Sign ☮ the Times

Wear Something Peach & Black

Will anybody see The Dawn?

Without the help of a margarita or exstacy
Question - Does anybody know about the quake?

I took another bubble bath with my pants on
In a bed, on the stairs, anywhere, all right
If U set your mind free, baby, maybe U'd understand

The man in the moon is smiling
...tell'em U're goin' 2 the Crystal Ball
Juggling hearts in a 3-ring circus

Color U peach and black

Listen, 4 U naked I would dance a ballet
The more U love me, sugar, the more it makes me mad

It hurt me so bad when she told me with tears in her eyes

Ghettos 2 the left of us, Flowers 2 the right

They say that there's nothing better than sleeping on a rainy day
If God one day struck me blind, your beauty I'd still see

Cat Jill Jones Sheila E. Dr Fink Eric Leeds Madhouse
Camille Music
Hard Knock Life film

the Concert film & tour

Paisley Park

Possibly my favorite era. I love Sheila E., Cat, and Boni. She didn't take shit from nobody, Prince included. Those were heady times.

Sign o the Times©1987 Paisley Park Records
3.30.1987 released composed of 3 unfinished projects:Dream Factory(w/the Revolution) Camille Project & the Crystal Ball
http://prince.org/msg/7/331997 Dream Factory is an amazing album



Susannah Melvoin: Backing vocals on "Sign o' the Times" & "Starfish and Coffee"; co-lead vocals on "It's Gonna Be a Beautiful Night"
"Starfish And Coffee", Lyrics co-written by Susannah
Eric Leeds: All saxophones
Atlanta Bliss: All trumpets
Sheena Easton: Co-lead vocals on "U Got the Look"
Sheila E.: Drums and percussion on "U Got the Look", drums and "Transmississippirap" on "It's Gonna Be A Beautiful Night"
Clare Fischer: Arranger of strings for "Slow Love"
Wendy Melvoin: Guitar and backing vocals on "Slow Love"; tambourine & congas on "Strange Relationship"
Lisa Coleman: Backing vocals on "Slow Love"; sitar & wooden flute on "Strange Relationship"
Miko Weaver: Lead guitar on "It's Gonna Be a Beautiful Night"
Jill Jones: Co-lead vocals on "It's Gonna Be a Beautiful Night"
The Revolution: Performance of "It's Gonna Be a Beautiful Night"
Gilbert Davison, Todd Hermann, Coke Johnson, Brad Marsh, Mike Soltys, Susan Rogers and "the Penguin": Party voices on "Housequake"
Greg Brooks, Wally Safford, Jerome Benton and "6000 wonderful Parisians": Backing vocals on "It's Gonna Be a Beautiful Night"
Susan Rogers, Coke Johnson, and Prince: Engineer
Prince: All other vocals and instruments

"Slow Love" lyrics co-written by Carol Davis

It's Gonna Be A Beautiful Night" music co-written by Dr. Fink & Eric Leeds.

the 1st review I read of the Sign “☮” the Times show

PRINCE IN EUROPE: A PREVIEW OF HIS NEW SHOW

BY KURT LODER [Interview Magazine]




IT'S FOUR IN THE MORNING, May 15th, at Quasimodo, a small, black-walled Berlin jazz cellar, but the beer is still flowing, and fresh hash smoke curls languidly through the hot, stuffy air. Some 300 people are packed into the place, most of them lucky holdovers from a set much earlier in the evening by the expatriate American singer Joy Ryder. Now they are crushed around the club's tiny stage, staring in popeyed wonder at the totally unexpected mystery gig currently under way.

There are three men in long, hooded robes on stage -- one playing sax, another bass, the third wringing wondrous sounds out of a Fairlight synthesizer. There is an amazing woman playing drums -- it's Sheila E. And at center stage, wearing a rhinestone-spangled black leather jacket and at least three different kinds of dangling earrings, his heroically coiffed hair gathered into a small ponytail at the back, stands a little guy with a peach-colored guitar. Yes, it's Prince.

"Wanna go home?" he asks, peering out at the crowd with a coy smile.

"Nooo!"

"Me neither," he says, then glances at the band. "I think we oughta play the blues in G." A flurry of T-Bone Walker-style guitar lines suddenly fills the room, modulating quickly into a series of unmistakable Hendrixisms. The song is Jimi's "Red House," sort of. "There's a beach house over yonder," Prince sings, in a playful approximation of the original lyrics. "That's where my sugar stays...." He shouts out another verse or two and then takes off into a wild, glass-rattling guitar solo that makes jaws drop around the room and jacks up the temperature maybe another ten degrees.

