Purple Rain Tour

The Omni, Atlanta

January 4, 1985

LET'S GO CRAZY /
DELIRIOUS /
1999 /
LITTLE RED CORVETTE /
TAKE ME WITH U /
FREE /
DO ME, BABY /
HOW COME U DON'T CALL ME ANYMORE /
LET'S PRETEND WE'RE MARRIED /
FATHER'S SONG /
GOD /
COMPUTER BLUE /
DARLING NIKKI /
THE BEAUTIFUL ONES /
WHEN DOVES CRY /
I WOULD DIE 4 U /
BABY I'M A STAR /
PURPLE RAIN

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(1) Black Screen

SOUND under: MUSIC building in INTENSITY
as--

PRINCE
(over)
Dearly belov`ed,
We are gathered here today
To get through this thing
called life.
Electric word life,
It means forever and that's a
mighty long time.
But I'm here to tell you that
there's something else -- The
afterworld.



Then huge CU of EYES opening, gazing
into mirror, HAND applying makeup,
sudden BLACKNESS, then--

PRINCE
(con't)
That's right...a world of
never-ending happiness,
You can always see the sun --
Day or night.

BURN IN MAIN TITLE: PURPLE RAIN

PRINCE
(con't)
So when you call up that
shrink in Beverly Hills,
You know the one -- Doctor
Everything'll Be Alright--
Instead of asking him how much
of your mind is left,
Ask him how much of your time,
`Cause in this life,
Things are much harder than in
the afterworld,
In this life, You're on your
own.



Now, pulsating COLOR -- FLASHES of hot,
white LIGHT...



PRINCE
(con't)
And if de-elevator tries to
bring you down,
Go crazy, punch a higher
floor.

and the BEAT provocative now,
relentless, BUILDING with fierce intent
to--





(2) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The MECCA! The last stop for a band
before national fame.

The HUGE cavernous HALL is PACKED!
PEOPLE are DANCING like MAD! VIDEO
SCREENS with WILD GRAPHICS hang
suspended from the ceilings. Beautiful
WAITRESSES criss-cross the floor in a
frenzy.

PRINCE is CENTER-STAGE -- LIPS caressing
the mike, black, lustrous hair shining,
eyes dancing -- SINGING "Let's Get
Crazy" as the CROWD pulsates beneath the
LASER LIGHTS.





The MUSIC continues as we ...

CUT TO:


(3) EXT. STREETS #1 -- NIGHT

A TAXI pulls UP with a SCREECH. VANITY
slouches in the backseat. Black boots,
black skin-tight pants, and a mane of
thick, black hair presents a beautiful
and imposing figure. Her eyes are
large and dark -- her look open and
ripe. She knows what she's got, and
doesn't make any excuses for it -- but
the fact is she's scared as hell,
possessing a vulnerability that
surprises her by its suddenness. An
expensive gold chain is fastened on one
boot.

She scrounges through her bag -- pulls
out her remaining cash. It's drastically
short of what she owes and she knows it.
She tosses it onto the front seat,
JUMPS from the cab, streaks across the
street. The CABBIE lets out a YELL and
JUMPS out after her.

"Let's Get Crazy" continues as we ...

CUT TO:


(4) INT. SHOWER, MORRIS' APT. -- NIGHT

MORRIS DAY stands in the shower, steam
whirling about his face. He's 22 years
old, matinee-idol sexy with large, dark,
bedroom eyes. He headlines a slick
techno-funk group called THE TIME which
sports gangster suits and wide-brimmed
hats. He's gifted with a wealth of self-
laudatory humor which he uses like a
knife, moving through life with a calm,
but ruthless grace.

Make no mistake, Morris is nobody's
fool. His seeming out-raceousness, his
charm -- every move he makes is for a
calculated effect. He knows exactly
what the ladies need, and doesn't mind
reminding them should they forget ...



He breaks into a wide grin. Hair
standing up like Don King, he wipes off
a hand mirror, regards himself
unabashedly as he brushes his teeth.



