Sheila, Mico, Levi >>>>>>>>>>> Bobby, Brown Mark and Wendy...Period

and not gonna bash Hannah but damnnnnnnnnnn,, Sheila smokes.............and whe u add Eric leeds improv on top ...amazing shit

this isn't even a question lol i agree

I love a lot of my aftershows, but sometimes they feel to drawn out (And I'm a HUGE Jazz fan) but a lot of it doesn't 'make my love shout, C?'

I loved when Sheila Miko Levi Bobby Mark & Wendy were all in the same camp taking purple music to the world.

what show r we (not) talking about?

callimnate said:

Making comparisons with The Revolution is just stupid. The SOTT/Lovesexy band were a group of professional musicians and the music they produced was second to none. The Revolution on the other hand were just puppets following P's lead. They weren't the best musicians going round. BUT what they did, they did incredibly well but more importantly they were tight as fark. They made P look like a King up on stage, and that's what was required at the time. Hence why P outgrew them once the PR buzz was over.

LOL

1982-1986 <-

Is there a Revolution aftershow you're comparing to that I'm not aware about?

callimnate said:

Making comparisons with The Revolution is just stupid. The SOTT/Lovesexy band were a group of professional musicians and the music they produced was second to none. The Revolution on the other hand were just puppets following P's lead. They weren't the best musicians going round. BUT what they did, they did incredibly well but more importantly they were tight as fark. They made P look like a King up on stage, and that's what was required at the time. Hence why P outgrew them once the PR buzz was over.

In fact I think The Revolution were more inclined to see themselves as peers to P and try and bring on new ideas than the SOTT/LS band, who seem to have seen themselves more as mere employees (though it was clear who was the boss from 1978 onwards).

One thing that made me wonder is when P said recently about a Revolution revival that they can't really improvise and that he needs to work with more skilled musicians now. Then I remember all those interviews by various Revolution members and other associates from those days explaining P had the band rehearsing grooves for hours and hours to have them as tight as possible (we have some boots proving this). When you know that for example most of the hardbop classics from the 50's and 60's were recording in a few days and in a few takes, with a level of technicality much higher than what pop or funk requires, that leaves you wondering.

During the Flesh sessions Prince probably realized that Levi, Sheila and Eric didn't need to rehearse a groove for hours to be tight as fuck. And when you read how later bandmembers from the 91-96 NPG or the ONA Tour/Xpectation/NEWS era describe how tracks were recorded in one take after P just gave the band a few instructions, it says it all about the gap between The Revolution and later bands, particularly after 1991. I'd assume Prince found a growing level of spontaneity and creative freedom with each new post-Revolution band, that probably made him realize that The Revolution was not as good a band as he then thought, because they needed to rehearse like fuck to get a song right. I don't think The Revolution could have recorded the tracks P recorded with the Madhouse quartet that ended on 16 and Times Squared in one afternoon. I don't think the Madhouse Quartet could have recorded the 1993 Madhouse 24 album in one afternoon. And I don't think the NPG could have recorded NEWS in one afternoon. And contrarily to what a lot of people say I'd assume P can do things with 3EG that he couldn't have done with The Revolution in 1986.

Now maybe The Revolution members have all significantly improved ever since, and maybe P would be surprised if he jammed with them. But IDK: look at how tense Wendy looked when playing Reflection for that TV show in 2004, it was as if she was terrified of missing a chord, she was totally focused on following what P was doing even though it didn't require any improvization. I haven't seen any recent bandmember look so tense on a TV or live performance.

LovesexyIsThe1 said:

The OP was pretty cryptic but I think his point was that the SOTT/LS band was superior to The Revolution. I agree though that such lazy and confusing OP's should be avoided when creating a thread.

nope i was just listening to i'll take you there from

the warfielld and if P and miko didnt trade licks something fierce during that song

[Edited 1/21/16 6:51am]

databank said:

LovesexyIsThe1 said:

The OP was pretty cryptic but I think his point was that the SOTT/LS band was superior to The Revolution. I agree though that such lazy and confusing OP's should be avoided when creating a thread.

whats cryptic? curious..oh, i forgot you do all that work for the Prince community so you think you have license to say whats valid and whats not...thanks for reminding us.. As an aside, it was a thought to post on a message board when the feeling hit..Those mfer's was in a zone

[Edited 1/21/16 6:50am]

lwr001 said:

databank said:

The OP was pretty cryptic but I think his point was that the SOTT/LS band was superior to The Revolution. I agree though that such lazy and confusing OP's should be avoided when creating a thread.

whats cryptic? Well... how about making sentences in plain English? curious..oh, i forgot you do all that work for the Prince community so you think you have license to say whats valid and whats not...thanks for reminding us.. If you can't take criticism lock yourself home and don't go post on public forums. Your reaction is all the more ridiculous that A/ I actually took your defense and B/ I wrote a lenghty and substancial reply to your post, showing I found it inspiring and worth a thread in the first place despite its questionable shape. And yeah, I have license to be critical of what others say, it's called freedom of speech, that same freedom of speech people claim allow them to say everything and nothing but doesn't allow others to make any critical comment on what they say. Funny how freedom of speech only works one way, isn't it? As an aside, it was a thought to post on a message board when the feeling hit..Those mfer's was in a zone

[Edited 1/21/16 6:50am]

databank said:

lwr001 said:

whats cryptic? Well... how about making sentences in plain English? curious..oh, i forgot you do all that work for the Prince community so you think you have license to say whats valid and whats not...thanks for reminding us.. If you can't take criticism lock yourself home and don't go post on public forums. Your reaction is all the more ridiculous that A/ I actually took your defense and B/ I wrote a lenghty and substancial reply to your post, showing I found it inspiring and worth a thread in the first place despite its questionable shape. And yeah, I have license to be critical of what others say, it's called freedom of speech, that same freedom of speech people claim allow them to say everything and nothing but doesn't allow others to make any critical comment on what they say. Funny how freedom of speech only works one way, isn't it? As an aside, it was a thought to post on a message board when the feeling hit..Those mfer's was in a zone

[Edited 1/21/16 6:50am]

you know what, my bad!~!!!

[Edited 1/21/16 8:12am]

lwr001 said:

databank said:

you know what, my bad!~!!!

[Edited 1/21/16 8:12am]

Its cool

databank said:

callimnate said:

Making comparisons with The Revolution is just stupid. The SOTT/Lovesexy band were a group of professional musicians and the music they produced was second to none. The Revolution on the other hand were just puppets following P's lead. They weren't the best musicians going round. BUT what they did, they did incredibly well but more importantly they were tight as fark. They made P look like a King up on stage, and that's what was required at the time. Hence why P outgrew them once the PR buzz was over.