It has been a long and amazing night, and there's still no end in sight. Many hours before, Prince and his new ten-member group, fresh from warm-up gigs in Sweden (they'll reach the U.S. sometime in August) -- played the fifth show of their 1987 European tour at West Berlin's Deutschlandhalle to a riotous response. It was Prince's first appearance in the divided city, and local scribes were already clapping together reviews centered on such words as genius and fantastic and marveling at the show's tech data: the thirteen trucks required to carry the elaborate stage set, the 240,000 watts of lighting, the 110,000 watts of amplification, the fourteen wardrobe trunks, two for Prince alone. In short, the first of Prince's two sold-out concerts in Germany's hippest city was an unqualified success -- at least for the approximately 12,000 people who danced and cheered their way through it.

The Prince camp, however, was less than totally pleased. There were some minor missed cues, and the rhythms of the tour hadn't yet settled into a satisfying groove. It had also been a disconcerting day: several members of the band had spent the morning visiting East Berlin and were still weirded out by the ugly hassling they got from the Volkspolizei gorillas on the eastern side of the Checkpoint Charlie border crossing. (Backing singer Cat Glover, who had rather rashly made the trip wearing a hot-pink suit and a white navy officer's hat, had been detained at length over a visa foul-up.) There was a certain fatigue factor at work as well. Three of the musicians -- bassist Levi Seacer, saxaphonist Eric Leeds, and keyboard phenom Matt Fink -- do double duty in Madhouse, the jazz-instrumental quartet that opens each show, and might have been subconsciously husbanding their energies in anticipation of this postconcert surprise gig that Prince had laid on. So, while the first concert at the Deutschlandhalle had been extraordinarily good by any normal standard, it hadn't been great -- which is Prince's standard.

But this surprise set at Quasimodo has been wonderfully invigorating. Madhouse opened up, blowing straight, muscular jazz and feeling more at home here than in front of the rock-funk crowds drawn to Prince concerts. Then Prince popped onstage, commandeered a synth and led the group into a steaming rendition of "Strange Relationship," from the Sign o' the Times album. That evolved into an extended jam ("Just keep on top of it!" Prince shouted), followed by the Hendrix workout. Next came a red-hot version of "Bodyheat," the James Brown dance classic, followed by a delicate and beautifully sung "Just My Imagination," the old Temptations hit, with more band members crowding onstage to join in. "Housequake," another song from the Sign LP, with Sheila E. whomping out a monster beat, loosened the roof on the place, and the closer, "It's Gonna Be a Beautiful Night," with Prince briefly taking over on drums, blew the sucker completely off. The crowd was a puddle of glee, most patrons unable to believe what they'd just seen (and free of charge). Then, quicker than you could say, "Elvis has left the building," Prince was gone.

This hour-long off-the-cuff jam -- a rare up-close demonstration of Prince's sensational powers as an instrumentalist, an improviser and (lest we forget) a singer -- was apparently just the tonic the whole troupe needed. By the following night, considerably refreshed and still buzzing from the Quasimodo gig, Prince and his band were primed to kill -- and proceeded, unforgettably, to do so.

The Friday-night crowd, another sellout, was already on its feet and screaming as an ocean of smoke poured out onto the stage. From somewhere within this impenetrable fog there erupted an abstract barrage of Hendrixian guitar sirens. A purple spotlight cut through the haze, revealing Prince in a long black leather coat and a pair of gold-rimmed glasses, playing his peach-toned axe. As the electro-thump drumbeat that animates the title track of Sign o' the Times boomed through the hall, he began singing, and a back-light spot flashed on, silhouetting Cat Glover -- clad in the black bra and bikini briefs she would wear through most of the show -- gyrating wildly on an elevated platform at stage right. As the number built to a crescendo, the rest of the group came trooping down a long, winding ramp at stage left, each pummeling a drum with marching-band precision. Joining Prince, they spread out n the stage, beating out a resounding tattoo. It was an exhilarating entrance.

Then the lights went out, and the extraordinary stage set sizzled to life. An elaborate cityscape built on two levels, it echoes the cover of Sign o' the Times: a towering, impressionistic metropolis festooned with flashing neon signs -- UPTOWN, FUNK CORNER, BAR & GRILL, GIRLS, GIRLS, GIRLS. With all the lights popping on and off, the effect was that of a giant pinball machine. The band launched into the rollicking "Play in the Sunshine." On the stage level were Prince, bassist Seacer, rhythm guitarist Miko Weaver and backup vocalists Glover (whose picture on the sleeve of the "Sign" single has been widely mistaken to be Prince in drag), Greg Brooks and Wally Safford (two former Prince bodyguards). Elevated above them, and all but buried within her drum set, was Sheila E. And on the second tier, high above the stage, stood the two horn players, sax man Leeds and trumpeter Matt "Atlanta Bliss" Blistan, and keyboardists Fink and Boni Boyer.

Over the next ninety minutes, Prince and his extraordinary group ran, jumped, crawled and danced their way tirelessly through nineteen songs, ten of them from Sign o' the Times. Some numbers (the almost balladic version of "Little Red Corvette," for instance) were essentially abbreviated acknowledgments of past hits, but Prince did pull out the stops for certain oldies -- in particular a thunder-and-lightning performance of "Purple Rain" turned the house into a swaying sea of upraised arms. Equally memorable was the furious run-through of "1999" that closed the main part of the show, and the ultrafunk attack on "Kiss" that ended the first encore.

But in general it was the new material that was most powerfully presented. "Housequake" lived right up to its title and then some. The razor-riffed "Hot Thing" and the irresistibly exuberant "I Could Never Take the Place of Your Man" came across as instant and undeniable hits. On a steamier note, "If I Was Your Girlfriend" provided a perfect erotic set piece: as the song slithered to a close, Prince and the barely clad Glover, embracing before a giant, pink plastic heart, slowly went tilting back upon it into an unambiguous missionary positions as two neon signs high above the stage alternately flashed the words SEX and LOVE.

Throughout all of this, the band was spectacular. Prince has been listening to a lot of Duke Ellington and preelectric Miles Davis lately, and the show, while louder and maybe even funkier than ever, was also mightily enriched with jazz flourishes. The result, quite often, was an almost orchestral rock-jazz synthesis that was both harmonically exciting and (thanks to Sheila E. -- surely the world's hottest drummer in high-heeled pumps) relentlessly funky.

And the best came last. Prince started "The Cross" alone and shirtless, strumming the simple opening chords on his guitar as lighting effects flickered behind the darkened cityscape above him. Then the song started to build -- drums wading in, then fully cranked guitars, then the full band -- until the number attained an enormous, hall-shaking roar, with Prince soloing off into the stratosphere as a shower of mulitcolored silk flowers rained onto the stage. From there, the band jumped straight into "It's Gonna Be a Beautiful Night," which had the whole crowd chanting and stomping along with such abandon that certain far sections of the balcony seemed in danger off crashing to the main floor. Prince was out the stage door, into the limo and halfway back to his hotel before the cheering stopped.

I wonder if he hadn't been confined by the record company and vinyl, what the album would've turned out to be like... I always think everything prior to Diamonds and Pearls would've had a few extra songs.

Wonder if he would wind up putting Dream Factory, Camille, and the original Crystal Ball out as he originally wanted it to be like, or he prefers how it is. I think putting those out as well as SOTT would be a cool collectors item. AND hearing it in 5.1!

I also think if he does put SOTT out on Blu Ray, (and hopefully they do a one night only screening in theaters), they put a bunch of bonus clips from the shows of that time period. Did he ever produce a "making of" documentary?

It would be awesome if he decided to do one of the "Welcome 2" shows doing all of SOTT from beginning to end.

dalsh327 said:

I wonder if he hadn't been confined by the record company and vinyl, what the album would've turned out to be like... I always think everything prior to Diamonds and Pearls would've had a few extra songs.

Wonder if he would wind up putting Dream Factory, Camille, and the original Crystal Ball out as he originally wanted it to be like, or he prefers how it is. I think putting those out as well as SOTT would be a cool collectors item. AND hearing it in 5.1!

I also think if he does put SOTT out on Blu Ray, (and hopefully they do a one night only screening in theaters), they put a bunch of bonus clips from the shows of that time period. Did he ever produce a "making of" documentary?

It would be awesome if he decided to do one of the "Welcome 2" shows doing all of SOTT from beginning to end.

I'm still hoping for a Blu Ray release of SOTT,a domestic release.Like you said,adding bonus clips from the film the were never before seen and a documentary.I had this idea lingering on my head for a time now.Hopefully,it will come to fruition!