"Let's Get Crazy" continues as we...

CUT TO:


(5) INT. BASEMENT, PRINCE'S HOME -- NIGHT



Prince sits in front of the mirror,
finishes applying his makeup. Black
hair flowing, eyes wide and fantastic,
he regards himself a moment before
jumging up. He puts on a high-collared
overcoat, grabs his guitar moves
quickly to the basement window. He
hoists himself through it, disappears
into the night.



"Let's Get Crazy" continues as we ...

CUT TO:


(6) EXT. CORNER, STREETS #1 -- NIGHT

A POLICE CAR, lights FLASHING, sits at
the curb. A small CROWD has rathered
about. The Cabbie stands on the
sidewalk gesticulating angrily to a COP.
Vanity stands by the police car,
obviously board, another COP by her
side. Her eyes are fastened on a good-
looking BUSINESSMAN standing nearby...

A silent negotiation seems to be going
on. Understanding wafts between them
like a passing breeze.

Without taking his eyes off her, the
Businessman approaches the Cabbie,
starts talking ...

"Let's Get Crazy" continues as we...



CUT TO:

(7) INT. MORRIS' BEDROOM -- NIGHT

Morris moves lasciviously into the
BEDROOM wearing a red muscle T-shirt,
orange baggy shorts, and green knee-hi
socks fastened to garters. A yellow
bandanna holds up his hair.

The bedroom is a MESS. A VACUUM CLEANER
stands like a sentry in the middle of
the floor. He turns it on, blazes a
path to his closet. He yanks out a well-
pressed suit, holds it against him,
strikes a sexy, half-lidded pose only a
mother could love--


MORRIS
(awed)
Oh, Lord ...

"Let's Get Crazy" continues as we ...

CUT TO:





(8) EXT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The STREETS are swollen with TRAFFIC.
KIDS are packed onto the sidewalk,
waiting to get into the club. Prince,
riding his MOTORCYCLE, weaves between
jammed cars, then blasts down a narrow
alley leading to the rear entrance. His
guitar is slung across his back. He
chains up his bike, moves past a CROWD
of KIDS, cuts inside.

'Let's Get Crazy" continues as we ...

CUT TO:



(9) EXT. STREETS #2 -- NIGHT

A SEVILLE sweeps to a stop. The
Businessman is at the wheel. Vanity
steps from the car languidly and offers
a curt wave goodbye. The car pulls
away.

She stands serenely a moment as the CAR
twists around the corner. She grabs
her bag, rushes into a dark alley. She
pulls a handful of CASH from her pocket,
counts through it quickly.

'Let's Get Crazy" -continues as we ...

CUT TO:


(10) EXT. MORRIS' APARTMENT -- NIGHT

The DOOR opens -- Morris steps
confidently into the night. The change
in his appearance is breathtaking. A
cashmere coat is draped over his
shoulders, a white scarf hangs loosely
about his neck. Wearing a sharp,
gangster-style suit, his hair is a
pompadour, and Stacy Adams on his feet -
- Morris is the very picture of
elegance. He doesn't just walk to the
curb, he slides -- his promenade
punctuated with a dip at the knees you
could snap your fingers to.

JEROME is at the curb, buffing down the
bumper of a yellow, 1970 Fleetwood
Cadillac. Jerome is solidly built,
smooth-faced handsome with a boyish
charm all his own. He's a member of The
Time, and acts as Morris' chauffeur,
valet, and all-purpose shadow.

He moves quickly to the door, holds it
open as Morris settles himself into the
backseat. He closes it with a flair,
hops behind the wheel, pulls out.

'Let's Get Crazy" continues as we...



CUT TO:


(11) INT. DRESSING ROOM, CLUB -- NIGHT

Prince is BACKSTAGE, practicing spins in
front of the mirror. The other MEMBERS
of his CROUP are scattered throughout
the room. BOBBY sits off to the side,
his drumsticks tapping against his knee.
MATT puts on his doctor's smock. LISA
and WENDY finish applying their makeup.
MARK runs his fingers up and down the
neck of his bass guitar.

Suddenly a STAGEHAND pokes his head into
the room, holds the door open as Prince
and his band cut quickly to the stage.

'Let's Get Crazy' continues as we...

CUT TO:


(12) INT. MOTEL ROOM -- NIGHT

The DOOR opens -- A LIGHT goes on.
Vanity stands in the hallway, peers
cautiously into a squalid, rundown room.
She hesitates briefly, seems to sigh,
then indicates she will take it. The
MANAGER closes the door as he leaves.

She stands a moment, surveys the room.
A bed and bureau, sink, a chair,
hotplate -- simply the essentials. She
pulls a dress from her bag, a pair of hi-
heels, some gloves, underwear. She
hangs the dress on a rod, places the
shoes beneath it, arranges the rest in a
bureau drawer. She looks around once
more -- flowered wallpaper peels from
the walls.

She rushes to the window, tears open the
shutters -- iron bars obstruct her
view...


(13) EXT. CLUB -- NIGHT (VANITY'S POV)

... KIDS are crowded in front of the
CLUB. A YELLOW CADDY SCREECHES up in
front. TRAFFIC is jammed all around.
The night is electric -- the scene
beckons ...


(14) INT. VANITY'S HALLWAY -- NIGHT

She runs from the room, cuts down the
hallway, slanming the door behind her
...

"Let's Get Crazy" continues as we...

CUT TO:


(15) EXT. CLUB (1st AVE. ST. BAR) -- NIGHT

Jerome opens the door of the CADDY,
helps Morris out. The CROWD recognizes
them immediately, rushes in for a closer
look. Morris loves the attention,
plays to their enthusiasm with a relish.
Jerome snaps a comb into his hand, holds
up a pocket mirror ...

Morris combs his hair dramatically, the
Crowd encouraging him on. Jerome gives
him the OK sign, ushers him into the
club.

"Let's Get Crazy" continues as we...

CUT TO:


(16) INT. CLUB (1st AVE. ST. BAR) -- NIGHT





Prince onstage performing "Let's Get
Crazy." He's locked into a guitar
solo, moving provocatively with Wendy.
The CROWD is packed onto the DANCE
FLOOR, thick against the stage.



Jerome makes his way through the crowd,
blazing a path for Morris who is
surrounded by a dozen BABES.
Occasionally Morris glances at Prince --
discloses by his look that he doesn't
care much for his act -- or his music...

He breaks off from the Girls, follows
Jerome to the backstage entrance where
they're joined by other MEMBERS of The
Time -- JESSE and JELLYBEAN among them.
Morris casts another glance toward
Prince, breaks into a self-satisfied
grin--


MORRIS
We're going to slay him...
(screams)
Whawhak!

"Let's Get Crazy" continues as we...

CUT TO:


(17) EXT. CLUB -- NIGHT

COMMOTION! The CROWD has become
unwieldly -- TRAFFIC is snarled all
around. HORNS are BLARING. COPS try
desperately to ward off the inevitable
grid lock.

Vanity runs against the light, moves to
the head of the queue to the
accompaniment of JEERS and CATCALLS.
She doesn't budge an inch, KNOCKS
rapidly on the glass door, catching the
attention of CHICK, a burly, 6'5", 285
pound bouncer with a white beard and
long flowing hair. An ex-Marine,
Chick's function is obvious. He cracks
the door--


CHICK
What?

VANITY
I have an appointment with the
manager.

CHICK
No you don't -- he doesn't see
anybody.




Suddenly a FIGHT breaks out at the
INSIDE MONEY WINDOW. Chick spins
instantly, SLAMS the door -- but Vanity
jams her boot into the narrow space.
The door crashes against her instep, she
winces in pain --but Chick doesn't
notice. He's already upon the
OFFENDERS, heaving them against the
wall.

Vanity streaks inside, blazes up the
stairway, ducks behind a GROUP of
GIRLS...

CHICK turns instantly -- the door is
closed -- VANITY, gone. His eyes dart
up the stairway -- nothing. He shrugs,
drags the Two Guys off.



(18) INT. CLUB -- UPPER BAR AREA -- NIGHT

VANITY watches as he moves away. She
jumps up, lunges onto the dance floor,
CRASHES into a waitress, JILL, whose
tray SMASHES to the floor--

JILL
What are you retarded or
something?! Why don't you look
where you're going?

She's 18 years old, blonde and pretty in
a cute, innocent way. A Daisy Mae-type
whose emotions form so quickly, she has
trouble sorting them out. Right now
she's mad as hell -- she thinks--


VANITY
Sorry ... where's the office?

Jill squats, picks up the broken glasses-
-

JILL
Do you think you can just come
in here and take over?

VANITY
I said I'm sorry -- what do
you want me to do? Where's
the office?

Jill points -- Vanity hurries away --

JILL
(triumphantly)
No one's in!

Vanity stops dead in her tracks, does a
slow burn. She walks back to Jill--

VANITY
Okay, so you got me back,
fine. Listen, I'm from out of
town. I have to see the
manager, it's important. I'm
a real good singer and dancer.
I know he could use me.

JILL
Do you have any experience?

Vanity simmers, enunciates every word--

VANITY
Yeah...definitely.

JILL
Follow me.

And she turns on her heels, makes her
way through the club, moving into the
vicinity of the stage. Vanity follows
her reluctantly, casts a look to the
band. She spots Prince for the first
time -- stops instantly...

His effect on her is instantaneous.
Passion surges through her like a tidal
wave. His hair, face, eyes -- it all
conspires to make her weak. It's like
meeting someone for the first time, but
seeing so much of yourself in them, that
their lips, eyes, mouth -- you're
certain you have touched, and the desire
to be with them becomes so strong that
the very act of touching will release
you in a way you never thought
possible...

Prince brines "Let's Get Crazy" to a
rousing, blistering end. Suddenly the
stage is plunged into darkness. The
CROWD goes WILD!

[Edited 9/2/10 5:29am]

Such an intense tour schedule.

And it all kicked off in Detroit!!!! WOOOOOOOOO

MikeyB71 said:

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PURPLE RAIN
PRINCE AND THE REVOLUTION
Warner Bros.

The spirit of Jimi Hendrix must surely smile down on Prince Rogers Nelson. Like Hendrix, Prince seems to have tapped into some extraterrestrial musical dimension where black and white styles are merely different aspects of the same funky thing. Prince's rock & roll is as authentic and compelling as his soul and his extremism is endearing in a era of play-it-safe record production and formulaic hit mongering. "Purple Rain" may not yield another smash like last year's "Little Red Corvette," but it's so loaded with life and invention and pure rock & roll thunder that such commercial considerations become moot. When Prince sings "Baby I'm a Star," it's a simple statement of fact.

The Hendrix connection is made overt here with the screaming guitar coda that ends "Let's Go Crazy," with the manic burst that opens "When Doves Cry" and in the title song, a space ballad that recalls "Angel" with its soaring guitar leads and a very Hendrixian lyrical tinge ("It's time we all reach out for something new -- that means you, too"). There are also constant reminders of Sly Stone in the ferocious bass lines and the hot, dance-conscious mix. But like Jimi and Sly, Prince writes his own rules. Some of his effects are singularly striking - note that eerie, atonal synthesizer touches that creep in at the end of "The Beautiful Ones" and the otherworldly backward-vocal montage in the frankly salacious "Darling Nikki" -- and his vocals continue to be among the most adventurous and accomplished on the current scene. Prince also does wonderful things with string-section sounds, and his band -- if it's not actually him playing all the parts -- burns throughout.

