>this almost empty bottle of glue don't hardly make you think
>of the dead horse at all no more.
>
>But, here goes 10 bullet points of forensic speculation:
>
>•he'd pushed "quirky elfin pop/funk sex weirdo" ass far as he
>could and radio changed right up under his feet.
>
>•a guy who would implode the Time and put Paul Peterson in the
>spotlight to get "that Duran Duran" money ,says what?
>
>•He was shook. He wanted to appeal to Black radio, prove he
>was down.
>
>•Also factor in the execs at Warner's that championed Prince
>weren't there anymore or being phased out or moved around (Mo
>Ostin, Lenny Waronker). So his superstar bullying tactics
>didn't have the same effect...he looked more like an asshole
>than a genius pulling the Black Album after it had shipped.
>The labels were like...'fuck this guy...let's push Ice T. in
>the 3rd & 4th quarter'.
>
>•...pulling The Black album was the point he really started
>schitting the bed decision wise. "Lovesexy" follows the same
>constructs that went into "The Rainbow Children" minus going
>overboard with the religious dogma, stylistically & quality
>wise. He could have easily re-tooled schitt like "Dream
>Factory", "Welcome 2 the Rat Race" & "Crystal Ball" and
>coupled it with "Positivity", "Dance On", "Eye Know/Crystal
>Ball", "When 2 R In Love", "Rebirth of the Flesh" & "Joy In
>Repitition" and had a ridiculously awesome "band" oriented
>"Prince" album that fans and critics couldn'tve ignored if
>they tried, in spite of Teddy Riley's matinee funk sound that
>was really starting to permeate Black radio. Why all of a
>sudden did this fool wanna be a "Black" act, when his sound
>appealed to more than just the Black radio audience
>
>•There was just some master self-sabotage schitt going down
>cause he was used to getting his way with Warner Bros., and
>they firmly & immediately put the kybosh on that triple album
>idea after UTCM.
>
>•Musically his strengths at the time were, the material & the
>people that helped foster the material (Eric Leeds, Wendy,
>Lisa, Sheila, Levi, Matt Blistan, as well as the engineers who
>believed in the helping him capture all of that round the
>clock)...not Wally Safford, Greg Brooks and Jerome hanging
>around. He tried to make S.O.T.T.'s feel like a one man show,
>but it wasn't. He wanted to be in a band...but all of a sudden
>he wanted it to be a fey/quasi religious version of Sly & the
>Family Stone and P-Funk...AND dominate black radio?
>
>•Dude, FUCKED UP...and would have to pay for it, with 10+
>years of really confusing material, Hit & Run Tours galore,
>playing catch up on the radio, Tony M, that embarrassing G.B.
>movie flopping harder than Vlade Divac, lame publicity stunts
>(the name change, Kamasutra), turmoil with Warner Bros., to
>free agency and even more confusing career calamities as well
>as musical missteps.
>
>•Whoever (in this post) said "Paisley Park", was too much
>freedom, was on to something.
>
>•and mind you...dude still managed to have one glimpse or
>another of having some vapors in the tank on each terrible
>project...which was really the hardest thing to bare for older
>fans.
>
>s.blak
>What Is & What Will Never Be
>


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Why does Matthew Perry continue to get television projects?