In fact I think The Revolution were more inclined to see themselves as peers to P and try and bring on new ideas than the SOTT/LS band, who seem to have seen themselves more as mere employees (though it was clear who was the boss from 1978 onwards).

One thing that made me wonder is when P said recently about a Revolution revival that they can't really improvise and that he needs to work with more skilled musicians now. Then I remember all those interviews by various Revolution members and other associates from those days explaining P had the band rehearsing grooves for hours and hours to have them as tight as possible (we have some boots proving this). When you know that for example most of the hardbop classics from the 50's and 60's were recording in a few days and in a few takes, with a level of technicality much higher than what pop or funk requires, that leaves you wondering.

During the Flesh sessions Prince probably realized that Levi, Sheila and Eric didn't need to rehearse a groove for hours to be tight as fuck. And when you read how later bandmembers from the 91-96 NPG or the ONA Tour/Xpectation/NEWS era describe how tracks were recorded in one take after P just gave the band a few instructions, it says it all about the gap between The Revolution and later bands, particularly after 1991. I'd assume Prince found a growing level of spontaneity and creative freedom with each new post-Revolution band, that probably made him realize that The Revolution was not as good a band as he then thought, because they needed to rehearse like fuck to get a song right. I don't think The Revolution could have recorded the tracks P recorded with the Madhouse quartet that ended on 16 and Times Squared in one afternoon. I don't think the Madhouse Quartet could have recorded the 1993 Madhouse 24 album in one afternoon. And I don't think the NPG could have recorded NEWS in one afternoon. And contrarily to what a lot of people say I'd assume P can do things with 3EG that he couldn't have done with The Revolution in 1986.

Now maybe The Revolution members have all significantly improved ever since, and maybe P would be surprised if he jammed with them. But IDK: look at how tense Wendy looked when playing Reflection for that TV show in 2004, it was as if she was terrified of missing a chord, she was totally focused on following what P was doing even though it didn't require any improvization. I haven't seen any recent bandmember look so tense on a TV or live performance.

I believe the comments about rehearsing had more to do with the improvisional and communal connection he had with the Revolution in those studio times.. A lot of songs and music came out of those rehearsals. Nothing can compare with those 1982-1986(outtake) years

.

In those Lovesexy aftershows, Prince would present songs like they just made it up on the spot like Rave, Still Would Stand All Time etc and it wasn't true, they rehearsed prior.

Sheila E also said 'being a perfectionist' they would rehearse and rehearse hard too.
Prince music then was complicated, and Prince was big on rendering the studio cut live as close to the song as possible. I think that is a part of the stand out specialness of hearing Prince music from then. I never cared for the drawn out 'jazzy' soloing and such
.
And the other thing is Prince was more about control for his shows and implementing 'His' music.
He was still 'new' to entertaining and such and had to be in control of the shows to be able to do what he wanted. Like Sheila E said in a recent talk about a rehearsal with Marvin Gaye... there is a time NOT to play(improvise) and Marvin did not like people doing that when he was trying to direct his show. Sheila hit a few notes outside of what was planned and Marvin caught it, stopped the band and called it out.

.

It is when you listen to the off shows that you hear the Revolution jamming and improvising in a way they would not on the 'tour' shows. More people need to listen to the 6.7.1985 Masqu. Ball/Birthday show. Listen to When Doves Cry live Purple Rain tour/Parade tour vs SOTT/Lovesexy

.

also remember Wendy Lisa & Jonathon were a part of those Flesh sessions.
And Wendy & Lisa were a part of the majority of Princes recordings. Because of what they brought (and his emotional tie)

.

Last thing. As people continue to grow they get better. So by 1991 a person would be better then then when they were in 1985. Even Prince said many times he is a much better player than in 1984. Yet there was a ernest drive in 1984 that was electric vs what he might have now.

OldFriends4Sale said:

databank said:

In fact I think The Revolution were more inclined to see themselves as peers to P and try and bring on new ideas than the SOTT/LS band, who seem to have seen themselves more as mere employees (though it was clear who was the boss from 1978 onwards).

One thing that made me wonder is when P said recently about a Revolution revival that they can't really improvise and that he needs to work with more skilled musicians now. Then I remember all those interviews by various Revolution members and other associates from those days explaining P had the band rehearsing grooves for hours and hours to have them as tight as possible (we have some boots proving this). When you know that for example most of the hardbop classics from the 50's and 60's were recording in a few days and in a few takes, with a level of technicality much higher than what pop or funk requires, that leaves you wondering.

During the Flesh sessions Prince probably realized that Levi, Sheila and Eric didn't need to rehearse a groove for hours to be tight as fuck. And when you read how later bandmembers from the 91-96 NPG or the ONA Tour/Xpectation/NEWS era describe how tracks were recorded in one take after P just gave the band a few instructions, it says it all about the gap between The Revolution and later bands, particularly after 1991. I'd assume Prince found a growing level of spontaneity and creative freedom with each new post-Revolution band, that probably made him realize that The Revolution was not as good a band as he then thought, because they needed to rehearse like fuck to get a song right. I don't think The Revolution could have recorded the tracks P recorded with the Madhouse quartet that ended on 16 and Times Squared in one afternoon. I don't think the Madhouse Quartet could have recorded the 1993 Madhouse 24 album in one afternoon. And I don't think the NPG could have recorded NEWS in one afternoon. And contrarily to what a lot of people say I'd assume P can do things with 3EG that he couldn't have done with The Revolution in 1986.

Now maybe The Revolution members have all significantly improved ever since, and maybe P would be surprised if he jammed with them. But IDK: look at how tense Wendy looked when playing Reflection for that TV show in 2004, it was as if she was terrified of missing a chord, she was totally focused on following what P was doing even though it didn't require any improvization. I haven't seen any recent bandmember look so tense on a TV or live performance.

I believe the comments about rehearsing had more to do with the improvisional and communal connection he had with the Revolution in those studio times.. A lot of songs and music came out of those rehearsals. Nothing can compare with those 1982-1986(outtake) years

.

In those Lovesexy aftershows, Prince would present songs like they just made it up on the spot like Rave, Still Would Stand All Time etc and it wasn't true, they rehearsed prior.

Sheila E also said 'being a perfectionist' they would rehearse and rehearse hard too.
Prince music then was complicated, and Prince was big on rendering the studio cut live as close to the song as possible. I think that is a part of the stand out specialness of hearing Prince music from then. I never cared for the drawn out 'jazzy' soloing and such
.
And the other thing is Prince was more about control for his shows and implementing 'His' music.
He was still 'new' to entertaining and such and had to be in control of the shows to be able to do what he wanted. Like Sheila E said in a recent talk about a rehearsal with Marvin Gaye... there is a time NOT to play(improvise) and Marvin did not like people doing that when he was trying to direct his show. Sheila hit a few notes outside of what was planned and Marvin caught it, stopped the band and called it out.