Anyone partial to great creators should own this record. Like Jimi and Sly, Prince is an original; but apart from that, he's like no one else.

-- KURT LODER

Serious question, but does anyone else actually get sad listening to Purple Rain? I'm not talking at all about the musical content, but just the nostalgia and a real sense of loss . . . which, in itself is a testament to how brilliant and perfect that album is. Almost everything pales by comparison.

Se7en said:

Serious question, but does anyone else actually get sad listening to Purple Rain? I'm not talking at all about the musical content, but just the nostalgia and a real sense of loss . . . which, in itself is a testament to how brilliant and perfect that album is. Almost everything pales by comparison.

I don't get sad. All Prince's albums prior to PR were brilliant. But 1999, PR, and ATWIAD released btwn 1982-1985 really is mind blowing. Almost insane they're so diverse and good.

1999 - Excellent double Funk album.

PR - The Movie, Oscar, Soundtrax what more can you say?

ATWIAD - Most of the world came to know Prince with PR. ATWIAD showed the world he was a force to be reckoned with for generations.

NONSENSE said:

Se7en said:

Serious question, but does anyone else actually get sad listening to Purple Rain? I'm not talking at all about the musical content, but just the nostalgia and a real sense of loss . . . which, in itself is a testament to how brilliant and perfect that album is. Almost everything pales by comparison.

I don't get sad. All Prince's albums prior to PR were brilliant. But 1999, PR, and ATWIAD released btwn 1982-1985 really is mind blowing. Almost insane they're so diverse and good.

1999 - Excellent double Funk album.

PR - The Movie, Oscar, Soundtrax what more can you say?

ATWIAD - Most of the world came to know Prince with PR. ATWIAD showed the world he was a force to be reckoned with for generations.

Everything from the 80s was brilliant - hence the sense of "loss" when hearing the bulk of them compared to stuff from the last 10-12 years.

Se7en said:

Serious question, but does anyone else actually get sad listening to Purple Rain? I'm not talking at all about the musical content, but just the nostalgia and a real sense of loss . . . which, in itself is a testament to how brilliant and perfect that album is. Almost everything pales by comparison.

I do,

there is this phrase I love that says " A little impatience spoils grand plans"

With how he handled the Time(Jimmy Jam Terry Lewis as well as Morris)

rushing to change to much at once, what could have happened with the Family

the Dream Factory, and so much more

No other time can compare to those years.

For me not just Purple Rain but opening the ATWIAD album and all the content lyrics colors lettering the depth of that album and music. I really feel it when listening to Condition of the Heart

I feel it when I hear Erotic City God Sheila E's the Glamorous Life, she still says 2 her it seems like yesterday

I've got it on DVD but Im definitely taking the High definition leap and going to buy this on Blu Ray. Apparently it looks greattttttt.

[Edited 9/2/10 18:47pm]

iamchris90yall said:

I've got it on DVD but Im definitely taking the High definition leap and going to buy this on Blu Ray. Apparently it looks greattttttt.

[Edited 9/2/10 18:47pm]

I have it on Beta, VHS, Laserdisk, CED, DVD, 20th Anniversary DVD, BluRay, and HD-DVD.

Se7en said:

Serious question, but does anyone else actually get sad listening to Purple Rain? I'm not talking at all about the musical content, but just the nostalgia and a real sense of loss . . . which, in itself is a testament to how brilliant and perfect that album is. Almost everything pales by comparison.

I was just thinking that!! I listen to the ablum, watch the movie, and see post like this and just feel an emptiness. There will never be another Prince or Purple Rain. And it was so good, I find myself longing for those days to come back. Of course, I got in on this greatness a few years after it came out seeing as how I wasn't born until 84, but I was introduced to Prince and alike very young!! And I've loved him since then!! I always feel so sad when I see the things I missed. I really wish I could go back in time and experience Purple Rain era first hand with Prince. Hmm, time goes by too quickly!!!!

A great thread about my fovorite era of Prince! Great pictures! I don't think Prince can ever top Purple Rain musically and it is still an amazing album !

