This one wasn't even 1/2 done yet before it closed... got lot's more 2 go

Minneapolis Genius ALPHA Studio 4.1979 LA
I Wanna Be Your Lover rel 8.1979
PRINCE 10.1979
When We're Dancing Close & Slow (Joni Mitchell Coyotte Hejiia1976)
the Capri Theatre Minneapolis
Jellybean Johnson Lincoln Junior High classmate
Andre Anderson, Morris Day
Wouldn't U Love 2 Love Me
$150.00
SOUND 80
Grand Central, Flyte Time,
5215 France Ave. 1978
Jamie Shoop Sue Ann Carwell David Rivkin
Gayle Chapman Tommy Vicari Kim Upsher Bobby Z
Matt Fink Dez Dickerson Andre Cymone
Warner Brothers We Can Work It Out
Leaving 4 NY
4 U overdubbed 46 times
"I was a physical wreck when I finished that record" -Prince Musician Mag
Oberheim synthesizer
Make It Thru the Storm -Susie Stone

It was while Prince attended Central High School in Minneapolis, MN that he began his recording career. The first recording studio that Prince stepped into was MoonSound Studios in south Minneapolis. MoonSound was a small studio owned and operated by British born, Chris Moon, a talented recording engineer and budding entrepreneur.

Chris first established MoonSound Studios in the basement of a small, single family home at about 57th and Stevens Ave. It’s unknown how Prince first came upon this specific studio, but it’s likely he had heard about MoonSound Studios through a variety of promotions that had been aired on the local “progressive rock” station, KQRS.

At MoonSound Studios, Chris taught Prince the basics of multi-track recording and also provided him access to a variety of musical instruments like a piano, electronic keyboards, synthesizers, drums, etc.. It was during this time that Prince learned how to record and mix all intruments played. Chris eventually gave Prince a set of keys to his studio and Prince would show up after school and evenings.

Chris Moon quickly realized that he had a true talent on his hands, and together, they began working on a demo tape that could be presented to record labels. The first few attempts to secure a record label failed and Chris soon realized that they needed to find someone with better connections to the music business world. As a result, Chris introduced Prince to Owen Husney- a music industry executive in Minneapolis – and they sent him a demo tape. Shortly thereafter Husney became Prince’s first manager. This partnership would eventually led to a record deal with Warner Bros and the rest is musical history.

In the early 1970s Chris Moon (a Brit) became interested in recording technology, he purchased a slew of advanced recording equipment and began searching for musical acts that interested him. He carted his equipment out to gigs and rehearsal halls to make demo recordings. Moon recorded several demos and live gigs with Skogie and the Flaming Pachucos before their move to Los Angeles in the summer of 1976.

Chris Moon was one of the first to discover Prince's musical talent and he was an important factor in getting his career underway. They met in 1976 when Prince came through his Moonsound Studio to record material with his band, then known as Champagne.

Moon had aspirations as a songwriter, having written poetry and song lyrics since he was a teenager, and after seeing Prince at work in the studio, he approached him about collaborating. In exchange for writing and playing the music, Prince would get free studio time. The deal served both well; Moon could turn his lyrics into songs and Prince was able to learn about recording techniques and develop as a songwriter and musician. Their teaming-up contributed to the breakup of Champagne and led to Prince's decision to become solo artist.

Chris Moon can take some credit for his early collaboration with Prince, the famous "naughty implied sexuality" approach to songwriting, and introducing Prince to Owen Husney, who became his first manager. He parted ways with Prince, more than 20 years ago

Keep it up.

When Prince released ‘For You’, his self-performed, slickly produced R&B debut in April ’78, he was heralded as the new Stevie Wonder. But as that album’s guitar-crunching cut ‘I’m Yours’ suggested, Prince was on a mission to mix not just soul and funk, but also new wave and rock into one explosive cocktail. Up until this point, his main partner in crime had been his homeboy André Cymone, but Prince wanted his musical ambitions to be reflected by a racially and gender democratic band and his “rainbow coalition” concept began to take shape with the recruitment of drummer Bobby Rivkin and keyboardists Matt Fink and Gayle Chapman, all white. Prince recalled, “There was a lot of pressure from my ex-buddies not to have white members in the band. But half the black musicians I knew only listened to one type of music. That wasn’t good enough for me.”

After a dazzling audition, vital rock stimuli arrived in the form of ax-man, Dez Dickerson.

This motley crew of musicians began rehearsals that November, feeling each other out and vibing. Writing in his autobiography, Dickerson remembers, “there was this explosive spark when we jammed – something about our collective styles and influences.” But these sessions had not yet yielded a cohesive or polished set by the time of their stage debut at the Capri Theatre in Minneapolis in January ’79. A mix of nerves and equipment failure meant that onlooking Warner executives were left feeling the band needed more time and they put the breaks on a planned tour. Suddenly left with a lot of free time, the band members began developing more material, but Prince withdrew to Los Angeles to record his sophomore album, ‘Prince’, which saw a return to his more controllable one-man-band approach. Aware of the disgruntlement this caused amongst his band members, and by way of appeasement, Prince announced his plan to record a side project called The Rebels, an album that would bring everyone’s ideas to the fore.

The concept was that all the band members, including Prince, would remain anonymous (and be represented as silhouettes on the cover) and Prince hoped that The Rebels project would allow him to explore punk rock and new wave without confusing his R&B “Prince” persona. The 12-day recording sessions began on July 10th in Boulder, Colorado and Prince’s management intended to bankroll the project and have Warner reimburse them upon delivery of the tapes. Prince wrote four songs for the album, whilst Cymone contributed two and Dickerson three. Refusing to rely on black music clichés, the material ranged from bluesy Stone-esque romps (‘Hard To Get’ and ‘You’), nasty slices of Minneapolis funk (‘Thrill You Or Kill You’) to Moroder-infused machine rock (‘Disco Away’). The Rebels made a conscious decision to destroy preconceptions of how black artists should sound, but whilst Prince, Cymone and Dickerson were excited about the project, the other members weren’t so enthusiastic and questioned its validity. By the end, Dickerson had also begun to have doubts, asking, “what are we doing? Where are we going with this?” Eventually, the album and tapes were never presented to Warner; it seemed that a collective band effort had again faltered.

After the summer, the band performed another showcase for the label executives in Los Angeles and this time the band was focused and ready. They revamped the electro boogie hits from Prince’s self-titled second album with crunching lead guitars; “after the first song, I could see that we had them. They had bought into Prince and his band big time and left the place absolutely buzzing,” recalls Dickerson. Warner’s faith in the band was renewed and it inspired them to push the ‘Prince’ album hard. Whilst in LA, Prince and the band shot two videos, including ‘I Wanna Be Your Lover’, and an effort was made to present them as more of a group rather than a Prince solo project.

By the time of their promotional tour, the band had also stepped things up with regards to their image, with Prince, Cymone and Dickerson wearing brightly coloured spandex and see-through plastic pants, knee-high boots and suspenders. But critics were baffled by the band’s mix of funk, rock and new wave, and their manager insisted that Prince wear underwear underneath the tight spandex. Prince replied by wearing only bikini briefs for the remainder of the tour! Prince later reflected that “we all felt that we wanted to dress this way, talk this way, and play this way. When we first started out it was like shock treatment,” and for the band, breaking down barriers was key.

After the ‘Fire It Up’ tour of early 1980 (which saw Prince and the band blow Rick James out of the water), Gayle Chapman, who refused to sing the lyrics to Prince’s censor-defying, ‘Head’, was replaced...

OldFriends4Sale said:

is it a boy or a girl ?

chelsearodgerslovesya said:

OldFriends4Sale said:

is it a boy or a girl ?

What do you mean? That's Gayle Chapman during the Prince touring years. They previewed a version of Head during that tour and Prince would make out with Gayle during that song

chelsearodgerslovesya said:

OldFriends4Sale said:

is it a boy or a girl ?

Obviously that's Gayle Chapman Prince is kissing lol

So Blue
I had everything I needed
But now my life is so blue
U meant the world 2 me
But now U're gone and I'm so blue

Even though the sun is shining, oh woo
I spend my day, I spend my day cryin' over U, yeah
I will spend my day cryin' over U

Oh I, oh I feel just like the sky
Oh, I'm so blue

Now baby, don't U know?
Baby, don't U know?
I spend my nights all alone talking 2 myself
I am so blue

And everyday the feelin' gets stronger, oh woo
And who's 2 say just how much longer
I can spend my nights all alone
Talking 2 myself and just a-cryin' over U
I guess I'll just spend my life so... so blue

© 1978 Ecnirp Music Inc. - BMI

Timmy84 said:

chelsearodgerslovesya said:

is it a boy or a girl ?

