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Reply #90 posted 11/18/15 12:37pm

OldFriends4Sal
e

2.6.1982 @ ISA Braden Auditorium in Bloomington

1 Uptown

2 Why U Wanna Treat Me So Bad?
3 I Wanna Be Your Lover

4 Head

5 Annie Christian

6 Dirty Mind

7 Do Me Baby

8 Controversy

9 Let's Work

10 Jack U Off

11 PartyUp

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Reply #91 posted 11/18/15 6:28pm

iZsaZsa

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Our Father who art in heaven,
hallowed be thy name.
Thy kingdom come.
Thy will be done on earth, as it is in heaven.
Give us this day our daily bread,
and forgive us our trespasses,
as we forgive those who trespass against us,
and lead us not into temptation,
but deliver us from evil.
For thine is the kingdom, and the power,
and the glory forever.
What?
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Reply #92 posted 11/19/15 6:36am

OldFriends4Sal
e

iZsaZsa said:

Our Father who art in heaven, hallowed be thy name. Thy kingdom come. Thy will be done on earth, as it is in heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil. For thine is the kingdom, and the power, and the glory forever.

I love how that fits into the song, how they go back into the song near the end of the reciting

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Reply #93 posted 11/19/15 6:45am

OldFriends4Sal
e

5.13.1982 @ the Tower Theater in Philadelphia PA

1999 Tour!:

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Reply #94 posted 11/19/15 8:29am

OldFriends4Sal
e

SEXUALITY video directed by Bruce Gowers

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Reply #95 posted 11/19/15 8:46am

OldFriends4Sal
e

Here we are in this big old empty room, staring each other down
U want me just as much as I want U, let's stop fooling around
Take me baby... kiss me all over... play with my love
Bring out what's been in me for far too long
Baby, u know that's all I've been dreaming of
Do Me Baby, like u never done before
Give it to me till I just can't take no more
Do Me Baby, like u never done before
I want u now, I just can't wait no more, can't wait...

Here we are looking for a reason for u to lay me down
For a love like ours is never out of season, so baby please stop teasing me
what ya do, I can never love no other, u're the best I ever had
Whenever we're not close to one another, I just want u so bad

So Do Me Baby, like u never done before
Give it to me till I just can't take no more
C'mon, Do Me Baby, like u never done before
I want u now, I just can't wait no more

I said ooo...ooo...oooo...ooooooo
Do Me Baby, Do Me Baby, give it to me
Do Me Baby, I want u now
Do Me Baby, give it to me
Do Me Baby, Do Me baby, don't wanna do it all alone
I want your love.
Do Me Baby, give it to me
Do Me Baby, This feeling is too strong, make me wait 2 long, I want u now

You're leaving me no choice
OK, what are u gonna do...u just gonna sit there and watch? alright...
are u sure u don't wanna close your eyes?
...well, isn't it supposed to take a long time?
I'm not gonna stop till the war is over...
Help me! there...ok...ok
I'm so cold....just hold me

An early version of the song featuring André Cymone on lead vocals was recorded on 17 February, 1979 at Music Farm Studios in New York, NY, USA, during a day of sessions led by Pepé Willie intended for Tony Silvester, leader of the group The Main Ingredient to use as demos for Little Anthony and the Imperials, who he wanted to produce (the one-day session also produced If You Feel Like Dancin', I Feel For You, Thrill You Or Kill You and With You), although Do Me, Baby was recorded with extra studio time and was not intended for use by Silvester.

While specific recording dates are not known, the album sessions took place in Spring and Summer 1981, at Prince's Kiowa Trail Home Studio, Chanhassen, MN, USA and Hollywood Sound Recorders, Los Angeles, CA, USA. The album was completed at Sunset Sound, Hollywood, CA, USA, between 14 and 23 August, 1981.

