let's kick it off with ally al's STELLAR prince mix
http://allyal3.podomatic.com/entry/2012-06-05T04_43_19-07_00

http://www.youtube.com/watch?v=Yyh_U32gbOo

this song just got elevated to 20 levels than the original

He's got on a trench coat and it's close to 10 minutes long. He throws out some 45s during it. I think it's from France.

Eaux wauw...


DVS Jackson, Esq. - DVS for Alderman
CDs available here: http://tinyurl.com/dvs4alderman
Also available on iTunes, Amazon MP3 and Spotify!

http://www.youtube.com/watch?v=gXiaiRWFBSk

i've learned to spot them so i don't confuse them for the real thing.

yick

http://www.youtube.com/watch?v=gXiaiRWFBSk

if so, i think they recorded it in France while shooting UTCM. he's wearing Parade-era clothing and everything.

the posted video just cuts off before it gets to the part you've mentioned.

http://www.youtube.com/watch?v=Y6KpgiNR1nA&feature=related

>http://www.youtube.com/watch?v=Y6KpgiNR1nA&feature=related

@ Jerome (and the Jerome Clones) in that video. Prince tried his hardest to do that dance with him. Great performance.

In terms of televised live performances, this is one of my favorites from Mr. Nelson.
http://www.youtube.com/watch?v=5d0ilykbeyU


THE HOME OF BOOK-NESS:
http://www.thisisbooksmusic.com/
http://twitter.com/thisisjohnbook
http://www.facebook.com/book1


http://i32.tinypic.com/kbewp4.gif

Good performance.

THE HOME OF BOOK-NESS:
http://www.thisisbooksmusic.com/
http://twitter.com/thisisjohnbook
http://www.facebook.com/book1


http://i32.tinypic.com/kbewp4.gif

His BLUE album is still my favorite!!!!!(and me still thinks its his best).
P is weez Eva gonna get a deluxe edition of this? Also, a LIVE version would be great!: http://www.amazon.com/Prince/dp/B002Q6OMA0/ref=sr_1_8_title_1_mus?s=music&ie=UTF8&qid=1338942935&sr=1-8

Check out NEW Soul music at: www.myspace.com/starbeing

Bumpin in the STEREO:
Gladys Knight&The Pips
RGE-Black Radio
52nd Street-Children Of The Night
Georgia Anne Muldrow-Seeds
Darryl Reeves-Mercury
Donald Byrd-Ethiopian Knights

and I loved that sound he put together around that time. I've heard boots/seen videos of him performing in that era with the "old" band (Andre, Dez, Fink, Gayle) ... I like that he was slowly starting to "rock" it up, but you got a song like "Sexy Dancer" (if anyone says that don't sound like Prince, they're eating The Poo Poo. There's a section in there that Jimmy Jam and Terry Lewis ripped right off for a Janet song).

"I Wanna Be Your Lover" into "Why You Wanna Treat Me So Bad" is one of the best transitions I've ever heard on one of his albums.

>and I loved that sound he put together around that time. I've
>heard boots/seen videos of him performing in that era with the
>"old" band (Andre, Dez, Fink, Gayle) ... I like that he was
>slowly starting to "rock" it up, but you got a song like "Sexy
>Dancer" (if anyone says that don't sound like Prince, they're
>eating The Poo Poo. There's a section in there that Jimmy Jam
>and Terry Lewis ripped right off for a Janet song).
>
>"I Wanna Be Your Lover" into "Why You Wanna Treat Me So Bad"
>is one of the best transitions I've ever heard on one of his
>albums.

Yes sir!!!!!!!!!

Check out NEW Soul music at: www.myspace.com/starbeing

Bumpin in the STEREO:
Gladys Knight&The Pips
RGE-Black Radio
52nd Street-Children Of The Night
Georgia Anne Muldrow-Seeds
Darryl Reeves-Mercury
Donald Byrd-Ethiopian Knights

And the fact that a case could be made is an more than enough "legacy" for me, and it should be for any P fan.

Greatest "talent"?

I could see that....

better than p?

and he's talking about musicians from Chicago...LOL

>better than p?


Yeah...I'm picking Prince over Curtis...But as the sig says....Curtis runs the Chi....

dont kill me :(

>dont kill me :(


we good Fire, Fire....lol

http://soundcloud.com/user7204742/prince-american-in-paris-1989

The 1st single release on the new outtake set Connections
to be Release this late August. Props and pounds Purplelove7 and his wife Dance Electric Thank 4 freeing the funk!!!!

http://soundcloud.com/user7204742/prince-our-destiny-1984

Its time 4 connections to Release it !!!!

I never heard the studio version. All I've got is the 1984 Birthday show version.

Can't wait to hear the rest of this release.

**Start's praying for a clean version of "The Dance Electric".**

dope....

>


silk.later Reunion radio with Old P. & Silk http://reunionradio.blogspot.com/

"i'm talking about *Balls Deep*....In Love (c)Cleveland Jr.

He was cultivating a fine nigga farm (c)Goldmind.

R.I.P Jamie Hubley

On the dock of that bay serving a life sentence,even if I’m going to hell I’m gonna make an entrance

On the dock of that bay serving a life sentence,even if I’m going to hell I’m gonna make an entrance

That's cool!

>That's cool!
I know, right ???

silk.later Reunion radio with Old P. & Silk http://reunionradio.blogspot.com/

"i'm talking about *Balls Deep*....In Love (c)Cleveland Jr.

He was cultivating a fine nigga farm (c)Goldmind.

R.I.P Jamie Hubley

wow.

I wonder quest has anything to Double down with this year

On the making of Prince's Dream Factory...Have fun....
---




What Had Happened Was: Lisa Coleman and Wendy Melvoin
KEITH MURPHY

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 couldn’t fit the bulk of the duo’s interview into our 51 Best Albums That Never Were package, which highlighted Prince’s now mythical 1986 unreleased project Dream Factory (Paisley Park). These days Wendy and Lisa—the most celebrated members of the Purple One’s classic ‘80s backing band The Revolution—are 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 protégé Bria Valente through an exclusive deal with retail chain Target on March 29. So what’s 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 wasn’t called the Dream Factory. It wasn’t that record. The time between Parade and Prince’s Sign O’ The Times was an incredibly prolific time for me, Lisa and Prince together. There were so many songs that didn’t 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 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 weren’t 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 that’s what that is. I haven’t played it since. We were just testing out the set up. Susan Rogers recorded it and miked the piano. He didn’t even have any inputs that day. We were just running a cable from upstairs (laughs). We were just testing out the gear. Prince wasn’t there. He just asked us to do some thing. He said, “Make them two and half minute pieces.” So I recorded a few and that’s 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?” I do remember being in the room singing those background vocals and getting up really high, trying to work that vibrato.

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 Prince’s 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. That’s the way I rationalize it now. Prince may have other reasons why he let us go. He’s 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 blow-drying my hair thinking, “Did we just get fired?” 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 don’t 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. That’s my goal.

s.blak
Living In The Dawn™

http://www.youtube.com/watch?v=98oJPgbRZVQ&feature=plcp

He does some really dope things on the guitar in this performance. I love this shit.

>http://www.youtube.com/watch?v=98oJPgbRZVQ&feature=plcp
>
>He does some really dope things on the guitar in this
>performance. I love this shit.

One of Prince's funniest interviews from his last Australian tour in May...Dude still has a sense of humor...


----
Melbourne Prince Interview May 6

Let’s Go Crazy for The Real Royal Tour

Nui Te Koha

Melbourne Sunday Herald Sun, 6 May, Play Magazine (by email)



Interviews with the inimitable star are harder to get than tickets to his concerts, but NUI TE KOHA tracks him down in cyber space.



Prince rarely grants an interview, but, suddenly, out of the blue, he was open to a conversation by email. Prince and his band New Power Generation arrive in Australia this week for shows in Melbourne, Sydney and Brisbane.



Forty questions covering the Prince gamut, from his sexed-up early work to Purple Rain and his disdain for the internet to the song he wishes he’d written, were proffered.


Prince answered 12 – most tour-related. He replied in abbreviated Prince-speak – a form of communication he used before text culture – with authority and, in some cases, a wicked smirk.



1. How do you compose a set list for a show?

Good question, the set list selection is initially chosen by the length of time that has passed since we’ve last played a particular market. Then many other factors take hold: the size and average age of an audience; bigger, younger crowds like the party songs played immediately, so we generally comply. Hosting parties offstage in a private setting 4 larger crowds has trained us well in dancefloor management, if u will.

2. How many songs do you have on call (rehearsed and ready if you want to slot them into the show)?

Roughly 200-300 songs with variations 4 each of them. 4 example: based upon crowd response any song can b lengthened or shortened with a simple cue: Raspberry Beret's second verse and bridge can b added if the audience sings louder than r lead singer. smile Also depending upon the diversity of the crowd we can quickly seque in 2 Cool, The Time's theme song. An urban audience knows all the words to that song whereas folks from Helsinki... well, u get the picture.

3. How do you view your catalogue of B-sides, which to some fans are as important as your hits?

The concerts r tending 2 skew younger these days so once folks know they r on familiar ground, we can play some rarities. U don't put kids in the deep water until u make sure they can swim.

4. How do you approach those classic super-high notes these days? By hitting higher ones.

5. What are the three most important things on your tour rider, and why?

Riders r the least important thing on tour.

6. As a band leader, what do you expect from the musicians you work with?

1. Foot washing 2. Locks of hair 3. Per diem.

7. You have said in interviews that you impose a basketball team type discipline on your band. What does that mean?

That they play 2 win. Otherwise they'll b back-up dancing 4 Robin Thicke.

8. Live, what does the NPG give to your pre-NPG catalogue, especially the Revolution material?

Every band is different. Most Revolution concerts stuck 2 setlists. In contrast, all past and present lineups of the NPG r based upon a collective conscience. In other words, they play like eye would if in their position.

9. Britney Spears has done two world tours lip-syncing her show. Your thoughts?

Different strokes 4 different folks.


10. What do you think of 360 deals?

They r great... 4 me 2 poop on. :/

11. What do you think about the album in this iTunes culture (and the ability to buy single songs)?

It's cool cuz we usually buy books by the chapter. When we rented Avatar, we watched 5 scenes every weekend til it was finished.

12. How has iTunes ruined or saved music?

Personally not a fan of digital music. Happy 2 say we grew up with the record player. Altho this current generation experiences the world differently - neither better nor worse, just different. It's not up 2 the past 2 dictate. That said, the decision 2 turn analog music in2 numerical data was not made by a musician. It was made by a music consumer. We all got dragged unwittingly 2 this well and r now paying the cost. When hipping a young artist 2 Joni Mitchell's canon of work, we don't direct them 2 iTunes. We sit them down and play the music chronologically. Finally, we would like 2 say how excited we all r 2 come back 2 Australia 2 show everybody what they've been missing all this time. Get ready 2 dance!

s.blak
Lisa, I'm gonna give you the brush and you paint the side of the train. © Girl Bros.

does Prince ACCEPT...

http://www.youtube.com/watch?v=8IJEINTe2DE


What the blood claaat ???

Until the real thing comes along, hopefully I'm still breathing @ that time: http://youtu.be/a8dB6d3VdHc

Always love what Miles Davis say about him.

Did anyone catch the fact that the intro is actually the interlude right before The Ladder from Around the World in a Day?

Nice!

>Did anyone catch the fact that the intro is actually the
>interlude right before The Ladder from Around the World in a
>Day?


yes. It appears they take some songs apart for released song(s).

If they were supposed to be in "Around The World In A Day", because the strings arrangements sound like Lisa's(ala Raspberry Beret) as opposed to Clare Fischer.

August couldn't come fast enough.

lil' bastard had that schitt removed.

s.blak
#Accent © I Would Die 4 U "Live"

http://www.myspace.com/video/largeroomnolight/prince-musical-portrait-omnibus/3368625

where Prince is just going off on guitar over what sounds to MY ear to a gospel beat?

the synthesis of so many sounds that come together just right...?

man. THAT is why I fuck with Prince in like 30 seconds or less.

Check out NEW Soul music at: www.myspace.com/starbeing

Bumpin in the STEREO:
Gladys Knight&The Pips
RGE-Black Radio
52nd Street-Children Of The Night
Georgia Anne Muldrow-Seeds
Darryl Reeves-Mercury
Donald Byrd-Ethiopian Knights

YES! HBD, Prince!

i love this song so much it hurts http://www.youtube.com/watch?v=cDk7LHQHoAo&feature=BFa&list=AL94UKMTqg-9BNNfJKagwbZWxFKr-nofZi

>i love this song so much it hurts
>http://www.youtube.com/watch?v=cDk7LHQHoAo&feature=BFa&list=AL94UKMTqg-9BNNfJKagwbZWxFKr-nofZi

Yes, this song grooves hard. Love everything about it.

silk.later Reunion radio with Old P. & Silk http://reunionradio.blogspot.com/

"i'm talking about *Balls Deep*....In Love (c)Cleveland Jr.

He was cultivating a fine nigga farm (c)Goldmind.

R.I.P Jamie Hubley

http://allyal3.podomatic.com/enclosure/2012-06-05T04_43_19-07_00.mp3

and thank you Fire

http://www.okayplayer.com/news/throwback-thursday-prince-live-in-detroit-19.html

I think that's the must I've heard him talk openly, back then he seemed happy but these days he's just uncaring & bitter when you do hear him talk.

They ending was strange when he told Mojo he was going to call him tomorrow at 4:30 to give him a message for the "purple fans".

http://www.youtube.com/watch?v=0oFvUdfb-Ok&feature=youtube_gdata_player

at 2:20 he GETS DOWN ON IT. this is for you rdhull! this guy's got some more p footage too if you look at his account. it was the best $25 i have EVER spent.

http://vimeo.com/23670443

>at 2:20 he GETS DOWN ON IT. this is for you rdhull! this
>guy's got some more p footage too if you look at his account.
>it was the best $25 i have EVER spent.
>
>http://vimeo.com/23670443


lol yo Prince is a fool..I saw the last three shows last year..do y9u got when he did Adore?

at that final aftershow he acted almost like he aint know me

>at 2:20 he GETS DOWN ON IT. this is for you rdhull! this
>guy's got some more p footage too if you look at his account.
>it was the best $25 i have EVER spent.
>
>http://vimeo.com/23670443

i only posted this one for the maneuver he does at the tail end of the video. p looks like a cult leader for real, lol. i wasn't even into prince at the time, but i remember coming home from middle school and watching the special because he showed O around paisley park with mayte. i was so fascinated and intrigued. i bought the hits 1&2 and emancipation after that. that's how i got addicted to the purple.

http://www.youtube.com/watch?v=1Vdh39S_ecg

that entire oprah interview & his performances were great.

There will never be another prince. All of my love and respect to you,brother.

>let's kick it off with ally al's STELLAR prince mix
> http://allyal3.podomatic.com/entry/2012-06-05T04_43_19-07_00

I was just listening to the Controversy Tour 3-7-1982 concert audio download this morning and that was a great show especially since the concert film from this concert was suppose to be a part of the second coming film.

http://www.youtube.com/watch?v=f5xMTKkEg8U

My contribution;

25 minute version of God with Najee/ Rachelle Farrell and Musiq

https://www.yousendit.com/dl?phi_action=app/orchestrateDownload&rurl=https%253A%252F%252Fwww.yousendit.com%252Ftransfer.php%253Faction%253Dbatch_download%2526batch_id%253DQlVoSlJ3Mm01aWF5VmNUQw&s=301019&cid=pm-03002124310600000000%253B301019&locale=en_US

thanks for posting it.

that sounds like the most boring, noodling piece of Prince music ever. it at least on the list. LOL

>thanks for posting it.
>
>that sounds like the most boring, noodling piece of Prince
>music ever. it at least on the list. LOL


Its great for Rachelle's vocals alone

does anyone have the instrumental to when doves cry? no vocals just the beat itself.....now, thats something to have.....

http://www.soulhead.com/2012/06/07/prince-of-the-magnoli-files-documentary-rare/

>http://www.soulhead.com/2012/06/07/prince-of-the-magnoli-files-documentary-rare/
yo thanks for this! i remember catching PART of this when it aired in the states in the 90s but i never saw the whole thing!

....is there a way to make this stream downloadable so i can save it?

It's on cassandra's page..

http://www.facebook.com/CassyQTKeys

http://www.drfunkenberry.com/2012/06/12/get-freaky-let-ur-head-bob-with-prince-the-npg-listen-now/

>It's on cassandra's page..
>
>http://www.facebook.com/CassyQTKeys
>
>
>

Spotted at some of the places I frequent: Tower cafe, Records.

http://m.sacbee.com/sacramento/db_99761/contentdetail.htm?contentguid=fHllJme7

A friend of my daughter claimed she saw him going into Cafe Orleans in Old Sac but I figured she was full of shit. A day later I heard others saying he was out here.... why I have no idea.

*edit*

Sounds like he's here working on a project

http://m.sacbee.com/sacramento/db_/contentdetail.htm?contentguid=fHllJme7&full=true#display

Facebook's been abuzz lately with sightings of Prince, the mighty Purple One of pop music, here in Sacramento. Last week, Tower Cafe posted on its Facebook page that Prince had come into the restaurant.

"He came in and had breakfast for lunch, and was a really nice guy," said Ruben Reveles, Tower Cafe's manager. "We kept it quiet for him, and didn't tell everybody until after he left. The employees were pretty excited."

On Monday, there was also a spotting of Mr. Purple Rain coming out of Corti Brothers which was posted on Facebook. However, in a call to Corti Brothers, management and staff alike didn't spot Prince themselves - though the idea of Prince picking up some parma prosciutto and a bottle of barolo is a nice thought.

"If he did come in, then it was something nobody paid attenion to, or he was dressed down," said store manager Rick Mindermann.

Now comes word of more Prince sightings. Over the weekend, Prince apparently booked a VIP booth at Mix Downtown, and was spotted on Monday buying vinyl at Records on 16th and Broadway. His shopping partner was Andy Allo, a singer from Cameroon who now calls Sacramento home and has collaborated with Prince. The two each bought small stacks of soul albums, said Records manager James McCurdy. Allo was also Prince's dining partner at Tower Cafe.
_________________________________
Reunion Radio Podcasts
http://reunionradio.blogspot.com/

Twitter @therealoldpro

jaywonder.tumblr.com

That negro sugar grand-daddying them draws

s.blak
Phillip Drummond

>
>That negro sugar grand-daddying them draws


Yeah...this^^^^

Prince does tend to be linked to the "double" if he ain't with the "real" one

Susannah, Apollonia, et al

>
>That negro sugar grand-daddying them draws
>
>s.blak
>Phillip Drummond

http://www.youtube.com/watch?v=tzY-Z6_87sI



I’d rather sojourn into self till I reached the epitome of spiritual splendor
Haters fender bender beat down and ostracize the dreamer
But its more than dreams when the inner light is revealed through the cracks of façade-stephanie (me)

j/k

Here's our Tribute from a couple years back for those that missed it (we put our foot in this if I do say so myself)

http://reunionradio.blogspot.com/2010/06/prince-birthday-tribute.html

Intro
Let's Work (12" Version)
1999
Raspberry Beret (12" Version)
U Got The Look (12" Version)
Party Man
Housequake (7 Minutes Mo'Quake)
Lady Cab Driver
Supercalifragisexy
Hello (Extended Version)
Back 2 The Lotus
The Beautiful Ones
America (12" Version)
Computer Blue (Unreleased Long Version)
Love or $ (12" Version)
Hot Thang (12" Version)
The Max
DMSR (Reunion Radio Mix)
Just Another Sucker
I Wanna Be Your Love
Cream (NPG Mix)
Good Love
Love Sign (Shock G Mix)
Anotherloverholenyohead (12" Version)
Wonderful Ass (Unreleased)
Vavoom
Extra Loveable (Unreleased)
Alexa de Paris
Anna Stesia (Live)
_________________________________
Reunion Radio Podcasts
http://reunionradio.blogspot.com/

Twitter @therealoldpro

:)

and that mix has had nearly 25000 hits since i put it up, so OP, shut up, already, damn ! ;)

Thanks OldPro!

just listening to the extended version of hello makes your mix so damn hot.....I have always loved hello especially the extended version....I mean, you play that at full blast on your turntable and the funk coming from the speakers is OVERWHELMING.....I mean seriously....

bring to life a vision
in one's mind.
the beautiful ones
always smash the picture.
always.
every time.

*sighs*

http://www.youtube.com/watch?v=K3ct5Oey_Bo&feature=related

"don't say you love me"




http://www.youtube.com/watch?v=X9Yy6O5-up0

"love sign" (featuring nona gaye)





seriously, "don't say you love me" kind of jams.
that hook...

also include how many ways can you work the p song.

http://www.dailymotion.com/video/xdofhp_prince-the-p-unreleased-song_music?search_algo=1

Imagine for a moment, if someone decided to do a HUGE gigantor Prince tribute concert at a stadium or something. Which artists/bands would you pick to perform in the concert and what songs would they do?

i can hear her whaling on that first high note of the song.
she wouldn't sing it in falsetto, though.

she could belt it out in her regular voice.

I'm making up my list, will post later.

They talk about Prince's purple rain at the 29:47 mark.

http://www.youtube.com/watch?v=IcxF97tfvro&feature=player_embedded

I like dirty Prince the best. His most gritty music has some of the best grooves.

This has come to become one of my most favs. from him:

"Come"

http://www.youtube.com/watch?v=YAmfDhAVp40

San Francisco

http://www.youtube.com/watch?v=VHdGoDN6BTs&feature=related

http://www.youtube.com/watch?v=p4VHbj8_XAY&feature=g-all-u

I think this is from the CD rom (which I never got, btw)

http://www.youtube.com/watch?v=Bp0O1oNb-lo&feature=related

Rare footage from the Controversy Tour:

http://www.youtube.com/watch?v=j8IiBQGTshc&feature=player_embedded

this clip was included on the electric purgatory movie without the sound...

Michael Jackson & Prince: An Oral History

“I heard you were looking for me,” said a deep voice on the other end of the phone. It was the fall of 1996, and Michael Jackson was holding court in a posh suite at the Four Seasons Hotel in New York. The King of Pop had instructed his handlers to contact his old peer and rival Prince for a planned collaboration. The prospect for such a headline-making union was indeed intriguing. For much of the ‘80s, Michael Joseph Jackson and Prince Rogers took turns ruling the musical landscape. MJ, the gifted Motown child prodigy who made good on his ambition to become the biggest pop star to ever walk the earth with the release of the record-breaking landmark Thriller. Prince, the at times outrageous, androgynous, one-man-band performer and producer who backed up his genius rep by pulling off one of the most unlikely coups in rock history after unleashing the multi-platinum 1984 Purple Rain soundtrack and Oscar winning film. A rivalry was born.

But more than a decade later, both had found themselves in a battle to save their respective careers. MJ struggled mightily to fight unproven child molestation accusations as the tabloid brigade hounded him relentlessly. Prince declared war against his longtime label Warner Bros. and changed his name to an unpronounceable symbol as he headed deeper into obscurity. Indeed, a team-up between the two icons would be perceived as a brilliant masterstroke. “I think it would be great,” MJ told Prince. Yet, the collaboration to end all collaborations would never happen. With the untimely June 25, 2009 death of Jackson, their connection grows even more profound. The fact that the public is still enamored with these two giants speaks volumes for their cultural impact. But what did these two titans really think of each other? Was their true rivalry or a deep respect? VIBE presents the Oral History of a King and a Prince.—Keith Murphy



A KING AND A PRINCE (1970-1982)

AHMIR “QUESTLOVE” THOMPSON (Leader, producer and drummer for the Philadelphia hip-hop band The Roots): I have an actual theory on why we started connecting Michael and Prince together early on. I don’t think it’s a coincidence that both were born in the summer of 1958 in the Midwest and both basically represent different phases of the coming-of-age life of black youth. Michael captured the imagination of post civil-rights America as a youth and he was their guiding light. And Prince captured the same post-civil rights America when they became teenagers and helped them mature into adult hood.

ALAN LEEDS (Former tour manager for Prince and James Brown; Co-editor of the book The James Brown Reader): I remember seeing Michael’s first big tour with the Jackson 5 in 1970. When I was out with James Brown we crossed paths in Dayton, Ohio. They were playing the O’Hare Arena in Dayton the night before we were scheduled to perform. Onstage he had a charismatic presence that very few people had. I remember we were staying at the same hotel. And before the gig, I happened to be in the hotel lobby when the J5 left to go to sound check. I saw them come through with their security; screaming kids were outside the hotel and I recall seeing Michael and he looked like a little pimp *laughs*. He had that confident walk and he was only 10 years old! He totally understood, “Hey, I’m the star. I’m the reason these kids are out here.”

CYNTHIA HORNER (Former editor of Right On! Magazine from 1976-2005; Currently writes and edits for Hip Hop Weekly): I met Michael back in 1976 and he was one of the shyest people that I’ve ever dealt with. It was a little difficult to interview him because even though as a professional entertainer he realized he needed the press, he wasn’t somebody that knew how to relate to the media in terms of being open with information. He was just super shy unless he was around his family. But he picked up the fact I was shy as well, so he kind of embraced me and we became friends. He and Prince were quite similar because Prince was shy as well. If you were a journalist he would give you the same monosyllabic answers that Michael did. But Prince would also speak in riddles a lot of the time; he was very evasive. He would never answer any of my questions . He wanted to keep his privacy protected at all cost.

BRUCE SWEDIEN (Michael Jackson’s studio engineer for such landmark albums as Off The Wall, Thriller, Bad, and Dangerous): It was very obvious to both me and Quincy how great Michael was. He was somebody really special…the ultimate talent. We did a bunch of demos after listening to Rod Temperton’s music for Off The Wall. And Michael, in his typical fashion, went home, stayed up all night, and memorized the lyrics and we recorded those demos without a piece of paper in front of him. You tell me one other singer that could do that.

CYNTHIA HORNER: The first time I encountered Prince was in 1978. He kept calling me over and over again and I really wasn’t returning his phone calls because I didn’t know who he was and I really didn’t care. But he called me so much that I just wanted to get rid of him, so I agreed to meet with him down the street from my office, which was in Hollywood near the recording studio he was at. He wanted me to go to the studio to see a jam session. But what I didn’t realize at the time was that the jam session consisted of just one person: Prince! He played all of these different instruments. Prince was trying to prove to me that he was worthy of coverage and that he was more talented than probably a majority of the people who was appearing in . At that moment, Prince let me know that he was a songwriter that could produce, sing, and play all these different instruments. This was an once-in-a-lifetime talent. Once I saw that, I agreed to interview him.

ALAN LEEDS: Michael wasn’t a musician in the classic sense. He approached his music differently from the way Prince did although Michael could write a great song as well. But Prince was arguably a musician first. I don’t think there’s any doubt that Prince saw Michael as a symbol of where he wanted to go in terms of notoriety. Michael was one of the few artists on the planet that Prince did respect in that sense. Once we realized that he was in the process of writing what was the original idea for the film Purple Rain as he was scribbling in notebooks during the 1999 tour, we knew he wanted more. The word was beginning to spread: “Hey, Prince really thinks he’s writing a movie.” I don’t think any of us took it that seriously because it didn’t make sense that somebody who at that point only had a few pop hits was going to be able to get the funding for a film. But it certainly revealed an ambition he had and to his credit Prince would go on to pull it off.

CYNTHIA HORNER: I would give Michael copies of the magazines and he would see certain people in the book and ask me lots of questions about the artists he was interested in. And that’s how he was introduced to Prince. After that, I started to let Michael listen to some of the Prince music I had and he was intrigued. At that point, I realized that there was somewhat of a rivalry developing. Michael had been in the business longer, so naturally he didn’t want to get replaced by the newcomer.

BATTLE FOR SUPREMACY (1983-1993):

ALAN LEEDS: Prince went to a James Brown gig with Bobby Z, his drummer at the time, Big Chick, who was his security guard, and I think Jill Jones, who was one of his protégés. By now, everybody knows what happened at that gig. I don’t think Prince realized that Michael was going to be there. James looked a little puzzled in that video when Michael whispered in his ear, “Hey, bring Prince up.” And of course Prince didn’t really know what to do either. He went to the guitar first but he fumbles with that because it was left-handed. He played a few licks, did some dancing and knocked over a prop by accident. Now I always wondered if Michael intentionally brought Prince up to put him in that position just to say, “Hey, you think you’re on my ass? Well follow this, motherfucker .” Bobby Z called me and said, “Oh boy…he made an ass of himself tonight.” He said Prince didn’t say a word the whole way to the hotel.

TITO JACKSON (founding member and guitarist of the Jackson 5 and the Jacksons): Sure, my brothers and I listened to Prince…“1999,” “Little Red Corvette,” “When Doves Cry.” Thriller and Purple Rain were part of our times. That was a great era, wasn’t it? You had two great artists both doing incredible music at the same time. And then you had the fact that they both were exceptional live performers. Some people feel as though Prince is the greatest thing since sliced bread and some people feel like my brother is the greatest. To me, that’s what made that era so special.

ALAN LEEDS: Before we set out on the Purple Rain tour, it was a case of Prince wanting to see what Michael and the Jacksons were doing in terms of production, lighting, staging and everything with the Victory tour. We charted a jet with a couple of his bodyguards and Jerome Benton from the Time and Leroy Bennett, who was Prince’s lighting and production designer for his tours. We flew to Dallas to the old stadium where the Cowboys played. There was a feeling in our camp that while what they were doing was a very solid stadium production, there was nothing really cutting edge about the technology. The Varilites, which was a brand name for a type of computerized lighting, was the gold standard in the industry at that time. And we made sure we had all that shit. But the Jackson’s production didn’t. Prince had a lot of respect for Michael, but he was mildly impressed with the show.

QUESTLOVE: Michael attended many of the Purple Rain concerts. I have the four Purple Rain shows that were in Los Angeles in ’84. And now that I realize that Mike was in the audience, I often watch it to see if I can spot him . But it makes you think. Why was Mike there four nights in a row? You have already created Thriller, you’ve done the moonwalk, you’ve done the groundbreaking videos and you’ve sold a million a week. You are officially in the Guinness Book of World Records. For all intents and purposes, Purple Rain sold 15 million units, but it was hardly the 33 million that Thriller went on to sell. So why are you this curious to who is behind you? Then I realized that you can’t be that successful without being competitive. Michael knew Prince was a serious threat.

ALAN LEEDS: Quincy Jones organized a lunch that brought Michael and Prince together. At one point, they asked him to be a part of We All The World, but Prince respectfully declined and offered to give them a song “4 The Tears In Your Eyes”. All I remember Prince talking about afterwards is that he thought Michael was a little bit weird. And this is coming from a guy who wore high heels and pajamas to nightclubs .

QUESTLOVE: There’s the now infamous story about a ping-pong match between Mike and Prince in 1986 while Prince was overdubbing Under The Cherry Moon and Mike was working on Captain Neo. And they were both vying for the attentions of Prince’s girl Lara Flynn Boyle, who back then was the hot shit. It was a ping-pong game gone bonkers. He said that MJ played like Helen Keller. *Editors note: Prince’s drummer Bobby Z has gone on record about MJ’s and Prince’s good-natured showdowns in the Minneapolis Star Tribune. “They'd shoot hoops at Prince’s Paisley Park," Bobby Z said of the unlikely pair. “Prince had a deep-seeded competitive nature, so it's easy to see where he would measure himself against Jackson's success.”*

BRUCE SWEDIEN: Prince is wonderful…just an incredible talent. Both he and Michael had a cordial relationship. They even hung out a few times. It’s common knowledge that the song “Bad” was written to be a duet between Michael and Prince. But as you know it never came together. When Prince left the studio after we were working on “Bad” he decided to pull out of it. He left the control room and as he turned around to go he said to us all, “Don’t worry, this record will be a big hit even if I’m not on it.”

ALAN LEEDS: But the thing about Michael coming to Prince and wanting him to do “Bad,” that really pissed him off. Prince was like, “Oh, he wants to punk me out on record. Who does he think I am, crazy?” He couldn’t get outside himself enough to realize that it was the kind of thing that probably could have benefited both of them. Still, it would have forever been Michael’s video with Prince as just a guest. So that captured what the relationship couldn’t be. They were like Ali vs. Frazier. And the media couldn’t get enough of pitting these guys against each other.

CYNTHIA HORNER: I take credit for that *laughs*. Right On! was a fan magazine, so I could get away with some of the things that I did. Michael and Prince were not actually battling each other on a serious level. But because I knew that was something the public found fascinating and everybody always talked about it, I wanted to have both of them on the cover together to project that element of Prince vs. Michael.

TEDDY RILEY (Longtime Michael Jackson producer): We looked at Michael and Prince as Gods. I still remember getting the first call from Michael to work on the Dangerous album. I was trying to get Q-Tip to let me use his studio in Sound Works on 21st St. I had the whole floor booked out. In one room, I was working on Jane Child’s “Don’t Want To Fall In Love,” the other room was Keith Sweat’s “Make You Sweat” and the other one was Guy’s “Why You Wanna DOG Me Out.” And I went into the other room and created “Remember The Time.” I brought Michael back to our world—the young, black, New Jack Swing world. That was the moment that people said “Michael is R&B again.” He wasn’t just the King of Pop. He was the King of R&B. And Prince was the king of funk-rock.


QUESTLOVE: You recall that ill-fated duet Eddie Murphy did with Michael called “Whatzupwitu?” I have five hours of raw footage during filming for that video. Michael and Eddie had a green screen behind them, so somewhere in that second hour, the conversation turns to Prince. And Eddie is like, “Yeah man…Prince is a bad motherfucker. I’m glad I’m working with you, but another dream I have is working with him too.” And I don’t even think that Mike knew the camera was on him and he goes, “Yes, he’s a natural genius.” And then four beats later, Michael says, “But I can beat him *laughs*.”

FALLS & COMEBACKS (1994-2010)

ALAN LEEDS: Michael wanted to be dangerous but no one ever took that side of him seriously. But Prince was always dangerous because he wasn’t afraid to push the envelope. But then Prince tried to upstage hip-hop by singing in a microphone shaped like a gun. He was trying to relate to the rap audience by having those wack rappers in his band.

CYNTHIA HORNER: Both Michael and Prince had their problems later in the ‘90s. I used to see and talk to Michael a lot, but he started to change. I didn’t have very much contact with him; my contact was with all of his relatives. Michael had all these people that surrounded him that kind of prevented his old friends and business peers from having any contact with him because they wanted to control what was going on with him. His own family didn’t really have a lot of contact with him. And Prince was dealing with his own issues. He woke up one day and realized that some of his business decisions with Warner Bros. had not worked out in his favor. He began to protest the music industry. Everyone remembers when he wrote the word slave across his face. He didn’t feel like he got his just due financially and artistically. Both Prince and Michael became very inaccessible.

MICHAEL BEARDEN (Keyboardist for Jackson’s 2001 30th Anniversary Show and music director for This Is It): The idea was to do a 30th anniversary show at Madison Square Garden to celebrate Michael’s years in the business. But once people found out that it was going to be a big deal everybody wanted to be there! Elizabeth Taylor, Liza Minnelli, and tons of people were coming out. Michael didn’t want to do much on his own. He had just dropped his album Invincible. It wasn’t that people was upset with Michael. They were upset that other artists were onstage with him. They wanted to see more of Michael. People were not to cool with seeing all those other acts and Whitney Houston looking crazy *laughs*.

DJ SPINNA (DJ, producer, musicologist and co-founder of Soul Slam’s MJ vs. Prince parties): We started the MJ vs. Prince parties in 2002.The whole idea came about after the success of doing Stevie Wonder tribute parties, which we started in 1999. And we thought who were the other two iconic music figures in the pop world but also made a major impact on black culture? And that was definitely Michael and Prince. I remember we did the first party at a venue in Lower Manhattan called Peppers and the crowd was overwhelming. During the parties, I play music from both camps—Michael and Prince catalogues—as well as artists that they have influenced and worked with. So you have the whole Minneapolis vibe going on with Prince, Sheila E, The Time, Vanity 6, Alexander O’Neal and you have Michael with Jermaine Jackson, Janet Jackson, and the Jackson 5. But at the end of the night, it’s really a party that reminds people of the best times of their lives.

WILL.I.AM (Leader of the Black Eye Peas; Has performed live with Prince and produced several tracks for Michael Jackson): I had a show with the Black Eyed Peas in 2008 and then late that night I performed with Prince at the Palms Hotel. I called Michael just before the show and I was like, “Hey Mike, I’m in Vegas.” I told him about the performance at the Palms with Prince and asked him if he wanted to come. He was a bit apprehensive at first, but I told him, “Let me call Prince to see if everything is OK.” I sat down with Mike after I finished a song with Prince and he comes down off the stage playing his bass and comes right to our table…ripping the bass in half! It was the coolest experience I’ve ever had. I was with both of my heroes. While we were working on new material for his album, MJ asked me why people didn’t think of him in the same way they thought of Prince as a serious songwriter. It was a shock to hear that coming from such an iconic artist.

KENNY ORTEGA (This Is It director): It was less about competing with Prince and more about respect. Michael felt God was going to give ideas to the next deserving artist who he felt was Prince. That’s a true respect, true admiration for Prince. He mentioned several times how he loved the song “Purple Rain.”

TRAVIS PAYNE (Choreographer and associate producer of This Is It): The huge success Prince was able to have at London’s O2 with 2007’s 21 Nights concerts was important when Michael was putting together This Is It. The desire for Michael’s contemporaries to still be seen by their audiences gave him further confirmation that his ideas were right. It wasn’t about just competing with Prince. It was about him competing with himself. He wanted to hold the Guinness Book of Worlds Record for the most shows. He wanted to show he was the greatest. And he was.

DJ SPINNA: I met Prince last year in February in L.A. through Rashida who is his personal DJ. It was quite surreal, but he couldn’t quite comprehend the concept of “vs.” Both Rashida and myself tried to explain to him that it’ wasn’t really a battle between MJ and himself. It’s more of a tribute to their music. But Prince had issues about being pitted against Michael like that. You could sense there was a real respect between the two. That was one of the things that made me change the theme of the MJ/Prince parties. And the other reason that made me change it was of course Michael’s passing. I felt like he left such a great legacy behind and it was unfair to label it MJ vs. Prince because Michael is not here anymore. Its’ a celebration of Michael’s and Prince’s music.

KENNY ORTEGA: You know how rumors followed Michael…like a bad shadow and it wasn’t something that he could escape. But the phones started ringing in our pockets the night we were finishing up rehearsals for the London shows. It was so vague that most of us had become so used to the crazy rumors that we wanted to believe the news of Michael’s death as just another story. A short time after we discovered he died. And to this day it’s still difficult for me to explain what that felt like. I lost my balance. I couldn’t walk. I had to be helped to another room. I remember the place was spinning and feeling that the floor had fallen out. The only thing I could see as I walked around was this level of sorrow. It was a dark day.

TRAVIS PAYNE: I told Kenny after Michael died, “We’re not done. We can’t be finished.” Not only would Michael’s message get out there as he wanted it, people would get to see him creating the very show he was going to perform. He actually reached more fans than he would have with the concerts with the This Is It movie. So that made me very happy. But there’s not a day I don’t think about Michael.

CYNTHIA HORNER: One of the reasons why we still care about Michael and Prince is because we will never know everything we want to know about them. They both understood the power of mystique. They realized that was part of their power they had with their fans. And it’s always going to be that way because there will never be another like those two. When people talk about someone is the next Michael and Prince, I just laugh.

WILL.I.AM: You think the really big people are going to be assholes. And those artists are really not even that big. Then you meet real big artists like Michael and Prince and you are like, “Damn, these guys don’t act like the asshole I just met last week.” The reason why the assholes act like that is because they aren’t really that big. Michael and Prince are as big as you can get.

are there links for these?

>are there links for these?


Don't know if there are any more links...For the MJ/Prince story u may be able to google them...But it may be too old...

after p shows off walking on the table doing that solo, it ends with him doing dead on mike saying "that prince.......he's a meanie"

http://www.vibe.com/article/michael-jackson-vs-prince-oral-history

IT WAS ALL A DREAM: The Making of Purple Rain.

He didn’t have enough star power to acquire funding and his director was barely out of film school. So how did Prince pull off one of the biggest gambles in pop culture history?

By Keith Murphy



It was ridiculous, really. Twenty-eight year-old Albert Magnoli, a young filmmaker fresh out of USC, had turned down the chance to direct his first feature film. Magnoli, whose only experience as a director was a short film on the Los Angeles music scene entitled Jazz, had been told that budding music star Prince Rogers Nelson wanted to make a movie entitled Dreams. But as he sat in a Los Angeles diner for a June 1983 meeting, Magnoli boldly told one of Prince’s managers Robert Cavallo that the dramatic musical—which centered around a talented yet troubled bandleader struggling to find redemption amid an abusive father and cut throat music scene—was too Hollywood. “I just told him, ‘What do you mean you pass…you can’t even get arrested.’” remembers Cavallo. “You don’t even have the money for the lunch that we are having. I asked him if he had a better idea and he said, ‘Yeah, give me a week.’"

A week later, on a seemingly endless, two-lane highway in Minneapolis, Magnoli was taking the ride of his life. A doe-eyed figure wearing a black trench coat, white flowery lace shirt and high heels sat silently behind the wheel of an otherwise nondescript BMW. Know this: the idea of Prince making a film was far-fetched. Aside from the Beatles and Elvis, Hollywood had little confidence in musicians to carry the expensive tab of a motion picture. The fact that this musician was Black, androgynous, X-rated and at times downright weird made the idea even more insane. Still, Magnoli had told Prince his vision of creating the greatest rock-n-roll movie ever seen on screen.

Suddenly the driver turned his head and said in a straightforward low voice, “Do you know me?” “I said ‘No,’ recalls a laughing Magnoli, who is speaking from his Los Angeles office a little more than 20 years after Prince crashed the Hollywood party with Purple Rain. “And Prince says, ‘Then if you don’t know me, how is that you’ve just told me my life story?’” Following the career-altering showdown, Magnoli moved to Prince’s hometown of Minneapolis and spent four weeks soaking up the artist’s personal and musical background to incorporate into the rough draft screenplay originally penned by veteran writer William Blinn.

Purple Rain was released in theaters on July 27th 1984 and promptly shook up the world. “Purple Rain is provocative…Prince is nothing if not an arresting figure,” praised The Washington Post. Moviegoers agreed. Shot on a meager budget of $7 million, the movie raked in a shocking $70 million dollars at the box office, becoming the 10th highest grossing film of the year. Equally impressive was its landmark soundtrack—which spent 24 weeks atop the Billboard charts. The Purple Rain album eventually sold over 16 million copies worldwide anchored by the omnipresent no. 1 single “When Doves Cry.”
Yet, the enamored fans that came in droves to get a glimpse of their hedonistic matinee idol had no idea of the struggles to make Purple Rain a reality. There was no news of Prince’s relentless fight for control on and off the movie set, which would inevitably lead to alienation amongst some of his co-stars. The public had no idea of the nervous script rewrites, budget hurdles, near-death accidents and filming in arctic Minnesota temperatures. But one way or another, Prince would become Hollywood’s most unlikely golden boy.

LINE BREAK

It was during April of 1983 of the 1999 tour that band and staff members began noticing Prince carrying around his ubiquitous purple notebooks.

“We didn’t know if it was song lyrics, love letters…we didn’t know what the hell he was writing,” says Prince’s former tour manager Alan Leeds. “Back then, he wasn’t the kind of guy you would ask, ‘What you writing, man?’ Prince stuck to himself except amongst the people he was very close to. But there was a little buzz that something was up.”

A focused Prince gave an ultimatum to his management crew of Robert Cavallo, Steven Fargnoli, and Joseph Ruffalo. The trio’s contract with the performer was due to expire and Prince wanted his handlers to deliver a movie or find a new client. “We knew as his managers at the time there was no way,” Cavallo remembers of his early conversations with Prince. “Prince was a platinum star but not a mega-star. It fell on me to find out how the hell we were going to get this kid a movie.”

With no acting or movie production credentials, Prince and his management were facing an uphill battle. A meeting with music mogul David Geffen to secure financing for the projected film ended when Geffen would only do the movie for $5 million. Legendary comedian Richard Pryor’s Indigo film company, headed by football great and community activist Jim Brown, was also approached to fund the film. “Purple Rain was brought to us and I told Richard that Prince was just about ready to explode,” Brown recalls. “The movie was budgeted at just under $6 million and we basically could have produced the movie out of Indigo. But Richard didn’t really know who Prince was. He turned it down.”

Finally, Warner Bros. Pictures agreed to bank roll the movie only after Warner Bros. Records chairman Mo Ostin—who first signed Prince six years earlier—went to bat for his young talent. Indeed, the reluctant movie executives held Ostin in high esteem (Ostin built the successful Warner Bros. Records empire virtually from scratch overseeing such music royalty as Jimi Hendrix and Earth Wind & Fire). Meanwhile, veteran screenwriter William Blinn was brought in to transform Prince’s notes into a respectable script following several meetings with Prince.

Plans were set to rent out a warehouse in the Minneapolis suburb of St. Louis Park to rehearse live music and choreography as well as a crash course in acting classes. Joining the Revolution was hard-driving funk outfit The Time, led by charismatic frontman Morris Day, and sexy pin-up girl group Vanity 6—two acts created and produced under the watchful eye of Prince. Time member and Morris Day valet Jerome Benton recalls the marathon boot camp. “We’re up in the hall and we had a dance instructor who was very old,” says the Purple Rain actor. “He’s telling us how to do ballet and we’re like, ‘You can’t be serious.’ But it was different when Prince was there. When he was in class, I was trying to be Mikhail Baryshnikov *laughs*.”

However, before filming of Purple Rain could start, a series of roadblocks threatened to derail the production. Blinn backed out of the movie due to prior commitments, opening the door for Magnoli. Further threatening the future of Purple Rain was the bitter August ’83 walkout of Denise Matthews a.k.a.Vanity. The criminally gorgeous lead of Vanity 6 and Prince’s girlfriend figured prominently as the singer’s sexy love interest in the film.

When Vanity’s demands for a salary hike was not met by producers, however, the Toronto native left the production for an offer to appear in Martin Scorsese’s The Last Temptation of Christ. The on-again, off-again love affair between Prince and Vanity had grown increasingly volatile since the 1999 tour as the insatiable musician juggled a plethora of women that included Vanity 6 member Susan Moonsie and bubbly blond vocalist Jill Jones.

“By then her relationship with Prince was pretty much over,” Leeds says. “But he was trying to keep tabs on her. One time he even suggested that I go park in front of her apartment building and try to time her coming and going.”

After a Los Angeles audition, 22-year-old exotic California beauty Patricia Kotero was picked for the female lead. Prince immediately re-created the voluptuous beauty as Apollonia. Vanity 6 was now Apollonia 6. “It was clear from the auditions that Prince was looking for someone who favored Vanity,” Leeds says. “His whole vision for who this person was in the script was built on his vision of Vanity. And I guess Apollonia fit the bill. But she certainly didn’t have the charisma that V had.”

After non-stop rehearsals of Prince’s five-piece Revolution outfit, the timing was right to test his new musical vision of a multi-cultural, multi-racial and multi-sex band in public. On August 15, 1983 Prince & The Revolution officially made their well-received debut at Minneapolis’ First Avenue, the iconic club that became the primary backdrop in the Purple Rain film. The memorable show introduced 19-year-old white female guitarist Wendy Melvoin, and showcased six new songs including “I Would Die 4 U,” “Baby, I’m A Star,” and the album title power ballad “Purple Rain,” which were recorded live and later re-tracked for the movie’s soundtrack.
“It was electric,” says former Revolution keyboardist Dr. Fink of the show. “It was hot and muggy and the air conditioner couldn’t keep up. There was really a huge buzz about the project because at that time how many movies were getting shot in Minneapolis? And it was the native son who was getting to do this which was a pretty cool thing.”

Filming on Purple Rain officially began in November of ’83 through late December. Prince portrayed The Kid—a gifted, troubled and paranoid Minneapolis musician who battled rival Morris Day for both stage supremacy at First Avenue and the lustful affections of Apollonia.

Seasoned actors Clarence Williams III and Olga Karlatos, who played the Kid’s dysfunctional parents, were brought in to give the film dramatic legitimacy. A rainbow coalition of local extras was carefully selected to project the utopian look and vibe of Purple Rain for the First Avenue performance sequences.

As for Day, who many critics cited as a true comedic revelation in the film, the Time’s scene-stealing performer was growing increasingly dissatisfied with what he perceived as Prince’s heavy-handed control. He was disturbed by the abrupt firing of Time members Jimmy Jam and Terry Lewis (Prince had accused the now celebrated production duo of working outside the band after the 1999 tour).
“I think it was kind of a divide and conquer strategy,” Jimmy Jam says. “Prince asked Jellybean Johnson to call Terry to ask him to come back. And Terry said, ‘Well, what about Jam?’ And Jellybean said, ‘Well, he don’t want Jam back . And part of the conversation was the fact they were getting ready to shoot Purple Rain. I told Terry he should go back and do the movie and Terry said, ‘Are you nuts?!!! I ain’t going back.”

Day found it increasingly hard to cope with the Hollywood bottom line. “It was tough and there were some long days,” Day recounts. “The call times and just getting used to the Hollywood thing via Minneapolis was a trip. 6 a.m. call times. Sometimes I would get dressed with makeup, hair and clothes all day and they wouldn’t even use me. There was so many sexy’s on the set with all the extras and stuff, we had too many things to do.”

Film production manager Alan Leeds recalls having to show up at Day’s Eden Prairie home more than once to retrieve the disgruntled singer. “There were a few people who just couldn’t get up and one of them was Morris,” laughs Leeds. “At one point I’m walking around the side of the house and banging on the window. He would open the door and say, ‘What do you want?’ And he knew…he wasn’t stupid. I understood Morris’ feelings. felt that he had lost whatever control he ever had. His issue was control. Basically Prince said, ‘If I’m going to have an R&B band this is what its going to be.’”

LINE BREAK

By November of ’83, the infamous Minnesota winter had become unforgiving. Most of the California-based production crew was shell shocked by the realization of plunging 80 below zero temperatures. Car batteries were routinely taken out to protect from freezing. A generator truck supplying power to the Purple Rain set was literally encased in ice.

When the weather warmed up to a “bearable” 20 degrees, the memorable Lake Minnetonka scene, featuring a purple motorcycle riding Prince and Apollonia was set to film. However, when it came time for Apollonia to take off her clothes and dive into the water for the film’s infamous money shot, the shoot was nearly marred by ironic tragedy.

“We had shot Apollonia jumping into the water,” Magnoli recalls. “She hit the water and we had divers underneath just in case. But she just went into shock. We couldn’t film her coming out of the water because she was through. The divers grabbed her and immediately rushed her into a tent full of heaters and it took her 50 minutes to thaw out. She was done.”

Eventually the remainder of the Lake Minnetonka scene was shot in Los Angeles. But before the additional footage could be completed, the Prince camp had to deal with the reality of a depleted production budget. An additional $600,000 was needed to finish Purple Rain, which left Prince’s managers scrambling to raise funds. When the producers showed a rough-cut of the film to Warner Bros. suits, the reaction was less than receptive. “They were pissed,” says Cavallo. “It was enormously long and had some critical scenes missing, especially of Morris and Jerome. But Mike Ovitz pretty much told them, ‘Give us the money or we will just give you the money for the negative and I’ll take the movie elsewhere.’”

Warner Bros. Pictures blinked. With the remaining budget secure, Prince was back in the recording studio to finish the bulk of the Purple Rain soundtrack. By April 1984, the album was complete. For the first time in his career Prince, a self-contained unit heralded for playing all the instruments on past albums, had collaborated with his band in the studio. Among the highlights were “Let’s Go Crazy,” "Computer Blue" and "Darling Niki." Yet, band members were still in awe of Prince’s exceptional gifts for songwriting.

“You knew something special was going to happen," says Revolution drummer Bobby Z. “He would write "The Beautiful Ones" in one night and then 10 hours later he’d have that song mixed and mastered. His creativity never stopped. He never slept."

Musically, there was never any question of Purple Rain delivering the goods. However, there were legitimate concerns amongst producers about the film’s amateurish acting handled mainly by first-time thespians. Indeed, Prince was no Marlon Brando. But Brando couldn’t capture the screen with razor blade guitar solos, James Brown like work-outs and on-edge screams that suggested Prince was either possessed or insane. Prince and the Revolution’s blistering First Avenue stage performances simply rendered such concerns meaningless.


Following its theatrical release, the R-rated Purple Rain was a multi-media breakthrough. The album sold over 2 million copies in less than six weeks. Purple Rain would go on to win a Grammy, pick up a 1985 Oscar for Best Original Score and anger parent groups and politicians who branded Prince as a simulated sex act in high heels. Warner Bros. publicity hounds quickly played up the biographical undertones of the film, which left fans and the press at times scrambling to separate fiction from reality. Did Prince’s volatile father really abuse his mother? Was he black or white? Was there really a burning dislike between the Revolution and the Time? Did an arrogant Prince really treat his bandmates Wendy & Lisa with such paranoia and scorn? Did he really slap around his women? Some movie critics balked at what they saw as Purple Rain’s disrespectful treatment of its female characters.

Later in a 1985 televised interview with MTV, Prince simply pleaded artistic license when asked about the film’s more controversial material. "It was a story, a fictional story, and should be perceived that way," he maintained. "Violence is something that happens in everyday life, and we were only telling a story. Sometimes, for the sake of humor, we may've gone overboard. And if that was the case, then I'm sorry, but it was not the intention."

Whatever Prince’s intentions were, they were indeed polarizing. With the August DVD release of the 20th Anniversary edition of Purple Rain, we are again reminded of the film’s lasting impact. Whether it’s Mariah Carey’s celluloid meltdown Glitter or Eminem’s confident 8 Mile, Purple Rain will forever be that mythic bar for any artist attempting to create musical drama. "We never got our due from the Hollywood elite,” a proud Cavallo says. “$70 million today translates to close to $150 million.”

“You understand how insane this was?” adds Magnoli says of Purple Rain’s unprecedented success. “It was a first-time white director with a first time urban artist, with a first-time team of producers. I remember one of the Warner Bros. studio heads said to me, ‘You understand that basically you have a weekend or two with this movie at box office?’ But we knew we were apart of something special.”

Her interview with Prince back in 79 in "Right On" lol she was getting fired up over his answers.

I wish I could find the article now, it was a great interview.

And alias, dog?.....come on, we know it's u...lol

>
>
>And alias, dog?.....come on, we know it's u...lol

yep

I see that this circulated on the net but all download links have been killed.

Anyone that has it willing & able to share?

thx!

http://main.thedigitalgarden.org/cd-listings/1626-firstavenue86-4df.html

i'll up it now

>http://main.thedigitalgarden.org/cd-listings/1626-firstavenue86-4df.html
>
>i'll up it now

yep that's the one i mean.

thanks a million!!!

cheers

http://wtrns.fr/_3-RDloR2NP0xUw

files expire on july 8th, artwork included

>http://wtrns.fr/_3-RDloR2NP0xUw
>
>files expire on july 8th, artwork included

dope. thanks!

all thanks to the original uploaders

Bueller?
Anyone?

I thought the official "For You" track was complete, no?

A few years ago on Radio 1 in the UK there was a mix by a deejay called Jaguar Skills. I never heard it but its meant to be great and despite trawling the internet i've never found it. If anyone has better luck than i have had locating it or has a copy please post it up. Here is the Tracklist:

Prince – 'Let's Go Crazy' (WEA)
The Camp & Lee Majors – 'Jaguar Skills Is On' (White Label)
Prince – 'Black Sweat' (WEA)
Prince – 'Musicology' (WEA)
Prince – 'Starfish & Coffee' (WEA)
Kanye West – 'Gold Digger (Jaguar Skills Starfish Version)' (White Label)
Prince Vs Jay-Z – 'Sexy Mf'z (Jaguar Skills Mash-Up)' (White Label)
Prince – 'If I Was Your Girlfriend' (WEA)
Prince – 'Sign O The Times (Jaguar Skills Beat Version)' (White Label)
Prince – 'Alphabet St' (WEA)
P Diddy – 'Last Night' (Bad Boy)
Prince – 'Rasberry Beret (Jaguar Skills Beat Version)' (White Label)
Prince – 'I Wanna Be Your Lover' (WEA)
Nelly Ferturdo – 'Give It To Me (Jag's Lover Version)' (White Label)
Kanye West – 'Touch The Sky (When Jag Cries Version)' (White Label)
Prince – 'When Doves Cry' (WEA)
Prince – 'Kiss' (WEA)
Timbaland – 'The Way I Are (Jag's Kiss Version)' (White Label)
Prince – '1999' (WEA)

if i start dropping gems people will die. plain and simple. i gotta find a way to do so.

Be like Jesse Johnson and send to those that are down!! LOL!!

>if i start dropping gems people will die. plain and simple. i
>gotta find a way to do so.

No message

Please do!

cant be that much stuff that isnt "out there" already, can there ?

i may have a little cry while i think about this

Our Destiny
American In Paris
Lust U Always
Waiting (long)

But you won't be getting Cosmic Day this month, maybe another "treat." The gatekeepers are mad now.

>The gatekeepers are mad now.

oh brother *eyeroll*

edit. just read down the thread, thank you sir

We would love a treat!

drop the full version of cosmic day.......

drop the full version of cosmic day. how about that!

There was a guy who was forced to sit in a room full of stacked Revolution Tapes & Films, etc. His homework was to make copies of EVERYTHING for Prince to review with the band. Let's just say this guy did a little more then what was asked.

questlove, post Prince's cover of the system song " you are in my system" because I remember you stated on your twitter page that you were going to post it on Prince's birthday last year.

*scoffs*

That's some impressive shit if he has 'em
other than that............brotha please!!!!

YOU ARE THE NIGGA OF THE YEAR FOR GETTING ALL THEM BAD ASS MOTHERFUCKERS ON STAGE!!!-Supablak regarding 2uestlove Bonnarro D setup

.

the way he talks about this song in interviews
just fascinates me. lol


he'll say something like,

"i have this song called 'the divine.' i'd release it,
but i can't even play it for myself. every time i hear the first 4 chords of it, i just put it away."




now... maybe this song is awesome.
maybe, it's mediore.
maybe, it's just pure crap.
maybe... this song doesn't even exist, and this is just
marketing hype.




but the idea that prince may have this song,
locked in his head, that he won't even play because
it's so beautiful that he wants to keep it locked inside
of his magical world of sound...


that's just a dope concept to me.



selfishly, i'd love to hear it.

lol

what are you talking about? so are u saying that Prince and Roger Troutman actually worked together? because that would be something to have especially since I have all of Roger and Zapp lps. Itching for your twitching is all Prince and I couldnt get enough of that song so much that I ordered the 12" remix from the uk in which I paid close to 20 bucks for it. I am also looking for live Roger and Zapp concerts on dvd if you have them.

http://www.youtube.com/watch?v=kCv-GTcJG7M

http://www.mixcloud.com/XFM/25-4-parade-april/

jaywonder.tumblr.com

Did anyone catch this already?

http://www.tumblr.com/tagged/our-destiny

(scroll down to 'Lisa Coleman')

wow.

http://www.youtube.com/watch?v=308VATCQqPI

I cant find this magazine anywhere now. i checked moods music and its completely sold out.

http://www.waxpoetics.com/wax-poetics-magazine/issue-50

__________________________________________________________________________
Skrillex.

needless to say I picked it up as soon as I saw it

I just bought Prince unauthorized vhs from the goodwill this morning and I havent seen that one since 1992 when I used to sneak in my uncle's stuff just to watch it when I was a little boy. they had it on youtube but they deleted it and I knew that if I didnt get it, id never see it again. its rare and you can actually hear clips of a few unheard Prince tracks in the introduction.

now look.
i gotta be an asshole about this.
ill post the treats.
but I'm keeping them private.
so you'll have to inbox me (easiest way is to respond "inbox" then gimme email in the inbox so i can add you to the list.)

you can't download these. and please don't go round tweeting and fb'n and Org ing (and you know what i mean by Org ing) these links. i will dead them quicker than a mofo and NEVER post these treats.

hate to be all uptight. but i really shouldn't be sharing this stuff.

keep it cool keep it moving.

click the link. listen. appreciate.

if its quiet in here....ill post more. the second i suspect more than THIS THREAD is lurking? I'm deading these treats.


got it?


cool.



prince
wendy
lisa
sheila
levi
eric

are The Flesh.

xmas 85.
26 songs (average time is about 8 mins to 23 mins)

mindless jamming.

intended for release March 85.
configured and mastered.
triple album.
then Madhouse ixnayed that.


this is the first song on side one.

A Couple Of Miles.


http://soundcloud.com/ahmir-khalib-thompson/a-couple-of-miles

Aw man, I missed it...

No message

this thread that reads "inbox"

i aint checking this ish every 9 secs to see who wants it.

again


respond INBOX.

then ill check.

1) type "INBOX" UNDER MY THREAD.

2) I GO TO "INBOX" AND THERE WILL BE THE EMAIL "MYNONREADINGARSE@AOL.COM"

3) I COPY PASTE

4) GO TO SOUNDCLOUD ADD YOUR NAME.

5) BLAMO!


why is this the 3rd time I'm explaining this easy exercise?

INBOX

YOU ARE THE NIGGA OF THE YEAR FOR GETTING ALL THEM BAD ASS MOTHERFUCKERS ON STAGE!!!-Supablak regarding 2uestlove Bonnarro D setup

__________________________________________________________________________
Skrillex.

Please and thank you!

INBOX!!

J

icecold_2_1@yahoo.com

INBOX

inbox

>this thread that reads "inbox"
>
>i aint checking this ish every 9 secs to see who wants it.
>
>again
>
>
>respond INBOX.
>
>then ill check.
inbox

Thanks !

Thanks!

:-)

.

http://www.imeem.com/psykosoul

thanks so much

>now look.
>i gotta be an asshole about this.
>ill post the treats.
>but I'm keeping them private.
>so you'll have to inbox me (easiest way is to respond "inbox"
>then gimme email in the inbox so i can add you to the list.)
>
>you can't download these. and please don't go round tweeting
>and fb'n and Org ing (and you know what i mean by Org ing)
>these links. i will dead them quicker than a mofo and NEVER
>post these treats.
>
>hate to be all uptight. but i really shouldn't be sharing this
>stuff.
>
>keep it cool keep it moving.
>
>click the link. listen. appreciate.
>
>if its quiet in here....ill post more. the second i suspect
>more than THIS THREAD is lurking? I'm deading these treats.
>
>
>got it?
>
>
>cool.
>
>
>
>prince
>wendy
>lisa
>sheila
>levi
>eric
>
>are The Flesh.
>
>xmas 85.
>26 songs (average time is about 8 mins to 23 mins)
>
>mindless jamming.
>
>intended for release March 85.
>configured and mastered.
>triple album.
>then Madhouse ixnayed that.
>
>
>this is the first song on side one.
>
>A Couple Of Miles.
>
>
>http://soundcloud.com/ahmir-khalib-thompson/a-couple-of-miles

Please! :)

INBOX PLEASE!!! :)

Please inbox, ?uest. Thanks!

s.blak
THANX A MILLION

INBOX PLEASE

and thank u

>now look.
>i gotta be an asshole about this.
>ill post the treats.
>but I'm keeping them private.
>so you'll have to inbox me (easiest way is to respond "inbox"
>then gimme email in the inbox so i can add you to the list.)
>
>you can't download these. and please don't go round tweeting
>and fb'n and Org ing (and you know what i mean by Org ing)
>these links. i will dead them quicker than a mofo and NEVER
>post these treats.
>
>hate to be all uptight. but i really shouldn't be sharing this
>stuff.
>
>keep it cool keep it moving.
>
>click the link. listen. appreciate.
>
>if its quiet in here....ill post more. the second i suspect
>more than THIS THREAD is lurking? I'm deading these treats.
>
>
>got it?
>
>
>cool.
>
>
>
>prince
>wendy
>lisa
>sheila
>levi
>eric
>
>are The Flesh.
>
>xmas 85.
>26 songs (average time is about 8 mins to 23 mins)
>
>mindless jamming.
>
>intended for release March 85.
>configured and mastered.
>triple album.
>then Madhouse ixnayed that.
>
>
>this is the first song on side one.
>
>A Couple Of Miles.
>
>
>http://soundcloud.com/ahmir-khalib-thompson/a-couple-of-miles

Thank you.

What the blood claaat ???

What the blood claaat ???

yep yep

Courtesy of Wolfgang's Vault:

http://tiny.cc/prince-npg-dnalounge-93

and one of my fave shows. Thanks.

I haven't posted here in forever but does anyone have the Under the Cherry Moon soundtrack, not Parade? Apparently there's a multi-disc fan made release out there but I haven't found it. I know some you guys have some gems

i'll try and dig it out

>I haven't posted here in forever but does anyone have the
>Under the Cherry Moon soundtrack, not Parade? Apparently
>there's a multi-disc fan made release out there but I haven't
>found it. I know some you guys have some gems
>
>
>

>>I haven't posted here in forever but does anyone have the
>>Under the Cherry Moon soundtrack, not Parade? Apparently
>>there's a multi-disc fan made release out there but I
>haven't
>>found it. I know some you guys have some gems
>>

That's it. Thanks. I found it. Anyone know anything about the "Cherries" box set?