bonatoc said:

[Edited 10/26/17 7:33am]

bonatoc said:

ISaidLifeIsJustAGame said:

Great pic.

I love all these pics and ancedotes about SOTT.

Is this the last time P wore jeans?

This Jeff Katz photo is so good it made the official visual for the movie.
You'd think the last time Prince wore jeans was on friday, september 11th, 1987 MTV Awards Show.
But no. It was on the Muppets show. But maybe they ain't jeans. This man fatigues me...

By the way, take a look at 2’45, hear the soundboard.
You'll get an idea what power it had resonating in a 17.000 seats venue.
We were all screaming in between verses.
The first screams scared me. We were all yelling, then the Linn starts on SOTT.
And then we yell louder. And then we break our voices when he appears
Chapelle's style, outta nowhere from a cloud.
Prince sings a bleak world, and it was like, oh, so from what we saw on TV
he's going to start with PITS, and you could tell some of us were a bit,
a tiny bit disappointed that he didn't start at his most political Dylanesque.
The fuck he did.

Incredible is the word.
Such good music, just flowing from him, and them.
The band deserves an accolade. Squeezed between The Revolution and The NPG,
they're pretty underrated: this was a tremendously demanding show.
Kudos to them all, look at them playing and moving all along,
you got to have a firm grip while giggling and jumping.
Hop, hop, left, right, what's the coming chord again? Oh wait, the background voc.."

The production was huge, one of the biggest tours of the year, in terms of logistics,
topped by MJ, but honestly, if Roy Bennett did this with less money, that's a run for it. Way to go. That'll show him.
The Bad Tour lights they're pretty bland in comparison (I'm being kind).
And the funk feels like from under a condom. Where's the chick, Mike?
But let's not digress.

Did I say how close to the stage we were (Prince put us)?
Even in the widest shots, there are audience hands between him and the camera's lens.
We were close.

I was at an arm's length of his shoes.
A little bit more, but barely.
When you see his drops of sweat you're pretty close.
What an athlete.

There are very few artists so giving as Prince.
Its generosity as an artist knew no boundaries.
Man, if only I could make you feel what it felt like. He was having so much fun.
The housequake split and caterpillar on the back thing, the one from the movie,

That's the angle I got, very close to his mike.
Let's say I saw the whole concert at a carpillar's arm length, chin up.

He was sweating. A lot.
Always a fan drying him, during the whole show. It's not because it looks cool —
Well, it is actually cooler.
This light show, must have felt like an oven on stage.

Meanwhile, he sings and hits every note,
giving you an on-the-spot alternative version of the song,
and we're all producing adrenaline, pheromones, us, him.

All of this but you can't keep an eye on him, there he slides, does a solo,
or does his multiple bouncing split series of his,
and he's very quick and strong with the fingers,
he just pushes himself up with a little help of his hands.
For the rest, it's the incorporated springs of Prince's pelvis. He was born with them.

I remember a french critic writing at the time:

"at this pace, our purple shorty is going to collapse in our bare arms if he doesn't take a rest,
so it's about time we let the guy breathe a little and change costume
while Sheila E. and the band go in flames on a frantic version of Charlie Parker's 'Now’s the Time'."

Or some like that.
By the end of the paper, Prince was a genius. Full stop.
In Paris, he was the ultimate shit. In all major cities across Europe.
Some of us went zealots. The rest went nuts.

The sound was fantastic.
And as you can see, even a jurassic VHS tape adds a surreal glow.
The TV channels must have an HD (by 1987 standards) version of this.

The RAI in Italy. Probably TF1, Antenne 2.
Each with their own PITS (I know because I saw the italian one,
the french one and now this one, they're not the same).

At the time, to promote the tour, Prince allowed the major TV channels
to record "Play In The Sunshine" only, under strict surveilance,
and from one fixed camera only.

So that means SKipper was probably shooting the whole concert
from day one. His crew needed the space.
My guess is they started the first shows getting the angles right,
a phase of pre-production, then some tests, then the incident reported by Cat made him wrap it up.
Maybe the original planning was different.

It's so clever pop music marketing: that single TV camera was always put far from the stage,
so it had no choice but to zoom in and out and pan a little,
so you could see what an enjoyable show it was going to be, no matter the distance.

