A music video to support Prince's new single "Crimson and Clover" has been made available to watch. It mostly captures several women in silhouette while they are dancing to the beat of the song.










Come on
I don't hardly know her
But I think I could love her
I hope she walks over
Cuz I've been waiting to show her
Crimson and Clover
Over and over
Baby, I think I love you
I want to know for sure
Come here and stick it to me one time
You move me
Such a sweet thing
Makes me want to sing
What a beautiful feeling
Crimson and clover
Over and over
Uh
Baby I, I think I love you
But I want to know for sure
O come here, stick it to me one time
Ah .. you don't move me (?)
Look up!


[Edited 4/13/10 8:12am]

OldFriends4Sale said:

I was there that night !!!!! The best out of the 3 nights, on Leno!!!!!

That was my favorite of the 3 nights

I liked seeing him slide around

rgsince81 said:

rgsince81 said:

Did he play anything that wasn't aired on TV?

it remains one of my all time fav Prince releases. i remember there being a time in the 80's where i wanted to impress my friends with his music; these friends were mostly into rock, and i knew that Prince could throw down on the guitar...but they saw him as a "pop" star (outside of musical ability). lotus is the perfect demonstration of Prince's talents on multiple instruments...

NelsonR said:

True that.

NelsonR said:

1980's Prince's strong display of guitar work was live
his album he never let it be to overpowering
a good eclectic mix of funk rock etc etc

If you had some of the shows and boots that we have know you could have blown your friends away: different version of Computer Blue are hard rock, America, Darling Nikki, All the Critics live 1999 shows were heavily rock driven from Dirty Mind - Sexuality. Prince Birthday show 6.7.1984-Something In the Water, Neon Rendevzous, Erotic City etc etc

But Prince was never all rock so hardcore rock fans would not take so easily


[Edited 4/21/10 6:32am]

OldFriends4Sale said:

i agree with you. did not have much access to boots back then. but u r right, those jams u mentioned rock live!

wow... great work. your the best for this.

I loved the whole lotus era.

Prince was back. with style and went crazy with his guitar.
the music was reaaly good. and the leno performances were wonderful.

bria was a sexi addition also

SomewhereHereOnEarth said:

Proof that Prince is STILL the most brilliant musical force on Earth.

January 8, 2009 | 1:25 pm
ONE NIGHT WITH PRINCE.
Rockin' the limo, boudoir ballads, Prop. 8, Barry White, sex, faith, Pro Tools. Was it a dream?



It was 11 p.m. on the night before New Year's Eve, and I was doing something I hadn't expected would crown my 2008: sitting in Prince's limousine as the legend lounged beside me, playing unreleased tracks on the stereo. "This is my car for Minneapolis," he said before excusing himself to let me judge a few songs in private. "It's great for listening to music." He laughed. "I don't do drugs or I'd give you a joint. That's what this record is."
That morning I'd received an e-mail inviting me to preview new music at Prince's mansion in the celebrity-infested estate community of Beverly Park, where he's currently keeping his shoe rack. The summons wasn't entirely unexpected. Prince, who's less reclusive than his reputation would indicate, has spent a year and a half consulting with culture industry leaders and occasionally entertaining media types, with an eye toward taking complete control of his own musical output.
His new mantra is "The gatekeepers must change," and he's refashioned his career to become one of them.
Since beginning his gradual relocation from the Midwest to the Left Coast, Prince has headlined the Coachella Valley Music and Arts Festival and 2007's Super Bowl halftime show. He sold out a 21-night run at London's O2 Arena and released an album, a high-end photo book and a perfume. Most recently, he's whetted fans' appetites with sneaks of songs from three upcoming releases, first on the popular "Jonesy's Jukebox" radio program on Indie 103 and then on two websites, the now-dark MPLSound.com and the still-evolving Lotusflow3r.com.
This flurry of activity has been characterized by what might be called methodical spontaneity. Everything happens quickly, whether it's a show that takes place only a few days after its announcement or an evening interview arranged that morning. But Prince's personality seems to be governed by two oppositional impulses: the hunger to create and an equally powerful craving for control. Intense productivity battles with meticulousness within his working process. Others might not anticipate his next move, but it is all part of the chess game for him.

That's why I was there, on the eve of a holiday eve, as the mainstream music industry was enjoying a break from its ongoing plunge toward insolvency. The turn of the year is a slow time for pop, not the moment blockbuster artists usually release material. But Prince has been hinting for a while that his upcoming recordings might not be tied to a conventional label. Abandoning that machine, including its publicity arm, requires other ways of getting the word out.

Prince began experimenting with new methods of distributing music more than a decade ago, and his early efforts with the now-defunct NPG Music Club paved the way for later bold moves by Radiohead and others. Most recently he's partnered with major labels to get copies into stores. Columbia handled the release of 2006's "Planet Earth," except in Britain, where copies were distributed free via a London newspaper, the Mail on Sunday.

Now Prince is about to unleash not one but three albums without major label affiliation, and talking to well-vetted writers is one part of the rollout. How well vetted? "You're blond," he said when we met. "I thought you were a redhead." (He'd done his research; I'd changed my hair color only the year before.)

When I entered the house, which has the vaguely European opulence of an upscale spa, I found Prince with designers Anthony Malzone and Scott Addison Clay, examining mock-ups for a "highly interactive" website. "It's a universe," said Malzone, showing how a mouse click could make the whole screen rotate. "There's a lyric in one of the new songs about an 'entirely new galaxy.' We took that cue, and from there on, we thought that everything would emanate from Prince."

The website, still under construction, revealed the recognizable logo of a major big-box retailer with whom Prince is finalizing negotiations to distribute the albums. The three will hit the Web and that retailer, the artist said, "as soon as the holidays are over."

I'd be hearing music from each of them.

"Let's go to my car," Prince said. "We'll listen to the first album there."
Religious perspective

Entering his garage, he ushered me into a low-slung black sports car that he's apparently named after his late friend Miles Davis. I strapped on my seat belt, but we didn't venture outside. Instead, Prince turned serious as he brought up a recent New Yorker article that had spun beyond his famously controlling grip.

"I want to talk about that interview," he said, gazing seriously over the steering wheel before turning on the music. He'd felt the writer had taken certain remarks he'd made -- particularly one about gay marriage that implied he was against it -- out of context. (The New Yorker stands by the story.)

"They try to take my faith. . . ." he said, his voice trailing off. "I'm a Jehovah's Witness. I'm trying to learn the Bible. It's a history book, a science book, a guidebook. It's all the same."

Prince's understanding of religion requires him to avoid political stands, including those that concern morality. "I have friends that are gay, and we study the Bible together," he said. He did not vote for Proposition 8, the referendum to make gay marriage illegal. "I don't vote," he said. "I didn't vote for Barack [Obama], either; I've never voted. Jehovah's Witnesses haven't voted for their whole inception."

Prince, who became a Jehovah's Witness in 2001 under the guidance of veteran bassist and songwriter Larry Graham, views everything through the lens of his religion. No topic -- sexuality, civil rights, his disdain for corporate pop -- comes up in which it doesn't play a role. Recounting a recent meeting with Earth, Wind and Fire singer Philip Bailey, for example, he commented that that group's penchant for Afrocentric garb revealed a lost history similar to the one uncovered in the Jehovah's Witnesses' version of the Bible.

Prince's statements can sound extreme to a secular listener. Some have accused him of trying to conceal his views to avoid alienating nonbelieving (and, particularly, gay) fans. But his desire to be tolerant seems sincere. His favorite television show, for example, is "Real Time With Bill Maher." Asked if the comedian's confrontational atheism bothers him, he harrumphed. "That's cool," said Prince. "He can be what he wants. I like arguments. Somebody saying I'm a terrible guitar player feeds me."

Prince's faith fulfills a yearning that his songs expressed long before he became devout: a need for some kind of ruling theory to explain the sorrow and violence that intertwines with life's joy. Songs as early as 1981's "Controversy" focus on a quest for God, and his catalog overflows with complex number and color systems, prophetic statements and disquiet about the fallen state of humanity. In his religion, he's found a code as inexhaustible as the one he was previously generating himself.

Which leads back to "MPLSound," the album Prince recorded by himself at Paisley Park studios mostly last year. "People ask me, 'Why don't you sound like you used to?' " he said by way of introduction. "But that music doesn't have any wave energy to it. It'll move a party, but that's not what I'm doing here."

