of his image and
other alleged crimes. In 2010, he sued a mother after she posted a clip on YouTube of
her baby dancing to Lets Go Crazy. And then to add insult to injury, Prince has so far
refused to allow Rhino (former label Warner Brothers catalogue imprint) to capitalise on
his legacy by revisiting his back-catalogue. By doing this, he denies his fans what they
feel they can reasonably expect from a star they have invested so much in: remasters,
deluxe editions and box sets.
In the absence of official releases, fans and bootleggers have moved into the vacuum to
provide this material. Weve long had bootlegs in physical form: LPs, cassettes and
particularly now CDs can be easily pressed with accompanying artwork. A good case in
point is Princes Black Album. When withdrawn at the 11th hour in 1987, it became
one of the most bootlegged albums of all time. In the digital era, new types of artefacts,
which Prince could not have imagined back in his mid-1980s heyday, are the objects of
exchange. Large file torrents and fan remasters have been circulating increasingly more
widely as broadband becomes standard.
In Princes case, torrents enable his fans to rapidly acquire the huge repositories of rare
and unreleased material (known as The Vault) for which Prince is notorious, leading to
another practice: the ephemeral wish list track-listings posted on the blogosphere and on
fan-site threads where fans compare their visions of what forms the reissue packages
should take.
Traditionally, it is record companies marketing departments dreaming up super-deluxe

boxsets to replace the revenue lost by the upheavals of the move towards digital. A good
example of this is the Uber-Deluxe edition of U2s Achtung Baby: 6 CDs, 4 DVDs, 5
7 singles, 16 art prints, a book, magazine, 4 badges, stickers and sunglasses. Super fans
are lapping these luxury artefacts up, making money for the record companies, while
reaffirming their classic album status by the size and intricacy of the physical package.
Clearly Prince is missing an opportunity here with his enviably vast back-catalogue of
unreleased rarities, popularly referred to as The Vault. Blogs have even sprung up to
document the deluxe phenomenon, posting speculations and wish lists for future
releases.
A good example would be Sign o The Times, released in the most productive period
of Princes career from 1986-7. If you included the lost albums, live and video
material, plus any remixes and B-sides released around the project, it could easily
become a 10 disc set. Of course, in the absence of such a release, fans have inevitably
started to do the job themselves.
Dream Factory opens a unique space for fans to create an album in their own image,
space which is both creative and discursive. Dream Factory (living up to its name) can
be anything you want it to be. You can be a purist, reproducing one or more of the
original Prince track-listings; a completionist, using as many tracks from the era as you
can find; or a personalist, cherry picking your favourite tracks and sculpting the album
which perfectly matches your listening preferences.
All this power puts fans in a position as never before to take the unreleased parts of an
artists back catalogue and mould them into the shapes that each one personally finds
most pleasing. Although sound quality may be far from perfect, fans will overlook this to
enjoy a song they want. If an artist is tardy in supplying fans with the content they desire,
as Prince certainly has been, they now have the tools to step in and do the job themselves.
Fans may well be pointing the way towards future iterations of the album concept, where
the consumer has as much say as the artist in the form an album ultimately takes.
https://www.academia.edu/3251208/Prince_fans_and_destabilized_concepts_of_the_album_in_the_digital_age._Ethnomusicology_in
_the_Digital_Age_BFE_Queens_University_Belfast_2013_
Editors Response It took 20, mate!

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6.
Nov
11
DISC 1 - (December 1985-January 1986)

The final Parade Sessions
DISC 1 - The final Parade Sessions (December 1985-January

1986)
New Eden Prairie
By December 1985, Prince was living in a rented house in Beverly Hills. He had shot
Under the Cherry Moon in France and was working on editing film footage and putting
together the audio track for the film. The Parade album had been completed prior to the
filming, but Prince recorded two songs after returning from France, Mountains and
Anotherloverholenyohead," which he decided to add to the album.
Initial tracking taking place on 30 November, 1985 (on the same day as An Honest
Man), almost seven months after a first sequence of the Parade album was compiled.
Wendy Melvoin and Lisa Coleman composed the music, and brought it to Prince. He
composed the lyrics, but claimed sole credit for the song upon its release.
Mountains is the only song on the album to showcase the larger Revolution band
(featuring Miko Weaver) which would be present on tour in 1986. It is also the earliest
recorded Prince-related track to feature Atlanta Bliss.
"Mountains" is recorded live with the new line-up of the Revolution. Included in the
group, the trumpeter and Eric Leeds friend Matt Blistan participate in the session to pass
the audition. Prince was so pleased with the result that by the end of the session, Blistan
is accepted in the band.
16-12-1985: Parade Sessions @ Sunset Sound
Prince books Sunset Sound from December 16 to January 22, 1986, despite his regular
absence in the studio. He took advantage of this period by recording
Initial tracking took place on 16 December, 1985 at Sunset Sound, Hollywood, CA, USA
(the day before Love On a Blue Train). The extended version of
"Anotherloverholenyohead is basically a continuation of the album track. A horn
arrangement by Eric Leeds and Matt Blistan has been added, and (presumably) Lisa
improvises leisurely on piano over a hard bass-and-drums funk groove. The title phrase,
You need another lover like you need a hole in yo head," is repeated a few times and
Prince adds some lyrics that relate to the dance aspect of the song.
Soon after, he recorded a song called "Dream Factory", which will be the base point for
his next album. He will also record "Eternity" in December
14 to 16-01-1986: Kiss extended Sessions
The extended 12-inch version of "Kiss," recorded at Sunset Sound in January

1986, contains some additional music and lyrics. In keeping with the playful mood of the
song, most of the new lyrics consist of light-hearted nonsensical exclamations. Prince's
sense of humour is also evident in the two-part conversation between an elderly-sounding
couple, Sol (Prince) and Sophie (Jill Jones), who bicker with each other as they watch the
television. She wants him to change the channel, and while it is difficult to understand
what is being said because both of them are speaking at once. However, later on she says,
Oh, my God, isn't that Prince on television. Sol? ls he the strangest-looking thing youve
seen or what!? Sol, don't you touch that channel. Do you value your life? Sit down, Sol!
Labels: DISC 1 - (December 1985-January 1986) The final Parade Sessions studio
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7.
Nov
11
DISC 2 (January 1986) The Flesh
DISC 2 The Flesh (January 1986)

Album details
Intended Release Date:
1986
Label(s):
Paisley Park Records
Studio(s):
Sunset Sound, Hollywood, CA, USA
The Flesh is an unreleased album by The Flesh (essentially made up of Prince and Eric
Leeds, as a precursor to Madhouse, with other musicians on three of the four tracks),
recorded in two sessions, on 26 December, 1985 and 5 January, 1986. The album was
compiled on 22 January, 1986, but was abandoned when Under the Cherry Moon and
other projects demanded Prince's full attention.
The tracks included were all jazz-funk instrumentals, and were mostly improvised during
the sessions. Eric Leeds was featured prominently, and the plan was to not include
mention of Prince's input when the album was planned for release (as was the case with
the later Madhouse albums).
A Couple of Miles was recorded on 26 December, 1985. Tracks from the so-called
"Paisley Jam" session on 28 December may have also been considered for the project,
including High Calonic. Junk Music, Up From Below and Y'All Want Some More?
were recorded on 5 January, 1986, during a seven-hour session that was known by
bandmembers as the "Everybody's Jam" session (which also included Groove In C
Minor, Slow Groove In G Major and Groove In G Flat Minor). U Gotta Shake
Something and Voodoo Who (cover of Jimi Hendrixs Villanova Junction) were
recorded on 30 December.
Track listing LP
Side 1:
1.
Junk Music
Side 2:
1.
Up From Below
2.
Y'All Want Some More?
3.
A Couple Of Miles
Bonus Track #1 - High Calonic [The Flesh Sessions (cleaned)]

Bonus Track #2 - Voodoo Who [The Flesh Sessions (cleaned)]
Bonus Track #3 - U Gotta Shake Something [Ts Outtakes-SaTim]
All songs written by Prince (assumed)

Personnel - Musicians
Prince - drums on Junk Music, Up From Below and Y'All Want Some More?, all
instruments, except where noted, on A Couple Of Miles, U Gotta Shake
Something, High Calonic and Voodoo Who
Eric Leeds - saxophone
Sheila E. - percussion on Junk Music, Up From Below and Y'All Want Some
More? drums on U Gotta Shake Something, High Calonic and Voodoo Who
Jonathan Melvoin - percussion on Junk Music, Up From Below and Y'All Want
Some More?
Lisa Coleman - piano on Junk Music, Up From Below and Y'All Want Some
More?
Wendy Melvoin - guitar on Junk Music, Up From Below and Y'All Want Some
More?
Levi Seacer, Jr. - bass guitar on Junk Music, Up From Below, Y'All Want Some
More? U Gotta Shake Something, High Calonic and Voodoo Who

Labels: DISC 2 (January 1986) The Flesh studio
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8.
Nov
11
DISC 3 - (03 March 1986) Live at 1st

Avenue, Minneapolis [test gig]
DISC 3 - Live at 1st Avenue, Minneapolis (03 March 1986) Test

gig
Source: City Lights (Sabotage #444-449) soundboard
Prince plays a concert at First Avenue in Minneapolis, with the only notice on KMOJ. It
was the debut of the expanded and revamped Prince and The Revolution
line-up: Wendy Melvoin and Miko Weaver (guitars), Brown Mark (bass), Dr. Fink and
Lisa Coleman (keyboard), Eric Leeds (saxophone and flute), Atlanta Bliss (trumpet),
Bobby Z. (drums), Jerome Benton, Greg Brooks, and Wally Safford (dancing and
backing vocals). Susannah Melvoin (backing vocals) also took part in some of the 1986
concerts.
Prince reminded the audience from the outset that it was just a rehearsal. "We've only
been rehearsing for about a week, so we're a little rusty but here it goes." He joked freely
with his band members and the crowd at First Avenue. Prince and the backing singers
lambasted Paul Peterson with a chant of "St. Paul, punk of the month" during "Mutiny."
They also made fun of Morris Day by demonstrating how to make a wooden leg out of
his "Oak Tree" dance. Played as an encore, Anotherloverholenyohead" did not feature
Lisa Coleman's piano solo. A Love Bizarre" was fairly short, emphasizing Eric Leeds'
saxophone playing. More inspired, America" lasted around 15 minutes and featured
lyric quotes from "Holly Rock," Jesse Johnson's "Free World, Morris Day's The Oak
Tree" and "Colour Of Success," and James Brown's 1985 hit Living In America." Prince
also played a drum solo during "America. The concert also included a rare performance
of "Paisley Park", which was dropped from the tour set after this one performance.
In striking contrast to the extravagant rock theatre spectacle of the Purple Rain tour, the
Parade show was stripped-down and props-free, presenting Prince as a consummate
entertainer and bandleader. The show was more light-hearted and down-to earth than any
of Prince's previous tours, emphasising Prince's music and stagecraft, toning down the
guitar hero posturing and rock star leanings of the previous tour. Comparisons were
frequently made with James Brown's soul revues of the '60s and 70s. The critics were
delighted, lauding Prince and the versatility of his band.
The Minneapolis concert became the first of 10 one-off shows in the US. The series of
concerts was dubbed the "Hit & Run" tour by Prince's manager Steve Fargnoli. While
Prince was very pleased with the show and his band, he elected not to take the show on
the road for a full-blown US tour. His decision was influenced by his managers, who
convinced him that another tour so soon after the extensive Purple Rain trek would overexpose him to the audience. The one-off shows sold out quickly despite minimal advance
publicity. Whose house?"
1. Around The World In A Day

2. Christopher Tracys Parade
3. New position
4. I Wonder U
5. Paisley Park
6. Alexa de Paris (aborted)

7. Raspberry Beret
8. Alexa de Paris
9. Controversy
10. Mutiny/Dream Factory
11. Soft & Wet
12. I Wanna Be Your Lover
13. Head
14. Interlude
15. Under the Cherry Moon
16. Pop Life/Frre Jacques
17. Girls & Boys/Holly Rock
18. Life Can Be So Nice
19. Purple Rain
20. Whole Lotta Shakin Goin On
21. Anotherloverholenyohead
22. Mountains
23. A Love Bizarre
24. America
25. Interlude #2
26. Kiss
Review from Prince Off the Record
Parade warm-up at First Avenue

We only been rehearsing about a week, so we a little rusty Prince informs the crowd as
the show starts But here goes. Immediately the sound of Around the World In a Day
can be heard, and Prince starts the gig with an Aawwwhhh as he does so many times.
Around the World In a Day is one of those songs that have seemed to fallen through the
cracks. Its an interesting song, but never seems to quite fit with anything else he has
done before or since. The first half of the song is delicate, but the second half the lights
come up and Prince and the band run through some fairly solid dance moves. Its bit of a
novelty song for me, so I enjoy the performance here.
A shout, and the band switch to Christopher Traceys Parade. A fun song, the audience
and I start to relax more. The mood is pretty light throughout, and Prince ad-libs a nice
little line in the middle with Jimmy Jam, I dont to hear this on your record! The
extended Revolution shows off the new members, especially the horns are much more
prominent. The song ends with Prince moving to the keyboards and jamming for half a
minute. Oh, if only it was longer.
There is no rest as they immediately segue into New Position. My thoughts are already
how well these three songs all work together. Its a nice energy to all three of them, and
they all demonstrate his nice clean sound at this stage. For a band that has supposedly
only been rehearsing for a week, they all sound tight to me. One can only guess that the
week involved some very long days.
I Wonder U slows us all down, and takes us somewhere different again. What a great mix
of styles he had at the time. They play slight faster than I normally hear on record, and it
takes a couple of lines perform Wendys voice warms up and gets stronger.
Another nice moment is between songs when Prince says oh, I like you guys already.
Again he explains they have only been rehearsing a week, and may be rusty. No fear of
that, I assure you, its all sounding great so far.
Next up is the first of many highlights for me, when Prince pulls out his guitar and
delivers up a rarely heard live version of Paisley Park. A favorite of mine on record, live
its something better again. I cant explain what it is about this version that I enjoy, maybe
the rawness of his voice, and the guitar. There is a lyric ad-lib as well, which only adds to
the loose live feel of it. Prince is playing with a big smile, I am sure this comes across in
the audio recording. Price plays a nice guitar break near the end, buts its the sound of all
the instruments working together that I really enjoy. And in a very nice moment Prince
plays the finger cymbals as the song has its long fade out. The fade out goes for quite a
while, and Prince gets up close and personal with some of the audience. I really do love
gigs like this when he is totally relaxed.
Alex de Paris is next, but sadly its just a mistake, with only Wendy playing. Obviously
she has misread the set list. Prince covers with an oh man, you let someone new in the
band and they wanna solo, which seems like a strange comment considering Wendy had
been in the band for almost 3 years by this stage.
A little bit of pop music next as they play Raspberry beret. Usually a crowd sing-along
song this version is refreshing in that Prince himself sings most of it rather than leaving
the crowd to sing it. Energy levels are high, with some choreographed dancing by Prince,
as well as just some joyful jumping around. There is some excellent face pulling by
Prince at the crowd, then some humorous banter between Prince and Jerome- mostly
about wiener size. (Seriously!) There is a final flourish by the band, the finally Wendy
gets her moment with Alex De Paris.
Its worth the wait, she takes centre stage and plays a great version. Although her body
language doesnt show it, she speaks through her music and it sounds quite impassioned.
Again, another gem that should be heard more often. She stalks back and forth across the
stage, and I must admit I watch pretty enrapt as she plays. The Revolution certainly was a
great band.
The pounding beginning of Controversy never fails to excite me, especially when that
killer guitar enters, this time backed by the horn section. The balance is just right here,
with the funk of the original still intact and the horns not overwhelming it. Prince himself
doesnt play guitar on it here, content with dancing and singing, and the energy seems to
pore out of him during this performance.
Get up!, oh yes, this is my moment as Mutiny begins. I have said it before and I will
say it again, this is my favorite part of any Parade show. Prince dances across the stage
back by the dancers, and then hits us for a few lines. There are many elements to this that
I love- his dancing, Eric Leeds playing, the funky guitar line, the driving beat, and the
lyrics. There is a breakdown mid song, I think it sounds good, but somebody has missed a
cue- Prince calls breakdown, then I told you we were rusty. Eric Leeds sax solo is a
absolute joy, especially while Prince and the back up singers have fun with chanting
Paul, punk of the month Prince teases me even further by singing this is what its like
in the dream factory. This performance is stellar, so much happening in it, and its all
played with passion and fire. Prince clearly enjoys this song a lot at this stage, and it gets
played to maximum impact.
I am very surprised to hear Soft and Wet next, although given the variety and quantity of
music Prince has recorded anything could be heard at any time. This one isnt so
choreographed as some of the other songs, and at stages Prince looks like his younger
self, just playing his music and moving how he feels to it. Fink plays a nice solo, and it
feels straight out of 78 again. Its a real contrast to the previous 40 minutes of music.
There is further nostalgia when he follows up by playing I Wanna Be Your Lover. It feels
so simple after some of the more complex music he had been working on at the time, but
doesnt lessen the enjoyment level in the slightest. Its always going to be one of his
catchiest songs, and an essential part to his legend. The song segues in to its funky second
half and Prince tell the crowd We gonna play everything we know tonight There is a
party atmosphere, and I find myself typing faster and faster as I listen to it. The crowd is
clapping and singing and I find it hard to not get caught up in it all myself. Wendy gets a
couple of guitar breaks, and the tone of her guitar sounds nice and sharp.
Of course it moves easily into Head, very seamless. I would say that this sound of Prince
is the sound that made me a fan, and probably introduced me into the world of funk. I
should mention Brown Mark at this stage, his playing here is what I am listening to most
throughout this song. The horns here really strengthen and fill out the sound. The
keyboards are very much still the basis of the song, and this is highlighted by the solo that
Dr Fink plays. Never boring, he delivers every time I hear this song. Prince says dont
play no keyboard unless you do that and I know exactly what he means. Dr Fink puts
everything into it, and its a lot of fun to watch him bobbing and jerking behind the
keyboard. Things take a dark turn after this as it slides into a long dark groove. There is
plenty of Prince interplay with the dancers, as he moves through some of his more corny
dance moves (Oak tree or wooden leg anyone?) Its hard to dislike any of it, as the music
is so strong and carries it.
There is some very funny interplay from Prince and the band between songs, difficult to
transcribe here, but actually very insightful to the band dynamics.
A keyboard is placed centre stage and Prince plays a nice rendition of Under The Cherry
Moon. I am shaking my head at this stage, difficult to believe that just a minute ago we
were getting funked up to Head. Prince plays the song, but there seems to be a lot of
audience talk throughout on the recording, so I am wondering how well its going across
with the crowd. However, 30 years later I think its great.
Pop Life, not only one of my favorites on record, but also a live favorite, here it gets a
full treatment. A very well titled song, its just oozes pop, with just a touch funk
underneath it all to satisfy most fans. Not many songs have a flute solo, but this one does,
and some how Eric Leeds still manages to look cool as ever as he plays it. The bass
playing on this is excellent, I just wish there was more of it. The song has a long
breakdown, with the male dancers singing Pop Life over and over while Prince breaks
into some dancing. Doesnt sound wonderful, but it is enjoyable. Especially when Prince
tells the audience we got plenty of time
Eric Leeds gets further praise from me, as the next song is Girls and Boys. The band is
well and truly in the groove now, and the audience is right behind them. This version is
tight, my only quibble is the guitar isnt in the mix as much as other recordings I have
heard. On the plus side, Princes singing is very strong here, and he does encourage the
crowd to party throughout. The latter part of the song finds me with a big smile on my
face. The band is definitely heating up, and the song starts to take off as it goes along.
Again Prince prowls back and forth across the stage, plenty of audience interaction, and
ad-libs, everyone has their hands in the air by now, and you know he owns them.
Normally I dislike it when Prince tells me how funky he is, but here he is definitely
preaching to the converted, this song is funky as hell. Just when I think it cant get any
better Prince whips off his top, engages in some dancing, then moves to the organ and
begins to jam. By now my greatest wish is that one day he will go back, pull a clean copy
of this video from his vault and release it. The song lasts for a good nine minutes, never
repeats itself, showcases all his styles and talents, and I am breathless by the time it
finishes.
There is no let up as we get Life Can Be So Nice right on top of it. I dont know where
Prince gets his energy from, I feel tired just listening to it. Not just the energy of the song
itself, but also all the stage antics and performance. If anyone ever doubts hes the
greatest ever, just show them this. The show to this point has been truly sublime. The
song ends with the band leaving stage one by one, leaving just Bobby Z and Eric Leeds
playing. It lasts like this for a minute, until even those two leave.
The show to this point has been outstanding, but its about to get even better. The next
song is undoubtedly the most over played of Princes career. When I look at my Prince
recordings I have 100s of versions of Purple Rain. No matter how good the song is, the
fact is I have heard it too many times, and I will quite happily skip it on most recordings.
The version here is the exception to that. The arrangement played at this gig is unlike any
other I have heard, and it is my favorite recording of Princes most famous song.
Purple Rain begins with the simple guitar signature that we are all so familiar with, and
the steady beat. But where it really takes off for me is when Eric Leeds starts playing
saxophone all over the intro. Some people may feel that it shouldnt be messed with, but
for me it adds a whole new element, and in no way at all detracts from the song. Its
another layer to it, and its a very welcome for me. His playing gets more passionate and
feeling as it goes, and it adds another emotional layer to the song. I dont know how
many times it was played like this, but I would love to hear more recordings of this
arrangement.
Princes asks Can I play just a little bit and he himself adds a beautiful little run on the
guitar. Although only 30 seconds, I find myself moved by it, there is a lot of feeling
hanging on those few notes.
By the time he begins singing at the five minute mark I have already had my moneys
worth, and already this is my favorite performance at this gig. Prince sings the verses the
same as we have heard so many times, thats not to say they are bad, but after the first
five minutes I am already floored, nothing else can elevate this song more. The Prince
solo is just as good as any other I have heard, and it deviates just enough to keep me
interested. Actually, it gets better and better and by the end of it I find myself just sitting
there nodding, much like Billy in the Purple Rain movie. This is MY Purple Rain.
Its bit of a let down when they follow up with Whole Lotta Shakin. But to its credit, it is
short, and energetic. Both the piano and horns get moments to shine, and it does lift the
audience after Purple Rain. Hard to imagine anything to follow that, so this seems like
not a bad choice!
Another personal favorite next when the long deep sounds of Eric Leeds sax introduces
Anotherloverholenyohead. Prince immediately starts to gee up he crowd, but if they are
anything like me, there is really no need. Again its hard to believe that this is a new song
for the band. They seem to have it down pretty good, and its another high point in a gig
full of high points. Wendy and Suzanne share a mic for the backing vocals, and Eric and
Atlanta deliver up a couple of nice little runs. The song quickly turns to a jam with the
band playing on while the singers sing You need another lover, like you need a hole in
yo head Its songs like this that I enjoy most, the horns playing over the top of a long
groove. Prince seems in a playful mood, bouncing around the stage and just moving to
the music.
The songs keep on coming, next we have Mountains. Again its lively, with Prince doing
plenty of dancing. Early in his career he wasnt much of a dancer, but by this stage he has
got it done, and he is excellent in this song, and indeed in every song. The horns sound
nice and sharp in this one, and there is a brief moment for Wendy and Miko to play.
Wendy is upfront and prominent for most of the gig, while Miko is fairly anonymous at
the back in the shadows. Its a shame, because his funk playing is excellent. There is a
nice long fade out, and I can hear his playing a little better. Prince ends the song with
finger cymbals, I cant help but smile when I see him play them.
Another favorite of mine from this era follows, with a shout of A, B, A, B, C, D!! A
Love Bizarre almost has me leaping from my seat. Its astonishing how much great music
he was writing at this stage, not only for himself but for everyone. Love Bizarre is a
classic, and the performance here is brilliant, not just the audio, but also the onstage
show. Prince again is all over the stage, dancing and singing. The band doesnt miss a
single note, and the club is partying. Eric solo begins with Prince exclaiming Eric Leeds,
look at his suit! The whole band is bouncing as Eric plays, and it sends my pulse racing.
But the best is yet to come, as Prince plays some mean guitar next. He plays a nice
minute on Love Bizarre, but then continues playing as they move to the main riff of
America.
Its a shame there isnt more performances of this song out there. I love the video
performance of America recorded in Paris, and the America played at this gig is also
outstanding. The Revolution play the hell out of it, and Prince demonstrates that he hasnt
forgotten how to play guitar. This song is so sharp and tight, the band very cohesive and
play furiously. Listening to it, I wish he still played it today, but to be honest, I really
think its The Revolution that elevates this song. Every member gets a moment, and the
pace of it is just relentless. Prince puts down the guitar and dances hard as the band
march on. Its about now that it turns into the jam as you knew it would. With Prince
leading the dancing he also demonstrates his band leader skills, and leads the band
through several changes. Prince sings bits and pieces of several songs, but never for a
moment does the groove let up. Prince further demonstrates his many talents by taking a
turn at the drums later in the song. I am doing it an injustice here, this is one of those ones
you have to hear, or see. Its really something.
There is a brief interlude, where Prince promises that he will come back and build a club
house and they can do this everyday. Its a nice thought, and I am reminded of his song
uptown. With a call of whos house -Prince house the band begin the final song of the
night, Kiss. It feels light, after some of the songs we have heard previously, but its very
enjoyable. I especially enjoy the last portion, after the verses have finished and it just
moves to funky guitar and a beat. There is some more of Prince dancing with his
Wooden Leg (That didnt really catch on, did it?) while the band and audience stick
with him. There is a final chorus and the show ends.
I have many thoughts about this one. It contains many of my favorite songs, and favorite
performances, yet its not often played by me. After listening to it the last few days, this
would be number one on my wish list for a better soundboard recording to suddenly
appear from the vault, or a crystal clear video. In my list of top twenty shows, this
deserves to be somewhere near the top. A lot of new music here, and excellent
performance, and some stellar reworkings of familiar songs, I cant praise this show
enough. The show is 10/10, even if the recording is not.
Thanks for reading, plenty more good shows to listen to in the next few weeks. I have
been avoiding the Purple Rain era so far, but that is going to change soon.
Take care
-Hamish
http://www.princerecordings.com/parade-warm-up-at-first-avenue/