.

It is when you listen to the off shows that you hear the Revolution jamming and improvising in a way they would not on the 'tour' shows. More people need to listen to the 6.7.1985 Masqu. Ball/Birthday show. Listen to When Doves Cry live Purple Rain tour/Parade tour vs SOTT/Lovesexy

.

also remember Wendy Lisa & Jonathon were a part of those Flesh sessions.
And Wendy & Lisa were a part of the majority of Princes recordings. Because of what they brought (and his emotional tie)

.

Last thing. As people continue to grow they get better. So by 1991 a person would be better then then when they were in 1985. Even Prince said many times he is a much better player than in 1984. Yet there was a ernest drive in 1984 that was electric vs what he might have now.

exactly, back the they hit the zone, it was damn near spiritual..I'll admit, technically, he is far superior a player now than then. with that said, there is little emotion ..i there is absolutely no emotion in his recent live efforts with 3EG that i have seen ..Havewnt seen it all

OldFriends4Sale said:

databank said:

In fact I think The Revolution were more inclined to see themselves as peers to P and try and bring on new ideas than the SOTT/LS band, who seem to have seen themselves more as mere employees (though it was clear who was the boss from 1978 onwards).

One thing that made me wonder is when P said recently about a Revolution revival that they can't really improvise and that he needs to work with more skilled musicians now. Then I remember all those interviews by various Revolution members and other associates from those days explaining P had the band rehearsing grooves for hours and hours to have them as tight as possible (we have some boots proving this). When you know that for example most of the hardbop classics from the 50's and 60's were recording in a few days and in a few takes, with a level of technicality much higher than what pop or funk requires, that leaves you wondering.

During the Flesh sessions Prince probably realized that Levi, Sheila and Eric didn't need to rehearse a groove for hours to be tight as fuck. And when you read how later bandmembers from the 91-96 NPG or the ONA Tour/Xpectation/NEWS era describe how tracks were recorded in one take after P just gave the band a few instructions, it says it all about the gap between The Revolution and later bands, particularly after 1991. I'd assume Prince found a growing level of spontaneity and creative freedom with each new post-Revolution band, that probably made him realize that The Revolution was not as good a band as he then thought, because they needed to rehearse like fuck to get a song right. I don't think The Revolution could have recorded the tracks P recorded with the Madhouse quartet that ended on 16 and Times Squared in one afternoon. I don't think the Madhouse Quartet could have recorded the 1993 Madhouse 24 album in one afternoon. And I don't think the NPG could have recorded NEWS in one afternoon. And contrarily to what a lot of people say I'd assume P can do things with 3EG that he couldn't have done with The Revolution in 1986.

Now maybe The Revolution members have all significantly improved ever since, and maybe P would be surprised if he jammed with them. But IDK: look at how tense Wendy looked when playing Reflection for that TV show in 2004, it was as if she was terrified of missing a chord, she was totally focused on following what P was doing even though it didn't require any improvization. I haven't seen any recent bandmember look so tense on a TV or live performance.

I believe the comments about rehearsing had more to do with the improvisional and communal connection he had with the Revolution in those studio times.. A lot of songs and music came out of those rehearsals. Nothing can compare with those 1982-1986(outtake) years

.

In those Lovesexy aftershows, Prince would present songs like they just made it up on the spot like Rave, Still Would Stand All Time etc and it wasn't true, they rehearsed prior.

Sheila E also said 'being a perfectionist' they would rehearse and rehearse hard too.
Prince music then was complicated, and Prince was big on rendering the studio cut live as close to the song as possible. I think that is a part of the stand out specialness of hearing Prince music from then. I never cared for the drawn out 'jazzy' soloing and such
.
And the other thing is Prince was more about control for his shows and implementing 'His' music.
He was still 'new' to entertaining and such and had to be in control of the shows to be able to do what he wanted. Like Sheila E said in a recent talk about a rehearsal with Marvin Gaye... there is a time NOT to play(improvise) and Marvin did not like people doing that when he was trying to direct his show. Sheila hit a few notes outside of what was planned and Marvin caught it, stopped the band and called it out.

.

It is when you listen to the off shows that you hear the Revolution jamming and improvising in a way they would not on the 'tour' shows. More people need to listen to the 6.7.1985 Masqu. Ball/Birthday show. Listen to When Doves Cry live Purple Rain tour/Parade tour vs SOTT/Lovesexy

.

also remember Wendy Lisa & Jonathon were a part of those Flesh sessions.
And Wendy & Lisa were a part of the majority of Princes recordings. Because of what they brought (and his emotional tie)

.

Last thing. As people continue to grow they get better. So by 1991 a person would be better then then when they were in 1985. Even Prince said many times he is a much better player than in 1984. Yet there was a ernest drive in 1984 that was electric vs what he might have now.

Really all I said above is speculation so you probably make a lot of good points. I know they rehearsed a lot with the 87-88 band too (or later bands, the 3EG girls said several times that they're jamming every day, 12 hours a day), but I was really talking about recording instrumental jams on the spot, like they did for the Flesh and 16 sessions. W&L were indeed present on some of the Flesh sessions but Prince was on drums and Levi on bass, + it's pretty obvious when comparing what we have from that session with what we have from the other Flesh sessions with only Sheila, Levi and Eric that their contributions were of a different nature. I actually find their contributions to the Flesh album interesting in the sense that they bring a lot of odd harmonic elements that add a dreamy texture to the sound, but when listening to U Gotta Shake Something, Voodoo Who and High Calonic, there was a much cleanest, tightest sound to that quartet than when W&L added their interesting but somewhat messy elements to the mix. Of course America Extended is a perfect example of how tight the Revolution was, but do we know how long the track was rehearsed before that particular recording? I don't, so it may have been recorded on the spot, IDK, but I'd assume it wasn't when we know that everything from the Flesh was more or less total impro, and so were the 16 sessions.

.

Also, I have a hard time imagining The Revolution doing Now's The Time from the SOTT tour, for example. Not that I think they would have been incapable of doing it, but maybe not so tightly.

I have this June 7 1985 birthday show but have no recollection of it, I'll listen to it again and tell you what I think. From the tracklist, however, it seems to me it was the usual Revolution jamming: tight but very repetitive.

And I totally agree with Prince when he says he has improved as a guitar player. One would have to be deaf not to hear the difference between what he does on Purple Rain and what he does on The Undertaker or Lotusflow3r, or what he did live in the 80's and what he does at Montreux 2009.