^^^ there are definately outtakes from the film.

the band: l-back 2 l-front

Eric Leads [sax]came n2 the Prince camp in 1984 (Prince manager Alan Leeds is Erics brother also seen in the movie PR) 2nd half of the PR tour he would play sax on some songs. He was grafted n2 the protege group the Family and later into the extended Revolution for the Parade era. a jazz fusion (protege) group called Madhouse was formed around him via 1986/1987

Atlanta Bliss[trumpet]a friend of Erics performed on the Parade tour and was a sessions musician heard on Jill Jones album and a few other songs from the camp

Wally Safford[dancer/singer]friend of Prince and I believe previously a bodyguard. Appeared on the Parade tour and the videos Mountains Girls & Boys & Another Loverholenyohead. Prince constructed a song around his name.

Sheila E.[drums/percussion/vocals] met Prince in the late 1970's, they became friends and she became a protege via the Glamorous Life 1984 PR yrs she also sang colead on Erotic City and prior 2 SOTT released Romance 1600 & Sheila E. Her band toured with Prince opening mostly for the Purple Rain tour from there into the 1986 Parade years the bands combined on a good number of occassions to performs songs especially A Love Bizarre

Greg Brooks [see Wally Safford]

Dr. Fink[keyboards/synth]the band member with the seniority he started out with Prince's 1st live band for his album For You, credited with partial song writing, adding synth pieces, what more can I say about the Dr. Fink recorded toured appeared with Prince from For You till Diamonds & Pears/Nude Tour

Levi Seacer jr[bass]joined Sheila E's touring band for Romance 1600 and played occasionally with Prince's band on some 'Flesh' recordings

Boni Boyer[piano keyboards vocals]a member of Sheila E's SHEILA E band

Mico Weaver[guitar] started out as a sessions musician in 1984 the earliest poss 83 he toured with Sheila E's Glamorous Life band, played guitar with the Family live @ 1st Avenue, rhythm guitar on Mountains also appearing in the video, and was engrafted in2 the extended Revolution for the Parade tour he continued with Prince until the Graffiti Bridge/Nude tour.

Cat[dancer/singer] her dance's were created 2 Prince's music she met Prince in 1986 when invited to a dinner party at his house. She also appeared in Sheila E's Koo Koo video

OldFriends4Sale said:

the 1st review I read of the Sign “☮” the Times show

PRINCE IN EUROPE: A PREVIEW OF HIS NEW SHOW

BY KURT LODER [Interview Magazine]




IT'S FOUR IN THE MORNING, May 15th, at Quasimodo, a small, black-walled Berlin jazz cellar, but the beer is still flowing, and fresh hash smoke curls languidly through the hot, stuffy air. Some 300 people are packed into the place, most of them lucky holdovers from a set much earlier in the evening by the expatriate American singer Joy Ryder. Now they are crushed around the club's tiny stage, staring in popeyed wonder at the totally unexpected mystery gig currently under way.

There are three men in long, hooded robes on stage -- one playing sax, another bass, the third wringing wondrous sounds out of a Fairlight synthesizer. There is an amazing woman playing drums -- it's Sheila E. And at center stage, wearing a rhinestone-spangled black leather jacket and at least three different kinds of dangling earrings, his heroically coiffed hair gathered into a small ponytail at the back, stands a little guy with a peach-colored guitar. Yes, it's Prince.

"Wanna go home?" he asks, peering out at the crowd with a coy smile.

"Nooo!"

If only I could go back in time.

OldFriends4Sale said:

Mico looks....a bit weird....

Initial tracking took place on 15 March, 1986 at Prince's Galpin Blvd Home Studio, Chanhassen, MN, USA (four days before And How and Power Fantastic). It was the first track he recorded in his newly installed home studio.

The track was initially included as the fourth track on a late April 1986 configuration of Dream Factory, and as the album expanded, it was kept as the fourth track on the first disc on the 3 June, 1986 and 18 July, 1986 configurations. It was kept for inclusion as the fourth track on the first disc as the album developed into the triple-album Crystal Ball on the 30 November, 1986 configuration, which was eventually pared down and became Sign O' The Times.

The Ballad Of Dorothy Parker was planned as a single release also (likely as the album's fifth commercial single), but this release was abandoned.

