That's cool. It's never too late.
Breaking: PRINCE DEAD AT 57
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Here is some new unreleased stuff below. GREAT FIND: Prince Vocal and Guitar Mix - man the vocals
Another new unreleased You're in my System 84 groove
More new unreleased Velvet Kitty Cat originally for the Time, CATCHY you will be singing this all day
Another HOTT new unreleased track: My Love Belongs To You is an unreleased track recorded on 20 April 1983 at Sunset Sound, Hollywood, CA, USA (the day after Velvet Kitty Cat). The track was recorded for possible use on The Time's third album Ice Cream Castle, but the song was not included on the release.
Loving all these new unreleased joints!
When Prince Presented the NFL With His Super Bowl Halftime Show Idea, He Literally Gave Everyone Tissues to Wipe Their Tears Away
Prince's Super Bowl halftime show in 2007 is regarded as one of the sporting event's most legendary performances, both for the music as well as the ambiance — the Purple One played an epic 12-minute medley of originals and covers in the pouring rain. Now, one month after his untimely death, we're getting the story of how the whole thing came to be. Charles Coplin, who served as Head of Programming for the NFL when the performance took place, recounted the events that surrounded the gig inan essay for The Daily Beast. He and his associates met Prince at a hotel in Los Angeles for a meeting, and were immediately taken aback by his remarkable aura and excellent footwear:
There he was… Prince! Petite and adorned in a canary-colored suit and full makeup. When he opened the hotel room door, it was as if he was backlit—he was luminous, phosphorescent, literally glowing. He opened the door and greeted us with a warm smile. As he led us into his suite you couldn’t help notice he was wearing wheelie sneakers with blinking lights on the back, in vogue for kids at the time. He asked us to sit down and began to explain his thought process behind what we were about to hear.
Prince created a special recording just for the halftime show, which he hoped would create a "global, spiritual" moment for everyone who watched:
After a few sentences he broke off his thought and said, “Rather than me continuing to talk why don’t we experience what I am referring to in the fifth dimension.” When we noticed a mixing board and concert-sized speakers at one end of the room we knew the fifth dimension was going to be loud. We were not wrong. He pressed a button and off we went. There were two cracks of thunder followed by clapping and girls’ voices singing, “We will rock you.” We sat there for the next eleven minutes and fifty seconds taking it all in. Audio only. While we were listening, he wheeled around the suite doing this or that. Towards the end—when “Purple Rain” was playing—he wheeled back in carrying a box of tissues and, without a word or explanation, gave each of us one from the box. Taking our cues from him we all held our tissues aloft in our hands wondering what exactly was coming next.
So, what exactly came next?
The music ended and there was an awkward silence as no one was sure what to say. We looked at him and he stared back at us holding his own tissue, with a penetrating expression on his face. He placed the tissue up to his eye and it appeared he was starting to cry. Just as things couldn’t get more uncomfortable, he broke out in a very big smile and started to laugh. “It brings a tear to your eye,” he said.
And the rest, as we know, is history.
Prince's Super Bowl halftime show in 2007 is regarded as one of the sporting event's most legendary performances, both for the music as well as the ambiance — the Purple One played an epic 12-minute medley of originals and covers in the pouring rain. Now, one month after his untimely death, we're getting the story of how the whole thing came to be. Charles Coplin, who served as Head of Programming for the NFL when the performance took place, recounted the events that surrounded the gig inan essay for The Daily Beast. He and his associates met Prince at a hotel in Los Angeles for a meeting, and were immediately taken aback by his remarkable aura and excellent footwear:
There he was… Prince! Petite and adorned in a canary-colored suit and full makeup. When he opened the hotel room door, it was as if he was backlit—he was luminous, phosphorescent, literally glowing. He opened the door and greeted us with a warm smile. As he led us into his suite you couldn’t help notice he was wearing wheelie sneakers with blinking lights on the back, in vogue for kids at the time. He asked us to sit down and began to explain his thought process behind what we were about to hear.
Prince created a special recording just for the halftime show, which he hoped would create a "global, spiritual" moment for everyone who watched:
After a few sentences he broke off his thought and said, “Rather than me continuing to talk why don’t we experience what I am referring to in the fifth dimension.” When we noticed a mixing board and concert-sized speakers at one end of the room we knew the fifth dimension was going to be loud. We were not wrong. He pressed a button and off we went. There were two cracks of thunder followed by clapping and girls’ voices singing, “We will rock you.” We sat there for the next eleven minutes and fifty seconds taking it all in. Audio only. While we were listening, he wheeled around the suite doing this or that. Towards the end—when “Purple Rain” was playing—he wheeled back in carrying a box of tissues and, without a word or explanation, gave each of us one from the box. Taking our cues from him we all held our tissues aloft in our hands wondering what exactly was coming next.
So, what exactly came next?
The music ended and there was an awkward silence as no one was sure what to say. We looked at him and he stared back at us holding his own tissue, with a penetrating expression on his face. He placed the tissue up to his eye and it appeared he was starting to cry. Just as things couldn’t get more uncomfortable, he broke out in a very big smile and started to laugh. “It brings a tear to your eye,” he said.
And the rest, as we know, is history.
When Prince Presented the NFL With His Super Bowl Halftime Show Idea, He Literally Gave Everyone Tissues to Wipe Their Tears Away
Prince's Super Bowl halftime show in 2007 is regarded as one of the sporting event's most legendary performances, both for the music as well as the ambiance — the Purple One played an epic 12-minute medley of originals and covers in the pouring rain. Now, one month after his untimely death, we're getting the story of how the whole thing came to be. Charles Coplin, who served as Head of Programming for the NFL when the performance took place, recounted the events that surrounded the gig inan essay for The Daily Beast. He and his associates met Prince at a hotel in Los Angeles for a meeting, and were immediately taken aback by his remarkable aura and excellent footwear:
There he was… Prince! Petite and adorned in a canary-colored suit and full makeup. When he opened the hotel room door, it was as if he was backlit—he was luminous, phosphorescent, literally glowing. He opened the door and greeted us with a warm smile. As he led us into his suite you couldn’t help notice he was wearing wheelie sneakers with blinking lights on the back, in vogue for kids at the time. He asked us to sit down and began to explain his thought process behind what we were about to hear.
Prince created a special recording just for the halftime show, which he hoped would create a "global, spiritual" moment for everyone who watched:
After a few sentences he broke off his thought and said, “Rather than me continuing to talk why don’t we experience what I am referring to in the fifth dimension.” When we noticed a mixing board and concert-sized speakers at one end of the room we knew the fifth dimension was going to be loud. We were not wrong. He pressed a button and off we went. There were two cracks of thunder followed by clapping and girls’ voices singing, “We will rock you.” We sat there for the next eleven minutes and fifty seconds taking it all in. Audio only. While we were listening, he wheeled around the suite doing this or that. Towards the end—when “Purple Rain” was playing—he wheeled back in carrying a box of tissues and, without a word or explanation, gave each of us one from the box. Taking our cues from him we all held our tissues aloft in our hands wondering what exactly was coming next.
So, what exactly came next?
The music ended and there was an awkward silence as no one was sure what to say. We looked at him and he stared back at us holding his own tissue, with a penetrating expression on his face. He placed the tissue up to his eye and it appeared he was starting to cry. Just as things couldn’t get more uncomfortable, he broke out in a very big smile and started to laugh. “It brings a tear to your eye,” he said.
And the rest, as we know, is history.
It was amazing.
More MTV "Under the Cherry Moon" Premiere in Wyoming:
peep it:
08:33 Prince's Father talkin' about playing for those strippers.....
peep it:
08:33 Prince's Father talkin' about playing for those strippers.....
Prince disguised as an Old Dude to present the comedy award to Chris Rock, Prince GOT JOKES!:
Its okay, but he should have put that 65K into the economy of a Black artists.
Prince's Unheard Music: Inside the Paisley Park Vault
Purple One's former employees discuss contents:
As former Paisley Park employee Scott LeGere saw for himself when he began working at the facility about a decade ago, nothing quite compared to the sight of Prince at work in his own studios, in his own building. "He'd be tracking drums in Studio A, horns in Studio B, and doing writing and preproduction with somebody else in Studio C," says LeGere. "He'd just hop."
When he was done making music for the day, Prince would sometimes release the results on record – or, just as likely, lose interest in what he'd done and relegate the tapes to floor-to-ceiling shelves inside his legendary vault. Tucked away in the basement of Paisley Park, the vault lived up to its name: Accessible by elevator, it was (and still is) a climate-controlled room hidden behind a steel door straight out a bank, complete with a time lock and large spinning handle. For an extra dash of mystique, only Prince had the combination, and many employees respected that decision. "At one point, I was holding tapes and he would beckon me to come in," says LeGere. "I said, 'Actually, sir, I'd rather not. That is your space and your work – I will simply hand these things to you.' He seemed to appreciate that. I think that's what quite a few other staff did."