These tracks did sound new in some ways: electronica-based, futuristic and subtly mind-altering. They also harked back to early Prince, including touchstones like "When Doves Cry" and "The Black Album." Some, like one about a "funky congregation," could become live show pieces. Others, like the playful "Hey Valentina," inspired by his friend Salma Hayek's baby, and the Space Age ballad "Better With Time" -- dedicated to another actress pal, Kristin Scott Thomas, who costarred in Prince's 1986 film, "Under the Cherry Moon" -- contained sounds that didn't seem possible to replicate anywhere but in Prince's imagination.

The key to this particular aural universe, it turns out, is the ubiquitous computer platform Pro Tools. Prince avoided the system for years. One thing he's truly moralistic about is the use of artificial vocal enhancement by subpar artists, which in his view has reduced mainstream pop to a "weak diet" of sugary junk. Yet he's unlocked new elements within the very control surfaces Pro Tools employs. Using both analog equipment and digital technology, Prince has come closer to the body-altering music he wishes to make.

"I'm interested in the inner workings of music, the effect on the body," he explained. "I'm trying to understand why we respond to beats differently." His former associate, the producer Terry Lewis, helped him realize Pro Tools might help. "Terry talked me into it. He said, 'Don't think of it as a digital machine,' " said Prince. " 'Don't play by its rules.' I just took it and started flipping things."

As the music played, Prince singled out a few lyrics. "The songs we sing lift us up to heaven," he said as a song espousing "old-school ways" played. "This one's about Babylonian tricks." Then the music ended, and we moved on to the next offering -- one that took us into Prince's bedroom.

Celebrating pleasure

Before the New Yorker piece, the biggest question about Prince's spiritual conversion concerned its effect on his own sexual expressiveness. No one in pop has written more powerfully about the transformative power of sex. His sometimes perverse, often humorous fairy tales opened up worlds of pleasure and possibility to listeners. After finding Jehovah, however, fans worried that he would denounce his most fruitful subject matter.

But a really powerful code can unlock anything. "I've studied Solomon and David now," Prince said, referring to two famous Old Testament lovemen. "[In biblical times] sex was always beautiful. You come to understand that, and then you try to find a woman who can experience that with you."

Songs on all three of Prince's new projects celebrate carnal pleasures, but the album he played in his white-carpeted bedroom explores the topic from top to bottom. It's "Elixir," the debut of Bria Valente, Prince's latest protégée. Valente grew up in Minneapolis and attended parties at Paisley Park as a teen, but she registered on Prince's radar in Los Angeles. A tall brunet with a smooth, delicate voice -- "she knows how to use her breath like I do on my falsetto, to make it glide over the track," he said -- she is Prince's collaborator, along with keyboardist Morris Hayes, in reviving the quiet storm sound.

"This might be my favorite," he said, playing a steamy ballad. "Remember those old Barry White records? A whole lot of people are gonna get pregnant off of this! I gotta call her." With that, he left me to contemplate Valente's "chill" songs, the heart-shaped mirror over his round bed and the large Bible on the nightstand.

It never became clear whether Valente is Prince's partner in more than an artistic way. Since meeting him, she has become a Jehovah's Witness. She lives just down the hill from Beverly Park, and later in the evening, she joined us at a nearby nightclub -- she's a friendly young woman who held her own in conversation with the superstar directing her career.

At the club, Prince carefully sat me between himself and Valente, only touching her once, when he gestured for her to accompany him to the front of the club to check out the noisy blues band rocking the crowd. Later, she laughed when he sneaked away to play a quick keyboard solo with the band. "He's like Velcro," she said. "Stuck to the stage."

Beautiful women always have been important in Prince's life, both as musical collaborators and as prominently displayed companions. He has been married twice, separating from his second wife, Manuela Testolini, in 2006. Now he carries himself with the exacting self-sufficiency of a middle-aged bachelor. Often citing famous beauties as close friends, he never mentioned a sexual conquest.

Whether or not he needs a day-to-day companion right now, Prince does seem to require a muse. Valente's project has allowed him to make more openly sensual music than anything else he's re- cently produced. He even took the high-fashion-style photographs that will adorn the CD booklet.

As her album played, he spoke of other female musicians he currently admires. "Have you heard Janelle Monae?" he asked. "She is so smart. How about Sia, do you like her?" The jazz bassist Esperanza Spalding was due to spend a few days with him later in the week. The names of previous collaborators peppered his conversation: the singers Tamar Davis and Shelby J., his old companions Wendy Melvoin and Lisa Coleman.

For now, Valente is the conduit for Prince's female energy. Her music sounds contemporary but also connects to earlier Prince protégés like the Family and Taja Sevelle. Though he was quick to praise her songwriting abilities (and to point out that he helped her cement a good publishing deal), he spoke about her songs as they played, almost as if they were his own.

"The art of making records, I give it so much respect," he said as the album's final track, a New Age-flavored set piece about Valente's baptism, concluded. "But it gets trampled on for the sake of commerciality."
He led me back into the hallway. "Let's get in the limo to listen to the last one," he said.

An album's range

"Lotus Flow3r" will likely be greeted by Prince fans and the general public as the central product of his latest creative spurt. It's a full band album with a sound that ranges from cocktail jazz to heavy rock. The first track included the lyric his Web designer had mentioned about the expanding universe, while subsequent ones referred to traveling to other dimensions and transcending race.

Directing his driver to take us for a spin after leaving to change from black loungewear into a red suit, Prince explained that "Lotus Flow3r" began to emerge during the sessions for his 2006 album, "3121." Prince selected the best of his massive output for this release, delaying its finish until he was sure every element hung together.

"The thing that unites these songs is the guitar," he said. He'd fallen back in love with the instrument after playing in Davis' backup band during a 2006 tour. He singled out a vampy solo in the samba-influenced "Love Like Jazz." "When we do this live, that's going to go on forever," he said with a grin.

Positioning "Lotus Flow3r" as a rock record is a canny marketing move, given urban radio's current focus on hip-hop-defined samples and beats. This music sounds more organic, meant to be played live, and Prince is trying out players for a new band, ones who'll be able to grasp the tricky changes in the new songs. He makes decisions, he said, by "listening to the universe. If a name is mentioned to me three times, I know I need to check it out."

Whatever band he assembles will have to be able to leap from the light-stepping funk of the song simply titled "$," about "the most popular girl in the whole wide world," to the soul jazz of "77 Beverly Place," to the heavy-metal thunder of the album's title track. That song references both Carlos Santana and Jimi Hendrix, but asked about the influence of the latter rock god, Prince demurred. "I try to play guitar like singers I like," he said, later adding, "Don't you think journalists can be lazy, I mean, when they make comparisons?"

He delivered this criticism in a kind tone. Talk turned to the Internet and the need for musicians to claim a niche. "My audience is really big, though," he said. "And they're really easy to reach online. Everything has gone viral."
He continues to be firm on copyright issues -- "I made it," is his simple response to those who call him a hypocrite for restricting his material online even as he uses the Web for his own purposes -- but seems fairly open to trying new ways to promote his avalanche of music. "You can put in that I'd like to play the Troubadour," he said, though he hasn't made any arrangements for local club dates.

As the night wore to an end, the conversation turned free form, touching on topics ranging from Edie Sedgwick (he saw "Factory Girl") to Ani DiFranco (he loves her) to his favorite guitar (the blue and white Stratocaster he played during the Super Bowl, named "Sonny" after an early mentor). And then the limo pulled into the driveway.

He hugged me goodnight, and I got into my mud-stained Mazda Protege. Hugging the road down Mulholland Drive, I asked myself, "Did that really happen?" So many moments would seem fantastic in the retelling.

But then, as Beverly Hills became the Valley, I realized how carefully executed this visit had been. Each listening environment had been ideal: the close confinement of the sports car for the intense "MPLSound," the boudoir for "Elixir" and the classic rock star ride for the far-reaching "Lotus Flow3r." And though Prince had been open about many things, he's also an expert at wielding the phrase "off the record."

What I'd experienced was like a dream -- a dream Prince had designed just for me. Which is what he's been doing for his fans for 30 years.
ann.powers@latimes.com
[Edited 4/9/10 22:25pm]

Prince @ Avalon Ball Hollywood 2.22.09
81st Annual Academy Awards Afterparty


1.Purple Rain/Ol' Skool Company
2.Yes We Can ( Lee Dorsey)
3.Let's Go ( The Cars)
4.Crimson & Clover/Wild Thing
5.7/Come Toghter
6.Shhh
7.Baby Love Vo-Shelby
8.Brown Skin (India Arie) Vo-Shelby
9.Frankenstein ( Edgar Winter) Inst
10.Miss You
11.Gypsy Women ( Crystal Waters)
12.Cream
13.Honky Tonk Woman Vo-Shelby
14.When Will We Be Paid ( Staples...)
15.The Middle ( Jimmy Eat World)
16.The Bird/Jungle Love
17.The Glamorous Life
18.Play That Funky Music
19.Hollywood Swinging( Kool &The Gangs)
20.I Feel For You
21.Controversy

One of my favorite pictures of Prince.