Once again I am really speculating here. I could even think of counterexamples: for example I was truly impressed by what André and Bobby do at the loring Park session: I'd never have thought them able to do that, let alone in 1977, particularly Bobby who had such a robotic drum playing during later live shows. So i am not trying to force my views here, but really making suppositions. I'd love to hear the opinion of others about this, particularly musicians.

lwr001 said:

databank said:

The OP was pretty cryptic but I think his point was that the SOTT/LS band was superior to The Revolution. I agree though that such lazy and confusing OP's should be avoided when creating a thread.

whats cryptic? curious..oh, i forgot you do all that work for the Prince community so you think you have license to say whats valid and whats not...thanks for reminding us.. As an aside, it was a thought to post on a message board when the feeling hit..Those mfer's was in a zone

The pic was more of a jab at the site than the post. Every similar thread to this one gets called "nonsense" and locked. I wanted to sneak that pic in before they did that.

But for some reason, your thread did not meet that fate. So consider yourself lucky!

[Edited 1/21/16 10:29am]

ahhhh ..it really was a spur of the moment post based strictly on re discovering the warfield aftershow and how they was getting it n... now i love me some revolution and pre revolution prince... the only 3eg songs live i am feeling is she's always from vancuver, the ride from one of the first lol shows, something in the water from birmingham, dreamer and whole of the moon from rally for peace show..that was the one where they seem in a zone ..... if anyone knows of others i shoudl be checking let me know

OldFriends4Sale said:

databank said:

In fact I think The Revolution were more inclined to see themselves as peers to P and try and bring on new ideas than the SOTT/LS band, who seem to have seen themselves more as mere employees (though it was clear who was the boss from 1978 onwards).

One thing that made me wonder is when P said recently about a Revolution revival that they can't really improvise and that he needs to work with more skilled musicians now. Then I remember all those interviews by various Revolution members and other associates from those days explaining P had the band rehearsing grooves for hours and hours to have them as tight as possible (we have some boots proving this). When you know that for example most of the hardbop classics from the 50's and 60's were recording in a few days and in a few takes, with a level of technicality much higher than what pop or funk requires, that leaves you wondering.

During the Flesh sessions Prince probably realized that Levi, Sheila and Eric didn't need to rehearse a groove for hours to be tight as fuck. And when you read how later bandmembers from the 91-96 NPG or the ONA Tour/Xpectation/NEWS era describe how tracks were recorded in one take after P just gave the band a few instructions, it says it all about the gap between The Revolution and later bands, particularly after 1991. I'd assume Prince found a growing level of spontaneity and creative freedom with each new post-Revolution band, that probably made him realize that The Revolution was not as good a band as he then thought, because they needed to rehearse like fuck to get a song right. I don't think The Revolution could have recorded the tracks P recorded with the Madhouse quartet that ended on 16 and Times Squared in one afternoon. I don't think the Madhouse Quartet could have recorded the 1993 Madhouse 24 album in one afternoon. And I don't think the NPG could have recorded NEWS in one afternoon. And contrarily to what a lot of people say I'd assume P can do things with 3EG that he couldn't have done with The Revolution in 1986.

Now maybe The Revolution members have all significantly improved ever since, and maybe P would be surprised if he jammed with them. But IDK: look at how tense Wendy looked when playing Reflection for that TV show in 2004, it was as if she was terrified of missing a chord, she was totally focused on following what P was doing even though it didn't require any improvization. I haven't seen any recent bandmember look so tense on a TV or live performance.

I believe the comments about rehearsing had more to do with the improvisional and communal connection he had with the Revolution in those studio times.. A lot of songs and music came out of those rehearsals. Nothing can compare with those 1982-1986(outtake) years

.

In those Lovesexy aftershows, Prince would present songs like they just made it up on the spot like Rave, Still Would Stand All Time etc and it wasn't true, they rehearsed prior.

Sheila E also said 'being a perfectionist' they would rehearse and rehearse hard too.
Prince music then was complicated, and Prince was big on rendering the studio cut live as close to the song as possible. I think that is a part of the stand out specialness of hearing Prince music from then. I never cared for the drawn out 'jazzy' soloing and such
.
And the other thing is Prince was more about control for his shows and implementing 'His' music.
He was still 'new' to entertaining and such and had to be in control of the shows to be able to do what he wanted. Like Sheila E said in a recent talk about a rehearsal with Marvin Gaye... there is a time NOT to play(improvise) and Marvin did not like people doing that when he was trying to direct his show. Sheila hit a few notes outside of what was planned and Marvin caught it, stopped the band and called it out.

.

It is when you listen to the off shows that you hear the Revolution jamming and improvising in a way they would not on the 'tour' shows. More people need to listen to the 6.7.1985 Masqu. Ball/Birthday show. Listen to When Doves Cry live Purple Rain tour/Parade tour vs SOTT/Lovesexy

.

also remember Wendy Lisa & Jonathon were a part of those Flesh sessions.
And Wendy & Lisa were a part of the majority of Princes recordings. Because of what they brought (and his emotional tie)

.

Last thing. As people continue to grow they get better. So by 1991 a person would be better then then when they were in 1985. Even Prince said many times he is a much better player than in 1984. Yet there was a ernest drive in 1984 that was electric vs what he might have now.

You laugh at my comment and then you go on to write 6 paragraphs to back it up.

LOL

Who's the fool singin' will? It's would!

callimnate said:

OldFriends4Sale said:

I believe the comments about rehearsing had more to do with the improvisional and communal connection he had with the Revolution in those studio times.. A lot of songs and music came out of those rehearsals. Nothing can compare with those 1982-1986(outtake) years

.

In those Lovesexy aftershows, Prince would present songs like they just made it up on the spot like Rave, Still Would Stand All Time etc and it wasn't true, they rehearsed prior.

Sheila E also said 'being a perfectionist' they would rehearse and rehearse hard too.
Prince music then was complicated, and Prince was big on rendering the studio cut live as close to the song as possible. I think that is a part of the stand out specialness of hearing Prince music from then. I never cared for the drawn out 'jazzy' soloing and such
.
And the other thing is Prince was more about control for his shows and implementing 'His' music.
He was still 'new' to entertaining and such and had to be in control of the shows to be able to do what he wanted. Like Sheila E said in a recent talk about a rehearsal with Marvin Gaye... there is a time NOT to play(improvise) and Marvin did not like people doing that when he was trying to direct his show. Sheila hit a few notes outside of what was planned and Marvin caught it, stopped the band and called it out.

.