It was great to have been a part of that era as opposed to younger people who missed out but I guess they have their own era of some kind. It was a great time then and MTV actually played music vidoes......

The777Man

I like when u post these typed of threads

DaphneLovesPR1NCE said:

Se7en said:

Serious question, but does anyone else actually get sad listening to Purple Rain? I'm not talking at all about the musical content, but just the nostalgia and a real sense of loss . . . which, in itself is a testament to how brilliant and perfect that album is. Almost everything pales by comparison.

I was just thinking that!! I listen to the ablum, watch the movie, and see post like this and just feel an emptiness. There will never be another Prince or Purple Rain. And it was so good, I find myself longing for those days to come back. Of course, I got in on this greatness a few years after it came out seeing as how I wasn't born until 84, but I was introduced to Prince and alike very young!! And I've loved him since then!! I always feel so sad when I see the things I missed. I really wish I could go back in time and experience Purple Rain era first hand with Prince. Hmm, time goes by too quickly!!!!

My first Prince experience was listening to songs from the 1999 album during my last year in Detroit (moved out in 1983, and that album - albeit from 1982 - was still going strong).

1999 got me really interested, but Purple Rain one year later got me hooked. So, I was 11 when I started listening to Prince in '83, and experienced every album from 1999 as it was happening . . . so 12 years old, doing my best at drawing the Purple Rain font on my self-made brown shopping bag textbook covers (do kids still have to make those?) and desperately wanting a purple trenchcoat. Looking back, glad I didn't get that trenchcoat!

OldFriends4Sale said:

OH GOD................he was/is a lucky bastard!!!!

...Vanity snaps out of it. Jill is
tugging at her arm, a puzzled look on
her face--

JILL
Here, fill this out -- I'll
have him call you.

VANITY
I don't have a phone. When
will he be back?

JILL
Well...you can try tomorrow.

VANITY
You can count on it.

Vanity hands the card back to her --
Jill reads the name, address -- looks up
puzzled--

JILL
Vanity??







BACKSTAGE
as Morris and The Time pass Prince on
their way to the stage--

MORRIS
Why don't you stay awhile, see
how it's done.

The Band Members bust up -- but Prince
ignores them, then--

MC
Ladies and gentlemen -- please
welcome The Time.

Joseph E. Ferraro ... First Avenue M.C.

CLUB
Sudden APPLAUSE and CRIES. Vanity and
Jill turn directly into the path of
Prince, descending the Steps of the
stage. Vanity gasps, LOCKS eyes with
him. Jill seems to jump out of her skin
-- it's obvious she has a crush on him
something awful--

JILL
Hi ya, Prince -- God I liked
that song, it's real fun.

She fidgets uncontrollably, Vanity's
card buring a hole into her hand.
Prince glances at the card, then stares
at Vanity, the ripeness of her look
paralyzing. He tears his eyes away,
puts on his sunglesses, looks toward the
stage.






18A) INT. CLUB -- NEAR STAGE -- NIGHT

MORRIS and The Time rip into a funk tune
called "Jungle Love." Their stranglehold
on the audience is instantaneous.
Morris struts across the stage like a
panther, playing to the audience with a
relish. His eyes fastened on Prince --
his pride umistakable.

PRINCE watches Morris a moment, then
eyes Vanity again. The heat between
them is apparent. Vanity's heart is
pounding, she's not sure what to do.
She keeps her eyes on Morris, hoping
that a Solution will present itself.

PRINCE watches as Jill tacks the card to
a board behind the bar. Sizing up the
situation quickly, he again glances at
Vanity -- but her eyes are fastened on
Morris. Feeling terribly shy and
thinking there's nothing he can do to
divert her attention away from him, he
reluctantly heads for the front door.
Vanity finally hits upon something to
say, turns--

VANITY
I really liked your song
too...