Labels: DISC 3 - (03 March 1986) Live at 1st Avenue Minneapolis [test gig] Live Prince
Off The Record review small club
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9.
Nov
11
Disc 4 - (03 June 1986) Dream Factory

[2nd configuration]
DISC 4 Dream Factory (03 June 1986 - 2nd Configuration)

Album details
Mid 1986
Label(s):
Paisley Park Records / Warner Bros. (assumed)
Studio(s):
Kiowa Trail Home Studio, Chanhassen, MN, USA; Sunset

Sound, Hollywood, CA, USA; Galpin Blvd Home Studio,
Chanhassen, MN, USA; Washington Avenue Warehouse, Eden
Prairie, MN, USA
Dream Factory is an unreleased album by Prince and the Revolution, planned for
release following their third (and ultimately final) album Parade. There are three known
configurations of the album, dated late April, 1986, 3 June, 1986, and 18 July, 1986.
Strange Relationship, Teacher, Teacher and I Could Never Take The Place Of Your Man
were the earliest recordings included on the album, originally recorded in summer, 1982.
Dream Factory was recorded in December, 1985, but Prince hadn't yet decided on the
album, as he was unsure of how he would proceed following Parade, which was not yet
released. By January, 1986, however, Prince proceeded with further work on an album,
recording Last Heart and It's A Wonderful Day.
It was only in mid-March, 1986, however, that he embarked fully on the album, when
Prince started working using a new home studio in his house, known as the Galpin Blvd
Home Studio, Chanhassen, MN, USA. Recorded there from mid-March to mid-April,
1986, were The Ballad Of Dorothy Parker, Power Fantastic, And How, A Place In
Heaven, Movie Star and Witness 4 The Prosecution. And That Says What? was recorded
during the same sessions, but at the Washington Avenue Warehouse, Eden Prairie, MN,
USA. In mid-April, Crystal Ball, Starfish And Coffee, Big Tall Wall and Visions were
recorded.
A tentative configuration of the Dream Factory album was compiled in late April, 1986,
containing eleven tracks. Work continued in early May, however, with the recording of In
A Large Room With No Light and It, and a new double LP configuration containing 19
tracks was compiled, dated 3 June, 1986. The album was mastered in early June, but
Prince still didn't consider it a final version, and continued work on the album. Slow Love
was recorded the following day. By mid-June, Prince was considering working on a
Broadway musical, possibly also called Dream Factory, and it is possible that there was
some overlap between the projects, but the musical was ultimately abandoned.
In early July, 1986, Prince recorded Train for the album, and in mid-July, he recorded
The Cross and Sign O' The Times, and revamped the 1982 track I Could Never Take The
Place Of Your Man to complete the album. The final double LP configuration containing
18 tracks was compiled on 18 July, 1986. When Wendy Melvoin and Lisa Coleman told
Prince they wanted to leave his band in late July, however, the album was abandoned.
Prince instead decided to eliminate most of the Revolution's input on tracks and to
expand on the project by incorporating other tracks recorded later in 1986, resulting in
the three-disc set Crystal Ball (which eventually was pared down to become Prince's next
officially released album, Sign O' The Times). Although many of the tracks were solo
recordings by Prince, several include other members of the Revolution.
Many of the tracks considered for the Dream Factory album have been released in one
form or another. The Ballad Of Dorothy Parker, Strange Relationship, Starfish And
Coffee, It, Slow Love, I Could Never Take The Place Of Your Man, Sign O' The Times
and The Cross were all included on the Sign O' The Times album. Train was released by
Mavis Staples in 1989 on her album Time Waits For No One.
Power Fantastic was released (in edited form) in 1993 on The B-Sides compilation
(included as the third and final disc on The Hits / The B-Sides). Dream Factory, Sexual
Suicide, Last Heart, Movie Star and Crystal Ball were eventually released on the 1998
compilation Crystal Ball. A re-recorded version of In A Large Room With No Light was
streamed online in 2009, but was not officially released. Visions remains unreleased as a
Prince-related track, but was released (now renamed Minneapolis #1) by Wendy & Lisa
in 1990 as the first track on a limited edition bonus CD included with their third album
Eroica. It's A Wonderful Day, Big Tall Wall, And That Says What?, Teacher, Teacher, A
Place In Heaven, Witness 4 The Prosecution and All My Dreams remain unreleased,
however, as do the musical segues Interlude Wendy and Nevaeh Ni Ecalp A.
Nothing is known about packaging for the album, as it is likely this had not yet been
worked on at the time the project was abandoned.
Editor's Note: Decision was made to include the 3 June configuration as reflected more
of The Revolution (ie Wendy and Lisa) input than the July configuration.
3 June, 1986 configuration
Side 1
Visions (1)
Dream Factory
It's A Wonderful Day
The Ballad Of Dorothy Parker
It
Side 2
Strange Relationship (different intro than released)
Teacher, Teacher
Starfish And Coffee (omits alarm clock intro) (2)
Interlude Wendy (3)
In A Large Room With No Light
Nevaeh Ni Ecalp A
Sexual Suicide *
Side 3
Crystal Ball
Power Fantastic
Side 4
Last Heart
Witness 4 The Prosecution
Movie Star
A Place In Heaven
All My Dreams *
All tracks written by Prince, except where noted

1 Written by Lisa Coleman
2 Lyrics written by Prince and Susannah Melvoin
3 Written by Wendy Melvoin
*Written earlier in 1985 but included on album
NB: There are no official credits for this album. Credits below are taken from official
releases and recording information (where known). Credits will be updated if and when
new information becomes available
Prince - all vocals and instruments, except where noted
Lisa Coleman - piano on Visions and Power Fantastic, co-lead vocals and piano on
It's A Wonderful Day (April & June configurations), keyboards on And That Says
What? (assumed) (April configuration), (Fairlight sample) sitar and wooden flute on
Strange Relationship, (Fairlight sample) sitar and vocals on Teacher, Teacher (April
& June configurations), lead vocals on A Place In Heaven and Nevaeh Ni Ecalp A
Final configuration only), background vocals on Sexual Suicide (April & June
configurations)and Crystal Ball, piano and vocals on In A Large Room With No
Light, organ and background vocals on Witness 4 The Prosecution, keyboards and
vocals on All My Dreams, background vocals on Slow Love.
Susannah Melvoin - background vocals on Dream Factory, The Ballad Of Dorothy

Parker, In A Large Room With No Light (June configuration), Crystal Ball, Last
Heart (June & July configurations)and Witness 4 The Prosecution, spoken vocals on
Movie Star (assumed) July configuration)
Wendy Melvoin - co-lead vocals and guitar on It's A Wonderful Day (April & June
configurations), guitar on And That Says What? (April configuration)(assumed) and
Power Fantastic (June configuration), tamborine and congas on Strange Relationship,
vocals on Teacher, Teacher (April & June configurations), background vocals on
Sexual Suicide (April & June configurations), guitar on Interlude Wendy, guitar and
vocals on In A Large Room With No Light (June configuration) , Witness 4 The
Prosecution and Slow Love, guitar (unconfirmed) and vocals on All My Dreams
Bobby Z. - drums on And That Says What? (April configuration)(uncertain

involvement) and Power Fantastic June configuration) (uncertain involvement)
Brown Mark - bass guitar on And That Says What? (April configuration)(uncertain
involvement) and Power Fantastic (June configuration)(uncertain involvement)
Eric Leeds - saxophone or flute on And That Says What? (April configuration)
(specific instrument uncertain), saxophone on Sexual Suicide (April & June
configurations), In A Large Room With No Light (June configurations, Last Heart,
(June & final configurations) Witness 4 The Prosecution, Train and Slow Love, flute
on Power Fantastic (June configuration)
Sheila E. - drums, percussion and vocals on In A Large Room With No Light (June
configuration)
Levi Seacer, Jr. - bass guitar on In A Large Room With No Light (June
configuration)
Atlanta Bliss - trumpet on In A Large Room With No Light (June configuration),

Power Fantastic (June configuration), Train and Slow Love
Norbert Satchell - saxophone on In A Large Room With No Light (June

configuration)
Clare Fischer - string arrangements on Crystal Ball
Unidentified female - spoken vocals on Movie Star
Production
Prince - producer

Editor's Note: Although the below review is of the July 18th configuration, it is still
worthy of inclusion here
Dream Factory
Posted on July 15, 2016
Its early winter morning here. The sun has yet to rise, and outside my window I can see
the sparkle of frost on the lawn by moonlight. All is quiet as I sit here with my cup of tea,
except for the sound of the Dream Factory album playing. Nothing moves and all is still
as I sit here listening to it alone. Prince made a variety of great music over his career,
some was for partying and sharing with others, and some was for private reflective
moments. Then there was the music that he didnt want us to hear at all, the unreleased
tracks, the lost albums. Its entirely appropriate that I sit here now listening to Dream
Factory alone, as that is how I have heard it all my life. It wasnt bumped at the clubs, or
all over the radio, we didnt talk about it at High School, and for most of us we didnt
hear it until much later. It is however one of Princes most important albums, one of his
most creative albums, and one of my favorite albums. No, on second thoughts, it IS my
favorite album.
This year marks the 30th anniversary of Dream factory, and July 18th marks the
anniversary of my personal favorite configuration of the album. There are plenty of
versions floating around, with the June 3rd 1986 being one of the most popular. My
preference for the July 18th configuration comes from the fact that the Pimpsandwich
edition has some beautiful covers that complements it wonderfully, and I feel that this
tracklisting flows better than the one from June 3rd.
Of course Dream Factory was never released, instead being pulled apart and used for
Crystal Ball, before that project too was shelved and out of the ruins we got Sign O The
Times. Many of the tracks on Dream Factory do appear on Sign O The Times, but it
would be a mistake to think of Sign O The Times as being an upgrade of Dream Factory.
Dream Factory works much better than Sign O The Times overall, it has a much more
cohesive sound, and overall consistent vibe to it. A large part of this could be put down to
The Revolution who contribute heavily to Dream Factory, as well as the track listing
itself.
Sign O The Times opens with the title song itself, which adds a seriousness and a weight
to what follows. Dream Factory opens with the much lighter sounding Visions, and it
immediately changes the feel of the album. The Dream Factory is more colourful, more
layered, and having Lisa playing the opening solo piano track announces that this is a
much more collaborative effort. Lisa plays as only Lisa can, layered chords as the other
hand plays a light floating melody, it has an intimate sound, almost as if one has walked
in unannounced on her practicing piano. This feeling of a band effort is reinforced by the
following Dream Factory title song, it is bright and has twists and turns that hold your
attention, and there is no mistaking the outside influences other band members have
brought to the table. The downbeat verses are upstaged by a great chorus where all the
band contribute their different sounds. It works, and it rattles around in my head long
after its finished. Train continues with this sonic assault and cleverness, the music
mimicking a train, something that sounds cool rather than corny. Again, the band is the
thing, and this time the horns add another element to the mix.
There is a jump in sound and style from Parade to Sign O The Times. In Dream Factory
we have the stepping stone between the two, Parade has its fingerprints over several
songs, such as Dream Factory and In All My Dreams, while Sign O The Times looms on
the horizon with the tracks from that album featured here. We get both sides of the same
coin, and the album looks both backward and forwards in its sound and songwriting.
Dream Factory Pimpsandwich
Even songs that we are familiar with from Sign O The Times get a new life in this
context, and surrounded by these Revolution contributions they sound more together and
belonging. Side One and side four are where Dream Factory differs the most from Sign O
The Times, but the songs that fill side two and three still have a sense of belonging and
place. Dorothy Parker and It both seem to shine a little brighter, and with Sign O The
Times buried deeper in the album it loses some of its weight. Strange Relationship gains
a fantastic sitar sounding introduction (courtesy of a Fairlight CMI) which elevates it to
another level and you can again hear the band influence on Prince adding layers to it,
rather than the funk work out that it is at its heart.
Perhaps the most interesting part of the album is the run of Sign O The Times, A Place In
Heaven, Crystal Ball. On paper they look like a desperate mix, but together on album
they are a showcase for the breadth and scope of Princes, and the bands, vision. We have
light and dark in equal measure, and each song acts as a counter balance to the other.
Crystal Ball is the most ambitious of the trio, it has Prince at his most creative stretching
things to the limit, it doesnt always work but today in the early morning it sounds pretty
close to perfect. Its songs like this that show Prince was more than a song and dance man,
he was also an artist and a visionary.
Although side 4 opens with The Cross, it could in some quarters be considered the
weakest side of the album. Its at this stage that the comparisons to Sign O The Times
dont serve Dream factory well. Whereas side four of Sign O The Times featured The
Cross, Its Gonna Be A Beautiful Night and closes with the divine Adore, Dream Factory
closes with The Cross, Last Heart, Witness 4 The Prosecution, Movie Star and All My
Dreams. The Cross is rightly hailed as a classic, and All My Dreams is a fantastic song
that deserves more listens. The intervening songs are all good in their own right, but in
such esteemed company they sound thin. They do have their charms, Last Heart with its
late night pop sound, Witness 4 The Prosecution ticks all the rock boxes and sounds like
something Prince could play in his sleep, and Movie Star is Prince playing with a
knowing wink to us all, the lyrics themselves almost too clever for their own good. All
My Dreams comes from a different place altogether and is in a league of its own. The
vocal arrangements are beautifully textured, and Princes lead vocal sounds black and
white against the music. It at times sounds like the theme song for a TV show, but it takes
on a different tone mid song with some weirdness that adds interest without detracting
from the song. Its fitting that the word Dream should be in the title as it does have a
dream like quality to it, and it summarizes the album nicely with the band contributing ,
and a piano solo that runs through the middle of the song that bookends the opening song
on the album. By the time Prince croons Dont ever lose your dreams a final time it
does feel as if we are coming to the end of a journey with him, and in the case of The
Revolution that is certainly true.
Dream Factory Thunderball
Dream factory is a natural extension of Parade, you can hear where it follows on from
where Parade left off. Much more than that, it is an extension of The Revolution, and not
only are they confident and strong with their contributions, Prince is also much more
accepting and willing to use what they bring to the mix. The Revolution broke up a
couple weeks after this configuration, but this is a fitting memorial to their greatness and
how much a part they were of the Prince legend. 1986 is the greatest year of Princes
career, we have plenty of evidence of that, and the Dream Factory is the key thread that
pulls it all together. To properly understand the relationship between Prince and The
Revolution, and the creativity they had together, you only have to listen to this album.
This is the greatest thing they ever did together, and the pinnacle of their partnership. One
of Princes greatest albums, this would not exist without The Revolution.
The Revolution will be heard!
-Hamish
http://www.princerecordings.com/dream-factory/

Labels: Disc 4 - (03 June 1986) Dream Factory [2nd configuration] studio
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10.
Nov
11
DISC 5 - (06 June 1986) Interview with

Electrifying Mojo
DISC 5 - Interview with Electrifying Mojo (06 June 1986)

Electrifying Mojo Phone Call (WHYT, Detroit)
The most surprising event of the 1986 Detroit concert weekend was Prince's entirely
impromptu on-air conversation with Charles Johnson - also known as the legendary
Detroit disc jockey Electrifying Mojo of WHYT-FM - on the eve of his birthday.
Mojo was perhaps the first air personality in America to play lots of Prince music. After
his party, Prince simply decided to phone MoJo for a quick chat. They talked for about 15
minutes.
He had never offered a live radio interview before. Of the experience, Mojo later said:
"I had no idea he was going to call. I had no list of questions or anything like that. First I
talked to Billy Sparks and he said, 'Hey Mojo! Prince wants to talk to you. You got a
minute?' I said, 'Do I have a minute? Give me a minute to make sure we have a tape on,'
and Prince says, 'Hey Mojo! What's happening? This is Prince.' If I hadn't heard Billy
Sparks' voice prior to that, I may have said, 'Yeah, right.'"
Labels: DISC 5 - (06 June 1986) Interview with Electrifying Mojo interview
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11.
Nov
11
DISC 6 - (07 June 1986) Live at Cobo

Hall, Detroit [Video]
DISC 6 - Live at Cobo Hall, Detroit (07 June 1986) [Video]

Source: UCI VIDEO (Hybrid Europe and Japan films)
Prince spent his 28th birthday weekend treating the fans in Detroit to an inspired two
incredible nights of music and a big birthday bash. Detroit has been a special place for
Prince all along. Motor City was among the first cities to embrace him when he was first
getting his music out. In 1984, Prince tried to pay back those fans by kicking off his
coast-to-coast Purple Rain tour there with a full week of gigs. This year, Prince
celebrated his 28th birthday with special shows at the 4,400-seat Masonic Temple and
12,000-seat Cobo Hall. Princes 1986 tour had not officially started, but these
unannounced warm-up dates were quite the event.
The rowdy and enthusiastic Detroit audience made its presence felt from the beginning,
shouting happy birthday and singing along at Princes urging. Happy birthday,
Prince said to himself before kicking off Raspberry Beret. Controversy started
unusually, with Prince getting the crowd to repeat a line from New Position, do ya, do
ya like a big man should, over the funky rhythm guitar intro. Apart from the usual
Dream Factory lines, Mutiny also included some Holly Rock chants and an
inspired organ solo by Prince, who was clearly enjoying himself a lot on stage. Listen,
this is a very special day, Wendy said, taking the microphone after Mutiny. She led
the crowd in a loud version of Happy Birthday. Then a grinning Prince took the
microphone himself, Does that mean I can come back? Last year we had a party and it
was fun, but it wasnt as fun as this. Detroit is like my hometown, I mean that. I couldve
stayed in Uptown and partied, but I wanted to come down and party with yall.
Head included the Electric Man portion for the 1st time (at least on tape). Prince
addressed the audience again over the Pop Life intro but it is very difcult to hear what
he says on the existing tape recording of the concert (this part was edited out of the TV
film). Life Can Be So Nice had an unusual, very long ending. After slowing down the
tempo, Eric Leeds continued with an extended saxophone solo.
The two Detroit concerts were lmed and an hour-long concert lm was produced,
Parade Live, which was broadcast in several European countries later in 1986. Detroit
News Jim McFarlin thought the birthday show was everything a good party should be:
loose and loud, with the guest of honour proving himself a merry and gracious host,
while Gray Graff of Detroit Free Press described the show as a slick, energetic, tightly
choreographed eighties update of the old Jackie Wilson, James Brown, Ike & Tina
Turner, and Sly and The Family Stone shows. After the previous club and theatre Hit &
Run concerts, the Cobo Arena was the rst show in a larger, arena-sized venue. The
remaining Hit & Run shows all took place in similar Purple Rain-tour-sized arenas.
They sold out nearly as quickly as the smaller venues.
1.
Around
The
World
In
A
Day
2.
Christopher
Tracy's
Parade
3.
Raspberry
Beret
4.
Controversy
Mutiny
(including
Holly
Rock)
5.
Happy
Birthday
6. How Much Is That Doggy In The Window - Lady Cab Driver (instrumental) Automatic
7.
D.MS.R.
8.
9. Soft and Wet
10.
11.
12.
13.
14.
15. Kiss
Head
Pop
Can
Life
Whole
Electric
Be
Lotta
Mountains
Man
Life
So
Nice
Shakin'

Labels: DISC 6 - (07 June 1986) Live at Cobo Hall Detroit [Video] video
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12.
Nov
11
DISC 7 - (Dec 1985-July 1986) Unreleased

1986 Pt 1
DISC 7 - Unreleased 1986 Pt 1 (Dec 1985-July 1986)

Studios: Kiowa Trail Home Studio, Chanhassen, MN, USA; Galpin Blvd Home Studio,
Chanhassen, MN, USA; Washington Avenue Warehouse, Eden Prairie, MN, USA;
Sunset Sound, Hollywood, CA, USA; Ocean Way Recording, Hollywood, CA, USA
Prince - A Place In Heaven #1 (Sung By Prince) 2;49 [FBG 29] (1986-03-26, #2

sung by Lisa and included on June 3, 1986 configuration of Dream Factory)
Prince - Baby Go-Go 4;40 [Eye Records 227-230] (1986-06-12, Demo for Nona
Hendryx)
Prince - Big Tall Wall 5;39 [The Work Enhanced] (1986 mid-April, included on late
April, 1986 configuration of the Dream Factory)
Prince - Big Tall Wall 5;53 [The Work Enhanced] (1986 mid-April, included on a
late April, 1986 configuration of the Dream Factory)
Prince - Can't Stop This Feeling I Got #2 2;09 [FBG 29] (1986-06-17, later rerecorded for Graffiti Bridge)
Prince - Crystal Ball #2 9;51 [Work It 2.0 Updated] (1986-04-17)
Prince - Crystal Ball #3 9;29 [Foefur's Remaster] (1986-04-17, #3 worked on in