It is when you listen to the off shows that you hear the Revolution jamming and improvising in a way they would not on the 'tour' shows. More people need to listen to the 6.7.1985 Masqu. Ball/Birthday show. Listen to When Doves Cry live Purple Rain tour/Parade tour vs SOTT/Lovesexy

.

also remember Wendy Lisa & Jonathon were a part of those Flesh sessions.
And Wendy & Lisa were a part of the majority of Princes recordings. Because of what they brought (and his emotional tie)

.

Last thing. As people continue to grow they get better. So by 1991 a person would be better then then when they were in 1985. Even Prince said many times he is a much better player than in 1984. Yet there was a ernest drive in 1984 that was electric vs what he might have now.

You laugh at my comment and then you go on to write 6 paragraphs to back it up.

LOL

actually what I said contradicted your 'he outgrew them after Purple Rain' comment and the puppets following Prince's lead...

But I did understand what you were saying

databank said:

OldFriends4Sale said:

I believe the comments about rehearsing had more to do with the improvisional and communal connection he had with the Revolution in those studio times.. A lot of songs and music came out of those rehearsals. Nothing can compare with those 1982-1986(outtake) years

.

In those Lovesexy aftershows, Prince would present songs like they just made it up on the spot like Rave, Still Would Stand All Time etc and it wasn't true, they rehearsed prior.

Sheila E also said 'being a perfectionist' they would rehearse and rehearse hard too.
Prince music then was complicated, and Prince was big on rendering the studio cut live as close to the song as possible. I think that is a part of the stand out specialness of hearing Prince music from then. I never cared for the drawn out 'jazzy' soloing and such
.
And the other thing is Prince was more about control for his shows and implementing 'His' music.
He was still 'new' to entertaining and such and had to be in control of the shows to be able to do what he wanted. Like Sheila E said in a recent talk about a rehearsal with Marvin Gaye... there is a time NOT to play(improvise) and Marvin did not like people doing that when he was trying to direct his show. Sheila hit a few notes outside of what was planned and Marvin caught it, stopped the band and called it out.

.

It is when you listen to the off shows that you hear the Revolution jamming and improvising in a way they would not on the 'tour' shows. More people need to listen to the 6.7.1985 Masqu. Ball/Birthday show. Listen to When Doves Cry live Purple Rain tour/Parade tour vs SOTT/Lovesexy

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also remember Wendy Lisa & Jonathon were a part of those Flesh sessions.
And Wendy & Lisa were a part of the majority of Princes recordings. Because of what they brought (and his emotional tie)

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Last thing. As people continue to grow they get better. So by 1991 a person would be better then then when they were in 1985. Even Prince said many times he is a much better player than in 1984. Yet there was a ernest drive in 1984 that was electric vs what he might have now.

Really all I said above is speculation so you probably make a lot of good points. I know they rehearsed a lot with the 87-88 band too (or later bands, the 3EG girls said several times that they're jamming every day, 12 hours a day), but I was really talking about recording instrumental jams on the spot, like they did for the Flesh and 16 sessions. W&L were indeed present on some of the Flesh sessions but Prince was on drums and Levi on bass, + it's pretty obvious when comparing what we have from that session with what we have from the other Flesh sessions with only Sheila, Levi and Eric that their contributions were of a different nature. I actually find their contributions to the Flesh album interesting in the sense that they bring a lot of odd harmonic elements that add a dreamy texture to the sound, but when listening to U Gotta Shake Something, Voodoo Who and High Calonic, there was a much cleanest, tightest sound to that quartet than when W&L added their interesting but somewhat messy elements to the mix. Of course America Extended is a perfect example of how tight the Revolution was, but do we know how long the track was rehearsed before that particular recording? I don't, so it may have been recorded on the spot, IDK, but I'd assume it wasn't when we know that everything from the Flesh was more or less total impro, and so were the 16 sessions.

.

Also, I have a hard time imagining The Revolution doing Now's The Time from the SOTT tour, for example. Not that I think they would have been incapable of doing it, but maybe not so tightly.

I have this June 7 1985 birthday show but have no recollection of it, I'll listen to it again and tell you what I think. From the tracklist, however, it seems to me it was the usual Revolution jamming: tight but very repetitive.

And I totally agree with Prince when he says he has improved as a guitar player. One would have to be deaf not to hear the difference between what he does on Purple Rain and what he does on The Undertaker or Lotusflow3r, or what he did live in the 80's and what he does at Montreux 2009.

Once again I am really speculating here. I could even think of counterexamples: for example I was truly impressed by what André and Bobby do at the loring Park session: I'd never have thought them able to do that, let alone in 1977, particularly Bobby who had such a robotic drum playing during later live shows. So i am not trying to force my views here, but really making suppositions. I'd love to hear the opinion of others about this, particularly musicians.

Who said the SOTT/Lovesexy band recorded instrumental jams on the spot? When did this happen?

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When did this happen with the Flesh or Madhouse sessions. The Madhouse albums were all Prince & Eric Leeds. Those flesh sessions were not 'tight' it was the musicians adding stuff mostly to Prince vicious drumming. I love the flesh sessions for their free studio feel. I'm glad they did not have a finished tight sound.
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the pieces where it was only Prince Sheila Levi & Eric like Voodoo Who were not experimental, since that song is Santana's. They didn't just hit that out without prior rehearsing. I don't know who actually initiated it. Maybe Prince found out the Sheila & Levi were already playing that song, maybe with her band etc but we don't really know the full 311 on who a lot of these songs started

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Up From Below with Wendy on guitar Levi on bass is one that sounds like a completed song. Sounds very much a soulful vibe in the moment song. And I think they all shined perfectly on that. I wish I know what pieces that Prince rode the drums-what Jonathon & Sheila did. I think Wendy made that guitar weep, and Prince is definately her mentor. That song could only come out Prince's camp in that 1983-1986 period. A lot of the Flesh session songs with Prince on drums like Junk Music remind me of 1940s Bop the Beat Generation Jazz... which is pretty interesting because UTCM was some kind of 1940 period in Uptown

.

