elmariachi said:

Be my guest.

oh yes, yes...uh..yeah...don't stop...more...more info

scififilmnerd said:

I'll look it up tonight and get the exact track-list and details.

scififilmnerd said:

Could you just reiterate why it is safe.

I mentioned this to put forward the possibility that Mayte was referring to GLAM SLAM ULYSSES in her fax. In other words GLAM SLAM could at one point have included only ONE WORD titles also.

KAB said:

Sure: Read the second post on this thread and add the fact that BorisFishpaw has witnessed the configurations mentioned in the first post.
[Edited 9/1/04 12:16pm]

BorisFishpaw said:

Gosh! I don't think I've ever heard that version. I didn't know it was different to the version on the Come March 11th 1994 configuration. I should add it to my list. What's it's running time? And any idea when it might have been recorded - where should I place it on the chronological list?

scififilmnerd said:

Okay, this is jogging my memory! THIS is the EP I was referring to (although I'm fairly certain it had six tracks, including "Interactive", but I could be wrong)! It was, according to Jon Bream, what sparked the "studio retirement" announcement from Prince. Bream observed "don't call him retired, call him pouting".

Now, whether this was intended to be the earliest configuration of "Come", or a side-note to it, I don't know.

scififilmnerd said:

I'm beginning to believe that P had about 1000 ideas around the Act One and Act Two tours, and he kept fiddling with them. I kinda think, at this point, that maybe it hadn't coalesed into Come yet, but that the seeds of that album were most certainly there. Glam Slam Ulysses was a way to get some excitement going about the songs, without really having a clear-cut album formulated yet. Perhaps what Mayte was referring to really didn't have a title yet. Still, as far as I'm concerned, this was the genesis of that album, so its really pointless to debate.

scififilmnerd said:

I've got the Interactive CDROM files on my HD at the moment - anyone know the name of the file with Endorphinmachine in it?

JediMaster said:

Yes. "1+1+1 is 3. Ain't no room for disagree."

OK, I've looked up the article in Uptown #9 regarding the EP:

"The annoucement [Prince retiring from studio recording] fuelled strong rumours throughout the industry that Prince was upset with WB over their refusal to release a FOUR-song EP containing PAPA, COME, PEACH and RACE on his birthday 7 June 1993. However, an annoucement was made on 5 May 1993 by Prince's publicist that openly denied that rumour."

Unsure as to what this all means to the "time-line"!

Also Uptown#9 states RACE#1 was recorded in 1992 during the O+> sessions.

Whilst looking up the EP I also noted in my only Prince reference book by Per Nielson [ends at 1992] that Prince had recorded 6 tracks for the "I'll Do Anything" soundtrack in 1992.

EXCERPT FROM GUITAR PLAYER ARTICLE related to the copic of COME,and also TGE,THE UYNDERTAKER,and CHAOS AND DISORDER

GUYS!Okay,here’s an excerpt from an article in guitar player magazine issue november 1994 (it has prince on the cover, still was )
Im gonna highlights some important points related to the issue of album COME, and also the undertaker and TGE. Im sorry if these infos doesn’t add much.


START:

Pg.60
And like Zappa, He meticulously composes and arranges some of his records in advance, while onther discs, like COME, he trusts more to improvisation.
“The COME album really evolved from boredom during christmas vacation,”Michael Bland Laighs. “Sonny and I were the only 2 cats in the band who hung around minneapolis during christmas vacation. And got bored, as he usually does. So he went down on the soundstage where we were set up for rehearsal before vacation began, and he just played by himself allday; they say he stayed in there like 8,10 hoursm just messing around with ideas. And then the 2nd day he got up the courage to call us up and ask “you guys bored too?” so we came out and worked on a good half dozen tunes. And we went in the studio and started cutting them-we cut rhytm trtacks for “DARK”, “COME”, “PAPA”. And a few other things like that.”
As his band members returned to town, did quite a bit more work on these basic tracks, and COME ultimately turned out to be a pretty slick album. But the idea of working in a trio context with just sonny and michael triggered the idea of another kind of record. In the midst of work on COME, the three of them set up together on the soundstage at paisley park, their amps cramked up full, and did some bluesy jamming. The result is an album called THE UNDERTAKER
…..Pg.64
“he tends to really start opening up and playing a lot of different things when me and michael do a trio thing with hin”says sonny thompson”there’s no keyboards there-no nothing. So he can venture out and play what he wants to play.” As for , he says he’s really pleased with THE UNDERTAKER:”its real garage, you know? But WARNERS wont release it….”
…………Pg.196
what will happen now with THE UNDERTAKER? If warners wont release it, will they permit the artist they continue to market as prince to put it out on NPG/Bellmark?……
…..if the controversy were only about some bonus jam-out disc, it wouldn’t be worth all the ink that’s already been spilled over it. But also in the can is a brand new, full fledged anf the new power generation studio album called THE GOLD EXPERIENCE, which was a much more deliberate effort than COME….
….hearing and the NPG perform songs from TGE in the concert, one is inclined to believe succeeded in writing some strongs that are classics. Songs like “acknowledge men” and “Days of Wild” are superfyingly funky-among the best stuff has recorded under any name.

…..in adopting his new name, the artist had purportedly decided to release only old material on warners-things lying around in the cdan that he’d recorded back when he was still prince. Ytet, according to his sidemen, the COME album dates from the same period as THE UNDERTAKER-and is consequently, a fairy recent work. Yet, it has been released on Warnern under the name of PRINCE…..

…….and he’s such a loose guy that he’ll even introduce a new song to the band right on stage. About midway through the glam slam set, the energy of the show changes dracticaaly. The rock concert vibe gives way to the ecstatic feel of a hiphop show. has slipped on a demotape he’d recorded earlier that very day.
“right in the middle of the show he asked us “Y’all wanna hear a new song?”
Michael Bland later explains. “and he went back to THE ENDORPHIN MACHINE (my note:its not the song, but it refers to the part of the glam slam stage which has the"clitoral tower" in it) and put it on.” The song, called “Pussy Control.”.

END OF EXCERPT



Ok guys,that’s all from me. Maybve scifinerd or anybody wants to point some new or interesting facts(if theres any) from this guitar player article, regarding to the topic of COME album and also related to albums like TGE,THE UNDERTAKER,and CHAOS AND DISORDER.
Thx!

[Edited 9/2/04 4:53am]

the more U guys post, the more curious I am

scififilmnerd said:

The 'live in the studio' version of Endorphinmachine included on the Interactive CDROM
is 3:50 long (not including the long ethereal intro). I don't know when it was recorded, but
it was probably the same time as the 'live in the studio' version of The Most Beautiful Girl In
The World - Mustang Mix that was aired on UK TV's Top Of The Pops show (whenever that was).
Endorphinmachine is performed on the same silver stage with the clearly visible 'T.O.T.P.' logo.

Strictly speaking, I'm not sure whether this version of Endorphinmachine should be counted as
another version or not, as it's no more valid than the TOTP peformance of TMBGITW, but it's
inclusion on the Interactive CDROM kinda sways me in favor of including it. Also, it was the
first official version of the song to be commercially released.
[Edited 9/2/04 10:32am]

JediMaster said:

I think you hit the nail on the head there. This era is very difficult to pin down and deconstruct
into a clear progression of song writing / compilation into album concept / release. Of course
the reason for this is because Prince himself didn't have a preconcieved idea about where he
was going with this material at the time. He certainly appeared to be working on several ideas
almost simultaneously. Ideas about album titles and configurations seemed to come and go
daily. Come, Glam Slam Ulysses, The Come Musical, The Dawn, The Beautiful Experience, The
Come EP, The Gold Experience, all came and went several times and underwent many
configurations during their interlinked evolution.

elmariachi said:

Isn't that the article in which Levi Seacer, Jr. mentions Heart? Or was that in another magazine? (I've forgotten which one it was. )

Still an interesting read, confirming a thing said here and there on this and the prior thread. The most interesting thing is that Michael Bland mentions Papa in the same breath as Dark and Come. Although all recorded in January, Papa has always been listed as having been recorded later in January by Uptown's publications.