-PrinceVault

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Reply #96 posted 11/23/15 7:49am

OldFriends4Sal
e

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Reply #97 posted 11/23/15 7:50am

OldFriends4Sal
e

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Reply #98 posted 11/23/15 7:51am

OldFriends4Sal
e

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Reply #99 posted 12/01/15 11:37am

OldFriends4Sal
e

http://antiquiet.com/musi...unearthed/

Details from Prince’s Abandoned ‘The Second Coming’ Film Unearthed

Just a few years before Purple Rain, Prince and his team decided to make a concert film. Titled The Second Coming, the flick started off as a fairly standard concert documentary until Prince saw the footage. Impressed with what the film crew had captured, His Royal Badness decided he wanted to run with the idea and turn it into a semi-autobiographical film. A prototype Purple Rain, if you will.

The footage was filmed during the last leg of Prince’s 1982 Controversy tour, directed by Chuck Statler. In a new interview over at Wax Poetics, Statler discusses the film, shedding light on a subject that has interested Prince fans for the last few decades.

Here are a few choice quotes along with some stills from the film. Head on over to Wax Poetics for the full feature.

Wax Poetics:”What was their impetus for shooting the Controversy tour footage?”

Statler: “The initial objective was to create a film for the same reason music videos were done at that time. As a promotional tool. Prince’s management wanted to document the concert for possible home video or television distribution. Because there was some concern in specific concert markets about audience demographics and all that, they felt that a film was an easier alternative for people to experience the live show.

After about three days of meetings and discussions with Prince and his management, I spent a few days on the road watching and blocking the live show for the film shoot. We shot it at the Met Center [in Bloomington, Minnesota] on March 7, 1982. That was a very cold night towards the end of the tour. I’m pretty sure we covered it with five principal cameras—16mm color—and a possible sixth rolling camera for audience shots.

But after screening the footage from the concert, enthusiasm propelled conversations about adding material and seeking theatrical distribution. Steve Rivkin was working with me as an editor at the time. We were cutting the concert shots when Prince came in and got really excited about what he saw. He says, “Wait a minute—maybe we should really expand this and really try to make it a film. Not just a concert movie.”

So his management came back to me and said, “Here’s this situation. Prince wants to do this interstitial material within the concert footage. And it’ll be somewhat autobiographical.” Management’s thinking was that a theatrically distributed film with a semblance of story line could demographically broaden the audience and in particular, specific metro markets. In time, this mixture of concert and dramatic interludes would morph into The Second Coming project.

Unfortunately, Prince seemed to lose interest in the project and it ended up where so many of his projects do — his fabled vault. Statler told Wax Poetics that a few years back he gave Prince the live concert footage, but the singer has yet to do anything with it.

Wax Poetics: “The idea of the film languishing in his archive is disheartening, given his reputation for shelving projects indefinitely. Maybe he’ll reconsider.”

Statler: “I had actually hoped that when he got it, he would try to do something with it. Put it together. I don’t think there’s any kind of document from that timeframe. Not of that professional grade quality from the Controversy tour. Again, it’s always bothersome when you make this investment and for one reason or the other the plug gets pulled.

There were excellent parts of the footage, namely his stage performance. Even though he was in his bikini and trench coat. Not to mention the antics with his guitar, the miming of certain sexual behaviors. Now, I as an artist have complete respect and admiration for the fact that he really is an artist. Not only with his musicianship but the way he approaches things and perceives things. He does have his own designs and concepts about it.”

Wax Poetics: “Purple Rain undoubtedly raised the bar for rock films and romanticized the image of Black musicians on the silver screen. Had The Second Coming been completed and released on schedule, would it have a similar cultural impact?”

Statler: “There’s little question in my mind that The Second Coming would have enjoyed commercial success. I know it’s easy to say now, but the Artist and his music was/is too compelling and powerful. His music is undeniable, and the odds are much better that it would have garnered a large audience. It was the right idea at that point in time. It would have had a reach well beyond what his touring could provide. It’s difficult for me to estimate its critical appeal because the premature abandonment left a large portion of production and the project unfinished and unrealized. It had potential. But it’s just something that’s in his vault, and that’s as far as it will ever go, most likely.