I enjoy the movie because, frankly... Sometimes I'm not sure I even was at the grandest concert of them all.
It serves as a reminder. Take "I Could Never Take The Place Of Your Man".
The only thing I remember is the smoke, the neons, I did not recognize the tune. Not a single note.
I already knew it by heart, but nada, zip, I felt like a deer staring at the car's spotlights.
A rainbowish fog, the Chocolate Factory, Close Encounter of the Third Kind,
Springsteen and Hendrix and Clapton and Prince rolled into one.

It was surreal, the drive of it, I got Sheila's kick right in the chest.
Breath stopping rumble, physical.
You know the start of the live version.
The thunder she made with the double kick, oh boy.
I got 2 days of tinnitus after the show.
It was oh so worth it.

Pay attention to the beginning of the solo, it's very brief:
Roy Bennett was his lights' Clare Fischer, if you see what I mean.
Drenched in a yellow pursuit from the back, and a purple halo just on the guitar.
It's perfection from a lot of rehearsing, no doubt.
Even the very last row must've had a blast.

I love the teaser approach: they cut the recording just when the solo starts.
Very Princey. Want some more? Come to the show!

The Greatest Show on Earth, even just for a year.
Oh wait, the year before as well, and the following too.

Can't wait for the rushes of the european leg of the tour.
I mean the tour. Sorry about that.

What music, what magic. Prince got the perfect sum of who he was,
this mohair-pimp-mohican-third-eye-muppet-in-need-of-affection-skipper.

How do you say to a creative being like this: restrain yourself? Don't express yourself?
I would have been pissed at Warner for years too, until it was over.
The Dream Factory deserved to be released as a 3 LP set.
Who knows what it would have been like.

But even in the released configuration, the album is still Album of the Year.
I can't help but imagine Dream Factory being released.
And Camille too. Five discs released in 1986 only, Parade included.
I know I'm digressing a bit, but you can't ignore the genesis.
5 discs, I can imagine a critic having the balls of placing them five in his 1987 top ten.
We know the era, what was recorded, tell me it isn't that good.

Prince is a genius, also because it made the best of Warner's censorship.
The 2 LP cut was sequenced with the show in mind.

The love triangle theme of the movie was actually in the show.
It was mimicked on stage.

Man, I even could see the Crystal Ball micro-lightnings when it was all dark,
for a few seconds, in between songs.
The lightings were drawn to energy coming from all directions, from the top of the Cadillac's hood,
between Sheila's two kick drums and legs. Power Fantastic.

Say, did I tell you how great of a show it was?

[Edited 10/25/17 23:14pm]

[Edited 10/25/17 23:28pm]

No, actually i thought you were talkin about cookin apple pie. Did i miss something?

[Edited 10/26/17 15:41pm]

Thanks!

bonatoc said:

ISaidLifeIsJustAGame said:

Great pic.

I love all these pics and ancedotes about SOTT.

Is this the last time P wore jeans?

This Jeff Katz photo is so good it made the official visual for the movie.
You'd think the last time Prince wore jeans was on friday, september 11th, 1987 MTV Awards Show.
But no. It was on the Muppets show. But maybe they ain't jeans. This man fatigues me...

By the way, take a look at 2’45, hear the soundboard.
You'll get an idea what power it had resonating in a 17.000 seats venue.
We were all screaming in between verses.
The first screams scared me. We were all yelling, then the Linn starts on SOTT.
And then we yell louder. And then we break our voices when he appears
Chapelle's style, outta nowhere from a cloud.
Prince sings a bleak world, and it was like, oh, so from what we saw on TV
he's going to start with PITS, and you could tell some of us were a bit,
a tiny bit disappointed that he didn't start at his most political Dylanesque.
The fuck he did.

Incredible is the word.
Such good music, just flowing from him, and them.
The band deserves an accolade. Squeezed between The Revolution and The NPG,
they're pretty underrated: this was a tremendously demanding show.
Kudos to them all, look at them playing and moving all along,
you got to have a firm grip while giggling and jumping.
Hop, hop, left, right, what's the coming chord again? Oh wait, the background voc.."

The production was huge, one of the biggest tours of the year, in terms of logistics,
topped by MJ, but honestly, if Roy Bennett did this with less money, that's a run for it. Way to go. That'll show him.
The Bad Tour lights they're pretty bland in comparison (I'm being kind).
And the funk feels like from under a condom. Where's the chick, Mike?
But let's not digress.

Did I say how close to the stage we were (Prince put us)?
Even in the widest shots, there are audience hands between him and the camera's lens.
We were close.