March 25. 2009
"NBC Studio" Los Angeles
The Tonight Show
"Ol' Skool Company"



Prince
Joshua Dunham ( Bass)
Cora Coleman Dunham ( Drums)
Morris Hayes ( Keyboards)
Fred Yonnet ( Harmonica)
Shelby Johnson ( Vocals)
Liv Warfield ( Vocals)
Elisa Fiorillo ( Vocals)



Every once in awhile
U need some ol' skool company
Somebody that appreciates a sexy groove
And a old school melody
When god his son and the love of family
Ruled in the community
The songs you sing
Lift you up 2 heaven
A heaven we can believe in

Everybody's talkin' about hard times
Like it just started yesterday
People eye know they've been strugglin'
At least it seems that way
Fat cats on wall street
They got a bailout
While somebody else got 2 wait
700 billion but myold neighborhood
Ain't nothing changed but the date

[Chorus]

Ain't nothing ever come from complaining
Xcept a bitter heart, that's true
Follow along and you gon wanna do
Something b4 the next chorus is thru
The songs we sing
They used 2 mean somethin
Now every other one is just mean
Rather than reminisce eye'm telling you this
It's time 4 a brand new scene

[Chorus]

Everybody's sinkin' in the quicksand
Created by the keeper of time
Cast aside by using ancient tricks
That changes ur state of mind
They got you catering the whims of the flesh
B4 you get ur paper right
Call me old fashioned
But back in the day
There wasn't no shorties in sight

1st come job then come marriage b4 shorty
Come out with the baby carriage call me
Old fashioned just clap yo hands just clap yo hands
Radio used 2 b local untouched by the man
Songs we used 2 sing used 2 mean something
Now they just bland like the drummer
Where's the real drummer? michael b.
Mint condition, morris day
Jellybean wishin' sheila e and brother john, sometimes me
'til dawn

If the white house is black
We gotta take the radio back
Power 2 the people
Power 2 the people

Put this thing on repeat go back 2 one
And just move ur feet tell ur friends prince and
The mplsound we can't be beat

Suckas





[Edited 5/12/10 14:48pm]

July 18. 2009
Stravinski Auditorium Montreux
Montreux Jazz Festival
1st Show
1.When I Lay My Hands On U
2.Little Red Corvette
3.Somewhere Here On Earth
4.When The Lights Go Down
5.Willing & Able
6.I Love U But I Don't Trust U Anymore
7.She Spoke 2 Me
8.Love Like Jazz
9.All This Love
10.Empty Room
11.Elixer
12.In A Large Room With No Light
13.Insatiable
14.Scandalous
15.The Beatiful Ones
16.Nothing Compares 2 U



2nd Show
1.When I Lay My Hands On U
2.Stratus
3.That's It
4.All Shook Up
5.Peach
6.Spanish Casle Magic
7.When U Were Mine
8.Little Red Corvette
9.Somewhere Here On Earth
10.She Spoke 2 Me
11.I Love U But I Don't Trust U Anymore
12.Love Like Jazz
13.All The Critic Love U In Montreux
14.In A Large Room With No Light
15.Purple Rain
[Edited 4/21/10 14:16pm]
[Edited 4/21/10 14:26pm]

OldFriends4Sale¤

Great work.

The Gansvoort Hotel charity gig and aftershow would really have been something else. The aftershow set list looks like a corker. Never knew about this gig before. Thank you Oldfriends...nice pictures too.

Thanks Old friends, but yes it's over.

The Lotusflow3r disc is one of my favorite Prince releases. Very solid piece of work in my opinion.


While I think MLPsound is very hit or miss, the songs that catch on are really nicely done. No More Candy 4 U is an awesome song.

Still curious to why this album wasn't supported by a single. Something like Chocolate Box (an edited down version of course) seemed pretty perfect for what's being played on the radio today.