November 1986)
Prince - Data Bank #1 7;56 [FBG 29] (1986-06-17, later re-recorded with Morris
Day/The Time)
Prince - Data Bank #2 8;25 [Work It 2.0 Updated] (1986-06-17, later re-recorded
with Morris Day/The Time)
Prince - Dream Factory #1 2;41 [Work It 2.0 Updated] (1985 late December)
Prince - Dream Factory #2 2;38 [PimpSandwich] (1985 late December)
Prince - Eternity #1 3;39 [Work It 2.0 Updated] (1985 late December, offered to
Vanessa Williams, later recorded by Sheena Easton)
Prince - Eternity #2 3;55 [Eye #276] (1985 late December, offered to Vanessa
Williams, later recorded by Sheena Easton)
Prince - Euphoria Highway 2;03 [Work It 2.0] (1986-02-17, for a planned album by
Vanessa Williams)
Prince - Everybody Wants What They Don't Got 2;09 [Silverline 51-52] (1986-0713, it is unknown if this song was intended for Dream Factory or any other project)
Prince - Get On Up 4;32 [Work It 2.0 Updated] (1986-05-03, live in the studio with
Levi on bass, Sheila on drums, Eric and Matt on horns; cover of The Esquires song)
Prince - Girl O' My Dreams #2 1;23 [Work It 2.0 Updated] (1986-06-18, later rerecorded by Levi Seacer Jr. for T.C. Elliss Album)
Prince - Go #2 1;37 [Eye #107-109] (1985 August #1 recorded, #2 worked on in

January 1986)
Prince - Go #3 4;47 [Eye #227-230] (1985 August #1 recorded, #3 worked on in

January 1986)
Prince - I Could Never Take The Place Of Your Man 6;54 [Foefur's Remaster]
(1986-07-16, this longer version was included on 16 July 1986 configuration of
Dream Factory, but not on SOTT)
Prince - It Aint Over Til The Fat Lady Sings [Eye Records 291-294] (1986-07-09,
recorded for unfinished musical)
Prince - Neon Telephone #2 3;53 [Work It 2.0] (1985-07-10, was initially considered
for use on Parade, #2 worked on in January 1986, later recorded by Three O Clock
and released in 1987)
Prince - Others Here With Us 2;43 [4DF #090] (1985-04-20, originally included on 1
May 1985 configuration of Parade, included here as is one of DrJohnnys favourites.)
Prince - Seq1_Girl O' My Dreams #1 1;26 [FBG 29] (1986-06-18, later re-recorded
by Levi Seacer Jr. for T.C. Ellliss Album)
Prince - Seq2_Can't Stop This Feeling I Got #1 2;09 [FBG 29] (1986-06-17, later rerecorded for Graffiti Bridge)
Prince - Seq3_We Can Funk #2 5;30 [FBG 29] (1986-06-17, later re-recorded for
Graffiti Bridge)
Prince - Sign Of The Times #1 3;40 [Work It 2.0 Updated] (1986-07-15, this short
version included on July 18 1986 configuration of Dream Factory, longer version
later on SOTT)
Prince - Sign Of The Times #2 (Instrumental 5;14 [Movie End Credits] (1986-07-15)
Prince - Splash #2 4;00 [ Premium 60-61] (1985-08-01, #2 worked on January 1986

The song was not included in any known configurations of any album)
Prince - Train 4;18 [Foefur's Remaster] (1986-07-09, included on July 18, 1986
configuration of Dream Factory, later re-recorded by Mavis Staples)
Prince - We Can Funk #3 5;28 [Work It 2.0 Updated] (1986-06-17, later re-recorded
for Graffiti Bridge)
Prince - We Can Funk #4 5;53 [Work It 2.0 Updated] (1986-06-17, #4 worked on

July 18, 1986, later re-recorded for Graffiti Bridge)
Prince - Witness 4 The Prosecution #1 3;51 [FBG 29] (1986-03-27, #2 included on

June 3 configuration of Dream Factory)
Prince - Wonderful Ass #2 6;16 [FBG 29] (1986 mid-January) (1986 mid-April, not
known if this song was intended for any project)
Prince - Wonderful Ass #3 10;02 [Work It 2.0 Updated] (1986 mid-April, not known
if this song was intended for any project)
Prince - Wonderful Ass #4 6;18 [Work It 2.0 Updated] (1986 mid-April, not known
if this song was intended for any project)
Prince and Miles Davis - Can I Play With U #1 4;02 [April 2015 Leak] mp3 (198512-26, planned for Miles Davis album Tutu)
Prince and Miles Davis - Can I Play With U #2 6;27 [Eye #227-230] (1985-12-26,
planned for Miles Davis 2001 box set Perfect Way)

Labels: DISC 7 - (Dec 1985-July 1986) Unreleased 1986 Pt 1 studio
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13.
Nov
11
DISC 8 - (22 July 1986) Tour Rehearsal
DISC 8 - Tour Rehearsal (22 July 1986)
Source: Parade Around The World (Sabotage #135=137) soundboard
Presumably in preparation for the upcoming August Hit & Run New York shows (Prince
mentions "New York" at least 3 times during the rehearsal) and the European tour later in
August, this is a very impressive soundboard recording.
The main draw of this rehearsal is an almost 60 minute version of a loose jam with
the repeated phrase of 'Soul Psychodelicide'. Interestingly, Prince also makes a
vague reference to the lyric from 'Joy In Repetition' during the jam, saying "New song,
Soul Psychodelicide - 3 years and 4 months, takes up 2 albums". The track (for want of a
better term) also includes repeated calls from 'Ice Cream Castles' along with a brief chant
of "You got to shake something" and various horn embellishments including the chaotic
"Confusion" horn line which appeared later in the Parade tour and eventually on 'It's
Gonna Be A Beautiful Night' - overall a pretty fascinating loose jam, although the midsection does become a little repetitive.
The remainder of the rehearsal is pretty straightforward Parade show with a slightly
extended instrumental intro to 'Controversy' being the only real exception. The
Revolution are in fine form, and Prince also mentions Susannah being present, although
admittedly it's practically impossible to hear her. Overall a rather interesting rehearsal
centred on an extremely lengthy jam itself containing various points of interest.
1. Around The World In A Day (2:07)

2. Christopher Tracy's Parade (3:03)
3. New Position (2; 09)
4. I Wonder U (3:02)
5. Raspberry Beret (2:44)
6. Delirious (1:07)
7. Controversy (2:36)
8. Mutiny (2:08)
9. Life Can Be So Nice (0:23)

10. Soul Psychodelicide (59:04)
Bonus track #1 - Soul Psychodelicide [Foefur's 20 minutes will do edit]
Bonus track #2 - Prince & The Revolution - America [1986, date location unknown]

Labels: DISC 8 - (22 July 1986) Tour Rehearsal rehearsal
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14.
Nov
11
End of July 1986 - Wendy & Lisa want to

quit The Revolution
Joy In Repetition - Melissa S. Mccracken

http://www.melissasmccracken.com/
End of July 1986 - Wendy & Lisa want to quit The Revolution
In late July, Lisa Coleman and Wendy Melvoin announced to Prince that they wanted to
leave the band. Like so many others who collaborated with Prince, their creativity was
limited, despite significant contributions to his music. Their involvement was obviously
very important, but they still did that "to enliven" Princes ambitions, embellishing his
music more than contributing to the composition of songs. Other concerns have led to
their departure. Wendy was not satisfied by the turbulent relationship between Prince and
Susannah, and she did not appreciate the implication of her sister in the group.
Wendy and Lisa were leaving for Los Angeles when Bobby Z, sent by Prince, caught
them at the MPLS airport. Alan Leeds also came on the scene to negotiate and managed
to convince them to stay in the band. In addition to these problems, bassist Mark Brown
was also frustrated and did not want to start the Parade tour. One reason was his
frustration that he felt sidelined in favor of Wendy. Stevie Nicks offered him $ 3,500 a
week to work with her, but finally he refused the offer and toured with Prince.
From sometime in July - for whatever reasons - Wendy and Lisa were no longer directly
involved in Prince studio recordings.
Labels: Wendy & Lisa want to quit The Revolution
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15.
Nov
11
DISC 9 - (22 August 1986) Live at

Isstadion, Stockholm [video]
DISC 9 - Live at Isstadion, Stockholm (22 August 1986) [video]

Source: UCI
The concert at the 10,000-seat Isstadion in Stockholm was a pretty entertaining show and
Prince appeared to be in a very good mood. "Sweden, are you ready to party?, he asked
before Raspberry Beret." He then proceeded to get the audience to clap their hands in
his own special way. "Here's what we want you to do. Take your right hand, take your
left hand, and beat them like there's no tomorrow!" Alter several minutes of the crowd
chanting do me, baby, all night long on the song of the same name, Prince remarked,
"Alright, now l know you got soul!"
The piano intro to Under The Cherry Moon" was interesting as it sounded as if Prince
was going to play Strange Relationship." "Good God! l didnt know there were so many
people up in here, Prince exclaimed when the house lights were turned on during 17
Days."
A 13-minute version of Head was a denite highlight that included lots of audience
interplay and the Electric Man" portion. After the usual organ solo during the song,
Prince played some nice jazzy guitar. Prince's father, John L. Nelson and Susannah flew
from Minneapolis and were in attendance.

2. Christopher Tracys Parade3:04
3. New Position 2:08
4. I Wonder U 3:05
6. Delirious 1:04
7. Controversy 1:35

9. Do Me, Baby 7:25
10. How Much Is That Doggie In The Window? 0:41
11. Automatic 1:48
12. DMSR 0:42
13. When Doves Cry 4:53
14. Under The Cherry Moon 4:43
16. 17 Days (Incl. I Wanna Be Your Lover) 3:44
17. Head 13:27
18. Pop Life 3:43
19. Girls & Boys 4:21
20. Life Can B So Nice 3:48
21. 1999 4:49
22. Mountains 2:58
23. Kiss 4:21
24. Purple Rain 11:59
Band: Prince (vox, guitar, keyboard, drums), Bobby Z. (drums), Brown Mark (bass,
vox), Wendy Melvoin (guitar, vox, steel drums), Lisa Coleman (keyboards, vox), Dr.
Fink (keyboards), Miko Weaver (guitar), Eric Leeds (saxophone, flute), Atlanta Bliss
(trumpet), Jerome Benton (dance, vox), Wally Safford (dance, vox), Greg Brooks (dance,
vox)
Parade Tour in Sweden

Was there ever a bad show on the Parade tour? Maybe, but this one certainly isnt it.
Today I return to one of my favorite tours- The Parade tour, and take a listen to a
recording from the Swedish concert. This is a fairly well known recording, it is available
in video and audio, and one that I know many people enjoy myself included. My two
go to shows from this tour are the warm up show at First Ave, and the Cobo birthday
show, but this one is a close third place behind those two. So, lets sit back and enjoy
what we have here.
22 August, 1986, Johanneshov, Sweden

The classic Please welcome Prince and The Revolution begins the show, while the
band plays the beginning of Around The World In a Day in darkness. There is plenty to
enjoy in the music at the beginning, lots of different instruments to pick out and enjoy,
and these senses are heightened by the fact the band are playing behind a curtain. I do
like this song a lot, and dont really know what to expect from a live version, and the first
thing that really grabs me is the wonderful sound of Princes voice. It has a well rounded
and warm sound to it, and contrasts nicely to some of the instrumentation in the back
ground. The rest of the band joins and the song starts proper, but after a minute of some
great bass work and fanfares from the band we move into Christopher Traceys Parade.
There is some guitar work in the left at the start of the Christopher Traceys Parade that
seems a little out of place, but overall the sound and the texture of the song is just
wonderful. I especially like the keyboards playing after the first verse. Lisa is playing
some great stuff as well as providing backing vocals to Prince. The second half of the
song the band moves up a gear and Prince takes his first break at the organ. He doesnt
play anything mind-blowing, but the organ adds more warmth and fullness before we
move without pause to the next song.
New Position sounds very full and colorful here in comparison to what we hear on album.
The horns play some nice wiggly lines, and the rest of the band fill out the song much
more. In particular I can hear the guitar much more on this number. The song ends
naturally enough with a flourish from the horns before the tempo changes.
I Wonder U is quite a change from what we have just heard, and the atmosphere of the
recording changes with it. Here its again the keyboards I enjoy most, although the
singing from Wendy is fine enough, its not a showstopper. Atlanta Bliss on the trumpet
though, now that is a nice touch. He plays a break that sounds shaky but is actually very
good. Already its my favorite moment of the first ten minutes of the show.
Prince asks if we are ready to rock and roll before the horns introduce Raspberry Beret
with a flourish. Prince uses the song to encourage the audience to clap their hands and to
sing. He himself sings most of it, which has me a little surprised as I expected he would
leave it mostly to the crowd. The song sounds good enough, but I find that with verses
cut out it does lack the charm of the story telling original. Again Prince teases us with just
a brief moment on the organ, before the song transitions into the next part of the show.
Prince does some cool sounding vocals at the start of Delirious, and then the band joins in
and we go racing off. The vocals at the start are well worth the few seconds they get, I
can imagine him doing more with it like this, especially when he stretches his voice out.
The rest of the song is a fun dance along number, with plenty of time devoted to Prince
and his back up dancers.
The funkometer goes up to ten next as the classic opening riff of Controversy begins.
Always my favorite part of the Parade gigs, this is where the show starts for me. The
song starts with plenty of funky guitar but the keyboard and horns also come in heavy
and its a great funk sound. It could have derailed when Prince goes into his cigarette
smoking routine, but things are saved when the next song starts.
Prince owns Love Bizarre in these live performances. The sound is funk yet still there is
plenty of pop in there. The band and Prince deliver it all with such intensity, not just the
music but also the performance. Wendy and Lisa sound great on the backing vocals, and
the guitar playing is just as good too. There is a keyboard groove that keeps me moving,
and I think groove is the perfect word to describe this song. The guitar and keyboard are
relentless, and the horns add just a splash of color. Eric does get a solo moment, and he
sounds as good as ever. Prince does encourage the crowd with whos house, Wendys
house and I want to sing along here at home. At one point the band drop out leaving just
bass and drums, and I dont need to reiterate, its so funky. Stop on the one has Prince
in band leader mode, but he doesnt play up on it too much, content to just sit back and
let the band play. The song ends with Prince on the drum riser, and I wonder how he can
top that.
Again the tempo drops, and Prince delivers a slow burning classic rendition of Do Me
Baby. As always his vocal delivery is top shelf, but on this recording its the backing
vocals that I notice most. They are right behind him on the chorus and its perfectly
complimentary. Prince Wendy and Lisa really do sound wonderful together, I cant deny.
This is one of the better versions I have heard, Princes vocals are very clean sounding on
the recording, and I can hear every note and inflection in his voice. The horns playing
give the song and extra push near the end, and add to the seductive nature of the song.
When I started writing about this show I didnt expect Do Me Baby to be one of the
highlights, but it is. The end of the song is breathtaking, and I dont say that lightly, as
Prince pulls the band back and sings as the crowd clap along. His lyrics sound excellent,
and he throws in some appropriate screams and yells. He finishes up with the crowd
singing with him. If the show ended right here I would be happy.
I still havent worked out why How Much Is That Doggie is in the set list, but I easily
forgive them when the brief instrumental of Lady Cab Driver is played. Its only seconds
long but its enough to remind me how much I love that song. The band move easily onto
Automatic, which is no bad thing as it also is a favorite of mine from the 1999 album. Its
not as dark as it sounds on album, on this recording its much more of a dance song,
especially with all the horns thrown in, and Prince plays up this aspect for all its worth,
with plenty of dancing throughout.
We stay with 1999 with a short but cool version of DMSR tacked on to the end. Again,
its a medley version, with plenty of horns, so we dont get to enjoy the fullness of it, but
I know that as soon as I finish writing this I will be pulling out the 1999 album.
The simple keyboard riff of When Doves Cry is enough to get the crowd screaming. Its
played true to the album here, if anything its got an even more stripped down sound, the
beat that Prince sings over is very sparse sounding. Part of the beauty of this song is the
sound of Prince voice out alone in front of the music, and it is definitely true in this case.
Its very melancholy sounding, and even when the bass enters that feeling remains with
me. But the best part is definitely Wendys solo. The guitar tone is brilliant, and its got
the sound of a lone instrument. The beat is still barren with just the occasional bass sound
as she plays, and its a great rock moment. The full band enters soon after this point and
the horns are finally heard, and sound oddly out of place on this recording, even thought I
have enjoyed them plenty on other occasions. The coda has the horns playing while
Prince plays at the organ, and I warm to them at this stage, it could well be another song
but the sound is fantastic.
This show gets better and better, I cant believe how much I have gushed over it already,
but still it keeps delivering. Next we have Prince alone at the piano, and instead of
starting straight in on a song we have a couple of minutes of him improvising. Even if he
is just warming up it sounds great, and I could happily listen to it for much longer. He
does start to play Under The Cherry Moon, and I am even happier. Just the sound of his
vocals and the piano are perfect and it seals the deal for me- this show is one of the
greats. Prince and the piano are backed very well by some other keyboard work, but its
never intrusive and Prince still has plenty of time to play his piano parts.
My favorite song from the Parade album is Anotherloverholenyohead, and to hear now
with this band on this tour, well it doesnt get much better. Lisa and Prince sound great, I
was expecting to be writing about Eric Leeds, but its the girls voices that get my
attention first. Eric Leeds and Atlanta Bliss do get their moment later in the song, and as
you might expect they live up to their billing. Everybody seems to chime in for their part
on this song, and Prince introduces Lisa as we get a long break of her piano playing.
There is some great chords, and some fast delicate playing as well, and I cant speak of it
highly enough. In a show packed full of highlights this is yet another one.
17 Days is another song that we need to hear more of. The bass line on this recording is
nice and strong, and the full band makes for a much fuller sound than we hear on record.
Like everything its a compromise, we lose some of the morose feeling of the original,
but there are so much more great things to listen on here. The horns take over as Prince
engages with audience, and throws bundles of flowers to the fans. The groove gets deeper
and darker as the song goes along, and Prince gives us some organ play which fills out
the sound a lot.
I hate rock n roll, who wants some head? and the nasty part of the show begins. Head
has a nice intro, moving from bare rhythm guitar to dirty horn stabs. Head is dirty by
name and dirty by nature. I can hear the guitar lines on this one very well, and they lay a
nice layer over which the horns and keyboard stabs play. Any show that has Head in it
usually has me writing that it was a highlight. I am reluctant to say that, with a show
packed with highlights, but it is the moment when I most wanted to put down my laptop
and enjoy the music. Dr Finks solo sounds great, its a little different sounding than I am
used to but still has me listening intently. The song breaks down to a nice long jam, and
Prince calls for Bobby Z who lays down a nice snare beat. I was waiting for Prince to
take his time and dance for much longer but instead he returns to the organ for another
break before he starts dancing again. Head gets the full treatment, its drawn right out, lots
of audience interplay and Prince playing band leader. He breaks into his electric man
routine as he lies on the floor, which would be great if I hadnt of seen it so much
already. But as he calls for Booby to hit him with the snare Im back on board. The band
is on fire and of the whole show this is the performance I enjoy most from them. There is
a little bit of everything. Prince even picks up a guitar to deliver some suitable dirty
guitar to the proceedings, then walks off the stage as he finishes his guitar break and the
band play us out in darkness.
The tone is lightened again as the band strike up Pop Life. Live it sounds just as joyous as
it does on record, and it starts off with Prince singing Life it aint too funky, life it aint
too funky The rest of the song follows as heard on record, the main difference is that
Princes vocals sound much stronger, and the keyboard riff is more to the fore. It does
have a great live sound, Prince vocals are a little ragged, but it still has that pop. It also
nice to hear Eric Leeds playing the flute solo live, a nice little touch that I didnt expect.
There arent any surprises musically or performance wise in the song, it does exactly
what you would expect from the title. Prince does try for an audience sing along before
the end, but it doesnt really go anywhere and the song ends at this point.
Girls and Boys sounds funky, but lacks the deep funky sound I associate it with. But I am
in no criticizing it, I enjoy this performance a lot. As with the last song, it seems to gain
an extra emphasis from the raggedness in Princes voice. Hes never rough sounding, but
it does sound a little more throaty than earlier in the show. The best part for me is near
the end when Prince lays down his spoken part. It sounds so strong and funky and for me
its a great way to end the song.
The band keep up the pace with a quick segue into Life Can Be So Nice. There is plenty
sound on this, but its kind of hard to pick out all the instrumentation, the mix is such that
at a couple of points there is too much sound to digest. I love it for this, its an ambitious
live song, and once again I find myself in awe of The Revolution. The second half of the
song is where the groove really goes, and as is so often it has that sound that The
Revolution might just play on like this for days. However the song does fade to a halt
with The Revolution singing the main refrain over and over.
1999 sounds so good, it feels that this band could sleep walk through it and it would still
sound great. There is just a touch of horns in it, rather than the full on horn treatment it
receives in later years, and it still has that synthesized 1999 sound. With all the band
members and dancers from the Parade era revolution I wonder how far they will push the
party time coda, but its played straight and doesnt out stay its welcome.
There is a break for perhaps a minute after this. A chance for us to collect our breath
before Mountains begins. Mountains sounds great right from the start, there is nice deep
organ sound that can be heard underneath at the start of the song before Prince starts
singing. The song doesnt deviate too far from the original, but its great to hear it live.
Especially Wendys guitar seems to sound more funky and raw live, an over all more
organic sound. If I had any complaint about this song, it would be that it seemed to go by
in a flash, but every moment was a joy.
The arrangement of Kiss on this recording is also very cool. The main riff is played on
the keyboard, and the guitar only has a very low key presence through the song. The
horns start the solo, and they sound sharp, before Wendy plays her solo, and the guitar
comes to the fore for the rest of the song. As much as I love Wendy, I would have to say
it was the first half of the song I preferred more, the sound of the keyboard playing the
main riff was very cool to my ears. That said, the last 30 seconds with just the bare sound
of Wendys and Mikos guitar has me reconsidering my words. They both have different
sounds, but at the end of this one they sound great together. Its 30 seconds that I could
listen to for hours.
A single spot light on Wendy playing guitar takes us into Purple Rain. The introduction is
very short, Wendy plays the opening chords only once before Prince starts singing
immediately. I have heard plenty of drawn out introductions, so this on is actually a nice
change. Prince doesnt push his vocals too hard, and the keyboards sound way too loud
compared to everything else at least in the first verse, but again its not a bad thing.
Another thing I notice about the mix, the girls voices are very loud and clear. Its a good
thing, I can easily hear how well they work together. There are no surprises in the guitar
solo, but I had a good few minutes playing air guitar along with it, so its just as
enjoyable as any other I have heard. He does play it for all he can, so we do get a nice
long rendition. There seems to be very little crowd singing along with it, but this maybe a
reflection on the recording, rather than the audience at the concert. There is a good 5-6
minutes of guitar to close out the show, and its nice to see him with his guitar again in a
show that seems to have a touch of everything.
I love Parade shows. This one doesnt offer up too much when you see the set list, the set
list is average, but the show is anything but. The performances are what make this one so
good, both musically and visually. Its well worth listening to if you want a reminder of
just how great The Revolution were, they were all outstanding. This one is a great
document of the Parade tour, and is essential for any collection.
Thanks again
Hamish
http://www.princerecordings.com/parade-tour-in-sweden/
Labels: DISC 9 - (22 August 1986) Live at Isstadion Stockholm [video] Prince Off The
Record review video
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16.
Nov
11
DISC 10 - (24 August 1986) Live at Le