The whole song sounds somewhat dull and murky because of a technical problem. The console for the newly built home studio arrived from Los Angeles as a skeleton, with the wires hanging out and all the parts in boxes. Everything was hooked up, but there was never any music ran through the console, before recording commenced. While installing there was a loss of power in the house. The console had one power supply for the positive side and another for the negative side, and unbeknown to technician Susan Rogers one of the power supplies didn’t come back up. Rogers noticed the music sounding flat, but didn’t want to ask Prince to stop recording so thing could be checked out. Not until after the day long recording session Rogers found out what the problem was. However Prince professed to like the recording.

Eric Leeds added a saxophone part to the song which was discarded. The song was also sent to Clare Fischer for his input and an elaborate horn arrangement was recorded, but Prince ended up not using it.

The song's title seemingly refers to Dorothy Parker, an American writer and poet, born 1893, "best known for her wit, wisecracks, and sharp eye for 20th century urban foibles", but this was unintentional. Prince wrote the song following a dream he had. He must have heard the name somewhere, but allegedly when asked at the time, it appeared he did not know about the writer Dorothy Parker. Susannah Melvoin explained to Prince who Dorothy Parker was.

The Ballad Of Dorothy Parker

Dorothy was a waitress on the promenade
She worked the night shift
Dishwater blonde, tall and fine
She got a lot of tips

Well, earlier I'd been talkin' stuff in a violent room
Fightin' with lover's past
I needed someone with a quicker wit than mine
Dorothy was fast

Well, I ordered - "Yeah, let me get a fruit cocktail, I ain't 2 hungry"
Dorothy laughed
She said - "It sound like a real man 2 me (U're kinda cute)
U're kinda cute, U wanna take a bath?" (Do U wanna, do U wanna?) ... Bath?

Oh, I said - "Cool, but I'm leavin' my pants on (What U say?)
Cuz I'm kinda goin' with someone"
She said - "Sound like a real man 2 me
Mind if I turn on the radio?"

"Oh, my favorite song," she said
And it was Joni singing, "Help me, I think I'm falling"
(Drring) The phone rang and she said
"Whoever's calling can't be as cute as U"
Right then and there I knew I was through (Dorothy Parker was cool)

Well

My pants were wet, they came off
But she didn't see the movie cuz she hadn't read the book first
Instead she pretended she was blind
An affliction brought on by a witch's curse
Dorothy made me laugh (ha ha, ha ha)
I felt much better so I went back 2 the violent room
(Tell us what U did, what U did) Let me tell U what I did

I took another bubble bath with my pants on
All the fighting stopped
Next time I'll do it sooner
This is the ballad of Dorothy Parker
(Dorothy Parker, Dorothy Parker, Dorothy Parker)
Dorothy Parker, Dorothy Parker, Dorothy Parker

Well
Dorothy Parker, Dorothy Parker
Well
Oh

© 1987 Controversy Music - ASCAP

Sign o the Times:Palais Omnisports de Bercy Paris, 6.17.1987

OldFriends4Sale said:

^^^ there are definately outtakes from the film.

Are any of them worthy of inclusion if the film was re-edited?

OldFriends4Sale said:

the man in yellow, isn't he wearin' Prince's outfit?

[img:$uid]http://img855.imageshack.us/img855/5505/17905749602086134418290.jpg[/img:$uid]

chelsearodgerslovesya said:

OldFriends4Sale said:

the man in yellow, isn't he wearin' Prince's outfit?

the man in yellow is Levi Seacer jr(bass) looks like it, but people in Prince's band have always worn same/similar outfits

chelsearodgerslovesya said:

OldFriends4Sale said:

the man in yellow, isn't he wearin' Prince's outfit?

[img:$uid]http://img855.imageshack.us/img855/5505/17905749602086134418290.jpg[/img:$uid]

I bought the Sign O Times tourbook yesterday at the Record Fair. This pic was also in the tourbook!! I love the SOTT era.

After all my listenings to this album, i have to say, it's good album, but something is wrong to me. Don't get me wrong, i like some songs like Forever In My Life, Adore or Hot Thing. For most of you, it's the best or the second one favourite album. I am just not a fond of Camille voice. I don't like his look, he looked like he got his clothes from rubbish. And about the whole compilation of an album, most of songs (if not all of them) were sung using his Camille voice, for me they don't fit to each other. I'm not a fan of Black Album either. I prefer his 90's stuff. You just got a point of view 21 century's teenager. But what do i know, i'm just a stupid teenager.

MUST.

BE.