The Revolutions nailing in 1 take of Power Fantastic on Princes new home studio testing. With that kind of emotion to it. Like Eric Leeds said "some of the most wonderful music he ever did was with Wendy & Lisa"

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The different Flesh session songs: they are too different and too free flowing to have any kind of definate tightness to me. They mostly feel like people who were jamming on the Purple Rain tour together and some other stuff coming in the studio exploring different like minded things.
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A Couple Of Miles (allegedly) just Prince & Eric
U Gotta Shake something, I don't see what was so spectacular about it that the Revolution could not have done that. It's Gonna Be a Beautiful Night is very much like it. I mean technically (outside of Wendy) this band was tackling Prince's diverse sounds since 1981 -as well as doing all those previous albums
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Now Is the Time again is nothing out of the ordinary that the band could not handle. I mean that stuff was practiced and played verbatim over and over for every show. That drum solo of Sheila's electrifying, but Sheila was doing that exact same drum solo on her Romance 1600 tour/shows since 1985 I believe it lead out of Merci4theSpeedofAMadClownInSummer. And at the 1985 Birthday show. Then even after she left Paisley Park, on her album Sex Cymbol the songs KATE 101(?) is the exact same drum solo. Again I love me some Sheila E but the Now Is the Time drumming and even some of the horn riffs and came from the Parade tours/Sheila E 1985 shows. Sheila E is a strong jazz & latin percussionist. I don't know which she is strongest on, I think she said she isn't as great a drummer as she is a percussionist.
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Now Is the Time, I've heard various different shows, and the SOTT concert film was tight, but there were other shows where certain musicians were 'as tight' in their solo. I guess it is called being human. Remember Prince edited as close to perfection the SOTT concert film performances, because Prince needs that. A lot of fans will take everything we can get. There were renditions of shows that did not compare to that one. And I still love em.
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the June 7 1985 show was not a usual show in my opinion, you had Prince & the revolution, Sheila E and Eddie M Jerome St Paul Susannah & Eric Leeds in a combined band. A Love Bizarre (the earliest rendition of Sometimes It Snows In April) Mutiny the Bird Possessed Holly Rock Drawer Bruning, so no it was far from being repetitive and very much a reflection of the changes in sounds that were happeing in 1985. I don't think Prince wanted it as 'tight' or as direct as the previous 1984 Birthday show. This Masquarade Ball was more playful and such. An 'After PR fame' loosenss

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I strongly believe because Prince was learning how to lead a band on the magnitude that he was, learning how to be a showman/frontman is such a bigger way + carving out his own niche and sound that he had to have things be performed a certain way. I mean as skilled as Sheila E was in general(even her albums) Prince still had to control the sound and for the most part played drums even on her albums (she did voice and percussion) even on Lovesexy again I believe Sheila was on drums on 4 of the songs on that album. And during the tour, the songs still had to be played as rendered on the album. there was not a lot of deviation from what was presented on the album.
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ANyone who listens to any off tour shows from 1978-1989 sees the band stretching out doing more stuff. Sadly most fans are mostly familar with Bobby Z drumming for Purple Rain. 'Robotic' I would not put it that way. He still played drums but had the triggers/linn sound that was very much crucial to defining Prince music. Prince couldn't play that stuff, neither could Sheila E, because it was drum machines that most humans could not match. But prior to PR Bobby Z was very much an organic drummer, well versed in the different style and such that Prince produced. On off night shows like 1982 where they did a harder rock version of Bambi and the Time joined at the end of the show, it had a much looser feel to the show. The by 1986 the Parade tour was back to more organic drumming some linn stuff to cover the songs that needed it. But I don't see how the band could not do anything new Prince needed. I wish more fans had access to a lot of these live tour shows and off night shows.

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For me hearing the Prince sound rendered live has always been my joy. I love his music in such a way that I don't need a buch of soloing or jazzy forays that could change the songs too much. Lady Cab Driver on the 1999 tour where they go into a different rhythmic grove is an example of a change that still sound like Purple Music and it wasn't (as far as I know) some attempt at sounding technical or tight. Something about those raw 1980s shows still sends tingles up my spine.

I love the whole group from that 1978-1988 period though. My fav 4 every. I do enjoy the ONA/Rainbow Children band too. But of course the Prince sound and style was so far different from those earlier periods. I appreciate that period too, and I liked what he started out intentionally with 3EG. I wish he would have really made a stronger attempt. Not 'rearranging' Let's Go Crazy or Bambi or falling back on doing the same ole. But really exploring the direction he wanted to, like what he is doing now 'a Prince & Piano' show

All eight tracks were written or co-written by Prince, and all contain him playing most instruments, with Eric Leeds playing saxophone and flute.

Musicians input

Four of the eight tracks on the album feature only Prince and Eric Leeds. Sheila E. plays drums and Levi Seacer, Jr. plays bass guitar on three tracks (Ten, Eleven and Fifteen), and Dr. Fink plays keyboards on Sixteen. Prince and Sheila E.'s contributions are uncredited. The band for the whole album is listed as Eric Leeds, Levi Seacer, Jr., Dr. Fink and the fictional John Lewis.

OldFriends4Sale said:

databank said:

Really all I said above is speculation so you probably make a lot of good points. I know they rehearsed a lot with the 87-88 band too (or later bands, the 3EG girls said several times that they're jamming every day, 12 hours a day), but I was really talking about recording instrumental jams on the spot, like they did for the Flesh and 16 sessions. W&L were indeed present on some of the Flesh sessions but Prince was on drums and Levi on bass, + it's pretty obvious when comparing what we have from that session with what we have from the other Flesh sessions with only Sheila, Levi and Eric that their contributions were of a different nature. I actually find their contributions to the Flesh album interesting in the sense that they bring a lot of odd harmonic elements that add a dreamy texture to the sound, but when listening to U Gotta Shake Something, Voodoo Who and High Calonic, there was a much cleanest, tightest sound to that quartet than when W&L added their interesting but somewhat messy elements to the mix. Of course America Extended is a perfect example of how tight the Revolution was, but do we know how long the track was rehearsed before that particular recording? I don't, so it may have been recorded on the spot, IDK, but I'd assume it wasn't when we know that everything from the Flesh was more or less total impro, and so were the 16 sessions.

.

Also, I have a hard time imagining The Revolution doing Now's The Time from the SOTT tour, for example. Not that I think they would have been incapable of doing it, but maybe not so tightly.

I have this June 7 1985 birthday show but have no recollection of it, I'll listen to it again and tell you what I think. From the tracklist, however, it seems to me it was the usual Revolution jamming: tight but very repetitive.

And I totally agree with Prince when he says he has improved as a guitar player. One would have to be deaf not to hear the difference between what he does on Purple Rain and what he does on The Undertaker or Lotusflow3r, or what he did live in the 80's and what he does at Montreux 2009.

Once again I am really speculating here. I could even think of counterexamples: for example I was truly impressed by what André and Bobby do at the loring Park session: I'd never have thought them able to do that, let alone in 1977, particularly Bobby who had such a robotic drum playing during later live shows. So i am not trying to force my views here, but really making suppositions. I'd love to hear the opinion of others about this, particularly musicians.

Who said the SOTT/Lovesexy band recorded instrumental jams on the spot? When did this happen?

.

When did this happen with the Flesh or Madhouse sessions. The Madhouse albums were all Prince & Eric Leeds. Those flesh sessions were not 'tight' it was the musicians adding stuff mostly to Prince vicious drumming. I love the flesh sessions for their free studio feel. I'm glad they did not have a finished tight sound.