Obviously that's Gayle Chapman Prince is kissing lol

Just As Long As We're Together

Released November 21, 1978
Recorded October-December 1977

B-side:In Love

In Love

Ever since I met U baby, I've been wantin' 2 lay U down
But it's so hard 2 get U baby when U never come around
Every day that U keep it away, it only makes me want it more
Ooh baby, just say the word and I'll be at your door
What more do I have 2 say?
I really wanna play in your river

CHORUS:
Falling, falling, falling in love
I'm falling baby, deeper every day
In love - ooh baby now U're taking me away
In love - I'm falling baby, girl what can I do?
I just can't be without U

Ever since I met U baby, there's been something inside of me
That keeps me wanting U, baby won't U set me free?
Take off these chains girl and I'll take off yours
There's no one in the world baby that I wanna love more
What else do I have 2 say?
I really wanna play in your river

CHORUS

Oh yeah {x2}

I'm falling in love
I'm falling baby, deeper every day
In love - Ooh baby now U're taking me away
In love - And I'm falling baby, girl what can I do?
I just can't be without U

I'm falling, I'm falling
In love - I'm drowning baby in my love 4 U
In love - Oh baby now U're taking me away
I just don't, I don't know what 2 say

In love
In love - Oh baby girl, U're taking me away
Oh baby, baby

In love © 1978 Ecnirp Music Inc. - BMI

Don't You Wanna Ride?
This song exists as a simple demo recorded in 1976 by Prince on a tape recorder or a 4-track recorder. It is a lively, funky number created around an acoustic guitar riff. Prince sings in a double-tracked falsetto voice accompanied only by his acoustic guitar. Interestingly, his normal voice can also be heard in places. Prince refers to himself as "the golden lover" and he goes on to describe an encounter with "a foxy lady down in New Orleans" using sailing as a metaphor for their lovemaking.

Don't You Wanna Ride

1 2 3…

Met a foxy lady down in New Orleans
Finest little woman that I ever did see
When I asked her, "Baby, what do U do 4 fun?"
She said "U look young enough 2 be my son"

And I kept on singing…
Yeah, yeah… {scatting}

She made me feel real bad but I did not buy
I just came right on out with this funky reply
I said, "I may be young, but would U rather me be old?
My money is still green and my love is made of gold"

Yeah, yeah… {scatting}

She said, "Come on little daddy, come on, go with me
I wanna see your golden love.
Don't worry about the money, I wanna find out
Just what U're made of"

{scatting}

Went 2 her apartment way across town
Sure was a long way 2 go, just 2 get down
My hands began to tremble as we got inside
She looked at me and smiled and said:

So U wanna ride? {x4}

She took me by the hand and led me 2 her boat
We flipped a coin 2 see who would stroke
Heads, I won, so I took the oar
Then I rowed and rowed until she couldn't stand it no more

And I kept on singing¦ (Kept on singing) (Right on singing)
Yeah, yeah… {scatting}

When we got through sailing, couldn't sail no more
She said, "I never been loved like this before"
If anybody asks U who destroyed all your pride
Tell 'em, "The golden lover did, yes he did
And he sure knows how 2 ride, said knows how 2 ride"
Ride, knows how 2 ride

Ride {repeated}
Your sailing days are over
I done cleaned up this town
I done blown your cover
Don't mess with the golden lover

Don't U want 2 ride with me baby?
Don't U want 2 ride?
Don't U want 2 ride with me baby?
Don't U want 2 ride?

Don't You Wanna Ride

1 2 3…

Met a foxy lady down in New Orleans
Finest little woman that I ever did see
When I asked her, "Baby, what do U do 4 fun?"
She said "U look young enough 2 be my son"

And I kept on singing…
Yeah, yeah… {scatting}

She made me feel real bad but I did not buy
I just came right on out with this funky reply
I said, "I may be young, but would U rather me be old?
My money is still green and my love is made of gold"

Yeah, yeah… {scatting}

She said, "Come on little daddy, come on, go with me
I wanna see your golden love.
Don't worry about the money, I wanna find out
Just what U're made of"

{scatting}

Went 2 her apartment way across town
Sure was a long way 2 go, just 2 get down
My hands began to tremble as we got inside
She looked at me and smiled and said:

So U wanna ride? {x4}

She took me by the hand and led me 2 her boat
We flipped a coin 2 see who would stroke
Heads, I won, so I took the oar
Then I rowed and rowed until she couldn't stand it no more

And I kept on singing¦ (Kept on singing) (Right on singing)
Yeah, yeah… {scatting}

When we got through sailing, couldn't sail no more
She said, "I never been loved like this before"
If anybody asks U who destroyed all your pride
Tell 'em, "The golden lover did, yes he did
And he sure knows how 2 ride, said knows how 2 ride"
Ride, knows how 2 ride

Ride {repeated}
Your sailing days are over
I done cleaned up this town
I done blown your cover
Don't mess with the golden lover

Don't U want 2 ride with me baby?
Don't U want 2 ride?
Don't U want 2 ride with me baby?
Don't U want 2 ride?

This era is amazing! 2 great albums and lots of great outtakes as well. Prince really showed his genius early

OldFriends4Sale said:

Timmy84 said:

Obviously that's Gayle Chapman Prince is kissing lol

Woaw never seen this pic be4!!! Thanks!!!!!

Ramzoo said:

OldFriends4Sale said:

Woaw never seen this pic be4!!! Thanks!!!!!