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Reply #100 posted 12/01/15 2:14pm

214

Interesting, thanks

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Reply #101 posted 12/01/15 6:32pm

luvsexy4all

new leak....SF 82 ....EXC!!!

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Reply #102 posted 12/01/15 7:10pm

OldFriends4Sal
e

Kim & Susan Moonsie from the set of the Second Coming

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Reply #103 posted 12/01/15 7:11pm

OldFriends4Sal
e

Prince sillouette from the Second Coming

The Second Coming is an unreleased live album by Prince, planned for release following his fourth album Controversy. The album was planned to accompany the movie also titled The Second Coming, but both projects were ultimately abandoned. The album is believed to have been made up of tracks recorded during the 7 March, 1982, Met Center, Bloomington, MN, USA show of the Controversy Tour, and may have also included the studio version of The Second Coming (which was played over the PA as the introduction to all shows on the tour, and may have been included as such on the album also). It is not known if the full show was planned for inclusion, or if the tracklist would have been different in any way.

Nothing is known about packaging for the album, as it is likely this had not yet been worked on at the time the project was abandoned.

-PRINCEVAULT

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Reply #104 posted 12/01/15 7:14pm

OldFriends4Sal
e

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Reply #105 posted 12/01/15 7:23pm

OldFriends4Sal
e

The Second Coming

The Second Coming was planned to be a documentary film and live album from Prince's Controversy Tour directed by Chuck Statler, that was shot on the 7 March 1982 concert at Bloomington, Minnesota. The tour was professionally filmed, with a storyline in-between songs, but the project was abandoned, likely due to Prince's schedule producing The Time and Vanity 6. The title comes from a prerecorded a cappella intro to the tour, immediately preceding the song "Uptown".

Setlist of the 7 March 1982 show at the Met Center, Bloomington, MN, USA

  1. Intro: "The Second Coming"
  2. "Uptown"
  3. "Why You Wanna Treat Me So Bad?"
  4. "When You Were Mine"
  5. "I Wanna Be Your Lover"
  6. "Head"
  7. "Annie Christian"
  8. "Dirty Mind"
  9. "Do Me, Baby"
  10. "Controversy"
  11. "Let's Work"
  12. "Jack U Off"
  13. "Private Joy"

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Reply #106 posted 12/04/15 6:07am

OldFriends4Sal
e

Private Joy

My little secret, my private joy
I could never let another play with my toy
My little angel from heaven above
Oh oh oh oh oh I think I'm falling in love
And I ain't gonna tell nobody nobody 'bout my little pretty toy
All the other kids would love to love you but you're my little private joy
My private joy - you're my private joy
Private joy - such a pretty toy
Joy, you are my private joy

U're my little lover, Orgasmatron
Only I know, only I know, baby, what turns you on
U're my little secret neon light
Girl I wanna turn it on turn it on turn it on every night

Ain't gonna tell nobody nobody 'bout my little pretty toy
All the other kids would love to love you but you're my little private joy
My private joy - you're my private joy
Private joy - such a pretty toy
Joy - oh my private joy

Shoot me up baby, let's take a trip
I can't get enough can't get enough of your private private joy joy
Joy - such a such a pretty toy
Joy - you are my private joy
Joy - shoot me up baby, let's take a trip
Joy - can't get enough of your private
Joy - come on honey baby get up, get up

I strangled Valentino (He strangled Valentino)
Been mine ever since (been his ever since)
If anybody asks you (if anybody asks u)
You belong to Prince (you belong to Prince)
Come on baby, get up, get up, get up, get up

The song's music was re-used (and possibly re-recorded) from the unreleased track Dear Uncle George, recorded earlier in 1981. Initial tracking for Private Joy took place on 16 August, 1981 at Sunset Sound, Hollywood, CA, USA, during a week of final work on the Controversy album, following some equipment problems at nearby Hollywood Sound Recorders, Los Angeles, CA, USA, where he had been working previously. This marks the first Prince track recorded at Sunset Sound, therefore (Prince would continue to work there throughout the 1980s, and return again in 2008).