I was at an arm's length of his shoes.
A little bit more, but barely.
When you see his drops of sweat you're pretty close.
What an athlete.

There are very few artists so giving as Prince.
Its generosity as an artist knew no boundaries.
Man, if only I could make you feel what it felt like. He was having so much fun.
The housequake split and caterpillar on the back thing, the one from the movie,

That's the angle I got, very close to his mike.
Let's say I saw the whole concert at a carpillar's arm length, chin up.

He was sweating. A lot.
Always a fan drying him, during the whole show. It's not because it looks cool —
Well, it is actually cooler.
This light show, must have felt like an oven on stage.

Meanwhile, he sings and hits every note,
giving you an on-the-spot alternative version of the song,
and we're all producing adrenaline, pheromones, us, him.

All of this but you can't keep an eye on him, there he slides, does a solo,
or does his multiple bouncing split series of his,
and he's very quick and strong with the fingers,
he just pushes himself up with a little help of his hands.
For the rest, it's the incorporated springs of Prince's pelvis. He was born with them.

I remember a french critic writing at the time:

"at this pace, our purple shorty is going to collapse in our bare arms if he doesn't take a rest,
so it's about time we let the guy breathe a little and change costume
while Sheila E. and the band go in flames on a frantic version of Charlie Parker's 'Now’s the Time'."

Or some like that.
By the end of the paper, Prince was a genius. Full stop.
In Paris, he was the ultimate shit. In all major cities across Europe.
Some of us went zealots. The rest went nuts.

The sound was fantastic.
And as you can see, even a jurassic VHS tape adds a surreal glow.
The TV channels must have an HD (by 1987 standards) version of this.

The RAI in Italy. Probably TF1, Antenne 2.
Each with their own PITS (I know because I saw the italian one,
the french one and now this one, they're not the same).

At the time, to promote the tour, Prince allowed the major TV channels
to record "Play In The Sunshine" only, under strict surveilance,
and from one fixed camera only.

So that means SKipper was probably shooting the whole concert
from day one. His crew needed the space.
My guess is they started the first shows getting the angles right,
a phase of pre-production, then some tests, then the incident reported by Cat made him wrap it up.
Maybe the original planning was different.

It's so clever pop music marketing: that single TV camera was always put far from the stage,
so it had no choice but to zoom in and out and pan a little,
so you could see what an enjoyable show it was going to be, no matter the distance.

I enjoy the movie because, frankly... Sometimes I'm not sure I even was at the grandest concert of them all.
It serves as a reminder. Take "I Could Never Take The Place Of Your Man".
The only thing I remember is the smoke, the neons, I did not recognize the tune. Not a single note.
I already knew it by heart, but nada, zip, I felt like a deer staring at the car's spotlights.
A rainbowish fog, the Chocolate Factory, Close Encounter of the Third Kind,
Springsteen and Hendrix and Clapton and Prince rolled into one.

It was surreal, the drive of it, I got Sheila's kick right in the chest.
Breath stopping rumble, physical.
You know the start of the live version.
The thunder she made with the double kick, oh boy.
I got 2 days of tinnitus after the show.
It was oh so worth it.

Pay attention to the beginning of the solo, it's very brief:
Roy Bennett was his lights' Clare Fischer, if you see what I mean.
Drenched in a yellow pursuit from the back, and a purple halo just on the guitar.
It's perfection from a lot of rehearsing, no doubt.
Even the very last row must've had a blast.

I love the teaser approach: they cut the recording just when the solo starts.
Very Princey. Want some more? Come to the show!

The Greatest Show on Earth, even just for a year.
Oh wait, the year before as well, and the following too.

Can't wait for the rushes of the european leg of the tour.
I mean the tour. Sorry about that.

What music, what magic. Prince got the perfect sum of who he was,
this mohair-pimp-mohican-third-eye-muppet-in-need-of-affection-skipper.

How do you say to a creative being like this: restrain yourself? Don't express yourself?
I would have been pissed at Warner for years too, until it was over.
The Dream Factory deserved to be released as a 3 LP set.
Who knows what it would have been like.

But even in the released configuration, the album is still Album of the Year.
I can't help but imagine Dream Factory being released.
And Camille too. Five discs released in 1986 only, Parade included.
I know I'm digressing a bit, but you can't ignore the genesis.
5 discs, I can imagine a critic having the balls of placing them five in his 1987 top ten.
We know the era, what was recorded, tell me it isn't that good.

Prince is a genius, also because it made the best of Warner's censorship.
The 2 LP cut was sequenced with the show in mind.

The love triangle theme of the movie was actually in the show.
It was mimicked on stage.

Man, I even could see the Crystal Ball micro-lightnings when it was all dark,
for a few seconds, in between songs.
The lightings were drawn to energy coming from all directions, from the top of the Cadillac's hood,
between Sheila's two kick drums and legs. Power Fantastic.

Say, did I tell you how great of a show it was?

[Edited 10/25/17 23:14pm]

[Edited 10/25/17 23:28pm]

I made some of those rehearsal gifs back in the day, got the rest of what I have here

PLAY IN THE SUNSHINE

We want 2 play in the sunshine

We want 2 b free

without the help of a margarity or ecstacy

We want 2 kick like we used

Sign up on the dotted line

We gotta dance every dance

like it's gonna be the last time

Turn all the lights up to ten
I want to meet you (meet you), and kiss you (kiss you),
Love you (love you), and miss you (miss you)
Do it all over again, do it all over again

We gonna play in the sunshine
We're gonna get over
I'm feelin' kind of lucky to night
I'm gonna find my four leaf clover
Before my life is done
Some way, some how, I'm gonna have fun, awh

Play in the sunshine

We gonna love all our enemies
Till the gorilla falls off the wall
We're gonna rock him
We're gonna roll him
We're gonna teach him that love will make him tall (so tall)

Aah, pop goes the music
When the big white rabbit begin to talk
And the color green will make your best friend leave ya
It will make 'em do the walk
But that's cool
'Cause one day, everyday will be a yellow day
And let's play,

Woo, y'all, (gonna get over), over
I'm feelin' kind of lucky to night
I'm gonna find my four leaf clover
Before my life is done
Some way, some how, I'm gonna have fun, ooo ooo ooo, awh, yawh

Play, play, play, play, play, play, play, play woo
We gonna play in the sunshine
We're gonna get over
I'm feelin' kind of lucky to night
I'm gonna find my four leaf clover
Before my life is done
I'm gonna find my way and some how have fun, yawh, awh, y'all
Some way, some how, I've just got to have fun

,
(Play) no, (play) no, (play) no
(Come on, play) No! (Play) no! (Play play play) yea!

Drummer, do your thing
Drummer, drummer, do your thing, woo
Drummer, drummer, drummer
Can I get some of that? Wait a minute, ha ha ha

Let's get out of here (yeah)
(Play, in the sunshine)
We're not afraid to (play, la la la in the sunshine, la la)
We are going to
(Play, la la la in the sunshine, la la)
(Play, la la la in the sunshine, la la)

DRS: I like every song on the album. I think “Play In The Sunshine” was a cool song even though it wasn’t released as a single.

SR: That was one of those songs that we knocked off very quickly. Prince did what most people do. When he would conceive of an album there were core songs that were the heart and the skeleton of the album. “Purple Rain” was a core song on the album Purple Rain, and of course “Sign O’ The Times” was one of the fundamental songs for that album. So when we would sequence a record sometimes we’d take our core songs and a few other tracks and we would sequence them together just to hear how the album was going to sound. If there was something missing, if there needed to be a song that would transition between two of the core or the more important songs, Prince would actually write something specifically to serve in the sequence. So in that sense there were the most important songs and then there were the album cuts–the things that were almost interludes on the record. So the songs were never intended to be singles or even have any important message. That’s what “Play In The Sunshine” was; it was just a bridge to get us out of “Sign O’ The Times” and into the rest of the record. “Slow Love” was another one of those…that was an old one from the vault.

Princevault

Initial tracking took place on 22 November 1986 at Sunset Sound, Hollywood, CA, USA during Susannah Melvoin's final recording session with Prince (on the same day as adding overdubs to It's Gonna Be A Beautiful Night) just eight days before completion of the Crystal Ball album. The track was initially included as the second track on the first disc on the 30 November 1986 configuration of Crystal Ball, which was eventually pared down and became Sign O' The Times. The introductory piece acting as a segue from Sign O' The Times to Play In The Sunshine on Sign O' The Times was recorded on 15 January 1987 at Sunset Sound.