The Madhouse Quartet did: Ten, Ten And 1/2, Eleven, Fifteen, Night Owl, Overnight Everynight and Andorra were all recorded on the same day and composing credits are shared between all 4 musicians. They were obviously composed and recorded on the spot, on a jam session mode.

From everything I'd read, my understanding of the whole Flesh recording process was that everything had been done on the spot without prior rehearsal. If someone has solid info contradicting this please come up with it.

Regarding the "tightness" I think U Gotta Shake Something, High Calonic and Voodoo Who represent a MAJOR turning point in P's sound: it's already the SOTT tour sound in late 85, and it's much "cleaner" than the Revolution sound IMHO.
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the pieces where it was only Prince Sheila Levi & Eric like Voodoo Who were not experimental, since that song is Santana's. They didn't just hit that out without prior rehearsing. I don't know who actually initiated it. Maybe Prince found out the Sheila & Levi were already playing that song, maybe with her band etc but we don't really know the full 311 on who a lot of these songs started I don't think playing Voodoo Who without rehearsing was much of a challenge for Levi and Sheila.

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Up From Below with Wendy on guitar Levi on bass is one that sounds like a completed song. Sounds very much a soulful vibe in the moment song. And I think they all shined perfectly on that. I wish I know what pieces that Prince rode the drums-what Jonathon & Sheila did. We DO know who did what on the tracks we have (which isn't much: we have the album and the 3 other tracks.) I think Wendy made that guitar weep, and Prince is definately her mentor. That song could only come out Prince's camp in that 1983-1986 period. A lot of the Flesh session songs with Prince on drums like Junk Music remind me of 1940s Bop the Beat Generation Jazz... which is pretty interesting because UTCM was some kind of 1940 period in Uptown. Ha! I agree with that. Note that the drum sound on A Couple Of Miles has the "Parade drum sound", which had a pretty unique texture (IDK how it was obtained).

.

The Revolutions nailing in 1 take of Power Fantastic on Princes new home studio testing. With that kind of emotion to it. Like Eric Leeds said "some of the most wonderful music he ever did was with Wendy & Lisa". In terms of emotional impact and depth there's no question, the Revolution were more pop and less funk, and was IMHO more emotional a band than any of the following ones. Power Fantastic was an exceptionally remarkable moment.

.

The different Flesh session songs: they are too different and too free flowing to have any kind of definate tightness to me. They mostly feel like people who were jamming on the Purple Rain tour together and some other stuff coming in the studio exploring different like minded things. We can disagree on that I guess
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A Couple Of Miles (allegedly) just Prince & Eric
U Gotta Shake something, I don't see what was so spectacular about it that the Revolution could not have done that. U misunderstand me: my whole supposition is that the Revolution could have done it but after rehearsing the groove for an hour, while Levi and Sheila could just do it in a minute. It's Gonna Be a Beautiful Night is very much like it. I mean technically (outside of Wendy) this band was tackling Prince's diverse sounds since 1981 -as well as doing all those previous albums
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Now Is the Time again is nothing out of the ordinary that the band could not handle. I mean that stuff was practiced and played verbatim over and over for every show. That drum solo of Sheila's electrifying, but Sheila was doing that exact same drum solo on her Romance 1600 tour/shows since 1985 I believe it lead out of Merci4theSpeedofAMadClownInSummer. And at the 1985 Birthday show. Then even after she left Paisley Park, on her album Sex Cymbol the songs KATE 101(?) is the exact same drum solo. Again I love me some Sheila E but the Now Is the Time drumming and even some of the horn riffs and came from the Parade tours/Sheila E 1985 shows. Sheila E is a strong jazz & latin percussionist. I don't know which she is strongest on, I think she said she isn't as great a drummer as she is a percussionist. Drum solos have always been spectacular bullshit to impress naive listeners: unlike most other instruments, the qualities/skills of a drummer are not reflected in a solo.
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Now Is the Time, I've heard various different shows, and the SOTT concert film was tight, but there were other shows where certain musicians were 'as tight' in their solo. I guess it is called being human. Remember Prince edited as close to perfection the SOTT concert film performances, because Prince needs that. A lot of fans will take everything we can get. There were renditions of shows that did not compare to that one. And I still love em. Yeah you are right: the SOTT film was more studio than live and not a great example. I'd have to listen some other SOTT shows again to get an honest statement on Now's The Time.
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the June 7 1985 show was not a usual show in my opinion, you had Prince & the revolution, Sheila E and Eddie M Jerome St Paul Susannah & Eric Leeds in a combined band. A Love Bizarre (the earliest rendition of Sometimes It Snows In April) Mutiny the Bird Possessed Holly Rock Drawer Bruning, so no it was far from being repetitive and very much a reflection of the changes in sounds that were happeing in 1985. I don't think Prince wanted it as 'tight' or as direct as the previous 1984 Birthday show. This Masquarade Ball was more playful and such. An 'After PR fame' loosenss. I've listened to it: great Revolution aftershow, I totally love it, but I don't find it unusual or musically more challenging than their other aftershows. We need that shit on soundboard, though!

.

I strongly believe because Prince was learning how to lead a band on the magnitude that he was, learning how to be a showman/frontman is such a bigger way + carving out his own niche and sound that he had to have things be performed a certain way. I mean as skilled as Sheila E was in general(even her albums) Prince still had to control the sound and for the most part played drums even on her albums (she did voice and percussion) even on Lovesexy again I believe Sheila was on drums on 4 of the songs on that album. And during the tour, the songs still had to be played as rendered on the album. there was not a lot of deviation from what was presented on the album.
.
ANyone who listens to any off tour shows from 1978-1989 sees the band stretching out doing more stuff. Sadly most fans are mostly familar with Bobby Z drumming for Purple Rain. 'Robotic' I would not put it that way. He still played drums but had the triggers/linn sound that was very much crucial to defining Prince music. Prince couldn't play that stuff, neither could Sheila E, because it was drum machines that most humans could not match. But prior to PR Bobby Z was very much an organic drummer, well versed in the different style and such that Prince produced. On off night shows like 1982 where they did a harder rock version of Bambi and the Time joined at the end of the show, it had a much looser feel to the show. The by 1986 the Parade tour was back to more organic drumming some linn stuff to cover the songs that needed it. But I don't see how the band could not do anything new Prince needed. I wish more fans had access to a lot of these live tour shows and off night shows. I actually find Bobby's drum playing robotic even on the Parade shows, and I've always felt it actually didn't serve the whole band's sound at that point. However you are right, Bobby was more organic prior to PR, and the Loring Park session show that he was actually capable of much more than what Prince used him for.