Prince later reused the guitar solo in the track Poem (later edited to become Orgasm). Orgasm's inclusion on Come marked the first time a substantial musical segment had been used on more than one studio album.

-PrinceVault

"Private Joy" is a song by American musician Prince from his 1981 album Controversy, released as the B-side of the single "Do Me, Baby". The song describes how Prince will never reveal the identity of his secret lover.

In this bouncy disco-pop number, Prince explains that his lover is no one's but his. He sings about what they do together, and the times they share. He claims that he "strangled Valentino", and that she was "his ever since" and that she "belongs to Prince".

The song ends with guitar riffs and feedback from Prince, and segues into "Ronnie Talk To Russia!", the next track on Controversy. These guitar sounds were sampled and used in "Orgasm", a song on Prince's 1994 album Come.

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Reply #107 posted 12/04/15 6:12am

OldFriends4Sal
e

Dear Uncle George is an unreleased song believed to have been recorded in early-to-mid 1981 at Prince's Lake Minnetonka Home Studio, Minnetonka, MN, USA. The song's music was re-used (although possibly re-recorded) with new lyrics to become the track Private Joy (recorded in August, 1981). It is not known if the track was intended for Prince's next album (which became Controversy) before being given new lyrics. The song remains unreleased.

-PrinceVault

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Reply #108 posted 12/04/15 6:18am

OldFriends4Sal
e

Prince Rogers Nelson:

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Reply #109 posted 12/04/15 6:21am

OldFriends4Sal
e

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Reply #110 posted 12/04/15 8:00am

OldFriends4Sal
e

PRINCE Artwork by Martin Homent

PRINCE Artwork by Martin Homent

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Reply #111 posted 12/05/15 9:39am

master

. Love this era . Live shows were better than album.. But album was still enjoyable but pretty short.
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Reply #112 posted 12/07/15 10:26am

OldFriends4Sal
e


NEW MUSICAL EXPRESS
November 14, 1981

Some Day My Prince Will Come...

Prince
Controversy

Prince has an urge in him which sometimes comes out as a nightingale, sometimes a vulgar pierrot and then occasionally just a babyish gurgle. Here is a minstrel who sings of his bedtime succour - a modern prince, mark you, and may have the captives seduced, only to dash the accomplishment away; straddled o'er an earthquake of rocky showtime guff and peacock proud of Mr Reagan to boot.

I'm still frightened of Prince allured by the promise, alarmed by the chintzy crud of his live routine, partially assuaged by this new "Controversy". Prince's value continues to lie in the merger he affects, implicit rather than explicit, of categories usually taken for granted as token dualities (love/sex, rock/soul) or as irreconcilable opposites (pleasure/politic, gaiety/acuity). We will get nowhere quickly searching Prince's practice for principles of judgement: he is not uniformly lovable or loyal.

A Christian God. A God-fearing Country. The Original "funk" - Sex. Triplets which Prince plays with during the course of Controversy-inconsistently, with an often absured nobility of purpose. Prince obviously does not regard Sex, Politics and Popular Music as perverse bed (wherever) mates: they are alignable aspects of Being. The screwiest thin about "Controversy" is the dispersed division between rosy-cheeked humanist and slutty confessional; the Moral Majority will nog know whether to fete or castrate this hammy spritualist.

Prince refuses the Outlaw part offered him, detects nothing unnatural in his private or public affairs: his sex, his singing, are accomplices of Law and Order (in a symbolic sense) rather than crimes against it. To regard himseld as indecent, a kink, devious - this would render the pleasure of his deeds a cerebral rather than sensual one, the vicarous intellectual pleasure of the away-day Outsider (a popular pose amongst rock'n'rollers both nimble and thick) thinking he is engaged in forbidden activities. Prince beleives - in some kind of God, in the onslaught of a universal love. Or is there a gag in his mouth?