May 8. 1987
( Sign 'O' The Times Tour )
"Isstadion". Stockholm. Sweden
Madhouse
Prince
1.Sign"O"The Times
2.Play In The Sunshine
3.Little Red Corvette
4.Housequake
5.Girls & Boys
6.Slow Love
7.I Could Never Take The Place Of Your Man
8.Hot Thing
9.Now's The Time
10.If I Was Your Girlfriend
11.Let's Go Crazy
12.Whtn Doves Cry
13.La,La,La, He,He,Hee *
14.Purple Rain
15.1999
16.Forever In My Life
17.Kiss
18.The Cross
19.It's Gonna Be A Beautiful Night

ISaidLifeIsJustAGame said:

Love the SOTT Era.

My fav pic! PRINCE - WTF???

I can't believe it, PLay In The Sunshine is a great song, not just a filler or a transition song.

Dinner Party March 24,1987
Dinner with Prince & Miles Davis

TLM: You were part of an amazing dinner party on March 24 1987 that included Miles, Prince, Prince’s Dad, Sheila E and you. Was that the first time you met Miles?

Eric Leeds: He had come by a rehearsal for the Sign ‘O’ The Times tour that afternoon and I was introduced to him then. I had gone home after rehearsal and got a call from one of Prince’s assistants, “By the way, Prince is inviting you to have dinner with him,” so I jumped in my car and went over to Prince’s house. I kinda think that Prince wanted me there to open up the conversation with Miles and get things rolling. Miles was as much a performer during that dinner as he ever was on stage. You couldn’t get him to shut up and it was very funny! There are some aspects of that evening that I’m not sure I want anybody else to know about, and if I do, it’s going to be in my book! [note that at present, Eric has no firm plans to write a book].

But basically the most interesting aspect of the relationship between Prince and Miles was the dance that they would do around each other. What Prince really related to about Miles was his character – his legacy, his mystique and everything that Miles represented as a personality. Prince saw in Miles so much of what he thought of himself – the person that goes against the grain, that’s opinionated, that doesn’t allow himself to be controlled by any aspect of the industry for his own artistic vision. And that’s very much what Miles saw in Prince. He saw a young version of himself but there was always something about the generational thing. It was like “The King is dead, long live the King.” You had these supreme egos that had an undying respect for each other but neither wanted to give it up to each other. So with Miles, you could almost see the cartoon balloon over his head saying: “Yeah you’re young and hip, but I’ve got all of these years of experience that you haven’t had yet.” While Prince was looking at Miles and saying “Yeah, you’re the icon – but you’re old! I’m the new version!” And it defined and characterised every aspect of their relationship and it was hilarious to sit back and watch that unfold. That was the biggest enjoyment for me – watching these two dance around each other.

TLM: Any more recollections you want to share?

Eric Leeds: At one point in the evening, Miles grabbed me by the arm and said: “Eric, let me see your carriage!” I’m looking at him and trying to be cool and I say: “My what?!!” And he says, “Your carriage! Show me how you hold your horn!” And then I realised: “Oh my God, he’s using an archaic definition of the word carriage. He said “Show me how you stand when you hold your saxophone.” Then he goes: “Do you do it like this?” And he mimicked the way a saxophone player holds his horn. I looked at him and laughed and then I said, “Is that the way I should hold it?” And he said “Yes,” and I replied, “Well Miles, that’s exactly how I hold it!”

When we were sitting down the first thing I wanted to ask him was about the acid funk band with [guitarist] Pete Cosey [1973-1975], which is the band that I absolutely loved. I was one of the few people at the time that did! And Miles looked at me and said “You liked that band? Nobody liked that band! I never met anybody who liked the band. You liked that band?” I said “Miles, there were some of us who loved that band.” I also got the indication from his demeanour that that was a period of his life he didn’t remember too much about and what he did remember, he didn’t want to remember. I don’t think a lot of people realised that a lot of what Miles said, he said for effect. That he really wanted to say dumb stuff at times just to see how you would react or it was his way of making of point. So it was a case of trying to figure whether he was saying something for effect, or was heartfelt or was a direct response to a comment.

I remember asking him “Are you into someone like [trumpeter] Lester Bowie? A part of me said “Lester Bowie comes from the Art Ensemble of Chicago, a kind of music Miles was known for disliking, so what will he say?” Miles changed his tone of voice and looked at me very seriously and said: “Why wouldn’t I like Lester Bowie?” But then it would not have surprised me if I saw an interview with him in a magazine the next week where he dissed Lester Bowie! Because he was going to say what he was going to say depending on how he felt or what he felt the purpose of the question was. It was an interesting night.

