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FILM REVIEW
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1988 Bright Lights, Big City (Warner Bros.) Good love, U got a... Technicolor children in Picadilly Square 4th of July in every stroke Good love, U got a... yeah It brings a flash 2 my heart just the thought of U U and I in each others arms (U and I - each others arms) Good love, yeah! Alright, we go'n say good love (Good love) - Yeah (Yeah, yeah) Oh my Lord (Oh my Lord) Come on Technicolor junkie in a funky square (Yeah) © 1997 Emancipated Music - ASCAP[Edited 10/15/10 22:19pm] | |
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JET No. 10 | |
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Good Times. I wish Prince would have stuck to this grungy ethos for a year or two more and not turned to the fey pastels of LoveSexy so quickly [Edited 10/5/10 8:03am] |
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[img:$uid]http://d.yimg.com/kq/groups/21303846/sn/1351128884/name/n_a[/img:$uid]
Hot thing - barely 21 Hot thing - baby, U dance so good Hot thing - maybe U should give your folks a call Hot thing - I can't... I can't wait 2 get U home
[Edited 10/8/10 8:50am] [Edited 10/15/10 9:07am] | |
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October 24. 1987
@ Club 1018 after the premiere
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Forever In My Life
I forget if these pics he was performing IT or 4ever In My Life | |
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Both! | |
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STILL my favorite album =] *~In a room full of harlots & fantasies,
Destiny beckoned us there. Curious Child on the balcony...We took the dare.~* | |
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November 18. 1987
1.Sign'O'The Times 2.Play In The Sunshine 3.Little Red Corvette 4.Erotic City 5.Housequake 6.SlowLove 7.Do Me Baby 8.Adore 9.I Could Never Take The Place Of Your Man 10.Hot Thing 11.Love Or Money/Data Bank 12.Let's Pretend We're Married 13.Delirious 14.Jack U Off 15.If I Was Your Girlfriend 16.Let's Go Crazy 17.When Doves Cry 18.Purple Rain 19.1999 20.U Got The Look 21.Kiss 22.It's Gonna Be A Beautiful Night 23.The Ballad Of Dorothy Parker 24.Starfish And Coffee 25.Now's The Time 26.Strange Relationship 27.Forever In My Life
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Here we are folks, the dream we all dream of U walked in, I woke up Color U peach and black U've got the look, U've got the hook Looka here Closin' time, ugly lights, everybody's inspected (Everybody's inspected) U've got the look (U've got the look) There's no jokin' U U walked in (I walked in), I woke up (U woke up) Color U peach and black U've got the look, U've got the hook Here we are folks, the dream we all dream of U got the look {x5} © 1987 Controversy Music - ASCAP
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SIGN O' THE TIMES 3 Stars (out of 4) By Roger Ebert Prince labors under the misfortune of having made one of the greatest rock movies of all time, "Purple Rain." Now his career is beginning to take on some of the same hint of nostalgia that dogged Orson Welles all of his days: If you start with "Citizen Kane," where do you go from there? "Purple Rain" contained not only great rock music but also a strong dramatic story and powerful performances by a whole crowd of unknowns. It was a great debut movie, and it made Prince into a sitting duck with whatever film he made next. His next film was, of course, the disastrous "Under the Cherry Moon," an odd black-and-white exercise that seemed to owe something to old movies by Fred Astaire, Harold Arlen and even Rudy Vallee. He was paying tribute to a tradition that was not even a memory for his fans. Now comes "Sign O' the Times," obviously a more cautious and calculated film, in which Prince returns to his concert roots and tries to give his fans, if not "Purple Rain," then at least what they paid their money for. This is a concert film, with all of the usual conventions of the modern rock concert film: the towering percussion section, the synchronized backup singers, the sweating superstar in sexual pantomime and, of course, the standard shot of the star leaning forward to tantalize his fans as the first row of the audience surges forward in orgiastic bliss. To this basic mix Prince has added some adornments. He intercuts the concert footage with what look like glimpses of a dramatic story, in which sex, intrigue and a sense of danger are laid on heavily, although no coherent narrative emerges. These shots symbolize a night world of rock clubs, seedy saloons, hookers