Yeppers, but again, we can't confirm anything.

One person's view and some unnamed "associates" is not proof.

I believe the story, but I ain't quoting it as fact since there's a whole army of freaky fams ready to jump down our throats for alledging Prince threw MDMA down his.

There was that infamous thread many, many moons ago that someone posted here of 'knowing 4 a fact' (yeah, yeah) that Prince was high as a kite the nite of The MJ/JB show (let's not even go there folks) - that caused some major consternation and ruffled feathers here I can tell ya.

NouveauDance said:

Chicken!

hmmm.

If U ask me, songs like Glam Slam, Dance on, and LoveSexy work best when you're high.

Kickass drug music, in my opinion

hmmm.

If U ask me, songs like Glam Slam, Dance on, and LoveSexy work best when you're high.

Kickass drug music, in my opinion

hmmm.

If U ask me, songs like Glam Slam, Dance on, and LoveSexy work best when you're high.

Kickass drug music, in my opinion

'A bass guitar in spider webs, longing 4 the funk'

As messed up as some of the lyrics are on that album they're a whole heap o' fun - and I think this line is my fave!

...and don't even get me started on:

'race cars burn rubber in my pants'

Excerpt from Per Nilsen's DMSR:

"Regardless of Prince's self-made mythology, it is alleged amongst some
close associates that his decision to cancel the release [of the the black
Album] was directly influenced by an experiment with the drug
ecstasy..... Matt Fink confirms the story. "He had a bad ecstasy
trip and felt that the the album was the devil working through him.""



Ernest Sewell interviewed Dr Fink and posted this on a.m.p.:


"According to Dr. Fink:


Prince would recount the story by saying he saw God, etc etc. But in fact, it's not true.

Prince didn't see God. Prince got scared because he thought he saw the devil and the devil was chasing him. Gilbert Davison, his "bodyguard" or whatever at the time was witness to it all. Prince told Gilbert many times the devil was trying to get him. He eventually thought the Black Album was a result of all this, and decided to not release it.

Yeppers, but again, we can't confirm anything.

One person's view and some unnamed "associates" is not proof.

I believe the story, but I ain't quoting it as fact since there's a whole army of freaky fams ready to jump down our throats for alledging Prince threw MDMA down his.

Okay... now on to WHY he would do these drugs? Was he upset over the breakup of Susannah and the Revolution, or was he looking for something new and different... some kind of new muse of inspiration?

X bcame translucent on blue tuesday...

...the demise of "black" was a 4m of penance.

Prince was upset at the lacklustre reception of Sign O The Times in the USA, the 'white' press was saying it was great, the 'black' press was saying he had lost it (his funk), after ATWIAD and Parade, he was going too hippy-ish, too "white".

This had been building since Purple Rain, and was a (minor) factor in the split with Revolution (a whole other story).
You know, Prince was cutting edge in 1981/82, he was out there, was he Black, was he White, was he straight, was he Gay, was he funk, was he New Wave?

That was fresh then, but now, Black music had moved on, rap and hip-hop was here, N.W.A. were around the corner.

So he decided to put together an album of hard funk and 'black music' that would silence his critics who said he had lost his roots - the album, to be entitled - "The Funk Bible" (a title referenced in the opening lines of Le Grind).

The album was compiled entirely of previously recorded material (except for the newly recorded When 2 R In Love), and was to be released without any promotional at all, and without any information about the artist who had recorded the album.

It was labelled on the Warners release schedule as "Something" by "Someone" So it wasn't the follow-up to SOTT (That was scheduled to be the original Graffiti Bridge - which was already well underway with a script and a soundtrack).
It was meant to be a side-project, taking some of the ideas from the Camille album (a funk album with no reference to Prince as the artist) and some of the projects from around that time and earlier, Madhouse, The Flesh.

The album was made up of several songs Prince had recorded for Sheila E's birthday party, 1986, a few out-takes and odd songs.
With him being compared to rap - Dead On It was a direct tongue-in-cheek commentary/attack on Rap, which Prince (at the time) derided - he thought, since rappers didn't play their own instruments, they were untalented (oh the irony come 1991!)

Prince was in a real unsure state at this time - The criticism didn't help - he had split up with Revolution, his long time band members and friends, who he had rose to fame with, and whom had become some of his closest ever collaborators (Wendy & Lisa), he'd broken off an engagement (Susannah, Wendy's identical twin), and Sign O' The Times was somewhat made up of older tracks from the Dream Factory and the Revolution era - so he had yet to prove himself 100% as an artist without the Revolution (even though their input on record was limited - they did have a prominent public image initially thanks to roles Purple Rain).

So what with personal and professional turmoil, and critical remarks biting where it hurt, he wasn't that confident, he had started to question his own ability.

So he put together The Funk Bible, an album that says 'You don't think I can do Funk (Black) music any more - Listen to this, this is the stuff I do on my day off, this is the stuff I DON'T put on record!'

He pressed up an acetate and took it to the club Ruperts in MPLS to test the waters (House was coming in then, no doubt it was trickling into Minneapolis from places like Chicago and Detroit, and you can hear it in the first two tracks - especially with Cat's rap in Cindy C (a very slightly altered rendition of J M Silk's Music Is The Key rap - one of the earliest cross-over House hits) - I, myself, also think Bob George could have been a House hit, it's bizarre and dark, and I think it would have worked in clubs at the time, where House was new, and still unformed into the commercial genre we see today.