ISaidLifeIsJustAGame said:

Love the SOTT Era.

Boy do Eye love that era...I almost bought an original concert advertising poster for SIGN THE TIMES but the man on ebay wouldn't lower his prices...Oh well!

ISaidLifeIsJustAGame said:

I will forever wince at images like this

ISaidLifeIsJustAGame said:

Love this photo! Never seen it before. Thanks!

From a Jeff Katz photo shoot... who by the way we need a hardcover book of his photos too

nelcp777 said:

ISaidLifeIsJustAGame said:

Love this photo! Never seen it before. Thanks!

I remember much more from the Lovesexy concert, but i do know that after seing the SOTT concert, I was in a trance

RJOrion said:

besides of course the album, my favorite thing about that era, is the Amazing Cat Glover...her face (eyes), and non-stop dance energy, had me sprung...she always looked like she was having the time of her life onstage... her facial expressions seemed like that of a fan who was seeing Prince for the very first time...i can watch the SOTT movie over and over, and it NEVER gets old...

Co-sign. I liked his other dancers, too. But Cat will always be my favorite. They had such great chemistry.

I´m listening to her interview as I´m typing right now . (It´s in the associated artists forum).

(Prince & Bonnie Raitt) 1987 sessions

I Need A Man is an unreleased song recorded in Summer 1981 at Prince's Kiowa Trail Home Studio in Chanhassen, MN, USA (during the same set of sessions that produced Make-Up, Wet Dream and Drive Me Wild). The track contained lead vocals by Jamie Shoop, and was intended for The Hookers, but was abandoned when The Hookers developed into Vanity 6.

The track was worked on further (or perhaps re-recorded) in early 1987, at Prince's Galpin Blvd Home Studio, Chanhassen, MN, USA, with lead vocals by American blues singer-songwriter Bonnie Raitt, during a short-lived collaboration between Prince and Raitt.

Eric Leeds recorded saxophone overdubs on 21 January 1987 (the same day Madhouse's first album 8 was released, four days before saxophone overdubs on There's Something I Like About Being Your Fool).

Prince worked on the track again, possibly re-recording it entirely, on 31 May 1988, at Paisley Park Studios, Chanhassen, MN, USA. The track remains unreleased.
-PrinceVault

This album is heckaslammin! Favourite album always. So much genius and fun rolled in2 one.

The best part of it, is that all 16 songs sound completely different in each style and yet it all sounds uniquely Prince.

.

I did a Youtube series of 5 videos on my Channel earlier this year. My channel is Tane McManus. The videos are cool, all I do is talk about how great it is.

Definitely my favourite Prince album and era. The reason I began taking a serious interest in his music.

THE SEX OF IT

July 29th 1987 @ Paisley Park Studios

Prince
Miscellaneous
Thhe Sex Of It
U say U want simplicity
U don't like love complex
I got a spooky feeling
U just want me 4 the sex
The thrills of it
The chills of it
The spills of it
U just want me 4 the sex
The sex of it {x2}
I gave U a diamond ring my friend
That didn't get U off
French cologne a hundred bucks an ounce (Ooh)
All U did was cough
U say U want simplicity
U don't like love complex
But I got a spooky feeling
U just want me 4 the sex
The thrills of it
The chills of it
The spills of it
Baby, baby, U just want me 4 the sex
Just want me 4 the sex
The sex of it {x2}
Don't open that window
I told U not 2 open that window!
The sex of it {x2}
How can I make U understand that's all I wanna do?
Damn my life, I'd rather spend it all with U
I couldn't love U anymore, I guess I'll hate U next
Confess U bitch! (What?)
The thrills of it
The chills of it
The spills of it
U just want me 4 the sex {repeat verse}
The sex of it (Hey)
The sex of it
Get away from that cage
The sex of it
Get away from the…
Oh girl

Initial tracking took place on 29 July 1987, at Paisley Park Studios, Chanhassen, MN, USA, a few weeks after the studios opened for recordings (the day before Eleven, Fifteen, Ten, Ten And ½, and three other instrumentals later named Night Owl, Overnight, Every Night and Andorra). August Darnell (a.k.a. Kid Creole) recorded his own vocals over the basic tracks in late 1989 or early 1990 (studio information is needed for his recording).

The album was completed and scheduled for release when Prince submitted the song in late 1989 (which he had promised when meeting Darnell in Europe during the Lovesexy Tour), and the record company delayed the release to include the song.

PrinceVault