and players and johns. They burst out onto the stage in several musical numbers, including one steamy duet between Prince and Cat Glover, rumored to be his current squeeze. Prince also shares the stage with various visitors, drop-ins and guest stars, notably Sheena Easton. But the person who literally steals the show is Sheila E., who plays percussion and then climbs down from the drums for a solo and a duet. Her energy level in this movie is awesome, and she looks great, too. She can also play drums. Sheila E. says she thinks of herself as a drummer first and a singer second, but on the basis of this movie she could flip a coin. "Sign O' the Times" was directed by Prince, and he does a good, sound job without finding an answer to the problem of all directors of rock concert films: After you have exhausted the basic repertory of obvious shots and audience reactions, what do you do then? In "Purple Rain," Prince found an answer in his own life, and provided intercuts to an autobiographical story. This time, he lets the music simply speak for itself. It's fun as far as it goes, but "Purple Rain," of course, went further. Date of publication: 11/20/1987
Sign O' the Times Cineplex Odeon presents a film starring Prince, Sheila E., Cat Glover, Sheena Easton, Dr. Fink, Miko Weaver, Levi Seacer Jr., Wally Safford, Gregory Allen Brooks, Boni Boyer, Eric Leeds and Atlanta Bliss. Directed by Prince, and produced by Robert Cavallo, Joseph Ruffalo and Steven Fargnoli. Photographed by Peter Sinclair. Edited by Steve Purcell. Music by Prince. Running time: 90 minutes. Classified PG-13. At local theaters. | |
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NotesThe track "Red Riding Hood" is also known as "Can I Play with U?" and "The H Man" is actually the Miles Davis track "Amandla". "Can't Stop" is a shorter version of Prince's "Can't Stop This Feeling I've Got" on the album "Graffiti Bridge", issued in 1990.
 THE WHOLE MILES DAVIS & PRINCE THING:
1986: Prince recorded the basic tracks for "Can I Play With U" and sent them to Miles and his band to finish. The track was going to be released on Miles's Tutu album but was pulled at the last moment (apparently because Prince didn't think his song was up to scratch with the rest of the Tutu material). Prince attended Miles's 60th birthday party in NY. 1987: Miles guested on stage for the New Years Eve benefit concert at Paisley Park. He played 5 min solo on "Beautiful Night". The show is widely circulating on bootleg (Miles At The Park). 1988: Miles overdubed a trumpet solo on a Prince/Chaka Khan collaboration "Sticky Wicked" released on Chaka's CK album (they were never in the studio together though). Miles is interviewed for Albert Magnoli's Prince Portrait documentary. 1988-91 Miles played a few Prince covers, "Movie Star" and "Penetration", at many of his gigs. 1991: Miles died and Prince announced that his next album would feature a 20 min section devoted to Miles. Nothing more has ever been heard about this project, however the silent track on Rave Un2 The Joy Fantastic is said to be in memory of Miles. Although there are plenty of other rumors about recording sessions and midnight jam sessions etc, this is the only confirmed stuff they ever did. Miles praises Prince many times in his autiobiography, and Prince has spoken many times in concert about his love for Miles's music.  From the liner notes of the unreleased Miles Davis Warner Box set "The Last Word" ...In addition, another artist offered his services to Miles without being invited. Sometime in late 1985/early 1986, Miles received a package from Prince. According to Miles it contained a letter that read, “If this tape is of any use to you, please go ahead and play whatever you feel over it. Because I trust what you hear and play.” The enclosed track was called “Can I Play With U,” and consisted of some frantic playing and singing by Prince, with horn overdubs by Eric Leeds. With a body of unrelated tracks in diverse styles accumulating, yet no clear focus in sight, the then head of the jazz division of Warner Bros., Tommy LiPuma, became concerned. LiPuma was a big-name producer who had worked with Barbra Streisand and George Benson, and he suggested to Miles that he produce the project. Perhaps becoming aware that producing wasn’t really his métier, Miles agreed to LiPuma’s involvement. The producer immediately steered things in a new direction. He’d heard the “Rubber Band” sessions, but concluded, “I wasn't too impressed with what I heard. I wanted to take a different direction.” This left only the Prince and Duke tracks as serious contenders for the new album. LiPuma wondered where he was going to get more material and found the answer in Marcus Miller, with whom he had already worked on David Sanborn/Bob James and George Benson/Earl Klugh albums, and who had played in Miles’s live band 1981-83... LiPuma now had five tracks: one track by Prince and Duke each plus the three tracks by Marcus Miller. Since it was “Tutu” that had the greatest sense of hitting bull’s eye, LiPuma asked Miller to write additional similar material to fill out the album. In New York, with Jason Miles assisting on synthesizer programming, Miller wrote and recorded “Tomaas,” Don’t Lose Your Mind,” and “Full Nelson.” The latter, with its staccato, hiphop-like rhythm was deliberately designed by Miller to be “a bridge with the Prince track”—the title was a reference to both Miles’s 1950s song “Half Nelson,” and Prince’s last name, “Nelson.” Inspired by the success of Miles’s treatments of “Time After Time” and “Human Nature,” LiPuma had also been looking for a pop song to cover, but it was Miles himself who came up with Scritti Politti’s “Perfect Way,” and the idea that it was made the title song of the album. LiPuma instead suggested calling the finished album Tutu. Prince was responsible for the omission of his track; apparently he felt that “Can I Play With U” did not fit with the rest of the music on the album. The playful, almost throwaway energy and lyrics of “Can I Play With U” are indeed of a very different nature than Miller’s material. Miller had taken his inspiration for his harmonies and arrangements from the voicings that Gil Evans had used on The Birth Of The Cool, and that Herbie Hancock had applied with the second great quintet. Combined with Miller’s eminently hummable melodies these roused Miles to some of his most lyrical and melodic playing since the 1960s... Recuperating from the strains of touring in 1990, Miles was absent from the live stage from November 17, 1990 to March 13, 1991. He did, however, begin work on a new studio album during this period, which was to be his most ambitious for Warner yet. One of his aspirations was to engage with the latest black music, hiphop and rap. Matt Pierson, Warner’s current Head of Jazz, and at the time head of A&R, remarked, “Miles was planning a 2-CD set of urban music and funk and hip-hop and jazz. It was to contain collaborations with Prince, John Bigham, and two different hip-hop producers, Sid Reynolds and Easy Mo Bee.” ... Although the planned collaboration between Miles and Prince came to nothing, Prince did send Miles eight instrumental compositions in the beginning of 1991. Miles played three of these, “Jail Bait,” “A Girl And Her Puppy,” and “Penetration,” during his 1991 tour. Some of these live performances found their way onto bootlegs, but what was hitherto unknown is that Miles went into the recording studio during the German leg of his 1991 tour, and laid down these three tunes with his live band. One of these recordings was complete enough to be mixed and released, and is included on this set. “Jail Bait” is a fine blues, with excellent solos by Miles and Deron Johnson on organ. The magnificent “Penetration” is also included here, but taken from one of the two extraordinary retrospective concerts Miles played during July 1991. The first took place in Montreux where Miles and Quincy Jones re-created some of the classic orchestral works Miles had recorded with Gil Evans (released by Warners on video and CD under the title Live At Montreux). The other, much less publicized concert, from which “Penetration” is taken, was arguably more impressive and musically superior. The place was La Villette in Paris, the date July 10, 1991, and the performance featured many of the jazz luminaries that had played with Miles during the previous quarter century: John McLaughlin, Herbie Hancock, Joe Zawinul, Wayne Shorter, Chick Corea, Dave Holland, Al Foster, John Scofield, and many others. They were all present on Miles’s personal invitation, and deeply touched by the occasion. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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SIGN o the TIMES era OUTTAKE
The Sex Of It
The Sex Of It U say U want simplicity The thrills of it I gave U a diamond ring my friend The thrills of it Don't open that window The sex of it {x2} How can I make U understand that's all I wanna do? The thrills of it The sex of it (Hey) Get away from that cage
August /Septmber 1987 | |
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New Years Eve Party 12.31. 1987 Paisley Park New Years Eve Party December 31. 1987 "Miles 2 Nowhere"
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