To put it bluntly: Prince's prick is the source of his pride, the guarantee of his love. The fissures of the flesh intrude upon even his more visionary Political plateaux. There can be no knowledge, Prince avers, without bodies set free from the bondage of repressive persuasions. Or, as the irresistibly titled "Sexuality" puts it: "Sexuality is all I ever need? Sexuality I'm gonna let my body be free."

Of course it is not wise to take this sort of stuff too literally; does a "freed" body come that simply? Perhaps by necessity of the (word) processes of his chosen medium, any transference of his political views into reord will condense the heterogeneity of Prince into an easy entertainment, a potted provocation, little more than a glib fib. Thus transcribed he conspires or compares with Reagan and the Moral majority not insofar as anyone is "left" of "right" of the impossible centre, but because their politics are all somewhere over a rainbow..... "People call me rude/I wish we all were rude/ I wish there was no black and white/ I wish there were no rules". ("Controversy").

When Prince gets "explicit" about earthly as opposed to earthy powers, it's no less ambiguous: a kind of polymorphous perversion of policital life. In "Ronnie, Talk To Russia" he seems to be putting the blame squarely on those nasty Reds and urging Ronnie to play a conciliatory Audie Murphy type, pipe of peace 'n' all that, complete with the sort of advice the barrom whore with a heart of gold (sic) might give here avenging sheriff: "Ronnie, if you're dead before I get to meet you/Don't say I didn't warn you."

Prince' work ethic ("Let's Work") has got more to do with the subject viewed exclusively as sex machine than with the New Protestantism and in "Annie Christian" he seems to be (that phrase again) shifting the blame back to the harbingers of New Amerika; whatever, the track in question is eerie, incorrigibly subjectieve and very funny (the punchlines have a lot in common with Defunkt: "Everybody say 'electric chair' - ELECTRIC CHAIR!!!!!"

Maybe Prince is as utterly wet and naive as it all seems to unfortunately hint. He simply can't understand what all the fuss is about! Prince himself doetn't appear to be in any pain over his manifold contradictions. He doesn't even present them as such: they are present. His polemic comes in pouts rather than shouts, spouts or spurts.... and perhaps he secretly realises that, of course, contradiction is ultimately more intensely "thought provoking" than bald, blank policy statement can ever be. So, so. 'Controversy' is packaged as a collection of quibbles and queries unified under a vagueley 'conceptual' sign. And I like it. I obsessively like two of the eight inclusions ('Do Me, Baby' and 'Annie Christian') and all in all it's a more elaborately and easily realised music than last year's 'Dirty Mind'. Prince can get geally expansive with his voice (how the abstract gospel intro shifts into a sexy smoky falsetto stutter in 'Private Joy') and his contructieve appliance of synth techniques assures that the sheer aesthetic and structural power of the music, thud and skim, shudder and tightening, has as much in common with Kraftwerk as with the more abvious Hendrix and harmony funk lineage.

Sex is his shrine, and that's where Prince's confusing charm works best. "Do me, Baby' recalls the likes of imagination in its slippery slipstream, but is so much better. Prince comes complete with a dischord, jettisoning the eleborate arrangement and shivering in a silent afterglow. It's Smokey Robinson singing aobscene moonbeams, lust imploring love, and the strains on the pillow aren't the tracks of our tears.

Does he want to do much more than put his tongue in our cheek? I'm not sure that I'd vote for him if he did. Prince is ultimately conservative, but temporarily valorous; that's funk?

