I would personally say that it depends at what point you discover the works-in-progress.

If you're looking retrospectively, then I think it's okay. You got to experience the finished product first and, in Prince's case, listened to it before you got to hear how he got there. You heard it first exactly how he wanted you to hear it. Hearing alternative versions after is fascinating, but won't take away from the official release (and for the most part, will add or embellish them).

With very few exceptions, for the most part I've been disappointed with a final product after hearing the unreleased/obscure version(s) beforehand.

Guitar is a good case in point. The Feb 07 version came across as quirky and as whimsical as he was back in 1986 with the Revolution. The fact that the song had little guitar in it was almost like Prince playing a joke on us.
Now, I like the album version of Guitar, but it sounded very pedestrian when compared to the quirk of the previous internet release.
Likewise, when I heard that We Can Funk and Joy In Repetition were going to appear on Graffiti Bridge, I jumped with joy. However, the sensual '86 version of We Can Funk was replaced with a version apparently based on the '83 recording which I haven't heard. And for Joy In Repetition to lose the 'slow' intro for its official release was hugely disappointing for me, given that for me, that intro sets up the atmosphere of the song much better.

So for me, I'd rather not see the artist's sketches until I've been able to see, and fully appreciate the finished artwork.

That said, when Prince's 'sketches' have been offered to me on a plate before his presentation, I can't help but take a good look. But more often than not, I'll wish I'd waited until after.

I think there's a lot of merit to the idea that glimpsing the process in retrospect is better than seeing it "in process."

Maybe that's what Prince was getting at with the cookie dough analogy. Once they're baked, cookies can never really be "dough" again. So when you hear the 1986 "We Can Funk" in the context of the Graffiti Bridge "We Can Funk," it isn't so much dough and cookies as it is gingersnaps and snickerdoodles.

we've moved from wizard of oz to charlie and the chocolate factory!

Interesting point, Princes own re-releases of certain songs with different formats.

I dont agree with the earlier point that perhaps he should have had 'suits' to curb his output post WB. I think much of his work would not have made albums. I think the music industry has been telling the public for too long what we like and dont/wont pay for. Prince has proved that wrong, most of us in here have paid for nearly all his work. Whether we decide we like it or not, we choose to get it and listen. Our minds are open to his offerings because he hasnt been restricted and therefore has been able to break boundaries traditionally held within music.

It still annoys me that he is labeled R&B. More recently Ive noticed Alternative Rock as a label. This is from the record industry and their boxes they put people in. So technically Prince should be in most 'genres' or of course in one of his own.

What I do find interesting is the fact that the final product is perhaps more restrained in that he has to conform to the ideal length etc of a piece. A good example for me is: When we're dancing close and slow, the guitar at the end feels curbed as it trails off. Someone made that decision to end the song prematurely and I must admit I would be interested to know if that should have been longer as to me the song feels like it should have carried on.

I wonder if this is why Prince appears to prefer the process of live performance, because he is not restricted in that way.

Having said that his recent albums have contained short abrupt music IMO.

i mostly get with Anx above, but i'm a sucker for making visits to the studio over time and watching how the whole creative process unfolds, and it's even more fun when i'm able to lend my ear to the project and see it all evolve from there