New Morning, Paris
DISC 10 - Live at Le New Morning, Paris (24 August 1986)

Source: Burn It Up [Premium 037-038] - Audience Recording (VG-)
Prince played an impromptu set at Le New Morning, a renowned Paris jazz club,
during an off-day from the tour. The 80-minute set featured many songs not played on the
main tour, and although he wasn't too talkative, the show was still great, very loose and
relaxed. Towards the end of the session, John L. Nelson, Prince's father, who had own
in from Minneapolis prior to the Stockholm concert, joined the band onstage to play
some piano.
The opener was l Can't Get Next To You Babe," followed by "Love Or Money," and
Jimi Hendrix's 1967 classic "Red House (complete with the lyrics changed to Purple
House"). The next portion of the gig was exceptional, kicking off with a beautiful
rendition of "An Honest Man" on the piano by Prince and a saxophone solo by Eric
Leeds. Prince increased the tempo gradually at the end, eventually cueing Bobby Z to
bring in the drums.
After a brief jam, he started to sing Strange Relationship" and segued into a few lines of
Last Heart." Interestingly, these are the only known live performances of "An Honest
Man" and "Last Heart." "Head" followed, with a great funky instrumental beginning.
Next up was "Anotherloverholenyohead". Starting with "And now for my next trick, he
started an instrumental jam that included some words from James Brown's "Soul Power".
This was followed by Controversy" (which included a chant from "lt's Gonna Be A
Beautiful Night"), a long jam on "A Love Bizarre," and mostly instrumental versions of
Do Me, Baby, and "17 Days," the former including some incredible sax work by Eric
Leeds. After another instrumental, the unreleased Susannahs Blues, Prince exclaimed,
"l don't know who we are, but we're bad" before exiting the stage.
The Le New Morning gig and the two aftershows in London set a precedent for future
Prince tours, when he has often played spontaneous unannounced club concerts following
the regularly scheduled shows, giving himself a chance to improvise more and play
whatever he wants. The aftershows are typically small affairs, attended by a small group
of hard-core followers and media people. Emphasising Prince's musicianship rather than
his showmanship, these appearances only served to enhance his status as a phenomenal
musician.
1. I Can't Get Next To You

2. Love Or $
3. Red House
4. An Honest Man
5. Strange Relationship
6. Last Heart
7. Head
8. Anotherloverholenyohead
9. Soul Power
10. Controversy
11. A Love Bizarre (including Sex Machine)
12. Jazz Jam
13. Do Me, Baby
14. 17 Days
15. Susannah's Pajamas
Databank wrote about Burn It Up [Premium 037-038]

Firstly I should say that I'm in two minds regarding the quality rating I've given this
release. I've listed it as being a VG audience recording, but it quite easily qualify as VG(slightly below average) due to some distortion throughout. Even with the problems
regarding the quality and the fact this is a below average recording, the content is so
impressive that I can't help but enjoy it. The performance along with the very rare tracks
chosen make it unique and therefore essential.

Le New Morning 1986
How does this sound for a set list?
I Cant Get Next To You
Love Or $
Purple House
An Honest Man
Strange Relationship
Last Heart
Head
Soul Power
Controversy
A Love Bizarre
Jazz Jam
Do Me, Baby
17 Days
Susannahs Pyjamas
Looks great, doesnt it? And played by the Parade era Revolution. Oh, and did I mention
that Princes father plays piano on the jazz jam? Its beginning to look like one of the
greats. Theres just one thing- its not a great recording. In fact its decidedly average-
plenty of distortion through the whole show. So, where do I stand on the quality of the
show versus the quality of the recording? Is the trade-off worth it? For me its a definite
Yes, but this one isnt for the faint of heart.
24 August, 1986 Le New Morning, Paris
Right off, the recording is distorting. The bass has an annoying buzz to it that I just cant
shake. It is an audience recording, and I certainly have heard a lot worse, but the constant
distortion on the bass is a distraction. Prince and the rest of the band can be heard quite
clearly, so its not all bad. The recording begins with the band playing a cover of I Cant
Get Next To You. It has a hypnotic beat and bass line, but I have to listen carefully past
the bass and its buzz to catch the nuances of the song. Prince is sounding relaxed and
playful, and has the crowd with him early on. The verses sound fine with Prince and the
girls backing him, and the choruses has him and the male voices which have a nice strong
sound. Prince calls for Miko to play a lead break, and he plays a break that I really enjoy.
On a better recording I would be raving about this, but it is what it is. Miko always has a
great tone to his guitar, and here its a clean sound which I really like. For I long time I
underestimated Miko, but now I have come to really admire his sound. The song returns
to its steady blues sound, and Prince and the rest of the band blend in well together. I had
expected this song to go on and on, so Im am caught off guard as it finishes at this point.
Or $ next and any reservations I had about the quality of the recording are forgotten.
The band hits their straps on this one, and I get swept up along with it. They settle into
the steady groove, and even with the distortion they sound sharp. There is plenty horns
and sax, and I can hear the crowd cheer, as I am doing here at home. The band sound
tight, and yet Prince and the horns sound nice and loose, and there is an air of anticipation
that is heightened when Prince threatens we about to get funky in here. He is as good as
his word as he unleashes Eric Leeds, and as a lifelong fan of Eric I am deliriously happy.
There is a funky little guitar line too, you have to listen hard to hear it, and it adds a little
more funk to Erics horn. There is very little in the way of singing, just plenty of Eric and
groove. The song ends with the girls giving a sharp love as the crowd shows its
appreciation.
The first live performance of Jimi Hendrixs Red House (appropriately re-titled as
Purple House) follows next as we swing back to the blues. Prince claims the song in
the first line as he sings Theres a Purple house yonder The distortion isnt too bad,
its unfortunate that it does hide some of Princes vocals. The song isnt as guitar
heavy as I thought it may have been, Prince gives the singing plenty of attention
before he begins his guitar playing about mid-song. There is some horn swells which
round out Princes guitar playing, and he doesnt linger too long with his playing. I am
two minds about this, I do love it when he plays, however the song has a nice
balanced sound as its played here, so I am more than happy with what I am
hearing. Again its not stretched out or jammed on, and the band is still pretty uptight.
What attracted me most to this recording is the set list, and what we have next is
another treat with Prince playing An Honest Man. With just him and the piano he
catches just the right side of vulnerable. I love hearing tracks like this, and this one is
made even better by the fact that the distortion is absent now that the bass isnt
playing. Prince gives it some flourishes on the piano, before he calls Eric and the two
of them play together. I close my eyes and enjoy the moment. The recording isnt
perfect, but this is the reason I listen to bootlegs, rare moments that only happen
once. The song ends with Prince crooning and a gentle twinkle on the piano, before
another special moment begins.
Next up is a steady beat that sounds very familiar, yet not quite as I know it. This is
the first airing of one of my most beloved songs Strange Relationship. Its played
slower, and is missing some of the energy of the finished product, and yet is fully
formed pretty much as we know it. The intro is long and elastic, before Prince starts
singing the do do do do lines. Unfortunately the distortion also makes a return, but I
refuse to let that ruin this moment for me. At the slower pace it lacks the funky
dancing vibe, however my head still bobs along with it as it plays. This is very much
a highlight for me, I love hearing this version and the horn lines give it an extra touch
of class. There is a piano break that I am guessing is Prince, and at this pointing I
am cranking the volume way past 11, its just the sort of thing I want to hear, and its
a real treat for me. Prince calls to Miko, but I cant make out what he is saying, and I
dont hear Miko contributing anything sonically either. I give up trying the pick all the
pieces and instead focus on Princes piano and singing, before Eric Leeds plays
again and demands my attention. His solo here adds a lot to the song, and it does
give it a completely different feel. The song stretches out past the seven minute
mark, and Prince begins to sing Last Heart. Oh boy, what a treat this is. The piano is
prominent and after a few lines Prince jams on it some more. As the song ends I am
in heaven, despite the distortion this is amazing to listen to, I dont know why I
havent had this on constant rotation.
Head starts of very quietly and builds to a steady groove. There is no synth early on
as the bass and the guitar build up, the bass bobbing along while the guitar picks out
a string of funky lines. The horns finally hit a stab and the snare cracks as the song
suddenly comes into focus. There is a loud shout from the crowd, especially in my
left ear, which both excites and irritates me. There is an interesting mix on this one,
its normal, bare the guitar which is playing a funky line that is very clear throughout. I
enjoy it in this way, and appreciate the different sound it brings. This is obviously a
favourite with the crowd, there is a lot of yelling and cheering as the song
progresses. Prince asks if the crowd is having a good time as Atlanta Bliss plays a
trumpet break, thus adding a further interesting dimension to the song. The song
takes its usual twists and turns, and its the horns and the piano lines that I get the
most satisfaction from. Prince has the crowd doing soul clap as Bobby puts a harder
beat on it and the piano gets funkier and funkier. The song ends here with a final
horn flourish and an appreciative audience.
The opening sound of Anotherloveholeinyohead has a very thin shaky sound, and
the song really picks up when the band come on board. The distortion is again a
distraction, and I am grateful that I can hear Prince and the band singing loudly
which takes my attention from it. The crowd sings loudly and the funky levels
certainly go up a notch, and thats saying something coming on the heels of Head.
The horn solos punch over the top of the distortion, and I am more pleased as just
after this things briefly quieten and I can for a short time hear the band clearly. The
recording fades out at this point, which is almost a relief after the distortion.
Next we hear Price say and for my next trick as the band strikes up Soul
Power. This band is well suited to this James Brown groove, and the song is led by
the guitar and an organ groove. I love grooving along to it here at home, and I am
dangerously close to getting off my seat and dancing along to it. Its given even more
of a James Brown sound as Eric Leeds puts his trademark horn to it. His playing is
quite frenetic, and its a shame that its kept relatively short. Its not so bad through
as Prince leads the band through some chanting of soul power before
encouraging them to play faster. Later in the song the bass becomes more loose
and wild, and its something I would love to sing the praises of, if not for the distortion
that comes with it. I start to grin as Prince gets the crowd singing oohhhhhhh, shit! I
guess there is still a bit of teenager still in me. Prince plays with the crowd further by
having them bark and meow for the last minute of the song. A lot of fun is had, and
even though not much is happening musically its still good to listen to.
A very Parade era sounding Controversy follows next. There is that great pounding
beat that starts it, while a funky rhythm guitar plays. The horns blast in, and I am
immediately transported back. Prince runs through his lines easily enough, but as
always its the music that I really listening to here. The song is kept short as per the
Parade tour before a natural segue into Love Bizarre.
A, B, A B C D! is followed by a fantastic horn riff and a massive shout from the
crowd. Excitement and energy levels are obviously very high in the room, and this
song goes over very well. The distortion levels also rise, which is disappointing. Its
not too bad in the choruses, but it does ruin the verses somewhat. The horns are
nice and airy, and they come across good in the recording. Princes vocals are deep
in the sound of the song, and I have to listen pretty hard to hear them. There is a
respite from the extra noise when the band drop out as Prince and the ladies sing
Love Bizarre before a glorious sounding Eric Leeds plays with the organ behind
him. Wendy also gets some shine next as Prince sings whose house, Wendys
house over her rhythm. There is a break for Brown Mark to play, unfortunately as
its the bass thats causing the distortion its not an easy listen. The band really
rumble at this point, the bass and the drum hit that beautiful groove and the band all
fall in. This gives Prince a chance to do his best James Brown, and he gives plenty
of screams, before working the band through a series of stops and starts.
When the song ends there is a loud cheer from the crowd, before the recording
takes a sudden cut to the middle of another song. Its listed as Jazzy Jam, and that
is a very apt title. Its only half a minute here, we are obviously only catching the end
of a song, but it is heavy on the sax and trumpet and does indeed have a Jazz
sound to it.
Do Me Baby is far more recognizable, and the arrangement played here is gorgeous.
Prince elects not to sing, instead playing the vocal melody on his guitar. Its just as
good as you might imagine, even with the quality of the recording. The melody is
only the start point as Prince stretches it more and more out, before beginning to
really branch out on the guitar. The horns come in and ground it, and everything
seems to click together just right. There is a break down mid song, when everything
strips back, and its a nice opportunity to catch our breath. The horns again play a
nice fat sound, and fill the song out nicely. I rate this version highly, there is plenty
here that I havent heard before. It not until the six minute mark do we finally hear
Princes voice, as he sings a series of Do me baby, all night long, before again
playing some delicate guitar.
The tempo and mood is again uplifted as the band play 17 Days. Prince plays with
the song a little, calling bass and drums only early on and just letting the rhythm
carry it. A funky guitar is thrown into the mix, and the band play this bare stripped
sound for quite some time. Brown Mark is prominent, the song is grounded on his
bass, and there is also a minute where we get to hear him play with a more loose
sound. Prince does sing, later in the song, and it doesnt sound quite as catchy as it
did on record. He only sings a verse and a chorus before the horns play a delicious
break that leaves me wishing I could have been there. Prince does call out to the
band, again due to the recording I am unable to make out what he says. However
the song does strip back for the guitar, and I love hearing that.
There is one final surprise as Prince calls a change and the band segues into
Susannahs Pyjamas. Its very loose, with Prince chatting to the crowd and
introducing Miko. Its just a gentle riff, and Prince scats a little before the piano plays
a jazzy sounding break. The recording fades here, and leaves me to consider what I
have just heard.
This show is really something. I cant state enough how brilliant the set list is, so
many interesting arrangements and rarities in there. Likewise I cant dismiss the fact
that the recording itself is far from ideal, and something that the average fan would
generally avoid. My overall thoughts are that the good points about this show are so
brilliant that they do overshadow the poor quality recording. In even slightly better
sound this would be one that all Prince fans would be talking about, and even as it is
its still a worthy boot.
Thanks for reading,
Hamish
http://www.princerecordings.com/le-new-morning-1986/

Labels: [video] DISC 10 - (24 August 1986) Live at Le New Morning Paris Live Prince
Off The Record review small club
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17.
Nov
11
DISC 11 - (25th August 1986) Live at Le

Zenith, Paris
DISC 11 - Live at Le Zenith, Paris (25th August 1986)

Source: Parade Around The World (Sabotage #135-137)* + Paris Parade (Optimum) + R
U Ready Paris [Rocks #75]; soundboard (*= stereo soundboard)
This show at the 6.000-seat Le Zenith in Paris was professionally recorded using a
mobile recording truck for possible release as a live album. Prince acknowledged this fact
during the intro of 17 Days, Is everyone having a good time? Im gonna let you in on
a little secret. Were recording live here tonight. In other words, this is a record! The
more noise you make, the more noise we make! Like so many others before and since,
the subsequent project was scrapped in favour of Sign O the Times. Prince often spoke
and thanked the audience in French, to personally connect with them. The D.M.S.R.
lyrics were changed to Dance, Music, Paris, Prince, while he warned in Head, I
hate rocknroll. Mothers, get ready to cover your daughters eyes. Were getting ready
to get down. Aw, put your shirt back on, he half-pleaded later to a female who had
started to disrobe during Girls and Boys. Of course, the most interesting aspect of this
show was the inclusion of Its Gonna Be a Beautiful Night, which Prince and the band
created spontaneously during the sound check for the concert (which was also recorded).
"It's Gonna Be a Beautiful Night" is played as the encore and recording of the
song will be used for the final version available on Sign O The Times. In its final
version, Prince adds new lyrics and new instrumentation. In fact, the only preserved
original lyrics are the lines, "Cant nobody fuck with us" and "Beautiful night, y'all say."
1. Around The World In A Day

2. Christopher Tracy's Parade
3. New Position
4. I Wonder U
5. Raspberry Beret
6. Delirious
7. Controversy
8. A Love Bizarre
9. Do Me, Baby
10. How Much Is That Doggy In The Window?
11. Lady Cab Driver (instrumental) - Automatic 12. D.M.S.R.

13. When Doves Cry
14. Under The Cherry Moon
15 Anotherloverholenyohead
16. 17 Days
17. Head
18. Pop Life
19. Girls and Boys
20. Life Can Be So Nice
21. 1999 [Optimum]
22 Its Gonna Be a Beautiful Night [Rocks]
23 Mountains [Optimum]
24 Kiss [Optimum]
25 Purple Rain [Optimum]
vox)
Le Zenith Paris 1986

After listening to some brilliant shows from the 1990s the last few weeks, today I am
going further back to that year of years, 1986. I have listened to many shows from 1986
already, so you might think there is nothing left to listen to that would be of interest. I
have listened to some fine shows, that is true, but this particular show is of great interest
as it is the live debut of Its Gonna Be A Beautiful Night, and the fact that it was recorded
at this show and with the addition of overdubs is the version we all know so well from
Sign O The Times. I have heard the song hundreds of times on Sign O The Times, and it
gives me a thrill to hear it here in its untouched glory, The Revolution playing at their
best. There is no one recording that does this show justice, so I am going to listen to a
mixture of recordings. Firstly, a nice soundboard that covers 90% of the show, then an
audience recording that covers the rest. In addition, I will also watch an audience video
recording of the show, which doesnt add much as it is quite hard on the eyes, but
nevertheless is still worth seeing at least once, if not for seeing The Revolution chewing
up Its Gonna Be A Beautiful Night.
25th August 1986, Le Zenith Paris
As always the opening of Around The World In A Day starts behind the curtain, but once
that curtain opens Prince and the Revolution are on fire. The first verses calls you in, but
then the music takes off as Prince is revealed and the spot lights hit the stage. Brown
Mark sounds great early on, and his bass has a cool rolling quality to it mid-song.
The horns that herald the beginning of Christopher Traceys Parade sound joyful in the
extreme, and as Prince and Wendy sing there is a lovely summery feel to the show, and
one expects that the whole evening will be an uplifting experience. Its bright and lively
sounding, and I love the drum sound to it. Princes showmanship is excellent with some
leaps and splits right from the start that sets the tone. However, the best moment is when
he jumps behind the organ and starts playing, its so energetic sounding.
New Position stays with this bright sound with Wendy playing the steel drum adding a
new dimension to the live show. The purple Rain shows feel a million miles away as I
watch Prince and the band work the stage, everyone seems to have an extra spring in their
step. Three songs in and I am in love with 1986 all over again.
I Wonder U slows things down, and asides from highlighting Wendy on vocals we also
get some cool sounds from Eric Leeds and Atlanta Bliss, as well as a fantastic guitar
playing in my left ear. I dont even know what to call this music, all I know is how much
I get out of listening to it. For a couple of minutes I dont even mind that Prince isnt on
the stage.
He is well and truly back as a flurry of horns open up Raspberry Beret. This was all over
the radio when I was a younger man, and age has not diminished its freshness to me. It is
one of the great pop songs, and Prince plays it with the spirit and youthfulness it
deserves. Like all the best moments it comes and goes before I know it, but I still enjoy
every fleeting second.
Prince is all over the stage and showboating as they play Delirious and I wonder how can
he have so much energy. The first part of the song was cool, and it looks like Prince is
about to play some organ, but then they swing into my favourite part of the show.
This version of The Revolution sounds great as they play Controversy. With the twin
rhythm guitar of Wendy and Miko they have a wonderful slippery funky sound, one that
resonates in my ears all day long. Controversy is very short, before the segue into Love
Bizarre, and I am perfectly happy with that as I know this medley so well, and it
is usually the part of the show I skip to.
Love Bizarre, right from that first A,B, A, B, C has the funk turned up to eleven. Its in
the sound of the guitars again, and until Eric Leeds appears this is what I listen to most.
Eric Leeds solo is different to how I remember, and infinity enjoyable. However, the best
bit comes next as Wendy and Miko stand back to back funking me up while Prince
encourages the crowd to chant Whos house, Wendys house The song goes off on an
interesting tangent next with a bass heavy groove leading us into Prince and the band
stomping around the stage before, ugh, the wooden leg. Whatever my feelings for the
wooden-leg, the music is everything I could ever want and more, and it takes on a James
Brown edge as the song comes to a close.
I can lean back and relax again as Do Me Baby begins, although it doesnt have the long
beautiful intro that I usually look forward to. The intro is shorter, and Prince is into his
singing right from the start. The music swells and rises behind him, I cant deny it sounds
good, but for me its missing the wow factor that I have heard on other recordings. The
small flourishes from Eric Leeds give it some extra shine, and these moments are a real
high point for me, especially the little pieces I can hear him play as the song quietens.
The last few minutes of the song are what make it for me, some of Princes soft singing as
the music twinkles and sparkles behind him, its divine.
A diversion next as How Much Is That Doggie leads us into the brief lady Cab Driver
which in itself quickly becomes Automatic. Compared to everything else in the show its
stripped back, and that works well for this part of the medley with the sound of the guitar
and bass carrying us along. The rest of the band make themselves heard at the chorus as it
spins off into uncharted territories before settling on DMSR, Wendy and Mikos guitar
sound once again sounding glorious in my ears. Its short lived as we finally get a longer
song.
When Doves Cry gets a bonus point in my book for being longer than the previous
medley, and its played straight without too much extras in the sound. Like the other
performances on the tour, its Wendys solo that gets all my attention and all my praise,
she sounds amazing as her guitar comes hard and clear. As much as I love Princes vocals
and performance, Wendy upstages him and its a wonderful moment. The intensity is
ramped up as Prince climbs atop his piano to encourage audience more, the band
responses with some great intense playing of their own. The last few minutes with Prince
working away at the organ while the band play on is sublime.
We come back to earth as Prince takes his time at the piano to play something a little
more laid back. That something is the heavenly Under The Cherry Moon, a song
completely at odds with all that has come before, and all the more powerful for it. The
playing is lovely as is Princes vocal delivery, this time restrained and beautifully
interweaving with the piano. No words can properly do this moment justice, it has to be
heard and savoir every note.
The sweet music is forgotten in an instant as the band strike up another favourite of mine,
Anotherloverholenyohead. Prince and Wendys vocals are tightly together in this song,
and I am reminded how well they worked together, not just playing but also singing.
Other band members get their moments too, Atlanta Bliss and Eric Leeds play their piece,
before the band begins the long playout with Prince engaging the audience in some calls.
Lisa is superb, her piano playing is light and bright, and adds a sheen to the heavier bass
sound of the song. Its music that I find I have to listen to, you cant let it slide by, and I
find I enjoy every moment of the few minutes Lisa plays.
I had forgotten that 17 Days was coming, and I am oh so pleased to hear it next,
especially as I havent mentioned Brown Mark yet. He is in his element, and his sticky
sounding bass sucks me in. Prince tells the audience that they are recording show, and I
am only too happy to be enjoying the fruits of that thirty years later. The horns and guitar
pick it up and run with it, and it becomes a groove that goes on and on. Prince starts to
chant Head, head and I smile with anticipation.
Nasty Prince is definitely in the house as he tells the mothers in the crowd Cover your
daughters eyes at the beginning of Head. I know we are in for a good one, as there is a
pause before the horns start and the funky guitar plays through. Even when the horns
come in, and keyboard riff plays its still that guitar sound that stays with me. Head plays
for ten minutes and I revel in every note of it, all of it deliciously dirty and funky. Dr
Finks solo is best summed up by Prince himself when he says If you aint gonna do that
to a synthesizer, then dont play one The long burn it up sequence at the end is
intense as Prince hurls his top into the crowd before engaging in some slick dance moves.
Prince writhing on the floor singing electric man as the song sinks even deeper into the
grimy funk is a fitting end. As far as Im concerned it doesnt get any better than this.
A shimmering sound comes like a glimmer of light in the darkness, and when Pop Life
begins its like a door is suddenly opened and the show becomes uplifted and pure again.
The pop of the bass is excellent, as is Princes crisp sounding vocals. Its in complete
contrast to what we have just heard, I can only imagine Prince making such stylistic
changes in concert like this. Pop in sound as well as name, Eric Leeds playing flute is the
icing on top, and we come to a soft ending with the girls singing Pop Life
Girls And Boys has the crowd involved again, with Prince encouraging them to dance as
the intro runs for a couple of wonderful minutes, the guitar, bass, and keyboards all
interweaving and creating a colourful yet funky tapestry. Prince on the organ is the
highlight as the intro plays, and he gives us a good couple of minutes here. The vocals are
simply amazing when Prince singing, the sound quality is just right on his vocals, and I
feel like I am right there when he sings. I know I have been heavy with praise throughout
this recording, and this song too has me floored Eric is wonderful, Wendys vocals
sweet, and the band is beyond words.
Oh Honey, put your shirt back on Prince says as Life Can Be So Nice, and one can
only speculate to what he was seeing from stage. Life Can Be So Nice is full of sound
and the band inject a lot of themselves into it. Bobby Z and Wendy are the heroes for me,
Bobby gets a shout for his break, and Wendys vocals are all over this and heavy in my
left ear. There is an awkward moment on the video when the stage is invaded by an
audience member who knocks Prince over, but he recovers quickly and carries on very
professionally.
1999 is nice, in that its a beautiful sounding recording, and the band play it for the most
part straight. The horns are an addition to what is heard on album, but they arent over
bearing and add just enough colour. The guitar and vocals are very faithful to the album,
and they are what I enjoy most in the performance. The Mommy, why does everybody
have a bomb is playful and a nice way to finish the main show before we fade to
darkness.
Now comes the moment I have been waiting for, the genesis of Its Gonna Be A
Beautiful Night. The single drum that begins is so familiar, yet also new and I know what
is coming next as the horns play their refrain and the ow, wee ow chant begins. I dont
know what I was expecting, but for the most part it does sound like it does on record. We
do get Prince playing his organ which is cool, as is seeing Wendy play that guitar riff
while stomping at the front of the stage. I greatly enjoy Brown Marks playing, as well as
Eric Leeds, but I think the real highlight is watching the video and seeing The Revolution
at their very best creating something that we will listen to for the next thirty years. The
rap is missing, and instead we get some wonderful bass, and a lot of crowd singing- in
some ways I prefer it like this, it feels so real and natural. Confusion and a final horn
blast closes out what has been a wonderful ten minutes of my life.
Mountains comes on so quick, its like a breath of fresh air. The band look and sound
incredibly relaxed, and in particular I get a laugh when Prince rolls around on the piano.
The coda is when things become more intense and when it finishes it seems the song has
gone by in a blink of the eye.
Kiss has Prince stalking the front of the stage, shirt off and looking every inch the rock
star. The song is tight, and there arent any real flourishes added to it. Of course we get
Prince dancing the wooden leg, but on the recording its Wendy who is the star for me,
her solo isnt out of the box but it is excellent. Its her guitar alone in the final moments
of the song too, and its a fitting end before one final encore.
That encore is of course Purple Rain, and I am very happy to say that although the
recording of it isnt great, the song itself is just swell. A short intro before Prince starts
singing, and the crowd is very vocal as he reaches the chorus. He sings it all the way, and
we get every verse before the sweeping, epic guitar solo. It builds up well, and the notes
come furiously fast right before the crowds ooww oh ooowww, and he keeps on
playing as they sing. The songs ends not long after this, but we do have a couple of
minutes of the strings to cushion our fall back to earth.
Over the last few years I have run out of words for the shows from the Parade Tour. This
one is yet another fantastic one in the canon of shows from that year, and to see Its
Gonna Be A Beautiful Night brought to life right on the spot was beyond words. There
was something magical in the air that night, and all these recordings catch some of that in
one way or another. None of them are perfect but I am pleased we have some sort of
record from that night. Heres hoping in future something better will surface that can
truly do this show justice.
Thanks again,
Hard to think of what would top that show, but Im sure by next week Ill have something
new to listen to and talk about

Take care
Hamish
Labels: DISC 11 - (25th August 1986) Live at Le Zenith Paris Live
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18.
Nov
11
DISC 12 - (09 September 1986) Live at

Yokohama Arena, Yokohama
DISC 12 - Live at Yokohama Arena, Yokohama (09 September

1986)
Source: Septembre [Papercorn] - Audience Recording (EX-)
The final show of the Parade tour, as well as Prince's last performance with The
Revolution was in Yokohama Arena, Yokohama, Japan. The show itself contains
some very unusual and unique moments. Previewing his next release, a few lyrics from
Hot Thing, recorded in August 1986, were added to the seduction portion of Head,"
"Black-haired beauty, gonna take you home, Black-haired beauty I could read you poetry
and we could make a story of our own." The undoubted show highlights include a very
lengthy piano segment with rare performances of 'Do U Lie?', 'The Ladder' and
'Condition Of The Heart'. 'Sometimes It Snows In April' is also given an airing, and ends
on a rather emotional note with Prince thanking Wendy & Lisa.
The show closed with a very long and emotional rendition of Purple Rain." After
completing his guitar solo, Prince removed the white cloud guitar and threw it to the
stage. The show ends as the last ever time Prince would perform with The Revolution the 'end of an era'.
WENDY MELVOIN: Onstage, he broke his "Purple Rain" guitar intentionally. Me and
Lisa looked at each other and went, "It's over." He disappeared. Then we got a phone
call to meet him at this house he'd rented in Beverly Hills - which ended up being the
house that the Menendez brothers killed their folks in. We had dinner, and he said: "I
can't expect you guys to go where I'm going to go next. I think we've gone as far as we
can go. I've got to let you go." The two of us were like, "What?" He called Bobby Z that
night, too. We were all completely spun out. We thought we'd be around a lot longer. We
were ready to be there.
MATT FINK: He came to me that same day and said, "I'm not going to fire you. You
have a choice to leave or stay, and I'd understand if you didn't want to stay." It was a
really, really difficult moment for me. I thought, "OK, if I quit, what do I do?" I decided
to keep my job.
vox)
1-1
Around The World In A Day 2:06
1-2
Christopher Tracy's Parade
1-3
New Position 2:04
1-4
I Wonder U
1-5
Raspberry Beret
1-6
Delirious
1-7
It's Gonna Be A Beautiful Night
1-8
Controversy
1-9
A Love Bizarre -featuring Sheila E 7:29
1-10
Do Me, Baby 5:56
1-11
How Much is Doggy in Window? 0:38
1-12
Automatic
1:47
1-13
D.M.S.R.
0:32
1-14
When Doves Cry
5:12
1-15
Little Red Corvette
1:00
1-16
Do U Lie?
2:59
3:14
1:51
1:13
0:47
0:51
0:58
1-17
The Ladder
2:31
1-18
Condition Of The Heart
1:46
1-19
Under The Cherry Moon
3:11
1-20
7:14
2-1
Love Or Money
2-2
Head 10:42
2-3
Pop Life
2-4
Girls & Boys 3:47
2-5
Life Can Be So Nice 3:36
2-6
1999
2-7
America
2-8
Kiss
2-9
Sometimes It Snows In April 4:13
2-10
Purple Rain
4:37
4:30
4:42
6:50
3:55
10:01
Yokohama 9 September 1986- End of The Revolution

This week I am listening to one of the most important Prince bootlegs in circulation, the
final show of the Parade tour that serves as the final performance of Prince and The
Revolution. For historical significance alone it is a stand out, and the moment is well
served with a performance and recording to match. People often deride audience
recordings, but when done well they are a joy to listen to as in this case. The recording is
surprisingly good for an audience recording, and the concert, although at Yokohama
Stadium, has a small and warm sound perfect for a moment like this. The recording has
plenty to recommend it, and when we factor in the historical context, well then it
becomes absolutely essential.
9th September 1986, Yokohama Japan
The couple of minutes of audience noise beforehand is a nice touch in my book, it adds to
that sense of anticipation and expectation. There is some chat, a couple of cheers and if
you close your eyes you can just about picture yourself there. With the benefit of
hindsight, its difficult not to read too much into what is happening, and when the
announcer introduces the band I hear some melancholy in his voice, or like I say I am
projecting my own sense of history onto the moment. Once again Around The World In
A Day is a great introduction for the band, with the horns making themselves heard early
on, along with the fantastic Brown Mark bumping and buzzing along the bottom. He has
a beautiful fat sound to his playing and I am very happy to say it comes over well on the
recording.
I can hear Prince and the band well as Christopher Traceys Parade begins, although at
first the girls voices arent heard well, they do however come further forward as the song
goes, and its one of those moments when you can hear them singing with Prince.
Prince does call Tokyo!, which has me scratching my head- I am prepared to give him
a pass though, Yokohama is closer to Tokyo than Narita airport, and is only 40 minutes
from Tokyo centre. And it is the end of the tour, so we can forgive technicalities.
New Position sounds unbelievably smooth and easy, and is testament to how tight
the band were at this stage, there is a lot of new sounds and instruments in the mix, and
somehow they weld it all together and make it work. The horns are the what you hear
most, but for me there is just enough rhythm guitar in there to get my blood flowing.
There is a particularly psychedelic and alluring sound to I Wonder U, the flute giving it a
floating quality that is offset by Wendys guitar. The band knit it together wonderfully,
and as I said at the Paris show a few weeks ago it doesnt matter that Prince isnt there,
this band and this music is strong enough to stand on its own without his powerful stage
presence.
The next few songs come in a flurry of sound and excitement. Raspberry Beret is first out
of the gate, as always its a crowd pleasing singalong, although to be fair on this occasion
the crowd is fairly muted. On a more positive note I find Brown Marks bass again firmly
in my ears and that is never a bad thing. The energy levels are kept high as it only runs
for a couple of minutes before an equally quick run though Delirious, complete with a
1,2,3 count off in Japanese. It comes and goes in a blink of an eye before we get a quick
snippet of the oww wee oww the segues into Controversy.
Controversy is just fine, my only complaint being the briefness of it, but that is amply
compensated when the count of A,B, A, B ,C comes and Prince is joined on stage by
Shelia E.
This is the first of those magical concert moments that I look for, and as Prince and
Shelia vocals playful dance around each other I am in fanboy heaven. Shelia sounds cool,
Wendy and Brown Mark sound even better, and for a long time I just sit back and listen
to them respectively. The break down with the vocals is sublime, and the recording is
good enough that I can pick out each persons voice and identify them. Eric Leeds
sprinkles his magic dust over the performance with a solo that lives up to the high
standards he sets show after show. The funk just gets stronger from here on in, firstly in
Wendys playing, then in Prince and the bands scat and a capella performance. When the
music comes back its with all the intensity you might expect and wave after wave of
horn blasts and calls of Ice Cream! carry me to unexpected heights.
Even though I am funk heaven at this stage, I am more than happy as the sultry sound of
Do Me Baby begins. The bass has a great pop to it as the horns add a touch of sass to the
intro. All this becomes irrelevant however as Prince sings, and listening to the lyrics and
his delivery becomes and experience in itself. As the music rocks back and forth Prince
croons and emotes as he has never emoted and crooned before, and I am sold on it.
Maybe I feel like this for every live performance of this song, but tonight it smacks me
right between the eyes and I am dangerously close to switching off the computer, going
into the other room and sweeping my girl off her feet. And at the end of the day there is
no higher recommendation of a slow jam song than that, its sublime through and
through.
Next up is the trifecta of How Much Is That Doggie In The Window, Automatic and
D.M.S.R. I would have liked to hear more of them, asides from How Much Is That
Doggie, and its a giant tease from Prince to have two killer tracks from 1999 to be
relegated to a two-minute medley like this. As you know I like to look on the positive
side of things, so I give thanks that they are in the setlist at all.
A
The ship rights itself as When Doves Cry plays, and the opening keyboard riff still gives
me chills even after all these years. It has a clinical delivery as it should, and over the
cool electronic music Prince sings dispassionately which only heightens the sense of
loneliness I feel when I listen to this song. Its a cold world indeed, and its only in the
Princes singing of the chorus do we feel the humanity and hurt. I have covered a few
different shows from 1986 now, and I always speak highly of Wendys solo during this
song. Today is no different, and even though the recording neuters her sound a little I still
get a thrill from her playing.
Little Red Corvette has Prince alone at the piano, and is an emotional highlight. I want to
write that it tugs at the heart strings, but I know the following few songs are going to top
it in the emotional stakes, so I enjoy I enjoy it for what it is, a nice soft rendition of one of
his classic songs.
The band joins in for Do U Lie, and it has a swing and sway to it, its got a lovely lilt and
sounds like it has come from a completely different concert. I dont have too long to
wallow in it as Prince moves on, but it is another cool moment.
The Ladder is one of the songs I have been waiting to hear, and Prince doesnt disappoint
in the slightest. The Ladder has the obligatory piano, but also a lot more. One of the
things that strikes me most is the backing singers, and the way that the horns lift the song
to the heavens. For a stadium show its wonderful how Prince makes it feel like hes
singing in the living room, theres a lively intimacy in the recording and a classy touch by
Prince at the end thanking the audience in Japanese.
Prince is alone again for Condition Of The Heart, and at this point it becomes very
difficult for me to write objectively as this song has a special place in my heart. Prince
delivers a performance that does the song credit and although short it gives me everything
I could ever want.
Under The Cherry Moon is breath-taking, and has some wonderful flourishes on the
piano that give it that little bit extra. As much as I like Princes vocals, I find I tune out as
I instead concentrate on the music. The music has a magical quality that is rarely heard,
and as he Prince plays piano I sit mesmerized here at home, this is definitely a show for
the ages.
The band and the funk returns with Anotherloverholenyohead. This show has been
phenomenal thus far, and Anotherloverholenyohead maintains this high standard. It
returns us to the heavier sound of the band, and the darker sound as Prince starts his
Another lover talk midsong. The piano and the horns via for my attention, and for me
its the piano that nails it, I dont write about Lisa enough in this blog, but she is a
treasure. She sounds magnificent as she plays her piece, and it is distinctly- and uniquely,
her. And even better, she gets a good few minutes to play so there is plenty of time for
me to lean back and swim in the music flowing from her fingers.
Or $, now I didnt expect that. Eric puts his mark on this one, but its again a complete
band performance and I cant single anyone out for praise, they all sound great singly and
as a group. From here on in the show becomes much more intense and focused, all
medleys are dispensed with and we get some proper, heavy funk. Keeping with this
direction the band funk up Or $ before turning their sights on Head.
I have always liked the slippery guitar sound in Head, in this case it has a sharper sound
but nonetheless is still funky as all hell. There is some fun as Prince toys with the crowd,
but the whole time its that guitar I am listening to, at least until Matt Fink sets things on
fire with his synth solo. Electric Man gets an outing, with Prince surprisingly throwing
some lyrics from Hot Thing, recorded barely a month previous. As Prince squeals and
squirms I wish I could be there to see a performance that sounds electrifying. The guitar
sounds ominous as the music rises near the end, and I find myself enjoying this just as
much as Princes vocal performance.
Pop Life banishes the darkness of Head in the opening moments as, after a twinkling
opening, it bursts out of the speakers at me. For all the melody of it, I find its Brown
Mark I listen to most, his bass adds an infectious bounce to the proceedings. Again Eric
Leeds flute lends a different sound to the concert and with some beautiful backing vocals,
the song stands up to repeated listens.
Prince sings Do you want to dance with me as Girls And Boys begins, much to the
delight of the audience. Eric has traded his flute for the sax and adds the deep honk that I
adore so much. Prince seems to get a second burst of energy around this point and I swear
you can hear him singing and performing harder. He gives way to Eric and his solo and
its about now that I sit up and take notice of Wendy and Lisas singing- soft yet
beautiful.
The first minute of Life Can Be So Nice seems to come fast, and its at the chorus that I
catch up and begin to get into it. Its a game as Prince and the band play the crowded
versus before pulling back for the chorus. Bobby Z does his thing, and he sounds great
against the rhythm guitar. There seems to be a lot going on in my ears, and I have to
listen closely to make sure I dont miss a thing. The final fade out is my favourite part,
not because its ending, but the way the band peels out and I can hear each of them.
I am feeling jaded as 1999 plays, the song sounds fine, but is already dated against the
colourful parade of music that Prince has played this evening. I do hear the crowd
enjoying it, and there is some singing, so the song certainly has its place in the setlist
despite my own personal tastes. It goes out with a bang as the horns and the rest of the
band tear through the last minute, and the main show ends on a high.
There is an underwater sound as America starts, and I am my expectations are sky-high
in anticipation as there is the dual guitar attack of Wendy and Miko getting all funky for
the first few minutes. Prince joins the fray with his vocals and there is a fire to the
performance that I feel the recording doesnt quite capture. Eric is great, and Atlanta is
even better as his trumpet scorches through the song as he plays. A lead guitar appears
and the song is smoking hot by this stage. Its almost unfair that Prince has Wendy, Miko
and Eric on his team funking up the stage, as the solid bass of Brown Mark keeps us
firmly on the dance floor. I was hoping for 20 minutes of this, but realistically the seven
minutes we do get is amble, as I am sure those in the building had danced themselves into
a frenzy in that time.
Kiss is nicely balanced, and I like that it has a stripped back sound with Prince and
Wendys guitar taking the lead roles, nothing else bolted on or tampered with. The lyrics
sound a shade downbeat, I kind of like it that way, and the crowd come to the party with
their boisterous Kiss! The ending is nice, with Prince thanking the crowd and a bare
guitar playing for the last few moments that wraps it up in a bow before the next encore.
What comes next is, for me, the emotional and musical highlight of the show, a gut
wrenching rendition of Sometimes It Snows In April. The opening with Wendy and Lisa
playing is simply stunning, the delicate guitar sound and piano dancing a beautiful dance
together, this is a special moment worth listening to again and again. As Prince sings
things become even more emotional and his voice has a melancholy tone to it, and I think
it is real rather than the performance. The three voices come together for the final lines
and its hard to not think about the times these three had together. Prince ends the song
thanking Wendy and Lisa, and thirty years on it sounds like a full stop.
Purple Rain rises and falls as does the lump in my throat as I listen to it. Its plays as it
does every time I hear it, a beautiful song that sounds so big and threatens to overwhelm
all that has come before it. The guitars are warm, the piano clean, and Princes vocals
heavy with emotion. The guitar solo starts with a quiver and a shake, before it becomes
the howl we know so well. Having seen the video, I know how hard Prince was playing,
and you can feel that on the recordings, he is pouring everything into to the guitar with a
long sustained howl that ends with him throwing it to the floor before strapping on
another guitar and giving us more of the same, before that too is thrown to the floor. As
the crowd sing their part we do have half a minute of Prince playing the organ, and that is
a real treat, its not high in the mix, but you can clearly hear it and it gives the song a
final push before Prince thanks the crowd and leaves the stage, leaving the keyboards to
play us out for the final minute.
As I have said throughout, it is impossible to divorce this recording from the context
surrounding it, as great as the show and recording is, the historical significance of the
moment looms large over it. I have heard people say that they cry listening to this, and I
thought I was too far removed to have such feelings, but I must admit the last 15 minutes
listening tonight I did have a tear in my eye. Having heard a fair number of fantastic
recordings of The Revolution the last few years I found myself 30 years on listening to
this thinking why?, they were beyond compare and seemed to still have more to give.
There are many words that spring to mind when considering this recording essential,
historical and emotional are at the front of the list. There is no two ways about it, this
recording demands you listen to it. A fitting send off for The Revolution, this bootleg
delivers on all counts and is an essential keystone of any collection.
Thanks for reading, I urge you to dig this one out and take a listen, celebrate The
Revolution 30 years on, they were every bit as good as you remember.
Take care
Hamish

Labels: DISC 12 - (09 September 1986) Live at Yokohama Arena Live
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19.
Nov
11
DISC 13 (September 1986) Sheila E

sessions
DISC 13 Sheila E sessions (September 1986)
Album details
Released:
Length:
Label(s):
19 February, 1987
40:55
Paisley Park Records / Warner Bros.
Studio(s):
Galpin Blvd Home Studio, Chanhassen, MN, USA; Sunset Sound,
Hollywood, CA, USA
Sheila E. is the third album by Sheila E., and her last until 2013's Icon to feature
Princes input. Five of the ten tracks were co-written by Prince (although credited only to
Sheila E.), and feature his input musically. The album was released worldwide in
February, 1987.
The album produced three singles; Love on a Blue Train was released in Japan only in
1986, initially to tie-in to an EP release, The Glamorous Club EP. The first worldwide
released as Hold Me (which preceded the album), followed by Koo Koo.
Sheila E. did not tour to promote the album, instead playing drums on Prince's Sign O'
The Times Tour, which began shortly after the album's release, and, other than a video
for Koo Koo, she did not promote the album much. Perhaps as a result, the album
reached only number 56 on the US Billboard Top Pop Album Chart, and number 24 on
the Billboard Top Black Albums Chart.
The tracks containing Princes input were recorded between December, 1985 and
September, 1986. Love on a Blue Train was recorded on November 30, 1985, at Sunset
Sound, Hollywood, CA, USA, with Boy's Club following in March, 1986, and Pride and
the Passion following in May. One Day (I'm Gonna Make You Mine) and Koo Koo were
recorded in September, 1986, at Prince's Galpin Blvd Home Studio, Chanhassen, MN,
USA.
Prince also offered the song Love and Sex for the album, but it was not included on the
final release.
Track listing
The compact disc version was released at same time as the LP.
Details given for Prince-related tracks only:
Side 1:
One Day (I'm Gonna Make You Mine) (4:47)1
Wednesday Like A River
Hold Me
Faded Photographs
Koo Koo (3:24)1
Side 2:
Pride and The Passion (4:05)1
Boy's Club (3:56)1
Soul Salsa
Hon E Man
Love on A Blue Train (5:33)1
1 Written by Prince and Sheila E.