REMASTERED.

NOW.

PLEASE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

chelsearodgerslovesya said:

After all my listenings to this album, i have to say, it's good album, but something is wrong to me. Don't get me wrong, i like some songs like Forever In My Life, Adore or Hot Thing. For most of you, it's the best or the second one favourite album. I am just not a fond of Camille voice. I don't like his look, he looked like he got his clothes from rubbish. And about the whole compilation of an album, most of songs (if not all of them) were sung using his Camille voice, for me they don't fit to each other. I'm not a fan of Black Album either. I prefer his 90's stuff. You just got a point of view 21 century's teenager. But what do i know, i'm just a stupid teenager.

This album is a compilation of different albums Dream Factory & the Camille Project that's why U have the different feels & styles

How does his clothing look like it's from rubbish?

And no most were not used with the Camille voice:

Housequake, U Got the Look, If I Wash Ur Girlfriend & Strange Relationship(the Dream Factory cut was not used with that voice) were the only ones

Initial tracking took place on 15 July, 1986 at Sunset Sound, Hollywood, CA, USA (the same day as the unreleased track Blanche). The track was initially included as the first track on the second disc on an 18 July, 1986 configuration of Dream Factory, and was kept for inclusion as the album developed into the triple-album Crystal Ball (included as the fourth track on the third disc on the 30 November, 1986 configuration), which was eventually pared down and became Sign O' The Times.

Sign ☮ the Times

Oh yeah!

In France, a skinny man died of a BIG disease with a little name
By chance his girlfriend came across a needle and soon she did the same
At home there are 17-year-old boys and their idea of fun
Is being in a gang called The Disciples
High on crack and totin' a machine gun

Time
Times

Hurricane Annie ripped the ceiling of a church and killed everyone inside
U turn on the telly and every other story is tellin' U somebody died
A sister killed her baby cuz she couldn't afford 2 feed it
And yet we're sending people 2 the moon
In September, my cousin tried reefer 4 the very first time
Now he's doing horse - it's June

Times
Times

It's silly, no?
When a rocket ship explodes and everybody still wants 2 fly
But some say a man ain't happy unless a man truly dies
Oh why?

Time
Time

Baby make a speech, Star Wars fly
Neighbors just shine it on
But if a night falls and a bomb falls
Will anybody see The Dawn?

Time
Times

Is it silly, no?
When a rocket blows and.. and everybody still wants 2 fly
Some say a man ain't happy truly until a man truly dies
Oh why, oh why?
Sign "O" the times

Time
Time

Sign "O" the times mess with your mind
Hurry before it's 2 late
Let's fall in love, get married, have a baby
We'll call him Nate
If it's a boy

Time
Times

Play In the Sunshine

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.

Oooh Doggies!
We wanna play in the sunshine
We wanna be free
Without the help of a Margarita or Exstacy
We wanna kick like we used 2
Sign up on the dotted line
We gonna dance every dance
Like it's gonna be the last time
We got 2 play in the sunshine
Turn all the lights up 2 10
I want 2 meet U (meet U), kiss U (kiss U),
love U (love U), and miss U (miss U)
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 2 night
I'm gonna find my 4-leaf clover
Before my life is done
Lyrics www.allthelyrics.com/lyrics/prince/
Some way, some how, I'm gonna have fun

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 (somehow)

Aah, pop goes the music
When the big white rabbit begin 2 talk
And the color green will make your best friends leave ya
It will make them do the walk
But that's cool
Cuz one day, everyday will be a yellow day
and let's play

We gonna play in the sunshine
We're gonna get over
I'm feelin' kind of lucky 2 night
I'm gonna find my 4-leaf clover
Before my life is done
Some way, some how, I'm gonna have fun

play, play, play, play, play, play, play
We gonna play in the sunshine
We're gonna get over
I'm feelin' kind of lucky 2 night
I'm gonna find my 4-leaf clover
Before my life is done
Some way, some how, I'm gonna have fun

(play), (play),
(play) no, (play) no, (play) no
(come on, play) no!, (play) no!, (playplayplay) Yes!

Drummer, do your thang
Drummer, drummer, do your thang
Drummer, drummer, drummer
can I get some of that?

Let's get out of here (yeah)
(lalalalalalala play, laugh in the sunshine)
we're not afraid 2 (play, laugh in the sunshine)
we are going 2
(play, laugh in the sunshine)
(play, laugh in the sunshine)
la la la