There are about 4-5 shots of them kissing

Crazy You

U got a strange way about cha
Kinda crazy, but I love U just the same
Cuz U, oh U make me wanna do
Oh, everything
I'm just a crazy fool
Lost in a world of love I get from crazy U
Oh, I'm so strung out thinking 'bout the crazy things U do
Crazy U

© 1978 Ecnirp Music Inc. - BMI

Rolling Stone
-----

RECORDS

PRINCE
Warner Bros.

By Stephen Holden

Not only does Prince possess the most thrilling R&B falsetto since Smokey Robinson, but this nineteen-year-old. Minneapolis-bred Wunderkind is his own writer-producer and one-man band, playing synthesizer, guitar, drums and percussion. Whereas Prince's debut album (last year's For You) stressed his instrumental virtuosity, Prince teems with hooks that echo everyone from the Temptations to Jimi Hendrix to Todd Rundgren. But Smokey Robinson's classic Motown hits, in which the singer's falsetto signified his erotic thrall, are Prince's chief models.

The biggest difference between Robinson and Prince is the latter's blatant sexuality. Prince sings exclusively in falsetto. Instead of narrative ballads that trace the progress of relationships, Prince's songs are erotic declarations issued on the dance floor or in bed, virtually interchangeable arenas here. These compositions begin and end in sexual heat. The garish, synthesized textures of such tunes as "I Wanna Be Your Lover" and "Why You Wanna Treat Me So Bad?" don't so much imitate a band backing a singer as enclose his voice in a feverish calliope of the mind, underscoring the urgency of lyrics like "I wanna be the only one you come for," "Sexy dancer, when you rub my body/...it gets me so hot" and "I want to come inside of you." The simplicity of Prince's words, hooks and rhythms are pure pop. With a trace more sophistication, he could become a solo Bee Gees of the libido.

ROLLING STONE

Possessed: the Rise & Fall of Prince

Chapter 1 HOME

p 10-11

Prince's friend and surrogate brother, Andre Anderson, was also musically inclined, and the 2 began to jam together regularly in his mother's basement.

Upstairs, Prince shared a bedroom with Anderson. Despite being good friends, they were poor roommates; Anderson's side of the room was cluttered and disorganized, while Prince's was as meticulously ordered as a Marine barrack. Although he no longer lived with his father, Nelson's disciplined approach to life remained a significant influence on Prince, who sought greater order and privacy by moving into the basement...

Downstairs, he had much easier access to his instruments; already, Prince had started blending the distinction between home and musical workplace. Moreover, the basement became something of a private universe - a small slice of the world where he was in total control. A dark space with little natural light, it was nonetheless where he felt most comfortable, and it provided a prototype for the cloistered recording studios where he would spend the majority of his waking hours over the next thirty-plus years.

...

The Anderson basement - Prince's bedroom and rehearsal space - also represented his first attempt to create an alternative community based around music and, perhaps, sex. Years later in interviews, Prince would recall it as a hedonistic wonderland where he and Anderson engaged in carnal acts with a variety of girlfriends.

...

"My impression is that there were a lot of girls in that basement," said Howard Bloom, Prince's press agent during the 1980s. "He had grown up in the 1960's and the message was make love, not war. In the basement, he was going for liberation and entitlement to any sort of sexuality, pleasure, and enjoyment."

OldFriends4Sale said:

Omg!!! Rudeboy!!!

OldFriends4Sale said:

This one wasn't even 1/2 done yet before it closed... got lot's more 2 go

Minneapolis Genius ALPHA Studio 4.1979 LA
I Wanna Be Your Lover rel 8.1979
PRINCE 10.1979
When We're Dancing Close & Slow (Joni Mitchell Coyotte Hejiia1976)
the Capri Theatre Minneapolis
Jellybean Johnson Lincoln Junior High classmate
Andre Anderson, Morris Day
Wouldn't U Love 2 Love Me
$150.00
SOUND 80
Grand Central, Flyte Time,
5215 France Ave. 1978
Jamie Shoop Sue Ann Carwell David Rivkin
Gayle Chapman Tommy Vicari Kim Upsher Bobby Z
Matt Fink Dez Dickerson Andre Cymone
Warner Brothers We Can Work It Out
Leaving 4 NY
4 U overdubbed 46 times
"I was a physical wreck when I finished that record" -Prince Musician Mag
Oberheim synthesizer
Make It Thru the Storm -Susie Stone

My friend just gave me this album this summer, i guess its a keeper!!

rgsince81 said:

OldFriends4Sale said:

This one wasn't even 1/2 done yet before it closed... got lot's more 2 go

Minneapolis Genius ALPHA Studio 4.1979 LA

My friend just gave me this album this summer, i guess its a keeper!!

U can actually hear a lot of future Prince music in these songs