Koo Koo (Remix) (5:10) [Fun With Vinyl]
Love On A Blue Train (Full Version) (7:35) [Japanese EP]
Sheila E. - all lead vocals, percussion
Prince - all instruments, except where noted (uncredited)
Eric Leeds - saxophone on One Day (I'm Gonna Make You Mine), Pride And The
Passion and Love On A Blue Train
Atlanta Bliss - trumpet on One Day (I'm Gonna Make You Mine), Pride And The
Passion and Love On A Blue Train
Juan Escovedo - percussion on One Day (I'm Gonna Make You Mine); percussion on
Love On A Blue Train (credited, but involvement is unlikely)
Peter Michael Escovedo - percussion and vocals on Boy's Club
Norbert Stachel - saxophone on Koo Koo (credited, but involvement is unlikely),

Pride And The Passion and Love On A Blue Train
Levi Seacer, Jr. - bass guitar, organ, guitar, vocals (credited, but involvement is
likely limited to backing vocals)
Raphael Wiggins - bass guitar and vocals on Koo Koo and Love On A Blue Train
(credited, but involvement is likely limited to backing vocals)
Boni Boyer - keyboards and vocals on One Day (I'm Gonna Make You Mine), Koo
Koo and Love On A Blue Train (credited, but involvement is likely limited to
backing vocals)
Carl Wheeler - keyboards and vocals on Koo Koo and Love On A Blue Train
(credited, but involvement is likely limited to backing vocals)
Production
Prince - producer, arranger (credited to Sheila E.)

David Z. - co-producer
Coke Johnson - engineer
David Leonard - engineer
Peggy McCreary - engineer
Chris Bellman - mastering
Labels: DISC 13 (September 1986) Sheila E sessions studio
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20.
Nov
11
DISC 14 - (October 1986) Madhouse 8
DISC 14 - Madhouse 8 (October 1986)

Album details
Released:
21 January, 1987
Length:
38:30
Label(s):
Studio(s):
Galpin Blvd Home Studio, Chanhassen, MN, USA
8 is the first studio album by Madhouse, and was released in January, 1987. All eight
tracks were written or co-written by Prince, and all contain him playing most instruments,
with Eric Leeds playing saxophone and flute. All tracks are given written numerical
names, from One to Eight, while the album is named numerically. The album is the first
instrumental album released by Prince under any name.
The album's credits state that the album was recorded at "Madhouse Studios", Pittsburgh,
PA, USA (to go along with the pretence that this was a project Eric Leeds recorded with
his previous band), but in fact the whole album was recorded over the course of four days
(28 September - 1 October, 1986) at Prince's Galpin Blvd Home Studio, Chanhassen,
MN, USA.
The album produced one single, 6; it album reached only number 107 on the Billboard
Top Pop Albums Chart, and number 25 on the Billboard Top Black Albums Chart.
Track listing
The compact disc version was released at same time as the LP.
Side 1:
One (7:18)
Two (5:29)
Three (3:16)
Four (2:24)
Five (1:18)
Side 2:
Six (4:28)
Seven (4:09)
Eight (10:06)
All tracks written by Prince (credited as Madhouse)

Six (End Of The World Mix) 12 Inch (6:16)
Six and a Half -B side (2:35)
Eric Leeds tenor saxophone, baritone saxophone, flute
Prince all other instruments, except where noted (uncredited)
Unidentified vocalists - telephone conversation on Five
Credited but don't appear on the recording
Dr. Fink - credited for keyboards
Levi Seacer, Jr. - credited for bass guitar
John Lewis - credited for drums
Production
Prince - producer (credited as Madhouse)
Susan Rogers - engineer
Bernie Grundman - mastering
Maneca Lightner - "Madhouse cover girl"
Laura LiPuma - art direction / design
Richard Litt - photography
Rosha - hair, make-up
Lisa Elliott - wardrobe styling
Glen Parsons - logo design

Labels: DISC 14 - (October 1986) Madhouse 8 studio
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21.
Nov
11
DISC 15 - (05 November 1986) Camille
DISC 15 - Camille (05 November 1986)

Album details
Label(s):
Late 1986
Studio(s):
Sunset Sound, Hollywood, CA; Galpin Blvd Home
Studio, Chanhassen, MN
Camille is an unreleased album by Prince (although planned for release under the
pseudonym Camille), and was compiled on 5 November, 1986, from tracks using
distorted vocals by Prince recorded in September and October, 1986, shortly after The
Revolution disbanded (although Feel U Up was originally recorded in 1981 and Strange
Relationship in 1982). It was planned for release by Warner Bros. in January, 1987 (to be
preceded by a single of Shockadelica). Prince instead decided to expand on the project by
incorporating tracks recorded earlier in 1986, resulting in the three-disc set Crystal Ball.
The album features Prince in disguise as Camille on all vocals and instruments, with
saxophone by Eric Leeds and trumpet by Atlanta Bliss on some tracks. Wendy Melvoin
and Lisa Coleman also appear on Strange Relationship (although their contributions were
buried in the mix), and Susannah Melvoin on Rockhard In A Funky Place.
When the project was developed into Crystal Ball (first sequenced on 30 November,
1986), seven of the eight tracks were kept; only Feel U Up was removed. Only
Housequake, Strange Relationship and If I Was Your Girlfriend were kept as the album
developed into Prince's next officially released album, Sign O' The Times.
All of the remaining tracks have since been released elsewhere, although Rebirth Of The
Flesh has only been released in a live rehearsal form (by the NPG Music Club, in 2001).
Shockadelica was released as the b-side of If I Was Your Girlfriend in 1987. Good Love
was available on the Bright Lights, Big City movie soundtrack in 1988. Feel U Up was
released as the b-side of Partyman in 1989. Rockhard In A Funky Place was planned for
release on "The Black Album" in 1987, but finally received an official release with "The
Black Album" in 1994.
While the album cover has not been shown to the public, it has been described as having
a stick figure with X's for eyes.
Track listing LP
Side 1:
Rebirth Of The Flesh
Housequake
Feel U Up
Side 2:
Shockadelica
Good Love
If I Was Your Girlfriend
Rockhard In A Funky Place 1
All tracks written by Prince (to be credited to Camille) except where noted.
1 Music written by Prince and Eric Leeds
Personnel- Musicians
Prince - all vocals and instruments, except where noted (to be credited to Camille)
Eric Leeds - sax on Rebirth Of The Flesh, Housequake, Feel U Up and Rockhard In
A Funky Place
Atlanta Bliss - trumpet on Rebirth Of The Flesh, Housequake and Rockhard In A

Funky Place
Gilbert Davison - party voice on Housequake
Coke Johnson - party voice on Housequake
Todd Herreman - party voice on Housequake
Susan Rogers - party voice on Housequake
Mike Soltys - party voice on Housequake
Brad Marsh - party voice on Housequake
The Penguin (a plush prop, not an actual person) - party voice on Housequake
Wendy Melvoin - tamborine, congas on Strange Relationship
Lisa Coleman - (Fairlight sample) sitar, wooden flute Strange Relationship
Susannah Melvoin - background vocals on Rockhard In A Funky Place
Production
Prince - producer (to be credited to Camille)
Other production details unknown
Labels: DISC 15 - (05 November 1986) Camille studio
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22.
Nov
11
DISC 16 - (30 November 1986) Crystal

Ball
DISC 16 - Crystal Ball (30 November 1986)
Album details

Label(s):
Studio(s):
Early 1987
Sunset Sound, Hollywood, CA, USA; Galpin Blvd

Home Studio, Chanhassen, MN, USA;Ocean Way Recording,
Hollywood, CA, USA; Kiowa Trail Home Studio, Chanhassen,
MN, USA;Washington Avenue Warehouse, Eden Prairie, MN,
USA; Le Znith, Paris, France
Crystal Ball is an unreleased triple-album by Prince (although planned for release

under the pseudonym Camille), and was compiled on 30 November, 1986, using tracks
from the abandoned Dream Factory and Camille albums which had been worked on
earlier in the year. Other than the title track, it is entirely different to the 1998 triple-CD
release Crystal Ball.
The late 1986 project was submitted to Warner Bros. for release, but they felt the album
would be more effective if condensed; seven of the tracks were removed, and with some
additions and variations, the work eventually evolved into Prince's next album release
(under his own name), Sign O' The Times. The differences are substantial enough,
however, that the album deserves its own entry here.
The Camille album sequence, compiled only three and a half weeks earlier than the only
known configuration of Crystal Ball, and since both shared the artist credit Camille,
Crystal Ball can be seen as an extension of the original Camille album. Seven of the eight
tracks on Camille were included on Crystal Ball: Rebirth Of The Flesh, Housequake, If I
Was Your Girlfriend, Rockhard In A Funky Place, Strange Relationship, Shockadelica
and Good Love (only Feel U Up was not included).
These would have all been included in the same form as planned for the Camille album.
In addition, several tracks from the Dream Factory album were included: The Ballad Of
Dorothy Parker, It, Starfish And Coffee, Slow Love, Hot Thing, Crystal Ball, I Could
Never Take The Place Of Your Man, Sign O' The Times and The Cross.
The album includes a few tracks not included on either previous project: Joy In
Repetition (recorded in mid-July, 1986), The Ball (recorded in late July, 1986), Forever
In My Life (recorded in early August, 1986), It's Gonna Be A Beautiful Night (recorded
live in late August, 1986, but only worked on in the studio in late November, 1986),
Adore (for this album still with the title Adore: Until The end Of Time) and Play In The
Sunshine (both recorded in late November, 1986, after the Camille album was shelved).
Unlike the Dream Factory album, which included alternate, unreleased versions of many
tracks, all tracks would have been included in the same form as released on Sign O' The
Times, with some minor exceptions: If I Was Your Girlfriend omitted the prelude, which
was recorded at a later date (the version began in the same way as the single edit, with the
drum on the 'two' beat); additionally, Play In The Sunshine segued differently from
Rebirth Of The Flesh than it does from Sign O' The Times on its official release.
The album features Prince in disguise as Camille on all vocals and instruments, with
saxophone by Eric Leeds and trumpet by Atlanta Bliss on some tracks. Wendy Melvoin,
Lisa Coleman and Susannah Melvoin also appear on several tracks, although Wendy
Melvoin and Lisa Coleman's contributions were somewhat buried in the mix after their
departure from Prince's band. The full Revolution band appears on the track It's Gonna
Be A Beautiful Night, which uses a live recording by the band as its basis. And also
features Sheila E. and Jill Jones.
Prince is known to have questioned the order of the album's final two tracks. It has long
been believed that the final side was sequenced The Cross / Adore / It's Gonna Be A
Beautiful Night (eventually reversing the order of the final two tracks on Sign O' The
Times), but an in-house cassette sequence of the album shows the order to be the same as
Sign O' The Times: The Cross / It's Gonna Be A Beautiful Night / Adore. Of note,
however, is that Adore was listed as Adore (Until The End Of Time), using the song's
first lyric as a parenthetical title for the track.
When the project was developed into Sign O' The Times (in late December, 1986), 15 of
the 22 tracks were kept; only U Got The Look was a new addition, recorded in late
December, 1986.
Most of the remaining tracks have since been released elsewhere, however. Shockadelica
was released as the b-side of If I Was Your Girlfriend in 1987 and as an Extended
Version on the 12" release. Good Love was available in the same form on the Bright
Lights, Big City movie soundtrack in 1988. Joy In Repetition was released on Graffiti
Bridge in 1990 (keeping the opening segue, but coming from We Can Funk instead of
The Ball). Rockhard In A Funky received an official release with "The Black Album" in
1994. Crystal Ball was released in the same form as the title track of the 1998 triplealbum of previously-unreleased tracks Crystal Ball. Rebirth Of The Flesh was released in
a live rehearsal form by the NPG Music Club, in 2001 (the studio version remains
unreleased). Only The Ball remains entirely unreleased, although the track's music was
reused for Eye No (Lovesexy -1988).
Nothing is known about whether an album cover or other artwork was designed for
Crystal Ball.
Track listing LP
Side 1:
Rebirth Of The Flesh
Play In The Sunshine
Housequake
The Ballad Of Dorothy Parker
Side 2:
It
Starfish And Coffee 1
Slow Love 2
Hot Thing
Side 3:
Crystal Ball
If I Was Your Girlfriend

Rockhard In A Funky Place 3
Side 4:
The Ball
Joy In Repetition
I Could Never Take The Place Of Your Man
Side 5:
Shockadelica
Good Love
Forever In My Life
Sign O' The Times
Side 6:
The Cross
It's Gonna Be A Beautiful Night 4
Adore (Until The End Of Time)
All songs written by Prince (to be credited to Camille) except where noted.
2 Lyrics written by Prince and Carole Davis

4 Music written by Prince, Dr. Fink and Eric Leeds
Prince - all vocals and instruments, except where noted (to be credited to Camille)
Eric Leeds - saxophone on Rebirth Of The Flesh, Housequake, Slow Love, Hot
Thing, Rockhard In A Funky Place It's Gonna Be A Beautiful Night and Adore
saxophone and party voice on The Ball
Atlanta Bliss - trumpet on Rebirth Of The Flesh, Housequake, Slow Love, Rockhard
In A Funky Place, It's Gonna Be A Beautiful Night and Adore, trumpet and party
voice on The Ball
Wendy Melvoin - guitar and background vocals on Slow Love] and It's Gonna Be A
Beautiful Night, tamborine and congas on Strange Relationship
Lisa Coleman - background vocals on Slow Love, (Fairlight sample) sitar and
wooden flute on Strange Relationship, keyboards and background vocals on It's
Gonna Be A Beautiful Night
Susannah Melvoin - background vocals on Play In The Sunshine, The Ballad Of

Dorothy Parker, Crystal Ball, Rockhard In A Funky Place and It's Gonna Be A
Beautiful Night
Gilbert Davison, Coke Johnson, Susan Rogers, Todd Herreman (as Todd H.), Mike
Soltys (as Mike S.), Brad Marsh (as Brad M.) The Penguin (a plush prop) - party
voice on Housequake
Clare Fischer - orchestration on Slow Love and Crystal Ball
Bobby Z. - drums on It's Gonna Be A Beautiful Night
Brown Mark - bass guitar on It's Gonna Be A Beautiful Night
Miko Weaver - guitar on It's Gonna Be A Beautiful Night
Dr. Fink - keyboards on It's Gonna Be A Beautiful Night
Sheila E. - percussion and transmississippirap on It's Gonna Be A Beautiful Night
Jill Jones and Jerome Benton - vocals on It's Gonna Be A Beautiful Night
Greg Brooks and Wally Safford - party voice on The Ball and background vocals on
It's Gonna Be A Beautiful Night
Production
Prince - producer (to be credited to Camille); Susan Rogers and Coke Johnson engineers
Labels: DISC 16 - (30 November 1986) Crystal Ball studio
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23.
Nov
11
DISC 17 - (July 1986 - January 1987)

Unreleased 1986 Pt 2
DISC 17 - Unreleased 1986 Pt 2 (July 1986 - January 1987)
Studios: Kiowa Trail Home Studio, Chanhassen, MN, USA; Galpin Blvd Home Studio,
Sunset Sound, Hollywood, CA, USA; Ocean Way Recording, Hollywood, CA, USA
Prince Adonis & Bathsheba 5:30 [Eye #276-279] (1986-07-27, unknown if

intended for any project)
Prince - Cosmic Day (sample) 1;51 [Eye Records 291-294] (1986-11-15, unknown if
was intended for any project)
Prince - Cosmic Day 3;09 [leaked mp3 fan-made] (1986-11-15, unknown if for any
project)
Prince - Crucial #1 (sax) 7;16 [Work It 2.0 Updated] (1986-09-13, for planned
musical The Dawn)
Prince - Crucial #2 (gtr) 7;23 [Work It 2.0 Updated] (1986-09-13, for planned
musical The Dawn)
Prince - Housequake (Razormaid Remix) [Eye Records 291-294]
Prince - I Could Never Take The Place Of Your Man 12'' Remix 8;05 [Source
Unknown] (1986-07-16, unreleased 12 version, date unknown, assumed later in
1986)
Prince - Joy In Repetition #1 5;09 [Work It 2.0 Updated] (1986-07-17, segued from
The Ball, clearer version)
Prince - Joy In Repetition #2 5;26 [Work It 2.0 Updated] (1986-07-17, cold intro)
Prince - Make Your Mama Happy [1998 Crystal Ball] (1986-08-08)
Prince - Superfunkycalifragisexy #1 7;13 [Work It 2.0 Updated] (1986 September,

longer version)
Prince - Superfunkycalifragisexy #2 [Instrumental] 3;37 [Anthology Vol 1 -12]

(1986 September)
Prince - Telepathy [Silverline 69-70] (1986-10-06 , recorded by Deborah Allen,

released Mar. 87)
Prince - When The Dawn Of the Morning Comes 4;05 ( Mazarati-Champagne

Saturday B-side of Stroke -) [Fun With Vinyl] (1986 September, instrumental used as
Mazarati b-side)
Prince - Witness 4 The Prosecution #3 4;53 [Work It 2.0 Updated] (1986-03-27, #3

re-recorded in October 6, 1986)
Prince - Wouldn't You Love To Love Me #3 6;15 [Work It 2.0 Updated] (1986-????, #3 update of 1982 version, offered to Michael Jackson for his Bad album, was
recorded later by Taja Sevelle)
Prince and Bonnie Raitt - I Need A Man 5;11 [Eye Records 291-294] (1987 midJanuary, re-recording of 1981 song)

Labels: DISC 17 - (July 1986 - January 1987) Unreleased 1986 Pt 2 studio
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24.
Nov
11
DISC 18 - (15 January 1987) Sign The

Times
DISC 18 - Sign The Times (15 January 1987)
Album details
Released:
30 March, 1987 (UK)

31 March, 1987 (USA/France)
Length:
Label(s):
40:15 / 39:33
Studio(s):
Kiowa Trail Home Studio, Chanhassen, MN, USA; Galpin Blvd Home
Studio, Chanhassen, MN, USA; Sunset Sound, Hollywood, CA, USA; Ocean Way
Recording, Hollywood, CA, USA and Dierks Studio Mobile Trucks (outside Le Znith,
Paris, France)
Sign O' The Times (stylized as Sign "" The Times) is the ninth full-length studio
album by Prince, and his first 'solo' release since 1982's 1999 (his intervening albums
were credited to Prince and the Revolution). It was released worldwide in March, 1987.
Recording process
Eight of the album's seventeen tracks were included on various configurations of the
Dream Factory album, planned as the fourth album by Prince and the Revolution. When
the Revolution was disbanded in October, 1986, Prince reworked the album.
In late October, 1986, Prince worked on an unrelated album, Camille (to be given the
artist credit of Camille), on which Housequake, Strange Relationship and If I Was Your
Girlfriend were included, before combining elements of the two projects to create Crystal
Ball, a triple album to be credited solely to Prince.
Warner Bros. were sceptical about releasing a triple album, and Prince removed seven of
the 22 tracks and recorded the radio-friendly U Got The Look, completing the album on
15 January, 1987 with the recording of an introductory piece acting as a segue from Sign
O' The Times to Play In The Sunshine.
Promotion
The album produced four commercially-released singles, Sign O' The Times (which
preceded the album), If I Was Your Girlfriend, U Got The Look and I Could Never Take
The Place Of Your Man, as well as one promotional release, Hot Thing. The album
reached number 6 on the US Billboard_200
Prince supported the album with a major European tour, titled Sign O' The Times Tour,
which focused largely on the album (while missing some of Prince's previous hit singles).
Two dates on the tour were filmed and the resulting concert film, Sign O' The Times was
released worldwide, focused on the territories where the tour did not travel.
The vinyl long play format is the initial release. The compact disc version is a reissue
from the LP.
Track listing LP
Side 1:
Sign O' The Times (4:56)
Play In The Sunshine (5:05)
Housequake (4:41)
Side 2:
It (5:10)
Starfish And Coffee (2:50) 1
Slow Love (4:22) 2
Hot Thing (5:39)
Side 3:
U Got The Look (3:47)
Side 4:
The Cross (4:46)
It's Gonna Be A Beautiful Night (9:01) 3
Adore (6:29)

Housequake (7 Minutes Mo' Quake)
La, La, La, He, He, Hee (Highly Explosive)
U Got The Look (Long Look)
Hot Thing (Extended Remix)
Shockadelica (Long Version)
All songs written by Prince, except where noted.

2 Lyrics written by Prince and Carole Davis
3 Music written by Prince, Dr. Fink and Eric Leeds
Personnel
Musicians
Prince - all vocals and instruments, except where noted (credited as Camille for lead
vocals on Housequake, U Got The Look, If I Was Your Girlfriend and Strange
Relationship)
Susannah Melvoin - background vocals on Play In The Sunshine and The Ballad Of
Dorothy Parker, vocals on It's Gonna Be A Beautiful Night
Eric Leeds - saxophone on Housequake, Slow Love, Hot Thing, It's Gonna Be A
Beautiful Night and Adore
Atlanta Bliss - trumpet on Housequake, Slow Love, It's Gonna Be A Beautiful Night
and Adore
Gilbert Davison - party voice on Housequake
Coke Johnson - party voice on Housequake
Todd Herreman (as Todd H.) - party voice on Housequake
Susan Rogers - party voice on Housequake
Mike Soltys (as Mike S.) - party voice on Housequake
Brad March (as Brad M.) - party voice on Housequake
The Penguin (a plush prop, not an actual person) - party voice on Housequake
Wendy Melvoin - guitar and backing vocals on Slow Love, tamborine and congas on
Strange Relationship, It's Gonna Be A Beautiful Night
Lisa Coleman - backing vocals on Slow Love, (Fairlight) sitar and wooden flute on
Strange Relationship, keyboards and backing vocals on It's Gonna Be A Beautiful
Night
Sheena Easton - vocals on U Got The Look
Sheila E. - drums and percussion on U Got The Look, percussion and

transmississippirap on It's Gonna Be A Beautiful Night
Bobby Z. - drums on It's Gonna Be A Beautiful Night
Brown Mark - bass guitar on It's Gonna Be A Beautiful Night
Miko Weaver - guitar on It's Gonna Be A Beautiful Night
Dr. Fink - keyboards on It's Gonna Be A Beautiful Night
Jill Jones - vocals on It's Gonna Be A Beautiful Night
Greg Brooks - backing vocals on It's Gonna Be A Beautiful Night
Wally Safford - backing vocals on It's Gonna Be A Beautiful Night
Jerome Benton - backing vocals on It's Gonna Be A Beautiful Night
Production
Prince - producer, arranger and engineer
Susan Rogers - engineer
Coke Johnson - engineer
Bernie Grundman - mastering
Jeff Katz - photography
Laura LiPuma - art direction
Cavallo, Ruffalo and Fargnoli - personal management
Thanks
"Thank U, Susannah, Eric, Susan, Coke, Todd, Brad, Atlanta, Bob, Joe, Steve, Sheena,
Carol D. Camille, Jill Jones, Wendy, Lisa, Bobby, Dr. Fink and Mark, Brooks, Wally &
Jerome, Mico, Alan Leeds, Karen Krattinger, my friend Gilbert, Rande, Sheila E. Murray
& Lillian, Sunset Sound, Paisley Park, Jeff Katz, Bernie G. Clare Fischer, Cubby & the
crew, Miles D. Fred M. Lee Phillips, Robbie, Duane Nelson, Abba John & the
Treacherous, Laura L. Paris, France, Beth and her cohorts, JiJi, my patient Mother,
Mattie, Billy Sparks, Quentin Perry and Mojo, Susan Hale and all the purple boys and
girls, soon the boat will sail & take us all away."