.

For me hearing the Prince sound rendered live has always been my joy. I love his music in such a way that I don't need a buch of soloing or jazzy forays that could change the songs too much. Lady Cab Driver on the 1999 tour where they go into a different rhythmic grove is an example of a change that still sound like Purple Music and it wasn't (as far as I know) some attempt at sounding technical or tight. Something about those raw 1980s shows still sends tingles up my spine.

I love the whole group from that 1978-1988 period though. My fav 4 every. I do enjoy the ONA/Rainbow Children band too. But of course the Prince sound and style was so far different from those earlier periods. I appreciate that period too, and I liked what he started out intentionally with 3EG. I wish he would have really made a stronger attempt. Not 'rearranging' Let's Go Crazy or Bambi or falling back on doing the same ole. But really exploring the direction he wanted to, like what he is doing now 'a Prince & Piano' show. I really expected 3EG to sound dirtier than they did, particularly in the studio, but some early 3EG shows I've heard from 2013 or 2014 were pretty dirty though

All eight tracks were written or co-written by Prince, and all contain him playing most instruments, with Eric Leeds playing saxophone and flute.

Musicians input

Four of the eight tracks on the album feature only Prince and Eric Leeds. Sheila E. plays drums and Levi Seacer, Jr. plays bass guitar on three tracks (Ten, Eleven and Fifteen), and Dr. Fink plays keyboards on Sixteen. Prince and Sheila E.'s contributions are uncredited. The band for the whole album is listed as Eric Leeds, Levi Seacer, Jr., Dr. Fink and the fictional John Lewis.

databank said:

OldFriends4Sale said:

Who said the SOTT/Lovesexy band recorded instrumental jams on the spot? When did this happen?

.

The Revolutions nailing in 1 take of Power Fantastic on Princes new home studio testing. With that kind of emotion to it. Like Eric Leeds said "some of the most wonderful music he ever did was with Wendy & Lisa". In terms of emotional impact and depth there's no question, the Revolution were more pop and less funk, and was IMHO more emotional a band than any of the following ones. Power Fantastic was an exceptionally remarkable moment.

.

All eight tracks were written or co-written by Prince, and all contain him playing most instruments, with Eric Leeds playing saxophone and flute.

Musicians input

Four of the eight tracks on the album feature only Prince and Eric Leeds. Sheila E. plays drums and Levi Seacer, Jr. plays bass guitar on three tracks (Ten, Eleven and Fifteen), and Dr. Fink plays keyboards on Sixteen. Prince and Sheila E.'s contributions are uncredited. The band for the whole album is listed as Eric Leeds, Levi Seacer, Jr., Dr. Fink and the fictional John Lewis.

What is your definition of Pop in relation to Prince music? Whas the band from 1981-1983 Pop?

From what I've heard the band excecuted Prince's musical catalog as recorded on Prince's albums whether it was all Prince, Prince and 1 or more musicians Prince and full band... So I'm confused abouit what you mean by PoP

In terms of emotional impact and depth there's no question, the Revolution were more pop and less funk, and was IMHO more emotional a band than any of the following ones. Power Fantastic was an exceptionally remarkable moment.

OldFriends4Sale said:

databank said:

What is your definition of Pop in relation to Prince music? Whas the band from 1981-1983 Pop?

From what I've heard the band excecuted Prince's musical catalog as recorded on Prince's albums whether it was all Prince, Prince and 1 or more musicians Prince and full band... So I'm confused abouit what you mean by PoP

In terms of emotional impact and depth there's no question, the Revolution were more pop and less funk, and was IMHO more emotional a band than any of the following ones. Power Fantastic was an exceptionally remarkable moment.

I was talking about their creative input, of any kind: live, studio, impro, arrangements, the band's sound.

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Gayle makes folk/country music.

André was into new wave and now seems to be into rock.

Dez was into hard rock and new wave as well, later did christian rock.

Bobby's album was virtually a Bryan Ferry album.

Fink's first solo album was a Beatles tribute, then some atmospheric keyboard records.

Wendy & Lisa made pop records, then moved to a rock and soundtracks.

The only pre-1985 Revolution member who released proper R&B/funk was Mark.

I think that says it all!

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On the other hand most -not all but a vast majority- of the bandmembers that came aboard after the release of PR, to this day, had/have a funk/jazz/R&B background and, for those who released solo albums or were involved in other bands, it was mostly R&B or jazz stuff.

databank said:

OldFriends4Sale said:

What is your definition of Pop in relation to Prince music? Whas the band from 1981-1983 Pop?

From what I've heard the band excecuted Prince's musical catalog as recorded on Prince's albums whether it was all Prince, Prince and 1 or more musicians Prince and full band... So I'm confused abouit what you mean by PoP

In terms of emotional impact and depth there's no question, the Revolution were more pop and less funk, and was IMHO more emotional a band than any of the following ones. Power Fantastic was an exceptionally remarkable moment.

I was talking about their creative input, of any kind: live, studio, impro, arrangements, the band's sound.

.

Gayle makes folk/country music.

André was into new wave and now seems to be into rock.

Dez was into hard rock and new wave as well, later did christian rock.

Bobby's album was virtually a Bryan Ferry album.

Fink's first solo album was a Beatles tribute, then some atmospheric keyboard records.

Wendy & Lisa made pop records, then moved to a rock and soundtracks.

The only pre-1985 Revolution member who released proper R&B/funk was Mark.

I think that says it all!

.

On the other hand most -not all but a vast majority- of the bandmembers that came aboard after the release of PR, to this day, had/have a funk/jazz/R&B background and, for those who released solo albums or were involved in other bands, it was mostly R&B or jazz stuff.

Cool.

I still don't understand how that translates 2 POP. I mean, the 1978-1986 band members did Prince's music, they didn't do their albums till afterward. When they did Head it was Head, it wasn't washed down, it wasn't 'pop' When they did Got a Broken Heart Again or International Lover or Let's Work, they didn't do 'pop' they did that sound.

But one thing for sure, that 1983-1986 period we see a wide variety of sounds musical genre and instrumentation that came into 'purple music' the sax the timbales percussions finger cymbals oud violins violas accordians flutes steele drums harps etc

We need that shit on soundboard, though!

It is frustrating at times, even though I'm totally enjoying this conversation, that most people don't know what we are talking about. All the live shows (most of his best live shows are the ones he doesn't consider 'perfect'. All the unreleased music, the discontinued protege albums(the best were the 80s of course) the aftershows and birthday shows and award show performances, videos etc

Sad that we cannot upload a snippet of what we are talking about on PRINCE.ORG lol especially the released stuff and videos...c'est la vie