Very nice thread-as always great work from Old

OldFriends4Sale said:

I love this piano

http://blog.digitalcontentproducer.com



The Briefing Room
Fulltank Sweetens ‘Chocolate Box’ Music Video for Prince
Raz Public Relations April 13th, 2009
Creative Production Studio Provided 190 Visual Effects Shots for CGI-Intensive Promo Directed by P.R. Brown

Creative production studio Fulltank announced today that it provided visual effects, including on-set supervision, for a CGI-intensive promo for “Chocolate Box,” the new single from Prince’s “MPLSoUND” album released on March 29th. The video, helmed by music video director P.R. Brown, features an all-digital fantasy world inspired by the dark urban aesthetic of “Sin City.” To view the music video, visit: http://www.fulltank.tv/pri/.

“When I started the process of bringing Prince’s vision for the video to life, I was fortunate to have found the guys at Fulltank,” said Director P.R. Brown of Bau-Da Design. “Throughout the project, their passion for the video was clear and they went well beyond what I thought could be produced given the time we had. It was a pleasure working with them, and they really helped bring to life the hyper stylized vision I had for the piece.”

[img][/img]

In the promo for “Chocolate Box,” Prince is an all-seeing Orwellian figure, whose gaze looms over a shadowy cityscape as projected onto the sides of skyscrapers and a psychedelic airship. Rapper Q-Tip – who collaborated with Prince on the track – stars as a man in pursuit of a beautiful and mysterious woman. Their athletic hunter-hunted game of parcour takes them across rooftops and buildings. When they finally meet, the video goes from a black and white palette accented by occasional flashes of color, and crescendos into a technicolor explosion of surreal graphical elements. Neon jellyfish bob in mid-air, a giant fuchsia sphere pulsates with otherworldly energy (and Prince’s omnipotent visage), and lightning zigzags across the sky. The video closes with.

In addition to providing on-set visual effects supervision for the one-day shoot at the SOURCE film studio’s greenscreen stage in Hollywood, Fulltank Creative Director Chris Do and Executive Producer Ben Morris and a team of nine artists oversaw 190 visual effects shots over the course of five very short weeks, using live-action material captured with the RED camera at 4K.

[img][/img]

Because of this truncated timetable, Fulltank developed a workflow based more on a feature film, rather than commercial production pipeline. Instead of working shot by shot, Fulltank set very particular daily milestones, sending files through to the render farm every evening for testing in the morning. Said Chris Do, Creative Director, Fulltank, “This video pushed us to develop a custom production pipeline that we’re using on future Fulltank projects. That’s an opportunity rarely awarded to smaller creative shops, which aren’t often able to allocate the time and resources for in-house R&D.”

Despite the obvious challenge of this tight deadline, Fulltank was given almost 100 percent creative control over the VFX – an amazing opportunity to develop the look and feel of the video with director P.R. Brown. Added Do, “We were so fortunate to work with such an intuitive and organic director, who also has an extensive visual effects background. This enabled us collaborate very closely because he understood the process, and the vibe that Prince wanted to achieve.”

Fulltank relied on a software toolkit comprising primarily of Adobe After Effects and Apple Shake for compositing, with Autodesk Maya and MAXON Cinema 4D for modeling, all running on Macintosh and Windows platforms on a 15 quad core render farm.



About Fulltank

Fulltank was conceived by Executive Producer Ben Morris with the core idea of building a creative production studio that captures emotion through engaging visuals and narratives. Fulltank’s creative team uses its diverse background in print, illustration, typography, photography, cell-animation, design, concepting, directing and storytelling to produce imagery and ideas that deliver strong creative messages. www.fulltank.tv.

Production Credits:

DIRECTOR/EDITORIAL: P.R. Brown

CREATIVE DIRECTOR: Chris Do

EXECUTIVE PRODUCER: Ben Morris

PRODUCER: Sean Deveaux

ART DIRECTORS: Jonathan Kim, Matt Collarafice, Takashi Takeoka.