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Reply #113 posted 12/07/15 12:13pm

OldFriends4Sal
e

These series of bathroom photos were taken by Lisa Coleman

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Reply #114 posted 12/08/15 7:16am

OldFriends4Sal
e

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Reply #115 posted 12/08/15 7:19am

OldFriends4Sal
e

Ronnie Talk To Russia

Ronnie talk to Russia before its too late
Before its too late
Before its too late
Ronnie talk to Russia before its too late
Before they blow up the world
You go to the zoo, but you can't feed guerillas
Can't feed guerillas
Left-wing guerillas
You can go to the zoo, but you can't feed guerillas
Who wanna blow up the world

Ronnie if you're dead before I get to meet ya
Before I get to meet ya
Before I get to meet ya
Ronnie if you're dead before I get to meet ya
Don't say I didn't warn ya

Ronnie talk to Russia before its too late
Before its too late
Before its too late
Ronnie talk to Russia before its too late
Before they blow up the world
Before they blow up the world
Dontcha.
Don't you blow up my world

While specific recording dates are not known, the album sessions took place in Spring and Summer 1981, at

Prince's Kiowa Trail Home Studio, Chanhassen, MN, USA and Hollywood Sound Recorders, Los Angeles, CA, USA. The album was completed at Sunset Sound, Hollywood, CA, USA, between 14 and 23 August, 1981.

The title and lyrics of the song refer to Ronald Reagan, the 40th President of the United States of America.

Prince - all vocals and instruments, except where noted Lisa Coleman - background vocals -PrinceVault
Prince:
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Reply #116 posted 12/08/15 8:24am

iZsaZsa

avatar

OldFriends4Sale said:


Prince Rogers Nelson:




lips kiss
What?
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Reply #117 posted 12/09/15 8:13am

OldFriends4Sal
e

Let's work
Let's work

I've had my eyes on you
Ever since you walked in the room
C'mon and take my hand
Don't try to understand

Oh baby nothing can stop us now, I'm gonna show you how
Show you how to work
C'mon let's have some fun, we'll work till morning comes
Lemme see ya work, c'mon

I'd love to turn you on
I'd work you all night long
If I could get you in the raw
I'd make you climb the walls

Oh yeah nothing can stop us now, I'm gonna show you how
Show you how to work
C'mon let's have some fun, we'll work till morning comes
Yeah, yeah, lemme see ya work, c'mon

Let's work
Let's work

Work alright we're gonna work all night
Everybody work that's right, everybody everybody
Work alright we're gonna work all night
Everybody work that's right, everybody everybody
Work

Nothing can stop us now, I'm gonna show you how
(Let's work)
I'm gonna show you how
Oh babe c'mon let's have some fun
(Work)
We'll work till morning comes
(Let's work)
We'll work till the morning comes

(Let's work)
Nothing can stop us now
(Nothing gonna stop us)
(Let's work)
I'm gonna show you how
(Work)
C'mon let's have some fun
(Let's work)
We'll work till morning comes

Everybody say
(Work)
We're gonna work all night
Everybody that's right everybody everybody
(Let's work)
(Let's work)

Let's Work was the second single from the 1981 album, Controversy, by Prince. The song originates from a dance called "the Rock" that local kids were doing at the time in Minneapolis. Prince responded quickly with a track called "Let's Rock", and wished to quickly release it as a single. Warner Bros. refused, and a disappointed Prince did not include the song on Controversy, saying the phase had passed. Instead, the song was updated with new lyrics and possibly new music and became "Let's Work" — one of his most popular dance numbers to date.

The song was completed at Sunset Sound, Hollywood, CA, USA, between 14 and 23 August, 1981. Prince and Morris Day worked on the Dance Remix of the track on 8 December, 1981, two months after the track's initial release, also at Sunset Sound.

It was revealed in November 2003 on the NPG Music Club website that Morris Day plays drums on the extended portion of the Dance Remix, and that Prince and Morris Day switched drumming duties live as the tape was running. The Dance Remix contains sampled clips from Private Joy, Annie Christian and Controversy, the first time a Prince song sampled another of his songs (something he has done often ever since).

-PrinceVault

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Reply #118 posted 12/09/15 8:40am

OldFriends4Sal
e

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Reply #119 posted 12/09/15 8:46am

OldFriends4Sal
e

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