Labels: DISC 18 - (15 January 1987) Sign The Times studio
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25.
Nov
11
DISC 19 (January 1987) The Black

Album Sessions
DISC 19 The Black Album Sessions (January 1987)
Album details
Released:
21 November, 1994 (Germany, UK)
22 November, 1994 (USA)

Length:
44:44
Label(s):
Warner Bros. Records
Studio(s):
Sunset Sound, Hollywood, CA, USA; Galpin Blvd Home Studio,
Paisley Park Studios, Chanhassen, MN, USA
The Black Album is the 16th full-length studio album by Prince. Officially, it has no
title and no credited artist. It's known as "The Black Album" due to its plain black sleeve,
which contains no information apart from the catalogue number printed on the spine in
peach letters. The sticker on the 1994 release labelled it "The legendary Black Album". It
was originally intended to be released on 8 December 1987, but was cancelled at Prince's
request just prior to release (on 1 December, 1987). It was finally given a limited release
in November, 1994 (just three months after his previous new release Come).
Recording process
The album is essentially a compilation of individual tracks; it was not recorded as a

thematic album.
The track, Superfunkycalifragisexy, was the first to be recorded in September, 1986. The
bulk of the tracks were recorded between October 1986 January 1987, and March,
1987.
The final track recorded, When 2 R In Love, came much later, in October, 1987.
Thematically the song is very different to those recorded earlier, perhaps prompting
Prince's decision to keep it for use on Lovesexy.
1987 cancellation
While Warner Bros. were concerned about releasing the album in December, 1987, only
nine months after Sign O' The Times, the album's original cancellation was solely
Prince's decision. He felt the album was too negative and hateful, and not the message he
wanted to release. He has spoken of a "dark night of the soul" where everything came to a
head, prompting his cancellation of the album (close associates have discussed that this
was a result of a one-time use of the drug ecstasy by Prince and the hallucinations caused
by it).
Following the cancellation, Prince immediately began work on Lovesexy, which is

commonly viewed as a direct response to "The Black Album". Prince kept the track
When 2 R In Love for Lovesexy; it was kept on "The Black Album" for its eventual
release also, giving the track the distinction of the only recording to appear on two
separate Prince studio albums in exactly the same form.
Prince referred to the album during the video for Alphabet St., where a message is written
in the floating letters behind Prince: "Don't buy "The Black Album" - I'm sorry". Despite
Prince's opposition to the album, however, he played songs from the album regularly on
the Lovesexy Tour, during the first half of the show (focusing on Prince's darker music).
1994 release
Prince's eventual motivation for the album's release appears to have been financial, as he
received around $1,000,000 for the release. His publicist stated that he was still
"spiritually against" the album at the time.
The release was fairly low-key, and no singles were released from the album (although an
all-black video with lyrics was produced for When 2 R In Love), but the album was
widely regarded in the music industry and the music press as a legendary album. Due to
the nature of its original release plan (no artist credit, no title etc.) and its cancellation at
the last minute, the album was widely bootlegged, and is commonly regarded as the most
heavily bootlegged album of all time, by any artist.
The 1994 release of the album reached number 47 on The Billboard 200, and number 18
on the Billboard Top R&B Albums chart.
Track listing LP
Side 1:
Le Grind (6:44)
Cindy C. (6:14) [March, 1987]
Dead On It (4:37)
When 2 R In Love (3:58) [Oct 1987]
Side 2:
Bob George (5:36)
Superfunkycalifragisexy (5:55)
2 Nigs United 4 West Compton (7:00)
Rockhard In A Funky Place (4:30) 1
All songs written by Prince, except where noted.

No credits were given for the album; credits below are unofficial
Prince - all vocals and instruments, except where noted
Eric Leeds - saxophone on Le Grind, Cindy C. and Rockhard In A Funky Place
Atlanta Bliss - trumpet on Le Grind, Cindy C. and Rockhard In A Funky Place
Boni Boyer - background vocals on Le Grind
Cat - background vocals on Le Grind, Cindy C., chant and spoken word on 2 Nigs
United 4 West Compton
Sheila E. - background vocals on Le Grind, sampled line ("badder than a wicked

witch", uncredited) on Dead On It, drums on 2 Nigs United 4 West Compton
Unidentified voices (likely Greg Brooks, Wally Safford and others) - chants and
spoken word on 2 Nigs United 4 West Compton
Susannah Melvoin - background vocals on Rockhard In A Funky Place
Production
No credits were given for the album; credits below are unofficial
Prince - producer and arranger

Labels: DISC 19 (January 1987) The Black Album Sessions studio
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26.
Nov
11
DISC 20 (1986 - 1987) The Singles
DISC 20 The Singles (1986 - 1987)
Released in 1986
U.S. 7'' Single 1986-02-05 Kiss + Love Or $
U.S. 7'' Single 1986-05-07 Mountains + Alexa De Paris
U.S. 7'' Single 1986-07-02 Anotherloverholenyohead + Girls & Boys
94 East - If You Feel Like Dancin' [Dance Version] 6:58 [Anthology - GetBlue]
94 East - Just Another Sucker [Urban Club Version] 5:22 [Anthology - GetBlue]
94 East -If You Feel Like Dancin' [Dance Version] 6:34 [Anthology - GetBlue]
Kenny Rogers -You're My Love [Album Version] 4:09 [Anthology - GetBlue]
Mazarati - 100 MPH [Album Version] 7:23 [Anthology - GetBlue]
Mazarati - I Guess It's All Over [Album Version] 4:47 [Anthology - GetBlue]
Mazarati - Players' Ball (Extended Version) 8:10
Mazarati - Strawberry Lover [Album Version] 5:26 [Anthology - GetBlue]
Prince - Alexa De Paris (Extended Version) 4:56
Prince - Anotherloverholenyohead (Extended Version) 7:49
Prince - Kiss (Extended Version) 7:18
Prince - Love or $ (Extended Version) 6:50
Prince - Mountains (Extended Version) 9:54
Sheila E. - Holly Rock (7'' Single Edit) 3:50
Sheila E. - Holly Rock (Extended Version) 6:35
Sheila E.- Love On A Blue Train (Full Version) 7:35
Released in 1987 (recorded in 1986)
U.S. 7'' Single 1987-02-18 Sign 'O' The Times + La, La, La, He, He, Hee
U.S. 7'' Single 1987-05-06 If I Was Your Girlfriend + Shockadelica
U.S. 7'' Single 1987-07-14 U Got The Look + Housequake
U.S. 7'' Single 1987-11-03 I Could Never Take The Place Of Your Man + Hot Thing
Deborah Allen - Telepathy (Album version) 5:06 [Fun With Vinyl]
Deborah Allen - Telepathy [Club Mix] 7:55 [Fun With Vinyl]
Deborah Allen - Telepathy [Instrumental] 5:05 [Fun With Vinyl]
Jill Jones - 77 Bleeker St. [Extended Version] 4:37 [Fun With Vinyl]
Jill Jones - Baby Cries (Ah Yah) [Extended Version] 6:45 [Fun With Vinyl]
Jill Jones - For Love [4-Play Remix] 7:24 [Fun With Vinyl]
Jill Jones - For Love [Bonus Beats] 4:53 [Fun With Vinyl]
Jill Jones - G-Spot [Remix] 6:16 [Fun With Vinyl]
Jill Jones - Mia Bocca [Dub Version] 5:56 [Fun With Vinyl]
Jill Jones - Mia Bocca [Extended Version] 6:11 [Fun With Vinyl]
Madhouse - 6 (End Of The World Mix) 6:16 [Fun With Vinyl]
Madhouse - 6 And A Half 2:35 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go [7'' Alge Mix] 4:02 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go (Album version) 5:25 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go [Dub _ Acapella] 6:23 [Fun With Vinyl]
Nona Hendryx - Baby Go-Go (Superstitious Mix) 6:48 [Fun With Vinyl]
Prince - Hot Thing (Dub Version) 6:51
Prince - Hot Thing (Extended Remix) 8:52
Prince - Housequake (7 Minutes MoQuake) 7:11
Prince - La, La, La, He, He, Hee (Highly Explosive) 10:45
Prince - Shockadelica (Extended Version) 6:14
Prince - U Got The Look (Long Look) 6:42
Sheena Easton - Eternity [Dub] 6:13 [Fun With Vinyl]
Sheena Easton - Eternity (Shep Pettibone Mix) 6:25 [Fun With Vinyl]
Sheila E. - Koo Koo (Remix) 5:10 [Fun With Vinyl]
Taja Sevelle - If I Could Get Your Attention (Album version) 3:43 [Anthology GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me (Album version) 4:07 [Anthology GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Jellybean 12'' Vocal Remix] 6:59
[Anthology - GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Jellybean Dub] 5:29 [Anthology GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Joe Blaney 12'' Vocal Remix] 6:53
[Anthology - GetBlue] (1988)
Taja Sevelle - Wouldn't You Love To Love Me [Paisley Park Mix] 6:09 [Anthology
- GetBlue] (1988)
Three O'Clock - Neon Telephone (Extended 12'' Version) 6:29 [Fun With Vinyl]
(1988)
Three O'Clock -Neon Telephone (Single Version) 3:58 [Anthology - GetBlue]

(1988)
Source: US Singles courtesy of Bliss2

Labels: DISC 20 (1986 - 1987) The Singles studio
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27.
Nov
11
Appendix - The 1986 Box Set
APPENDIX - The 1986 Box Set
Chronological List of Prince recordings (Approximate)

Unreleased Prince album configurations
Unreleased Associated Artists album configurations
Live Performances
Chronological discography (available to the public)
Chronological List of Prince recordings (Approximate)

Chronological Prince (and The Revolution) recordings
*= released version
Parade, Eden Prairie Warehouse, 30 November 16 December 1985
Mountains #2 (3:58)* (30/11) with the expanded Revolution
An Honest Man #1 (Instrumental) (4:21) (30/11)
An Honest Man #2 (Vocal) tentative placing
An Honest Man #3 (1:13)* - edit of #2
Christopher Tracys Parade #2 (2:11)* (previously Little Girl Wendys Parade)
tentative placing
Sunset Sound, 16-26 December 1985 Parade album completed
Anotherloverholenyohead * (16/12)
Sheila E: Love On A Blue Train #1 (17/12) (Prince/Sheila E)
Dream Factory #1 (3:07)* (December) backing vocals: Wendy, Lisa & Susannah
She Pony (December)
Eternity #1 (3:56) (December) offered to George Clintons Vanessa Williams-project
A Couple Of Miles (Instrumental) #1 (ca.5:00) (26/12) tenor & baritone sax added by
Eric Leeds 30/12
Can I Play With U? (4:09) (26/12) saxophone: Eric Leeds, offered to Miles Davis
Four-hour Paisley Jam, Sunset Sound, 28 December 1985
- guitar & piano: Prince, drums: Sheila E, bass: Levi Seacer, Jr., saxophone: Eric Leeds
Slaughterhouse #1 (8:07) - mid-tempo funk groove
Slaughterhouse #2 (1:47) - tentative placing
U Just Cant Stop (8:01) - uptempo funk jam. Flute overdub: Eric Leeds
Run Amok (6:00) - shuffling rock groove
Mobile (6:20)
Madrid #1 (9:15) part of the melody re-used on Andorra
Madrid #2 (6:56) - edit of #1
Breathless (6:47) slow airy number. Sax and flute: Eric Leeds. Remixed 4/10-88
High Calonic (10:13) - slow funk number
12 Keys (The Question Of U Instrumental) (6:30)
Sunset Sound, 30 December 1985
- guitar & piano: Prince, drums: Sheila E, bass: Levi Seacer, Jr., saxophone: Eric Leeds
U Gotta Shake Something #1

Voodoo Who (5:29) slow bluesy number. Prince sings Sades Is It A Crime midway
through
Finest Whiskey - slow blues number
A Couple Of Miles #2 (Instrumental) (4:30) tenor & baritone saxophone: Eric Leeds
Seven-hour Everybodys Jam, Sunset Sound, 5 January 1986
- drums: Prince, percussion: Sheila E & Jonathan Melvoin, bass: Levi Seacer, Jr.,
saxophone: Eric Leeds, guitar & bass: Wendy Melvoin, piano: Lisa Coleman
Groove In C Minor (8:00) - funky groove
Slow Groove In G Major (9:53)
Groove In G Flat Minor (13:00) - really fast groove
Junk Music #1 (45:00)
Up From Below
YAll Want Some More?
For Love #1 (about 28 minutes) tentative placing
Jill Jones, 8 January 1986
Jill Jones: Too Rough #4 (previously Rough) saxophone: Eric Leeds, offered to Joyce
Kennedy
Sunset Sound, 12-22 January 1986 The Flesh album completed 22 January
Last Heart (3:01)* (12/1) saxophone: Eric Leeds, backing vocals: Susannah Melvoin
Conversation Piece (12/1) saxophone: Eric Leeds
Kiss (Extended Version) #1 (7:16)* (14-16/1)
Kiss (Extended Version) #2
Love Or $ #2 (6:50)* - tentative placing
Evolsidog #2
Splash #2 (4:04) available from NPGMC
Neon Telephone #2 (3:50)
Go #2 (excerpt 1:07) bootlegged as Leave Me Alone
Roadhouse Garden #2
Wonderful Ass #2 (10:01) reworked by Wendy & Lisa
Wonderful Ass #3 (6:16) edit of #2
Incidental music for Under The Cherry Moon
Junk Music #2 (ca.20:00) edit of #1
U Gotta Shake Something #2 (15:19)
Jill Jones, Sunset Sound, 28-31 January 1986
Mia Bocca #3 (7:21)*
All Day, All Night #3
Baby, Youre A Trip #3 (5:23)*
Jill Jones: With You (4:00)* (late January) previously released
Its A Wonderful Day (3:40) (30/1) backing vocals: Wendy & Lisa
John L. Nelson, Sunset Sound, 9 February 1986
Duet With Dad

Jill Jones, Sunset Sound, 17 February 1 March 1986 1st album configuration 22
February
Euphoria Highway (Instrumental) (2:04) (17/2) offered to George Clintons Vanessa
Williams-project
Miles Davis, Paisley Park studio, 1 March 1986 (Editor's addition)

Phil Freeman, jazz critic: Oh, [the collaboration between Miles and Prince] definitely
happened; theres a listing on the Miles Ahead fansite (confirmed by Gordon Meltzer,
Miles' manager) of a session from March 1, 1986 featuring Miles, Prince, Eric Leeds on
sax, Adam Holzman on keyboards, and Marcus Miller on bass. Im sure theres more
than were aware of. How much more is the question. I doubt its a whole albums
worthprobably two or three songs.
Sunset Sound, 11 March 1986
Fun Love #2
Twosday
Home studio, 15-19 March 1986
The Ballad Of Dorothy Parker (4:04)* (15/3)
And How #1 (19/3)
Power Fantastic Intro (1:24) bootlegged as Miles Ahead
Power Fantastic (4:45)* (Prince/Wendy & Lisa) (19/3) based on piano piece Carousel
by Wendy & Lisa, vocals: Prince, bass: Wendy, piano: Lisa, drums: Bobby Z, flute: Eric
Leeds, trumpet: Matt Blistan
Power Fantastic (incl. Intro) (6:10)
Prince and The Revolution, Eden Prairie Warehouse, 20 March 1986
And That Says What? (Funky Instrumental) (Prince/The Revolution)
Sheila E, Sunset Sound, 22-26 March 1986
Boys Club #1 (23/3) (Prince/Sheila E)
Love And Sex (25/3) different from 1984 track of same title
Mountains (Extended Version) (9:52)* (late March)
Home studio, late March early April 1986
Witness 4 The Prosecution #1 (3:57)
Movie Star #1 (4:07) party girl: Susannah Melvoin, segued with
A Place In Heaven #1 (2:49)
Sheila E, Sunset Sound, April 1986
(Soul Salsa*)
(Hon E Man*)
(Wednesday Like A River*)
(Grease)
Wendy & Lisa, Susannah, Eric Leeds & Matt Blistan overdubs, 15 April 1986
Witness 4 The Prosecution #2 (3:57) organ: Lisa, sax: Eric, percussion & backing
vocals: Wendy, Lisa & Susannah
Movie Star #2 (4:19) party girl: Susannah Melvoin, segued with
A Place In Heaven #2 (2:49) lead vocal: Lisa Coleman
Visions (Instrumental) (2:11) (Lisa Coleman) an edit released as Minneapolis #1 by
Wendy & Lisa in 1990
Home studio, mid late April 1986 1st configuration of Dream Factory late April
Crystal Ball #1 (9:55) (17/4) backing vocals: Susannah, spoken segment: Wendy &
Lisa
Starfish And Coffee #1 (2:45) (Prince/Susannah Melvoin) (17/4) no clock alarm,
backing vocals: Susannah
Big Tall Wall #1 (5:50) (April)
Sunset Sound, 3-11 May 1986
Get On Up (4:32) (Gilbert Moorer/Sheppard) (3/5) cover of The Esquires, with Wendy
& Lisa, Sheila E, Levi Seacer, Jr., Eric Leeds & Matt Blistan
In A Large Room With No Light (3:11) (4/5) drums: Sheila E, bass: Levi, guitar:
Wendy, keyboards: Lisa, alto sax: Norbert Stachel, tenor sax: Eric Leeds, trumpet: Matt
Blistan, backing vocals: Susannah
Get On Up (12 Version) (5/5)
If I Could Get Your Attention #1 (10/5)
Frustration (10/5)
It (5:10)* (11/5)
Boy U Bad (11/5)
Interlude (Instrumental) (0:58) (Wendy Melvoin) (May)
Youre My Love #2 (May) with Clare Fischer, re-recorded & released by Kenny
Rogers in 1986
Prince and The Revolution, Warfield Theatre, San Francisco, 23 May 1986
Song In C (ca.6:00) - incl. chants from Holly Rock and George Clintons Mix-Master
Suite
Sheila E, Sunset Sound, 26-29 May 1986
Pride And The Passion (4:05)* (26/5) (Prince/Sheila E)
Dream Factory, 3 June 1986 2nd configuration made, double-album
Nevaeh Ni Ecalp A (0:52) tentative placing
Dream Factory # 2 (3:27) a few seconds of music at the end are different from the
released version, tentative placing
Home studio, 4 June 1986
Slow Love #1 (Prince/Carole Davis) guitar: Wendy, horns: Eric Leeds & Matt Blistan,
backing vocals: Wendy & Lisa
Yah, U Know #3 saxophone: Eric Leeds

Sunset Sound, 12 June 1986
Baby Go-Go #1 (3:28)
Prince and The Revolution, Eden Prairie Warehouse, 17-18 June 1986
Data Bank #1 (8:30) (17/6)
Data Bank #2 (7:15) edit of #1
Cant Stop This Feeling I Got #2 (2:08) (17/6) segued with
We Can Funk #2 (5:25) (17/6) previously We Can Fuck
Cant Stop This Feeling I Got #3 (2:07) different mix, segued with
We Can Funk #3 (5:45) different mix
Girl O My Dreams #2 (1:26) (18/6)
Girl O My Dreams #3 (1:25) different mix, re-recorded and released by T.C. Ellis in
1991
We Can Funk #4 (5:56 incl. 0:10 segue from Cant Stop This Feeling I Got) a bit
slower, polished mix
Home studio, 7-9 July 1986
Train #1 (4:18) (7/7)
Egg Plant (8/7) backing vocals: Wendy & Lisa
It Aint Over Til The Fat Lady Sings #1 (Instrumental w/reggae interlude) #1 (9/7)
with Wendy & Lisa, horns: Eric Leeds & Matt Blistan
Clare Fischer, July 1986
Splash #3
Slow Love #2 (4:18)* (Prince/Carole Davis) - tentative placing
Dream Factory, Sunset Sound, 12-18 July 1986 double-album completed 18 July
The Cross (4:46)* (13/7)
Everybody Want What They Dont Got (13/7) backing vocals: Wendy & Lisa
Sign O The Times #1 (3:40) (15/7) segued with
Crystal Ball #2 (9:28) edit of #1, still with spoken segment
A Place In Heaven #3 (2:43) lead vocal: Lisa Coleman
Blanche (15/7)
Joy In Repetition #1 (17/7) (5:30)
I Could Never Take The Place Of Your Man #2 (6:50) tentative placing
Prince and The Revolution, rehearsal, Eden Prairie Warehouse, 22 July 1986
Life Can Be So Nice (0:47)
Soul Psychodelicide #1/Ice Cream Castles (59:34) different from 1989 track of same
title
Around The World In A Day (2:04)
Christopher Tracys Parade (3:03)
New Position (2:10)
I Wonder U (3:17)
Raspberry Beret (2:29)

Delirious (1:08)
Controversy (2:37)
Mutiny (2:10)
Home studio, 22 July 8 August 1986
Instrumental (2:22)* (22/7) (Prince/Eric Leeds) released as Easy Does It on Eric Leeds:
Times Squared in 1991
The Ball #1 (26/7) horns & party voices: Eric Leeds & Matt Blistan, party voices: Greg
Brooks & Wally Safford
Adonis And Batsheeba (27/7) saxophone: Eric Leeds
All My Dreams #2 (5/8)
Hot Thing (5:39)* (6/8)
Forever In My Life (3:38)* (7/8)
Make Your Mama Happy (4:00)* (8/8)
Clare Fischer, August 1986
Fun Love #2
It Aint Over Til The Fat Lady Sings #2 (18/8)
Prince and The Revolution, Paris, 25 August 1986
Coco Boys #1 recorded at the soundcheck
Susannahs Blues (Instrumental) recorded at the soundcheck
Its Gonna Be A Beautiful Night #1 (Prince/Dr. Fink/Eric Leeds) recorded at the
concert
Sheila E, home studio, September 1986
Koo Koo (3:24)* (Prince/Sheila E)
One Day (Im Gonna Make You Mine) #1 (Prince/Sheila E)
The Dawn, Home studio, 13 September 1 October 1986

Crucial #1 (7:16) (13/9) sax: Eric Leeds
Crucial #2 (7:23) guitar version
Crucial #3 (5:06)* - tentative placing
Coco Boys #2 (14/9)
Shockadelica (6:12)* (16/9)
Wouldnt You Love To Love Me? #5 (6:15) (17/9) offered to Michael Jackson
When The Dawn Of The Morning Comes (mid-September)
Superfunkycalifragisexy #1 (7:27)
Superfunkycalifragisexy #2 (5:55)* - edit of #1
Superfunkycalifragisexy (Instrumental) (3:33) probably another edit of #1, tentative
placing
Madhouse, home studio, 28 September 1 October 1986
One (7:16)* (28/9)