But he's gone. Her eyes scan the room
frantically -- catches a glimpse of him
leaving. She takes a sudden step, then
stops, paralyzed with indecision. Jill
regards ger coldly.


MORRIS meanwhile is beside himself.
Some gorgeous, dark-haired babe, eyes
wide as saucers was starlng at him from
the bar. Prince has left, and this girl
is his. He motions to Jerome, and they
direct their act in her direction.

JILL gazes at Vanity, fidgets intensely,
suspicious and resentful of her. She
glances up and notices Morris, look.
She seizes upon an idea, forces a
friendly smile, taps Vanity on the
shoulder--

JILL
Hey ...

She points to the stage. Vanity looks
at Morris, and he goes crazy,
entertaining her with his own special
blend of showmanship. The CROWD loves
it! Vanity is held a moment, but her
thouchts are elsewhere. She finally
comes to a decision, pulls away, cuts
through the club.


(18B) INT. FOYER AND STAIRWAY -- NIGHT

as she runs down the stairs, cuts behind
Chick, BURSTS out the door.


(19) EXT. CLUB -- NIGHT

FRANTIC! The STREETS are thick with
TRAFFIC. She scans them wildly --
nothing. Suddenly Prince, astride his
motorcycle, BLAZES past her from the
opposite direction. She starts running,
shouts--

VANITY
Hey wait!

But Prince is too far away, the traffic
too coneested for him to hear. He whips
down the street, disappears around the
corner.

Vanity continues running, then slows,
dejection overcoming her in waves. She
looks around -- KIDS are staring at her,
passing jokes. Embarrassed, She moves
to the front door but Chick is there,
his eyes upon her cold, impassionate.

Exhausted and slighlty tearlul, she cuts
across the street, heads back to her
apartment.

I. Love. Your. Threads.

Keep them coming!

They all did a great job making a movie, despite none of them being actors. I think the movie had the right balance of truth and fiction...

Big Chick Bobby Z & Prince

American Music Awards LA:Shrine Auditorium 1985

[Edited 9/4/10 16:44pm]

[Edited 9/4/10 16:44pm]

OldFriends4Sale said:

American Music Awards LA:Shrine Auditorium 1985

one the BEST renditions of Purple Rain EVER!

Blue Limousine

7:30 - he said that he'd be here by 6
It's lookin' dirty, I guess he's up 2 his old tricks
He likes 'em pretty, he likes 'em in their lingerie
It's such a pity, I bought a camisole 2 day ... boo hoo, boo hoo

7:30 and there's still no sign of my baby's blue limousine

7:31 - I planned 4 him 2 spend the night
We could've had some fun, pretty men, they never treat U right
They talk so dirty, they get U all worked up inside
It's your car, but everybody else always gets 2 drive

7:31 and there's still no sign of my baby's blue limousine

He's got a white one, he's got a yellow one
He's got a black one with a body obscene
Still no sign of my baby's blue limousine {x2}

7:32 - where can my baby be?
I must be a fool 2 let somebody do this 2 me
I can't stop him, wherever he parks his car is alright
But he'll be parkin' with a dent in the side if he stands me up 2 night

7:32 and there's still no U, my baby blue limousine
Baby blue limousine {x4}

He's got a white one, he's got a yellow one
He's got a black one with a body obscene
Still no sign of my baby's blue limousine

He treats U special like U're the only one
Then your girlfriend tells U that he's havin' big fun
Still no sign of my baby's blue limousine

He's so pretty, he's so nice
He'll make U feel like U're in a paradise
Still no sign of my baby's blue limousine {x2}

He like 'em pretty, he like big titties
He likes 'em in their lingerie
Still no sign of my baby's blue limousine

He's all black, he's all white
Everybody's gotta jam 2 night
Limousine {x2}
Still no sign of my baby's blue limousine {x2}

© 1984 Girlsongs Music - ASCAP

September 5. 1984
Cleveland
Sheila E. Concert

Are these the same threads from before?

Glad to see you're still updating them.