I think for me it wil be somewhat eerie. I already feel a little strange watching videos I've never seen before, but completely new music....

How about u?

I will worry about what process the master went though, any alterations (mixing, editing), and I think any new production called a "remix" (even if it is by a colleague like Morris Day or Jimmy Jam) will feel like interference.

Cinny said:

I will worry about what process the master went though, any alterations (mixing, editing), and I think any new production called a "remix" (even if it is by a colleague like Morris Day or Jimmy Jam) will feel like interference.

This, also, as long as it's not 3rd eye stuff I'll be cock a hoop.

emesem said:

TheDigitalGardener said:

Cinny said:

I will worry about what process the master went though, any alterations (mixing, editing), and I think any new production called a "remix" (even if it is by a colleague like Morris Day or Jimmy Jam) will feel like interference.

This, also, as long as it's not 3rd eye stuff I'll be cock a hoop.

It's actually the same things I would ponder if Prince were alive releasing his vault material. I hope there's MORE of a chance the material will be untouched.

Until that first new release comes out, there will be a huge void. So if anything, that first release will make me happy and be a positive event.

It will make me happy, especially if it's something that he was already finished with when he passed (in the sense that it's a fully-realized, packaged album).

Eerie? You act like no musician or actor has ever died before, then has posthumous releases. Hell, Elvis had a song on the charters in the late 90s, or early aughts. Is it eerie to hear Prince on the radio right now? Is it eerie to see a James Dean movie? This whole "oohh, spooky stuff" ideology is silly.

.

But to answer your question, how will I feel when a new album comes out? Grateful. Read the quote in my signature file.

Honestly, he must have had an eventual plan for the vault material besides getting out of WB contracts

TrivialPursuit said:

OperatingThetan said:

Curious, guarded but open at the same time.

The M Jackson posthumous albums are such a

huge cautionary tale already. Hopefully some

of those pitfalls will be avoided as Prince's fans

are less BS-tolerant than m jackson's fans.

I'd be open. It's Prince's music.

[Edited 5/22/16 12:12pm]

i've closed the chapter on the vault for now. i just view his released work as his complete catalogue.

unless they decide to release complete albums that prince himself prepared, ready for release, there
are just too many variables. if there is no will, there are already too many people who have a say in
future releases, what, when, how, through whom etc.

anything that might come in future is gravy. but i've just shut that door for myself right now since it
serves no purpose at all to think about it.

it would be a shame if there weren't many wonderful releases in the future since that vault is about
the most spoken and speculated about thing in pop mythology. however, many beautiful legacies n
estates have been squandered, derailed and all but destroyed for various reasons.

so in order not to drive myself insane i'm not even reading about it anymore, whatever, i'll see the
releases when and if they come.

morningsong said:

cardinal said:

gonna be weird. will feel better when i know who is producing the stuff.

It's already been produced. By Prince. I want 'Roadhouse Garden' as it was, not remixed. Same goes for everything in there.

A little early to consider feelings I'll have in the future when I'm busy dealing with those I have now.

There will almost certainly be a great deal of music released in the future. The live shows alone are a mindboggling intellectual property, as he shined like few artists live. The circulating yet unreleased songs are collectively impressive, from Our Destiny to Wonderful Ass to Neon Telephone, Dance with the devil, I Wonder, Moonbeam Levels. Electric Intercourse, All My Dreams, Witness 4 the Prosecution ... so many to name, this music is just already "classic", too significant not to see a release of some form some day.

I would expect at a minimum a desire to release some live shows and some of the unreleased songs so bootlegged they are in the official Prince canon. I hope no one stands in the way of that, it would be a crime against music (yes I'm thinking about you, Sheila!).

Beyond that, they'd be crazy not to treat each tape or file like precious treasures from King Tut's tomb. Not everything in there will be Electric Intercourse or the original Dance Electric, but just like a Pharaoh's tomb, there will be artefacts of various importance that as a whole are compelling and historical.

I think what was said earlier is VERY TRUE and people need to start thinking of that REALITY. That what is out now, maybe the end of what you get. Because there is no one in control, or specified to be in control, there is no rights at this point. Even WB if they have some mixes or things they cant package something up, even if he had delivered a Purple Rain remaster to them theyd have to sit on it.

very curious and more than a little sad. Curious to see any clues to the end of his story. Sad, well, just heartbroken because he's gone forever, that's a deep thing to deal with when anyone you care about dies.

OperatingThetan said:

Lets just hope we actually get to hear some of this material. It's an important part of Prince's legacy. However, it seems from his fb comments that even Morris Day (along with Shelia E and others) believes none of the material should be released. It's even been reported that Tyka isn't interested in vault releases. Anybody would think Prince had preserved all this material in the vault for no reason. At the moment, I think there's a very serious risk that the vault might be squandered or in serious danger. [Edited 5/22/16 10:19am]

For some reason after reading your post I thought, damn too bad superheros aren't for real - we need one to save the vault.

lastdecember said:

I think what was said earlier is VERY TRUE and people need to start thinking of that REALITY. That what is out now, maybe the end of what you get. Because there is no one in control, or specified to be in control, there is no rights at this point. Even WB if they have some mixes or things they cant package something up, even if he had delivered a Purple Rain remaster to them theyd have to sit on it.

