New topic
Printable
Yes, I really like her version too love the guitar work and there is something about someone from his early camp doing a cover of one of his earlier albums I love her voice on this one | |
- E-mail - orgNote -  Report post to moderator |
Thank U my purple brother
| |
| - E-mail - orgNote - Report post to moderator |
The Colors R brighter, the Bond is much tighter
No Child's a failure Until the Blue Sailboat sails him away from his dreams Don't Ever Lose, Don't Ever Lose Don't Ever Lose Your Dreams | |
| - E-mail - orgNote - Report post to moderator |
The Colors R brighter, the Bond is much tighter
No Child's a failure Until the Blue Sailboat sails him away from his dreams Don't Ever Lose, Don't Ever Lose Don't Ever Lose Your Dreams | |
| - E-mail - orgNote - Report post to moderator |
How 'bout Wendy simulating fellatio?
The Colors R brighter, the Bond is much tighter
No Child's a failure Until the Blue Sailboat sails him away from his dreams Don't Ever Lose, Don't Ever Lose Don't Ever Lose Your Dreams | |
| - E-mail - orgNote - Report post to moderator |
I'm stunned by the fact that the Cloud Guitar is really [Edited 8/25/15 7:23am] The Colors R brighter, the Bond is much tighter
No Child's a failure Until the Blue Sailboat sails him away from his dreams Don't Ever Lose, Don't Ever Lose Don't Ever Lose Your Dreams | |
| - E-mail - orgNote - Report post to moderator |
"The Rebels" Project Studio Outtakes 1. You 2. Too Long 3. Loving You 4. Thrill You Or Kill You 5. Disco Away 6. Instrumental 7. Instrumental 8. If I Love You Tonight 9. Turn Me On 10. Baby Baby Baby 11. Nadeara 12. K-Funk Interview
Before Prince formed The Time, he considered using his backing band as a side-project called The Rebels. The 1979 project was a group effort, with songs being written and sung by the various members. Andre Cymone and Dez Dickerson each contributed material and a few numbers were sung by Gayle Chapman. This record has hard rock toghether with disco and 70's funk on it. Also some good slow number as "If I Love U Tonight", later to Mica Paris, and "U", later to Paula Abdul. As the track showed up in the track list there is some bonus material apart from the original album content.
| |
| - E-mail - orgNote - Report post to moderator |
After a dazzling audition, vital rock stimuli arrived in the form of ax-man, Dez Dickerson. This motley crew of musicians began rehearsals that November, feeling each other out and vibing. Writing in his autobiography, Dickerson remembers, “there was this explosive spark when we jammed – something about our collective styles and influences.” But these sessions had not yet yielded a cohesive or polished set by the time of their stage debut at the Capri Theatre in Minneapolis in January ’79. A mix of nerves and equipment failure meant that onlooking Warner executives were left feeling the band needed more time and they put the breaks on a planned tour. Suddenly left with a lot of free time, the band members began developing more material, but Prince withdrew to Los Angeles to record his sophomore album, ‘Prince’, which saw a return to his more controllable one-man-band approach. Aware of the disgruntlement this caused amongst his band members, and by way of appeasement, Prince announced his plan to record a side project called The Rebels, an album that would bring everyone’s ideas to the fore.
The concept was that all the band members, including Prince, would remain anonymous (and be represented as silhouettes on the cover) and Prince hoped that The Rebels project would allow him to explore punk rock and new wave without confusing his R&B “Prince” persona. The 12-day recording sessions began on July 10th in Boulder, Colorado and Prince’s management intended to bankroll the project and have Warner reimburse them upon delivery of the tapes. Prince wrote four songs for the album, whilst Cymone contributed two and Dickerson three. Refusing to rely on black music clichés, the material ranged from bluesy Stone-esque romps (‘Hard To Get’ and ‘You’), nasty slices of Minneapolis funk (‘Thrill You Or Kill You’) to Moroder-infused machine rock (‘Disco Away’). The Rebels made a conscious decision to destroy preconceptions of how black artists should sound, but whilst Prince, Cymone and Dickerson were excited about the project, the other members weren’t so enthusiastic and questioned its validity. By the end, Dickerson had also begun to have doubts, asking, “what are we doing? Where are we going with this?” Eventually, the album and tapes were never presented to Warner; it seemed that a collective band effort had again faltered.
After the summer, the band performed another showcase for the label executives in Los Angeles and this time the band was focused and ready. They revamped the electro boogie hits from Prince’s self-titled second album with crunching lead guitars; “after the first song, I could see that we had them. They had bought into Prince and his band big time and left the place absolutely buzzing,” recalls Dickerson. Warner’s faith in the band was renewed and it inspired them to push the ‘Prince’ album hard. Whilst in LA, Prince and the band shot two videos, including ‘I Wanna Be Your Lover’, and an effort was made to present them as more of a group rather than a Prince solo project.
By the time of their promotional tour, the band had also stepped things up with regards to their image, with Prince, Cymone and Dickerson wearing brightly coloured spandex and see-through plastic pants, knee-high boots and suspenders. But critics were baffled by the band’s mix of funk, rock and new wave, and their manager insisted that Prince wear underwear underneath the tight spandex. Prince replied by wearing only bikini briefs for the remainder of the tour! Prince later reflected that “we all felt that we wanted to dress this way, talk this way, and play this way. When we first started out it was like shock treatment,” and for the band, breaking down barriers was key. | |
| - E-mail - orgNote - Report post to moderator |
Performed on tour months before DIRTY MIND was even completed, HEAD actually drove keyboardist Gayle Chapman out of the band and served as the initiation for replacement Lisa Coleman. Prince figured that if Lisa, already under scrutiny as the lone female in the group, could sing these lyrics in front of thousands of people, she’d be able to handle anything. She passed the test with flying colors, but unfortunately, not everyone found HEAD as easy to digest as Coleman did. | |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
He does look weirded out in some of these fan pix
| |
| - E-mail - orgNote - Report post to moderator |
André Cymone, Prince and Dez Dickerson, Feb 9th 1980 in Minneapolis MN
| |
| - E-mail - orgNote - Report post to moderator |
The first .gif of the thread is excellent. What a strange guitar. Historians always seem to go straight to the Prinz, but it's refreshing and conforting to know that he tried other guitars before the Telecaster.
The Colors R brighter, the Bond is much tighter
No Child's a failure Until the Blue Sailboat sails him away from his dreams Don't Ever Lose, Don't Ever Lose Don't Ever Lose Your Dreams | |
| - E-mail - orgNote - Report post to moderator |
bonatoc said:
I just now get what it means.  What? | |
| - E-mail - orgNote - Report post to moderator |
It's Gonna Be Lonely We've been together for quite some time
I'd think by now you'd know It would take forever to get you off my mind If ever you decide to go I guess I got a little insecurity when it's concerning you I guess I'm just afraid that if you ever leave I'd be in a messed-up state of blue And I'd be so lonely Without you loving me I know it's gonna be lonely Without you giving me everylittlesinglething that I need, lonely Whatever's in your kiss, it really turns me on 'til I go right out of my mind And who could ever resist your accent from gay Paree It gets me every time I betcha thatcha never knew that in my dreams you are the star The only bummer is that you always want to leave Who do you think you are Don't you know it's gonna be lonely Without you loving me I know it's gonna be lonely Without you giving me everylittlesinglething that I need, lonely It's gonna be lonely Without you loving me Giving me everything that I need Oh pretty baby, can't you see It's gonna be lonely Without you loving me I know, I know it's gonna be lonely Oh, whatever's in your kiss I never could resist Oh, baby don't go! We've been together for quite some time It'd take forever to get you off my mind Oh, girl! Without you loving me I know it's gonna be lonely Without you by my side Don't you know that I could die, baby Without you loving me Can't you see It's gonna be lonely It's gonna be lonely, baby So lonely, baby  | |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
*saved* What? | |
| - E-mail - orgNote - Report post to moderator |
OldFriends4Sale said:
It's Gonna Be Lonely We've been together for quite some time
I'd think by now you'd know It would take forever to get you off my mind If ever you decide to go I guess I got a little insecurity when it's concerning you I guess I'm just afraid that if you ever leave I'd be in a messed-up state of blue And I'd be so lonely Without you loving me I know it's gonna be lonely Without you giving me everylittlesinglething that I need, lonely Whatever's in your kiss, it really turns me on 'til I go right out of my mind And who could ever resist your accent from gay Paree It gets me every time I betcha thatcha never knew that in my dreams you are the star The only bummer is that you always want to leave Who do you think you are Don't you know it's gonna be lonely Without you loving me I know it's gonna be lonely Without you giving me everylittlesinglething that I need, lonely It's gonna be lonely Without you loving me Giving me everything that I need Oh pretty baby, can't you see It's gonna be lonely Without you loving me I know, I know it's gonna be lonely Oh, whatever's in your kiss I never could resist Oh, baby don't go! We've been together for quite some time It'd take forever to get you off my mind Oh, girl! Without you loving me I know it's gonna be lonely Without you by my side Don't you know that I could die, baby Without you loving me Can't you see It's gonna be lonely It's gonna be lonely, baby So lonely, baby It's really beautiful, but I also get a Boxing Helena vibe from it. The "Who do you think you are?" seems like I may not get a chance to leave. [Edited 8/26/15 13:03pm] What? | |
| - E-mail - orgNote - Report post to moderator |
like the For You era, as quickly as the Prince era began it quickly ended A lot was done during this period. Singles Videos Fire It Up Tour the Rebels sessions more photosessions TV appearances
NEXT: Dirty Mind
| |
| - E-mail - orgNote - Report post to moderator |
 What? | |
| - E-mail - orgNote - Report post to moderator |
I agree, he did have a good number of song with that vibe. Do Yourself a Favour, Irresistable Bitch, Kiss Me Quick and some others | |
| - E-mail - orgNote - Report post to moderator |
OldFriends4Sale said:
I agree, he did have a good number of song with that vibe. Do Yourself a Favour, Irresistable Bitch, Kiss Me Quick and some others He's stronger than me. What? | |
| - E-mail - orgNote - Report post to moderator |
InterviewInterviewed By Jon Bream
Minneapolis Star and Tribune, January 5, 1979 What kind of show can we expect? Are you nervous about it? How does it feel after spending so much time recording the material by yourself to play that same material with other people? It must sound different to you. Is it difficult to make the transition from one-man band to being in an ensemble? | |
| - E-mail - orgNote - Report post to moderator |
http://theboombox.com/pri...979-album/ 35 Years Ago: Prince Starts to Come Into His Own With Self-Titled Album
Prince began cementing his reputation as a genre-smashing iconoclast with his self-titled sophomore album, released on Oct. 19, 1979. Written, arranged, produced and performed entirely by Prince himself, the project also found him taking more obvious risks lyrically — pushing sexual boundaries as much as he did musical ones. The public responded to this nervy combining of Sly Stone’s rock-inflected funk, the soaring vulnerability of Earth Wind and Fire’s Philip Bailey, and the flinty synth-driven attitude of new wave. ‘Prince’ would streak to No. 22 on the Billboard charts, while yielding several tracks that became setlist standards into a new millennium. In some ways, ‘Prince’ sets the stage for everything that would follow in his catalog. The hopeless romantic heard on his 1978 debut, ‘For You,’ was largely absent. In his place, a quickly maturing artist displaying a newfound aggression. “What’s missing from pop music is danger,” Prince told the Guardian. “There’s no excitement and mystery — people sneaking out and going to these forbidden concerts by Elvis Presley or Jimi Hendrix.” Prince rekindled that with a varied set that touched on sexual tension (‘Bambi’ and ‘Why You Wanna Treat Me So Bad?’ a No. 1 R&B smash), direct eroticism (‘When We’re Dancing Close and Slow,’ ‘It’s Gonna Be Lonely’) and dark obsessions (‘I Feel For You,’ later a hit for Chaka Khan; and ‘I Wanna Be Your Lover,’ a chart-topping R&B hit that crossed over to go No. 11 on the pop charts) — all of it delivered with a sparse instrumentation that only underscored a growing narrative confidence. That he’d found even that measure of success, as someone only just into his 20s, was a testament to Prince’s prodigious talent — and, perhaps more particularly, his limitless gumption. His relative youth perhaps contextualizes the often-bashful nature of his debut for Warner Bros. Still, when ‘For You’ failed to live up to expectations, only producing a minor hit in ‘Soft and Wet‘ (which sounds far more candid than it actually was), Prince didn’t fall back. Instead, he charged ahead, mixing and matching styles and approaches, the holy and the profane, races and creeds.
The funky darkness of ‘Sexy Dancer’ stands apart from anything Prince had yet done. Then there’s the crunchy rock of ‘Bambi,’ the country-influenced feel of ‘Still Waiting’ and the very adult honesty of ‘It’s Gonna Be Lonely.’ And for all of his personal idiosyncrasies — many of which were only just now coming into the public consciousness — Prince was writing from a very real, grounded place. That layered approach, he says, traces back to his up-bringing in the remote, but yet still nurturing city of Minneapolis. “I guess if there’s a concept, it’s freedom — personal freedom — and the fact that we all have to do what we want to do,” Prince said of his music, in an early-’80s talk with People. “I think I say exactly the way it is. I don’t particularly think what I sing about is so controversial. My albums deal with being loved and accepted. They deal with war. They deal with sex.” On the latter point, though, Prince pointedly added: “My songs are more about love than they are about sex,” as he told Rolling Stone in 1983. “I don’t consider myself a great poet, or interpreter a la Moses. I just know I’m here to say what’s on my mind, and I’m in a position where I can do that.” The hit songs from ‘Prince’ bubbled far enough up the charts to earn him a featured spot on the Jan. 26, 1980 edition of Dick Clark’s ‘American Bandstand,’ though, and that’s where things got weird. Clark, as was his routine, tried to engage Prince in some between-song banter on the program, only to be met with a response that was, at best, stand-offish. At worst, it was criticized as bizarre. Asked how many instruments he played, Prince would only say: “Thousands.” Asked how long it had been since he produced his first demos, Prince simply held up four fingers. In 1995, the late Clark admitted that, over a career that stretched back to the dawn of rock, this was one of his most difficult broadcast moments — “and I’ve done 10,000 musician interviews.”
Perhaps appropriately, Clark came to understand that Prince had two sides personally, too. As outsized as he would be on vinyl, it was a different story in person. “That’s the nature of the man,” Clark told the Star-Tribune. “He’s an extraordinary performer and not a particularly verbose one in public conversation. Though once you’re off-camera, he’s like everybody else — very normal.” By then, Prince had constructed his first backing band, and it mirrored his forward-thinking musical world view with a mixed-gender, multi-racial lineup that echoed one of his early influences, the Family Stone band. Included were Andre Cymone, a childhood friend, on bass; Dez Dickerson on guitar; Gayle Chapman and Dr. Fink on keyboards; and Bobby Z. on drums. (Dickerson, Fink and Z would continue with Prince into his biggest hitmaking years, as members of the Revolution.) “There was a lot of pressure from my ex-buddies in other bands not to have white members in the band,” Prince told Rolling Stone in ’83. “But I always wanted a band that was black and white. Half the musicians I knew only listened to one type of music. That wasn’t good enough for me.” Besides, that mirrored his own life. “I grew up on the borderline,” Prince, the son of a half African-American father and an Italian mother, told Rolling Stone two years earlier. “I had a bunch of white friends, and I had a bunch of black friends. I never grew up in any one particular culture. We basically got all the new music and dances three months late, so I just decided that I was gonna do my own thing. The white radio stations were mostly country, and the one black radio station was really boring to me. For that matter, I didn’t really have a record player when I was growing up, and I never got a chance to check out Hendrix and the rest of them because they were dead by the time I was really getting serious. I didn’t even start playing guitar until 1974.”
Clearly, Prince caught up — and quickly. He’d recorded ‘Prince’ in just a few weeks, after laboring tirelessly over ‘For You’ — a project that ended up costing Prince twice his initial label advance. Still, he hadn’t quite found his voice yet. There remained some similarities in feel. For instance, ‘Why You Wanna Treat Me So Bad?’ bears more than a passing resemblance to ‘I’m Yours’ from his debut. Then there was the band’s first shows, in January of 1979. Execs from Warner deemed them unready, at least for now, to mount a national tour. Such were the nature of Prince’s burgeoning experiments. He simply hadn’t found the right recipe just yet. But the pot was beginning to boil. Prince would go on to open for Rick James’ Fire It Up tour in 1980, where their music would earn the new tag “punk funk,” even as ‘Prince’ eventually earned platinum-selling status. By 1981, Prince was in the midst of a streak of such successes that would continue in an almost unbroken line into the early ’90s. | |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
He did have some pretty cool guitars back then | |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
from the REBELS project
OUTTAKE | |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