KAB said:

It was just a rumour?

But it was denied by Prince's publicist?

Well, I dunno what to believe. Maybe it was for real, maybe it wasn't?

Usually, rumours contain a grain of truth. They don't just start out of nothing.
[Edited 9/2/04 11:16am]

KAB said:

It was later revealed that Race #1 was recorded in November 1991. For space considerations, I just didn't post my entire list of chronological recordings. As for the I'll Do Anything tracks, those were recorded in 1992, but aren't really relevant to the period discussed in this thread. But personally, I like the I'll Do Anything songs a lot.

BorisFishpaw said:

Thanks for clearing that up for me.

I'll consider it's inclusion - "consider" because if I include that, then I'll kinda sort of have to include TMBGITW too.

BorisFishpaw said:

It sure is very difficult, but I think we've given it a fairly good try.

I'm sure there are still things in The Vault from that period which we don't even know about and not all that we do know about is 100% certain.

So, in some cases, it actually IS a matter of what sounds logical to one. For instance, I personally believe that Mayte is referring to a Come album configuration in "her" fax/letter. But without actual proof, I can only say that people are welcome to make up their own minds.

scififilmnerd said:

On reflection I think this version of Endorphinmachine should be included, as even though it
may be only 'live in the studio', the same holds true for The Undertaker session and the
livestudio mix of Somebody's Somebody. So I think it is fair to include it as it was officially
released. The TOTP version of TMBGITW should not be included though, for the simple
reason that it was never commercially released (or intended to be).

BorisFishpaw said:

When somebody' somebody were recorded? is the live studio mix the original song?

I always thought that the lyrics of "Face Down" ("told them that he wanted to sing a song about a black child / goin' buck wild / but they just laughed in his face") referred to WB's reaction to "Papa" and the refusal to put out the EP on June 7, 93. Never thought it could refer to "Lovesign", any other opinion about that?

scififilmnerd said:

I think the rumours are more about the reasons for Prince's "retirement" i.e. what sparked the decision and not about the EP. My reading of it is that the EP did exist.

I think it should be added to the the time-line as a proposed configuration. Afterall there are several working theories already included - albeit based on either first-hand recollections or clever deduction.
[Edited 9/3/04 2:25am]

scififilmnerd said:

The I'll Do Anything tracks are very enjoyable I agree. As is this thread you began - I never mentioned that in my previous responses.

This thread is especially enjoyable to mysef because I became a fan in late 1992 and this - period 1993-96 - is my favourite - especially the one-worded tracks.

Is it going to be possible to expand or elaborate on the early CHAOS AND DISORDER configurations. This album marked the end of the "golden" period IMO. I've burned the restored configurations of COME, TGE and THE UNDERTAKER and just need to flesh out C&D to complete the set [and find a proper home for the brilliant original version of ZANNALEE and the stunning EMPTY ROOM].

KAB said:

I can imagine Prince not wanting his "retirement" believed to have something to do with a rejected EP instead of the religious reasons he was citing at the time. Okay, I'll buy that the denial was about the reasons and not the EP. I'll add it right away.

This would probably also be the Papa single that IstenSzek read about on MTV News.

With the denial being made on 5 May 1993, I've listed the EP for April.
[Edited 9/3/04 12:57pm]

IstenSzek said:

You've got a good memory.

go2theMax said:

Somebody's Somebody was recorded sometime between '93 - '94.
It was also gonna be included on an early configuration of The NPG's Exodus album, using a
version with Derrick Hughes singing lead. The version used on Emancipation is the original
version from '93/'94, the Livestudio mix was recorded in late '96 - early '97 during rehearsals
for the Jam Of The Year tour.
[Edited 9/3/04 13:13pm]

Anotherwontdare said:

I'd always thought that the line in Face Down was a reference to Love Sign. Though it's of
course entirely possible that it was about Papa (only Prince knows for sure).