At the club a certain number of events unfold, and this is open to interpretation, but according to several people close to Prince at the time, including Matt Fink (keyboardist since 1979) and Susan Rogers (Studio Engineer for years). Prince took ecstasy (E, MDMA) that night, and met, poet and singer, Ingrid Chavez (Aura in Graffiti Bridge).

Apparently Prince had a bad trip and that night he went back to Paisley Park with Ingrid, after excusing himself with a stomach ache, he called up Susan Rogers and asked her to come to the studio (employees were on 24 hour call, so it wasn't that wierd) - she recalls that he looked very spaced-out. He asked her if she loved him, and if she would stay with him, he freaked her out a bit, and she said she loved him, but would not stay. She soon left Prince's employment. [ Susan's account can be found in Per Nilsen's biography DMSR, of which I am paraphrasing Susan Roger's comments here. ]

The next day, Prince called Mo Ostin (at Warners) and requested that the album be cancelled (regardless of what you may read, it was *entirely* Princes decision to cancel the album). This was 7 days before the scheduled release date, and the album had already been printed up in the thousands. Incidently, when Ostin left WB, it wasn't around the time Prince started vocalising his distain with Warners and the whole name change thing occured. It shows the relationship between Prince and Mo, that Ostin cancelled the album's released at great expense to both Prince and Warners.

The album copies were destroyed, but obvious some escaped. Prince received several cases of LPs, which he gave out to friends and close associates - and a small number of copies also escaped to the collectors market.

A few days later Prince embarked on the recording the whole Lovesexy album in a matter of weeks, practically in the order it is on the album, although I Wish U Heaven replaced The Line (still unreleased, but an early version is circulating). And both Lovesexy and Positivity are both different from their original incarnations (Positivity originally had Cat's Cindy C. rap, until Prince was made aware it was not an original rap by Cat). Lovesexy was originally scheduled as the lead single (official mixes and edits exist - uncirculating).

Anna Stesia pretty much tells the story of that night in the club on the bad trip - The beautiful girl is Ingrid, Greg is Greg Brooks - dancer and body guard from the Parade/SOTT tours (notice Greg, and fellow bodyguard/dancer, Wally weren't around for Lovesexy) - I recall reading that in 1986, some members of the Revolution, Wendy especially, had issues with those two (and maybe Jerome, I don't recall it being specified) - The resentment stemed from Prince was hanging out more with these guys, instead of the band, their roles increasing to dancers and members of the Revolution on the Parade tour. Presumably they were just untalented body-guards, but I think Prince was enjoying the black male comeradery.

I think it's possible that (if we take Anna Stesia this way) that Greg at least was in the club that night, and we know what Prince is like for cutting ties - seems after this event, Wally & Greg were gone.

Prince's recording career is threaded by a spirituality in many songs, seemingly increasingly so since Controversy, themes about the afterlife, God, Christian ideals and dogma, love over lust, had been emerging through the music, 1999 showed us armaggedon, Purple Rain had several Christian belief referencing songs, Around The World In A Day was a journey of self-discovery and soul-seeking, parts of Parade & UTCM show where Prince was concerning his desire to take love (Susannah) over lust (his other girlfriends) and Crystal Ball/SOTT seemed to bring this all together, with tracks referencing global armageddon (Crystal Ball, SOTT, Play In The Sunshine), monogamous love (Forever In My Life) and Christian beliefs (The Cross).

The proposed follow-up to SOTT, Graffiti Bridge was also an overtly spiritually-themed piece (both the original version, for anyone who has read the script, and the later released version).

So the 'spiritual epiphany' of Lovesexy seems not entirely a eureka moment, but a culmination of years of lyrical (and personal) pondering on spiritual subjects, thus Lovesexy is less an epiphany, and more of a 'prodigal son' moment, after events of that night and the negative mind-set in compiling the material for the Black album.

I must stress, the songs, except for When 2 R In Love all existed before the idea for the Black album came about, so the music itself is not 'negative', but the mind-set from which Prince put the album together, the album's purpose. You could say Prince realised, that the album was not borne of natural inspiration, but a desire to meet his critics head-on.

Whilst this is inspiration in itself, it is from a more reactionary position, than a pro-active one. Had Prince ever listened to his critics before? So this was the negativity of the album - a piece of work compiled for release with no other purpose than to try to gain praise from his critics, or at least silence them.

When the Black album was released in 1994, it was part of (but didn't directly contribute to) Prince's contractual obligations to Warners. It had been under possible release several times before that, most notable as part a two-CD set in 1991 - the first CD to be a best of upto 1990. After the failure of Lovesexy in the USA (worst selling album since Controversy), and the disappointment of Graffiti Bridge - both film and album - Warners wanted to let the market rest a while, and put out a Best Of.

Prince had other ideas - a new batch of songs embracing the new form of Black pop music, rap, featuring his new protegee, Tony M. - Diamonds & Pearls. Prince had made a total 180 degree turn on the issue of hip-hop, he recognised the commercial force it held, and went about incorporating it into his own sound in order to gain another commercial hit - which Diamonds & Pearls succeeded at fantastically - so well in fact, that it might have written Prince's 'death warrant', since in 1992, Prince signed the infamous contract with Warners that would lead to his name change and so much bitter wrangling throughout the 1990's.

You could say that The Black Album was the pivot on which Prince's career thus far rests - before it, album after album of progression and inginuity - after it, self-doubt, band-wagon jumping and technically fluffery - until, arguably, The Rainbow Children - another "spirtual epiphany".....

Dug this out from a very old thread here on the .org: