While I suppose some faded ghost exists in the form of NPG Records, the concept of Paisley Park Records was an intriguing one that I wish had worked the way I think Prince has planned. It was rather exciting to me: a label headed by Prince that would have some proteges and some creatively independent artists bringing new music alternatives that the big labels might not sign. And, to some extent, it was just that. Some of those acts would have never gotten a contract with anyone (Good Question and Ingrid Chavez come to mind).

There was alot of good things that came from that label. Remember that the Time, Sheila E, Apollonia 6, Jill Jones, Madhouse, Mazarati and Eric Leeds had ablums released on the Park. Many of them had some Prince involvement buy several did not. There were unknown artists like Tony LeMans and Ingrid Chavez with pretty good debut records. There was Dale Bozzio's album that was a nice prdocution - would not get an Grammy nominations but solid as a whole. There was The Three o Clock that offered some pop diversity from the Mpls Sound. Even TC Ellis and Carmen Electra did records representing forays into rap and hip hop.

I recall a story about the possiblity of Meshell Ndegeocello possibly signing on before Madonna landed her for Maverick. Toni Tony Tone were talked about as well if I am not mistaken. Those two independent acts could have put the label over if they were allowed to do their things and not be groomed by Paisley Park. There may have been the limiation: most of the Paisley Park artists needed Prince in some form or fashion to do anything of value. Many couldnt really sing, produce , or compose that well. It was a Motown style school with Prince as the head master to many people. I understand that Meshell turned down the opportunity based on this issue. She didnt want to sound like Prince.

I am not sure that Prince was thinking of assuming a role similar to the one that Berry Gordy had. He certainly had the genius and creative vision to do it. In fact, the heyday of the Mpls Sound was just that in some ways. There were some interesting things that came from it. Who else would have released a full album of spoken word set to music like Chavez or a jazz funk album like Madouse?
[This message was edited Mon Apr 5 7:52:30 2004 by Superchick]

I think the label went exactly how Prince planned it and thats why it failed...With the exception of portions of Jill Jones' Mia Bocca and Dale Bozzio the lot of what appeared on Paisly was dictated by Prince himself..and if Toni Toni Tony Tone and Meshell were part of the label im sure Prince would have sufficated the talent out of them too...


just a IMHO statement...

sosgemini said:

Well, there was Tony LeMans and Good QUestion that Prince had nothing to do with. There was 3 oClock, Dale and Mazarati for which he contributed only one song. It seems the albums that did the worst commercially did not have his midas touch. I think he was too good out of the box producing others' careers and it scared off anyone that wanted to do their own thing and had the talent to do it.

sosgemini said:

I'll have to withhold my opinion in this thread. For now I'll just say that I love your avatar, sosgemini. Next to Prince, Wendy & Lisa are the best thing to come out of Mpls.

Zoot

In the early days of Paisley Park Reocrds (1985-86),there were some excellent albums released.Sheila E's second and third album....the underrated Mazarati debut album....The Family's debut album....and the two Madhouse albums were alot of fun.


But somewhere along the line,Prince began signing undistinguished "acts" with very little to offer.It became increasingly clear that some of these people weren't really artists at all.They were just normal people who somehow became friends with him,and he rewarded them with record deals.Albums by the likes of Good Question,T.C. Ellis,Carmen Elektra and Dale Bozzio were awful,and part of the reason why the label eventually failed.

What about Mavis Staples and George Clinton? They have talent, but perhaps by then it was too little too late--for them and the label. In the bigger picture, what major artist's vanity label is still around today?