Why do you say that? I don't think that's true at all. I don't always understand these things though.

Once all the legal BS is dealt with and all the behind the scenes stuff is settled, of course we will get vault material. The estate can only make limited income with reissues. The future value of the estate is in future releases. The only way it wouldn't happen is that if one person gained complete control and that person had no interest in continued revenue. Not likely.

Whether it's handled well or not, the choices of what to release, posthumous tinkering by other producers, etc.. could have mediocre results. But in our capitalistic society you can count on product to generate revenue.

I'd like to see at least a couple releases a year go mainstream. It would also be awesome to see an official bootleg label to put less commercial items out to hardcore fans, something like Hendrix's Dagger Records.

Don't want to see current popular artists mixed with Prince's tapes like always happens in these cases.
As for reissues, they have to have additional material or I'll pass. I won't buy "remasters" of the same album that offer nothing new. Or rather, I won't buy them at retail when they come out. The collector in me will compel me to pick up used copies down the road but I don't want to support such releases, so I'll wait.

OperatingThetan said:

jonnymon said:

OperatingThetan said:

Agreed. It will be a lot more eerie and devastating if we don't get to hear any of the unreleased material.

I just think that because I've followed his music so closely that there has been nothing new for me. Now, the new will be old because he is gone. Sure, I know other artist had material released AD but their music didn't impact me much - if at all.

I will be upset if the tracks are tampered with and not left in the state Prince did them. I understand the comment "the new will be old" because that is the truth - they will be old songs but I am sure I will be lining up to buy them anyway, but how I will feel about them? not sure - too soon to tell, I am struggling with just listening to any of his music right now without crumbling in a heap.

Brendan said:

As many have recalled who were actually there, Prince's fits of passion would sometimes sprawl across two or three days without sleep, often only to earn a rest in his climate controlled bank vault whose balletic spin was only known to him. Think about that for a minute. He didn't take these extreme measures because he wanted his treasures to auto destruct upon death. "They'll probably have to put it out [the vault] after I die." – Prince Rogers Nelson This must be saved, audited, curated like Prince himself could never do in this lifetime. It simply wasn't his style. It would have likely broken him. Even handing the keys completely over to others, no matter how professional and wise the handle, would've probably trampled (at least partially) on what he was attempting in the now. This was his intimate walk. His complete understanding. His playground until he could no longer. Deep down he probably was thinking museum, curation. But perhaps stubbornly (like a will) chose not to go there for too long, lest it all disappear. Maybe if he got to 90. When he was alive the possibilities must've seemed endless. This project. That project. Release this. Release that. Goosebumps he surely felt so often his skin must've developed their own coping facilities. Hate or love the next thing, his next direction, his next folly (Graffiti Bridge the movie, cough), he was always at the core a true artist, never wasting a lot of time fiddling with the knobs of his past (regardless of how brilliant some of it might be). And save for the natural excitement over creating something new that no doubt shook the ground beneath his feet regularly, he was always moving on, moving forward with antenna up hoping to catch that next wave. Which is how you end up stuffing a vault (actually, vaults, as Prince put it) to the ceiling—even the walking areas—in the first place. And be it laughable, parts or wholly transcendent, whether it flop on its face or find respite in somebody totally lost—you were the judge, you were the curator. That was the point. He was much more Woody Allen "everything I can think" than Stanley Kubrick "wait until it's all certifiably the way my perfectionism trusts." Just look at Crystal Ball, as good as it is, through a much more objective lens divorced of its intimacies and need to be ever pointing upward, you could probably with just what little we know fill a 3- perhaps even a 5-disc grab that would speak to the magnificent quality and staggering diversity that could almost match the youthful wandering of my little AM/FM hand-me-down desperately twisting to find its next can't miss. But that's the small fry. The real meat and potatoes to me is the live stuff. Prince was in my humble opinion the greatest live performer we've ever known. You'd have to combine several people to reproduce in any way what he does singularly. That has to be documented. People aren't just going to take our word for it through a secret handshake. The Dylan Bootleg Series would be a great place to start, but Prince is far more spectacular live. Perhaps release one essential concert once or twice a year (lesser stuff perhaps even once a quarter). Number and honor them with great artwork, pictures, and words. Very few need 6,000 slightly different takes of "Purple Rain," but can you imagine how much exists that would be different, that would be satisfying from a larger collection standpoint over each era (perhaps even some parts of rehearsals would be included). Then there are all the videos, covering almost 40 years, many of which—especially those in the mid-to-late 80s, where his manic energy and stage presence were almost otherworldly—are incredibly invigorating, uplifting, and inspiring. Show it. Show all that's needed for a complete picture. Maybe document everything for posterity, but just give the Bootleg Series the real juicy fruit. But not much probably needs to be produced here in the larger artistic sense. Like Prince taking "1000 X'S & O'S," a minor, mostly lackluster oddity from 25 years ago and turning that hook with potential from vault material into a beautiful pop song that'll likely bounce forever on the link he felt on his penultimate. No one should probably even attempt to do that. This is his art. And he's no longer around to okay or veto your original take on The Roadhouse Garden. As a special bonus, an extra—okay, I guess. But surely no one will much care about this stuff anyway, right? Sure. And fucking Niagara Falls was purple on the day he died. -- [Edited 5/22/16 23:54pm]

Great Post.