According to past Paisley Park employees, thousands of hours of unheard live and studio material – jams, random songs and entire albums – still reside in that locked room, along with a similar amount of performance footage. (LeGere recalls stepping into the "pre-vault" – a small, foyer-like room that lead to the archive – and finding the floor covered with tape reels, which meant the main vault was full a decade ago.) How many of those tapes have been adequately logged and catalogued remains a mystery; some employees don't remember seeing much in the way of detailed lists. "Half the time I couldn't find a song because it was so hard to find," says engineer Ian Boxill, who worked with Prince during the second half of last decade. "I'd spend a half hour just going through tapes. Prince didn't seem to have a reaction to it. I'd be like, 'Wow, look at all this stuff,' especially when I saw a lot of Batman tapes. For him, it was like going through old filing cabinets."
Now and then, Prince burrowed into that archive, releasing entire albums from it (The Black Album) or gathering tracks for later collections like Crystal Ball, Lotusflower and The Vault: Old Friends 4 Sale. What else in there is worth releasing? We asked Paisley veterans for their thoughts on the treasures that may lie among the mountains of tapes in the vault.
The Second Coming (1982): Live album from the fiery Controversy tour, taped during a homecoming show in March 1982 and capturing Prince and his band – including guitarist Dez Dickerson – romping through salacious early classics like "Jack U Off" and "Dirty Mind."
"In a Large Room With No Light" (1986): Cut with Wendy and Lisa, Sheila E., guitarist Levi Seacer Jr. and other musicians, this ebullient, zigzagging track was to be included on the unrealized Dream Factory album with the Revolution. "It was a period when he was doing a lot of jazz-informed stuff – not jazz but you could tell he had been listening to it," recalls former tour manager Alan Leeds. "It was a really interesting song." Prince re-recorded the song himself in 2009, but the original remains in the vault.
The Flesh: Junk Music (1985-6): For several days, Prince jammed on freeform instrumentals.
http://www.rollingstone.com/music/f...-music-inside-the-paisley-park-vault-20160517
Purple One's former employees discuss contents:
As former Paisley Park employee Scott LeGere saw for himself when he began working at the facility about a decade ago, nothing quite compared to the sight of Prince at work in his own studios, in his own building. "He'd be tracking drums in Studio A, horns in Studio B, and doing writing and preproduction with somebody else in Studio C," says LeGere. "He'd just hop."
When he was done making music for the day, Prince would sometimes release the results on record – or, just as likely, lose interest in what he'd done and relegate the tapes to floor-to-ceiling shelves inside his legendary vault. Tucked away in the basement of Paisley Park, the vault lived up to its name: Accessible by elevator, it was (and still is) a climate-controlled room hidden behind a steel door straight out a bank, complete with a time lock and large spinning handle. For an extra dash of mystique, only Prince had the combination, and many employees respected that decision. "At one point, I was holding tapes and he would beckon me to come in," says LeGere. "I said, 'Actually, sir, I'd rather not. That is your space and your work – I will simply hand these things to you.' He seemed to appreciate that. I think that's what quite a few other staff did."
According to past Paisley Park employees, thousands of hours of unheard live and studio material – jams, random songs and entire albums – still reside in that locked room, along with a similar amount of performance footage. (LeGere recalls stepping into the "pre-vault" – a small, foyer-like room that lead to the archive – and finding the floor covered with tape reels, which meant the main vault was full a decade ago.) How many of those tapes have been adequately logged and catalogued remains a mystery; some employees don't remember seeing much in the way of detailed lists. "Half the time I couldn't find a song because it was so hard to find," says engineer Ian Boxill, who worked with Prince during the second half of last decade. "I'd spend a half hour just going through tapes. Prince didn't seem to have a reaction to it. I'd be like, 'Wow, look at all this stuff,' especially when I saw a lot of Batman tapes. For him, it was like going through old filing cabinets."
Now and then, Prince burrowed into that archive, releasing entire albums from it (The Black Album) or gathering tracks for later collections like Crystal Ball, Lotusflower and The Vault: Old Friends 4 Sale. What else in there is worth releasing? We asked Paisley veterans for their thoughts on the treasures that may lie among the mountains of tapes in the vault.
The Second Coming (1982): Live album from the fiery Controversy tour, taped during a homecoming show in March 1982 and capturing Prince and his band – including guitarist Dez Dickerson – romping through salacious early classics like "Jack U Off" and "Dirty Mind."