DESIGN: Jonathan Kim, Jon Gutman, Matt Collarafice, Takashi Takeoka

COMPOSITORS: Matt Collarafice, Takashi Takeoka, David Do, Martin Jung

MATTE PAINTINGS: Thomas Yamaoka

LEAD 3D DIRECTION: Jon Gutman

3D/ANIMATION: Omar Gatica, Ian Rufuss, Alex Ceglia, Billy Maloney, Martin Jung
[Edited 4/21/10 6:51am]

I absolutely LOVE the Lotusflow3r/MPLSound albums! What a killer collection of rock, funk and pop with some beautiful ballads!

In fact, I'm listening to the albums now.

Eye got a box a chocolates that’ll rock the sox of any girl that wanna come my way

Where the drums

Eye got a box a chocolates that’ll rock the sox of any…..
Eye got a box a chocolates that’ll rock the sox of any…...

So, what’s the deal, y u frontin’ keep it real do u wanna get funky with me?
If u think eye got something that u want, suga nothin’ here comes 4 free
Eye been around this way got lost and found lemme c if u remember my name
U can try 2 get it but eye can’t let u hit it cuz u never gon’ b the same

Eye got a box a chocolates that’ll rock the sox of any girl that wanna come my way
And eye ain’t got no time 2 waste if she ain’t makin’ bank and scared of what a brutha got 2 say

She want the b-o-x-a-chocolate everyday

So what’s the deal r u sportin’ some wheels or r u ridin’ in a limousine?
This ain’t prom night and eye don’t wanna fight so u betta get ur dirty clean
Eye hear ur words goin’ up and down ur skirt ur gonna get a chance 2 prove it
U best believe if u wanna get wit me it takes a real woman 2 do it

Eye got a box a chocolates that’ll rock the sox of any girl that wanna come my way
And eye ain’t got no time 2 waste if she ain’t makin’ bank and scared of what a brutha got 2 say

She want the b-o-x-a-chocolate everyday

(Rap by Q-Tip)
How can I make you mine, if I had the sweetest kind
I can suger brush you in my arms, you’re my love divine
Im your Willy Wonka, golden ticket is yours
Don’t you wish just to taste from the label report
They say the sweetness you’ll eatum
But the bitter is better
Taken bites from the box
You never know what you getum
But you keep tring and tring, cause the flavour is fun
So many variations from the conscience of one
Where the drums

(Prince)
So what’s the deal r u gay or poppin’ pills? y u still wanna take my hand?
This discotech is ‘bout 2 make me a wreck my feet r singin’ louder than the band
Eye c u got the feelin’ flashin’ lights up on the ceiling say u gotta get ur weekend now
What difference does it make? u know u can’t make chocolate cake if ain’t nobody ever showed u how

Eye got a box a chocolates that’ll rock the sox of any girl that wanna come my way
And eye ain’t got no time 2 waste if she ain’t makin’ bank and scared of what a brutha got 2 say

Eye got a box a chocolates that’ll rock the sox of any girl that wanna come my way
And eye ain’t got no time 2 waste if she ain’t makin’ bank and scared of what a brutha got 2 say

She want the b-o-x-a-chocolate everyday


Eye got a box a chocolates that’ll rock the sox of any…..
Eye got a box a chocolates that’ll rock the sox of any…...

Eye got a box a chocolates that’ll rock the sox of any…..
Eye got a box a chocolates that’ll rock the sox of any…...

Eye got a box a chocolates that’ll rock the sox of any…..
Eye got a box a chocolates that’ll rock the sox of any…...

Eye got a box a chocolates that’ll rock the sox of any…..
Eye got a box a chocolates that’ll rock the sox of any…...
Eye got a box a chocolates that’ll rock the sox of any girl that wanna come my way




[Edited 4/21/10 7:09am]

wow..nice work...keep it coming....

I admire your dedication.

This era (I never thought of a year as an era before) could've been so kickass.
It was not all bad. There was some good music in the release. Shame it was overshadowed by so much other crap that could've been prevented by him, his team or whomever.

If nothing else, I will continue to play and enjoy Lotus/Mplsound.

I played Bria yesterday. It's not so bad when your're cleaning out a laundry room.

Love this thread!

http://www.7silhouetteproject.com/
http://www.facebook.com/p...5208764394

.

johnart said:

How long is an era then? It is my understanding that an academic definition of the word bears no refernce to a minimum chronological limitation.

Brofie said:

I said I never thought of. I didn't question the correctness of its use by the author of this thread.

But congrats on owning a dictionary.
[Edited 4/21/10 14:28pm]