Two (5:31)* (28/9)
Baby Doll House (28/9) sampled voice: Susannah Melvoin
Three (3:16)* (29/9)
Four (2:24)* (29/9)
Five (1:15)* (29/9)
Seven (4:09)* (30/9)
Six (4:28)* (30/9)
Eight (10:05)* (1/10)
Sunset Sound, 5-7 October 1986
Rescue Me (Raynard Miner/Carl Smith) (5/10) cover of Fontella Bass, for Dolly Parton
Witness For The Prosecution #3 (4:53) (6/10)
Telepathy (5:11)* (7/10) for Deborah Allen:
Madhouse, Sunset Sound, 8 October 1986 album completed 9 October
Six And (2:36)* (8/10) (Eric Leeds)
Nine (8/10) different from 1987 track of same title
Jill Jones, Sunset Sound, 11 October 1986
Violet Blue (4:24)*
Sunset Sound, 16-18 October 1986
Emotional Pump (16/10) for Joni Mitchell
Housequake (4:38)* (18/10) saxophone: Eric Leeds, trumpet: Matt Blistan, party
voices: Coke Johnson, Gilbert Davison, Todd Hermann, Mike S., Brad M. & The
Penguin
Sheila E, Sunset Sound, mid October 1986 1st album configuration 21 October
One Day (Im Gonna Make You Mine) #2 (4:47)* (Prince/Sheila E)
Boys Club #2 (3:56)* (Prince/Sheila E)
Love On A Blue Train #2 (7:40)* (Prince/Sheila E) - only released in Japan
Love On A Blue Train #3 (5:25)* (Prince/Sheila E) - edit of #2
Madhouse, Sunset Sound, 22 October 1986
Six (End Of The World Mix) (6:11)*
Camille, Sunset Sound, 27 October 5 November 1986 album completed 5
November
Feel U Up #2 (6:30)* (27/10) horns: Eric Leeds & Matt Blistan
Rebirth Of The Flesh #1 (4:48) (28/10) horns: Eric Leeds & Matt Blistan
Rockhard In A Funky Place (4:31)* (28/10) horns: Eric Leeds & Matt Blistan, backing
vocals: Susannah
Good Love (5:11)* (30/10) backing vocals: Susannah & Jill Jones
If I Was Your Girlfriend #1 (4:45) (2/11) no wedding intro

Strange Relationship #3 (4:04)* (4/11) remix of #2
Jill Jones, Sunset Sound, 10-14 November 1986 2nd album configuration 12
November
All Day, All Night #4 (5:41)*
Come Elektra Tuesday #2
Yo Mister #1 (11/11)
Crystal Ball, Sunset Sound, 15-30 November 1986 album completed 30 November
Cosmic Day (excerpt) (1:05) (15/11)
Adore (6:29)* (19/11) horns: Eric Leeds & Matt Blistan
Play In The Sunshine #1 (22/11) backing vocals: Susannah
Its Gonna Be A Beautiful Night #2 (22-23/11) percussion: Sheila E, horns: Eric Leeds
& Matt Blistan, backing vocals: Susannah & Jill Jones
Sheila E: Transmississippirap (26/11) The Table And The Chair (Edward Lear)
Its Gonna Be A Beautiful Night #3 (8:59)* (28/11) - incorporates Transmississippirap
Rebirth Of The Flesh #2 (4:57) horns: Eric Leeds & Matt Blistan, segued with
Play In The Sunshine #2 (5:06) backing vocals: Susannah, with gunshots
Crystal Ball #3 (11:10) tentative placing, backing vocals: Susannah, spoken segment:
Wendy & Lisa
If I Was Your Girlfriend#2 (4:54)*
The Ball #2 (4:35) segued with
Joy In Repetition #2 (5:08)
Crystal Ball #4 (10:28)*
Sunset Sound, 7-26 December 1986
Bob George (5:36)* (7/12)
Walkin In Glory (7/12)
2 Nigs United 4 West Compton #1 (9/12)
Le Grind #1 (10/12)
U Got The Look #1 (21/12)
U Got The Look #2 (3:58)* (21/12)
Pony Ride (26/12)
Home Studio, 28 December 1986 6 January 1987
Wally #1 (28/12) - erased
Wally #2 (29/12) with Eric Leeds & Matt Blistan
Taja Sevelle: Wouldnt You Love To Love Me? #6 (4:08)*
Taja Sevelle: If I Could Get Your Attention #2 (3:43)* - tentative placing
Come Home #1 (6/1) offered to Melisa Morgan
Sign O The Times, Sunset Sound, 10-15 January 1987 album completed 15 January
101 #1 (10/1) released by Sheena Easton in 1989
Sign O The Times #2 (5:02)*
Starfish And Coffee #2 (2:51)* - with clock alarm
I Could Never Take The Place Of Your Man #3 (6:31)* edit of #2
Jaguar #1 (14/1) offered to Sheena Easton
Play In The Sunshine #3 (5:05)* (15/1) with crossfade segue from Sign O The Times
Home studio, 22 January February 1987
La, La, La, He, He, Hee (10:32)* (22/1)
Sheena Easton: Eternity #2 (3:52)* - tentative placing
Theres Something I Like About Being Your Fool #5 Eric Leeds added saxophone
25/1, offered to Bonnie Raitt
Source: "scififilmnerd" - the org
Unreleased Prince album configurations

Track lists for unreleased albums and singles
*= unreleased version/**= unreleased track
Prince & The Revolution: Dream Factory cassette (late April 1986)
A) Visions (Instrumental) (2:11) - composed & performed by Lisa Coleman
Dream Factory (3:07)
Its A Wonderful Day (3:40)**
Big Tall Wall (5:50)**
And That Says What? (Instrumental)** - composed & performed with The Revolution
B) Strange Relationship (4:14)*
Teacher Teacher (3:05)**
Starfish And Coffee (2:50)* - lyrics written with Susannah Melvoin
A Place In Heaven (2:43)**
Sexual Suicide (3:39)*
Prince & The Revolution: Dream Factory (3 June 1986)
Dream Factory (3:07)
Its A Wonderful Day (3:40)**
It (5:08)
Teacher Teacher (3:05)**
Interlude (Instrumental) (0:59)** - performed by Wendy Melvoin
In A Large Room With No Light (3:11)**
Nevaeh Ni Ecalp A (Segue)**
Sexual Suicide (3:39)
C) Crystal Ball (9:55)*
Power Fantastic Intro (1:24)*
Power Fantastic (4:45) - composed & arranged by Lisa Coleman & Wendy Melvoin
D) Last Heart (2:59)
Witness 4 The Prosecution (3:59)**
Movie Star (4:19)*
A Place In Heaven (2:49)**
All My Dreams (7:15)**
Prince & The Revolution: Dream Factory (18 July 1986)
Dream Factory (3:27)*
Train (4:18)*
It (5:08)
Interlude (Instrumental) (0:58)** - performed by Wendy Melvoin
Slow Love (4:20) lyrics written with Carole Davis
I Could Never Take The Place Of Your Man (6:50)*
C) Sign O The Times (3:40)*
A Place In Heaven (2:43)** - lead vocal by Lisa Coleman
Crystal Ball (9:28)*
D) The Cross (4:41)
Last Heart (2:58)
Witness 4 The Prosecution (3:57)**
Movie Star (4:23)
All My Dreams (7:11)**
Camille (5 November 1986)
A) Rebirth Of The Flesh (4:48)**
Housequake (4:42)
Feel U Up (6:32)
B) Shockadelica (6:12)
Good Love
If I Was Your Gilfriend
Camille: Shockadelica single (early November 1986)
A) Shockadelica
B) Housequake
Prince: Crystal Ball (30 November 1986)
A) Rebirth Of The Flesh (4:57)**
Play In The Sunshine (5:05)*
Housequake (4:42)
B) It (5:09)
Starfish And Coffee (2:50) lyrics written with Susannah Melvoin
Slow Love (4:22) lyrics written with Carole Davis
Hot Thing (5:39)
C) Crystal Ball (10:28)
D) The Ball (4:35)*
Joy In Repetition (5:08)*
E) Shockadelica (6:13)
Good Love (5:12)

Sign O The Times (4:56)
F) The Cross (4:48)
Adore (6:30)
Its Gonna Be A Beautiful Night (9:01) composed with Matt Fink & Eric Leeds
Unreleased Associated Artists album configurations

Track lists for unreleased albums and singles
*= unreleased version/**= unreleased track
The Flesh (22 January 1986)

A) Junk Music**
B) Up From Below**
YAll Want Some More?**
A Couple Of Miles**
Jill Jones (late February 1986)
Track list unknown
Sheila E (21 October 1986)
Track list unknown but includes: One Day (Im Gonna Make You Mine), Boys Club &
Love On A Blue Train
Jill Jones (12 November 1986)
Track list unknown but includes: All Day, All Night & Come Elektra Tuesday**
Source: "scififilmnerd" - the org
Live Performances
Prince and the Revolution, except where noted
1986-02-01 Roy Wilkins Auditorium, St Paul Minnesota, USA Guest appearance at

Mazarati
1986-03-03 First Avenue, Minneapolis, Minnesota, USA
1986-03-06 Universal Amphitheatre. Universal City, California, USA featuring Sheila E.
1986-03-08 Warfield Theatre, San Francisco, California, USA featuring Sheila E.
1986-04-03 Metro, Boston, Massachusetts, USA
1986-05-14 Warfield Theatre, San Francisco, California, USA Guest appearance at The
Bangles
1986-05-20 Carlton Hotel Minneapolis, Bloomington, Minnesota, USA
1986-05-23 Warfield Theatre, San Francisco, California, USA
1986-05-30 Wiltern Theatre, Los Angeles, California, USA
1986-06-06 Masonic Temple Auditorium, Detroit, Michigan, USA
1986-06-07 Cobo Arena, Detroit, Michigan, USA
1986-06-10 Freedom Hall, Louisville, Kentucky, USA
1986-07-01 Holiday Inn, Sheridan, Wyoming, USA
1986-07-03 McNichols Arena, Denver, Colorado USA
1986-08-02 Madison Square Garden, New York, New York, USA
1986-08-03 Madison Square Garden, New York, New York, USA
1986-08-12 Wembley Arena, London, UK
1986-08-13 am Busbys, London, UK
1986-08-13 am Kensington Roof Gardens, London, UK

1986-08-17 Ahoy, Rotterdam, The Netherlands
1986-08-21 Valby Hallen, Copenhagen, Denmark
1986-08-22 Isstadion, Stockholm, Sweden
1986-08-24 Le New Morning, Paris, France
1986-08-25 Le Zenith, Paris, France
1986-08-26 Eissporthalle, Frankfurt, West-Germany
1986-08-27 Vorst Nationaal, Brussels, Belgium
1986-08-28 Eissporthalle, Frankfurt, West-Germany
1986-08-29 Grugahalle, Essen, West Germany
1986-08-30 Alsterdorfer Sporthalle, Hamburg, West-Germany
1986-08-31 Alsterdorfer Sporthalle, Hamburg, West-Germany
1986-09-05 Festival Hall, Osaka, Japan
1986-09-06 Festival Hall, Osaka, Japan
1986-09-08 Yokohama Arena, Yokohama, Japan
1986-09-09 Yokohama Arena, Yokohama, Japan
1986-10-03 St Paul Civic Center, St Paul, Minneapolis, US Guest appearance at jam
session (?)
1986-10-20 The Palace, Los Angeles, California, USA Guest appearance at The Bangles
Source: PrinceVault
Chronological discography (available to the public)

1986
Mazarati - Player's Ball single (??/??)
- I Guess It's All Over - 4:56
(composer only) (included in the Mazarati album on 03/04)
- I Guess It's All Over - 3:30
(composer only)
(edit of the Mazarati album version)
Prince And The Revolution - Kiss single #1 (02/05)

- Kiss - 3:46
(alternate mix of the Parade album version) (
included in The Hits/The B-Sides album, the The Hits Collection video album in 1993 and
the The Very Best Of album in 2001)
- Or $ - 3:52
94 East - Minneapolis Genius album #1 (02/12)

- If You Feel Like Dancin' - 7:10
(musician only)
(released without Prince's consent)

Lovin' Cup - 4:23
(musician only)

- Games - 5:00
(musician only)

- Just Another Sucker - 5:30
(composer and musician only)

- Dance To The Music Of The World - 5:09
(musician only)

- One Man Jam - 6:40
(musician only)
94 East - Just Another Sucker single (??/??)
- Just Another Sucker (Urban/Club) - 5:30
(composer and musician only)
(alternate mix of the Minneapolis Genius album version)

- Just Another Sucker (Album Version) - 4:20
(composer and musician only) (
edit of the
Minneapolis Genius
album version)
Mazarati - Mazarati album (03/04)
- 100 MPH - 7:22

- Strawberry Lover - 5:26 (composer only)
Prince And The Revolution - Kiss single #2 (03/05)

- Kiss (Extended Version) - 7:16
(alternate mix of the Parade album version) (

included in the Ultimate album in 2006)
- Or $ (Extended Version) - 6:49
(alternate mix of the 02/05 Or $)
The Bangles - If She Knew What She Wants single (03/18)

- Manic Monday (Extended California Version) - 4:56
(alternate mix of the Different Light album version)
Prince And The Revolution - Parade album (03/31)

- Christopher Tracy's Parade - 2:09
- New Position - 2:21
- I Wonder U - 1:40
- Under The Cherry Moon - 2:57
- Girls & Boys - 5:30
- Life Can Be So Nice - 3:12
- Venus De Milo - 1:54
- Mountains - 3:58
- Do U Lie? - 2:43
- Kiss - 3:38
- Anotherloverholenyohead - 3:58
- Sometimes It Snows In April - 6:48
94 East - If You Feel Like Dancin' single (04/30)

If You Feel Like Dancin' (Radio Edit) - 2:52
(musician only)
(edit of the album version)
Minneapolis Genius

- If You Feel Like Dancin' (Dance Version) - 6:29
(musician only)
Minneapolis Genius (alternate mix of the album version)
Prince And The Revolution - Mountains single #1 (05/07)

- Mountains - 4:02
alternate mix of the Parade album version)

- Alexa De Paris - 3:20
Prince And The Revolution - Mountains single #2 (05/21)

- Mountains (Extended Version) - 9:52
(alternate mix of the Parade album version)

Alexa De Paris (Extended Version) - 4:55
(alternate mix of the 05/07 version)
Prince And The Revolution - Parade promo video album (??/??)

- Around The World In A Day - 1:26
(live)
- Christopher Tracy's Parade - 3:03
(live)
- Raspberry Beret - 3:27
(live)
- Controversy - 1:31
(live)
- Mutiny - 6:36
(live)
- Happy Birthday - 1:19 (arranger only)
(live)
- How Much Is That Doggie In The Window - 0:30 (arranger and musician only)
(live)
- Automatic - 1:56
(live)
- DMSR - 0:30
(live)
- Anotherloverholenyohead - 3:23
(live) (released as a single on 2002/01/17)

- Soft And Wet - 2:06
(live)
- I Wanna Be Your Lover - 1:41
(live)
- Head - 9:35
(live)
- Pop Life - 3:10
(live)
- Life Can Be So Nice - 5:38
(live)
- Whole Lotta Shakin' Goin' On - 1:26 (arranger and musician only)
(live)
- Mountains - 3:50
(live)
- Kiss - 9:33
(live)
(No less than 4 different versions of this show have in fact been sent to TV channels and aired in
1986 and later. The one listed above is the promo video that was sent to Detroit TV channel
WGPR and constitutes the primary US broadcast. A slightly different edit has been sold to
various European TV channels later in 86, which is similar except that it lacks Soft And Wet.
The third version is the promo video that's been re-edited for the Japanese broadcast: it is
significantly shorter, but I need to check whether it only lacks some songs or if it is, in any other
way, a different version. Finally, it has been reported that the full Detroit show has been aired
late at night by WGPR at some point in 1986 (or possibly even later). This last version was proshot and sent to the station either by Prince himself or members of his staff, and it's not clear
whether Prince had authorized this broadcast and whether he was even aware of its existence.
The exact content of this broadcast is uncertain as we don't know whether it has been edited or
not at all. More info needed.)
Mazarati - 100 MPH single (06/13)

- 100 MPH (Edit) - 3:09 (edit of the Mazarati album version)
Prince And The Revolution - MTV Premiere Party Prince's

Under The Cherry Moon TV broadcast (07/01)
- Raspberry Beret - 3:24
(live)
- Delirious - 1:20
(live)
- Controversy - 2:32
(live)
- Mutiny - 1:32
(live)
Prince And The Revolution - Under The Cherry Moon film

(07/01)
(released on video on 1987/??/??)
(rerecording of the Parade album version
with additional film noises
)
- An Honest Man - 4:23
(rerecording of the
Crystal Ball
album version
)
- Christopher Tracy's Parade - 2:09 (
Parade
album version with additional film noises)

- Under The Cherry Moon Cues - 1:21
- Do U Lie? - 1:40 (edit of the
Parade

- Do U Lie? - 0:56
(alternate mix of the Parade album version
)
- New Position - 0:49
(rerecording of the
Parade
album version
)
- Mia Boca - 3:51
(alternate mix of +
also known as
Jill Jones' Jill Jones album version of Mia Bocca
)
- New Position - 0:53 (edit of the
Parade

- Do U Lie? - 1:28
(alternate mix of the

Parade
album version
)
- I Wonder U - 1:33
Parade
album version
)
(rerecording of the 05/07 version
- Alexa De Paris
- 0:54
(alternate mix of the 1:22 version above

(edit of the 05/07 version with additional film noises)
- Do U Lie? - 1:27
(rerecording of the Parade album version

with additional film noises)
- Girls & Boys - 2:10 (edit of the
Parade

- I Wonder U - 0:16 (edit of the
Parade

- I Wonder U - 0:25 (edit of the
Parade

- Or $ - 2:20 (edit of the 02/05 version with additional film noises)
- Life Can Be So Nice - 1:03 (edit of the
Parade

Parade
album version
(rerecording of the
Parade
album version
(rerecording of the
Parade
album version
- Old Friends 4 Sale - 1:25
Parade
album version
- Mountains - 2:12
Parade
album version
(rerecording of the
Parade
album version
(rerecording of the
Parade
album version
- Anotherloverholenyohead - 2:12 (edit of the
Parade

Parade

- Kiss - 1:07 (edit of the
Parade

- Kiss - 0:20 (edit of Kiss (Extended Version) with additional film noises)
- Venus De Milo - 1:32 (edit of the Parade album version with additional film noises)
- Sometimes It Snows In April - 2:23
Parade
album version)
- Mountains - 5:53 (alternate mix of the Parade album version with additional film noises)
Prince And The Revolution - Anotherloverholenyohead single

#1 (07/02)
Parade
album version)
- Girls & Boys - 3:27 (edit of the
Parade
album version)
Prince And The Revolution - Girls & Boys promo video (07/02)
- Girls & Boys - 3:40 (alternate mix of the
Parade
album version)
Sheila E. - Holly Rock single (07/04)

- Holly Rock - 3:58 (included in the Krush Groove compilation on 09/30)
- Holly Rock (Extended Version) - 6:31
(alternate mix of the 07/14 version
Sheila E. - Holly Rock promo video (07/04)

- Holly Rock - 3:22 (edit of
of the 07/14 version
Prince And The Revolution - Anotherloverholenyohead single

#2 (07/30)
- Anotherloverholenyohead (Extended Version) - 7:47
Parade
album version)
Prince And The Revolution - Music Box TV broadcast (08/14)

- Raspberry Beret - 1:57 (live)
Prince And The Revolution - NOS Journaal TV broadcast (08/17)

- A Love Bizarre - ?:?? (live)
(This was a more or less 1 minute long snippet that was aired on Dutch TV, from the circulating
18 minutes pro-shot video of the Rotterdam show that day. Any additional info on that snippet's
duration would be appreciated)
Sheila E. - Live Romance 1600 video album (??/??)

- A Love Bizarre - 10:43 (live)
Prince - KMOJ radio broadcast (09/??)

- Shockadelica (Extended Version) - 6:09
(included in the If I Was Your Girlfriend single on 1987/05/13 )
Jesse Johnson - Shockadelica album (10/??)

- Do Yourself A Favor - 3:58 (arranger only) (released without Prince's consent)
Kenny Rogers - They Don't Make Them Like They Used To

album (10/23)
- You're My Love - 4:39 (composer only)
Sheila E. - The Glamorous Club EP (??/??)

- Love On A Blue Train (Full Version) - 7:41
(alternate mix of the Sheila E. album version)
Sheila E. - Love On A Blue Train single (??/??)

- Love On A Blue Train (Single Edit) - 4:02
(edit of the Sheila E. album version)
Source: "Databank" - 'the Org'

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PRINCE The 1986 Box Set - A Year in The Life

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PRINCE The 1986 Box Set - A Year in The Life

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The "1986" Box Set: A Year in the LIfe

The 1986 Box Set: A Year in the LIfe

Prince: The 1986 Box Set

It is also a tale of two halves:

Final tracks recorded for Parade

2. Second half of 1986 (July 1986 January 1987):

Under the Cherry Moon released and flops

"The 1986 Box Set: A Year In The Life"

Posted 11th November 2015 by Mace2theO

Review - The 1986 Box Set

The 1986 Box Set A Year in the Life

Posted on March 18, 2016 @ 'Prince off the record'

The 1986 Box Set A Year in the Life

Posted 11th November 2015 by Mace2theO

Track list - The 1986 Box Set

Prince: The 1986 Box Set

DISC 1 The final PARADE Sessions (December 1985 - January 1986)

DISC 2 - THE FLESH (22 January 1986)

Junk Music (19:42)

Up From Below (4:48)

Y'All Want Some More? (1:32)

A Couple Of Miles (4:30)

Session Bonus Tracks

Source: The Flesh 2014 [2015 Leaked]

Source: City Lights (Sabotage #444-449) Soundboard

DISC 4 - DREAM FACTORY (03 June 1986)

DISC 5 - Interview with Mojo (06 June 1986)

WHYT-FM Prince Phones DJ The Electrifying Mojo

Around The World In A Day

Christopher Tracy's Parade

Raspberry Beret- Controversy - Mutiny

Soft and Wet

Head (incl. Electric Man)

Life Can Be So Nice

Whole Lotta Shakin'

Source: UCI Hybrid video (European + Japanese TV)

DISC 7 - Unreleased Pt 1 (Dec 1985-July 1986)

Prince - A Place In Heaven #1 (Sung By Prince) 2;49 [FBG 29]

Prince - Baby Go-Go 4;40 [Eye Records 227-230]

Prince - Big Tall Wall 5;39 [The Work Enhanced]

Prince - Big Tall Wall 5;53 [The Work Enhanced]

Prince - Can't Stop This Feeling I Got #2 2;09 [FBG]

Prince - Crystal Ball #2 9;51 [Work It 2.0 Updated]

Prince - Crystal Ball #3 9;29 [Foefur's Remaster]

Prince - Data Bank #1 7;56 [FBG 29]

Prince - Data Bank #2 8;25 [Work It 2.0 Updated]

Prince - Dream Factory #1 2;41 [Work It 2.0 Updated]

Prince - Dream Factory #2 2;38 [PimpSandwich]

Prince - Eternity #1 3;39 [Work It 2.0 Updated]

Prince - Eternity #2 3;55 [Eye #276]

Prince - Euphoria Highway 2;03 [Work It 2.0]

Prince - Get On Up 4;32 [Work It 2.0 Updated]

Prince - Girl O' My Dreams #2 1;23 [Work It 2.0 Updated]

Prince - Go #2 1;37 [Eye #107-109]

Prince - Go #3 4;47 [Eye #227-230]

Prince - Neon Telephone #2 3;53 [Work It 2.0]

Prince - Others Here With Us 2;43 [4DF #090] (April 1985)

Prince - Seq1_Girl O' My Dreams #1 1;26 [FBG 29]

Prince - Seq2_Can't Stop This Feeling I Got #1 2;09 [FBG 29]

Prince - Seq3_We Can Funk #2 5;30 [FBG 29]

Prince - Sign Of The Times #1 3;40 [Work It 2.0 Upd]

Prince - Sign Of The Times #2 (Instrumental 5;14 [Movie End Credits]

Prince - Splash #2 4;00 [ Premium 60-61]