"In a Large Room With No Light" (1986): Cut with Wendy and Lisa, Sheila E., guitarist Levi Seacer Jr. and other musicians, this ebullient, zigzagging track was to be included on the unrealized Dream Factory album with the Revolution. "It was a period when he was doing a lot of jazz-informed stuff – not jazz but you could tell he had been listening to it," recalls former tour manager Alan Leeds. "It was a really interesting song." Prince re-recorded the song himself in 2009, but the original remains in the vault.
The Flesh: Junk Music (1985-6): For several days, Prince jammed on freeform instrumentals.
http://www.rollingstone.com/music/f...-music-inside-the-paisley-park-vault-20160517
Nice insight and a lot of funny quotables...this had me cracking up:
Former manager:
Phillips: He had huge overhead. Paisley Park was $2.5 million a month. It didn't make sense to have all those studios and that soundstage. It was never profitable. He'd meet a girl and take her back to Paisley and record a double album with her overnight. It would be ready the next day. Arnold had a conversation with him and said, "Stop doing A&R with your dick." But money didn't matter to Prince. He always thought he could make more. Money wasn't a badge of success to him. The badge was liking something he did.
And Prince kept his band working with rarely a day off.
Bland: We would get a chance to get to the hotel and shower. We'd take clothes with us from the wardrobe cases at the venue. We knew what we were going to wear later on [at a club after the official show]. We did get to use soap and water, and then we'd wait for the call. And then we'd go back out.
Nelson: On the road, you just had to kind of be on call. He had a studio booked in every city we went. Just docked out 24 hours a day. Had an engineer on call, ready to go. A day off came very rarely. I remember when we were in Sydney, we found out he was going to the opera with Mayte. I had met some people and it was my birthday, and so we went to a restaurant that was across the harbor from the opera house, so I could literally watch through the window till the opera was over. We didn't have cell phones then. I said, "OK, hopefully I can have my whole dinner before I have to go back to the hotel."
Bland: Sometimes we would rehearse up different things at soundcheck. We would be walking out to the stage and he'd say something like, "'When You Were Mine' instead of 'Raspberry Beret'! Don't mess up!"
Read more: http://www.rollingstone.com/music/news/prince-in-the-nineties-an-oral-history-20160505#ixzz48yqt9YeT
Follow us: @rollingstone on Twitter | RollingStone on Facebook
Read more: http://www.rollingstone.com/music/news/prince-in-the-nineties-an-oral-history-20160505#ixzz48ypTnHcR
Former manager:
Phillips: He had huge overhead. Paisley Park was $2.5 million a month. It didn't make sense to have all those studios and that soundstage. It was never profitable. He'd meet a girl and take her back to Paisley and record a double album with her overnight. It would be ready the next day. Arnold had a conversation with him and said, "Stop doing A&R with your dick." But money didn't matter to Prince. He always thought he could make more. Money wasn't a badge of success to him. The badge was liking something he did.
And Prince kept his band working with rarely a day off.
Bland: We would get a chance to get to the hotel and shower. We'd take clothes with us from the wardrobe cases at the venue. We knew what we were going to wear later on [at a club after the official show]. We did get to use soap and water, and then we'd wait for the call. And then we'd go back out.
Nelson: On the road, you just had to kind of be on call. He had a studio booked in every city we went. Just docked out 24 hours a day. Had an engineer on call, ready to go. A day off came very rarely. I remember when we were in Sydney, we found out he was going to the opera with Mayte. I had met some people and it was my birthday, and so we went to a restaurant that was across the harbor from the opera house, so I could literally watch through the window till the opera was over. We didn't have cell phones then. I said, "OK, hopefully I can have my whole dinner before I have to go back to the hotel."
Bland: Sometimes we would rehearse up different things at soundcheck. We would be walking out to the stage and he'd say something like, "'When You Were Mine' instead of 'Raspberry Beret'! Don't mess up!"
Read more: http://www.rollingstone.com/music/news/prince-in-the-nineties-an-oral-history-20160505#ixzz48yqt9YeT
Follow us: @rollingstone on Twitter | RollingStone on Facebook
Read more: http://www.rollingstone.com/music/news/prince-in-the-nineties-an-oral-history-20160505#ixzz48ypTnHcR
Those stories are a trip. I wonder if the conversion to JW had a net positive impact on his interaction with people. Sounds like he was kind of a dick in the 90's.
yeah got pdf somewheredoes anyone have a copy of this?
does anyone have a copy of this?
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https://mega.nz/#!xBAlTRTb!pWAw6Adhb5Eek2Q-ujedCLZQv2OmGLXW3QDwnVYoUf4
