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I don't get this ... you are a moderator, so how come you are posting BOOTLEG covers ????
Cut the crap and stop doing this, as by your own community's rules I AM LOOKING FOR USED PRINCE CONCERT TICKETS ... https://www.facebook.com/...erttickets | |
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U sound like a big ole ass of celulite U would get it if you read the rules... How long have you been a member? When did it become against the rules?
ABSOLUTELY NO SOLICITING FOR BOOTLEGS.You want to discuss them? That's fine - but NO OFFERS TO COPY, NO REQUESTS TO COPY, NO "WHERE CAN I GET", etc. NO POSTING OF LINKS TO THESE SITES EITHER. Please be aware that the moderators here strictly enforce this rule.
4.9 Is it okay to talk about unreleased songs or albums (bootlegs) here? | |
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Thanks for that, I am flattered, just like a lot of people who do actually have a big problem with celulite.
In the near future, perhaps I will post all new bootleg releases, covers only, and will wait how long it takes before I get moderators emails, or get banned ..... I AM LOOKING FOR USED PRINCE CONCERT TICKETS ... https://www.facebook.com/...erttickets | |
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awww I'm sorry you have celulite,
as long as you follow the rules. Why are you acting like this is something new. Before I was a mod I posted and talked about bootlegs, who hasn't? Maybe you should have sent me an orgnote asking first, unless you did it to just try to cause trouble. Or better yet just read the rules. Wasn't there a topic recently of the Prince & the Revolution Feline jam session? Did it get locked? NOooooo, why? because it's not against the rules, and it had album work.
Wrong forum for this discussion sweetness | |
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September 11. 1987
Universal Amphitheater Los Angeles MTV Music Video Awards 1.Sign'O'The Times 2.Play In The Sunshine  Reseda Country Club, Los Angeles Aftershow 1. Forever In My Life 2. Love And Happiness 3. I Want To Take You Higher 4. Mother Popcorn 5. I'll Take You There | |
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Play in the Sunshine performance from the concert film Sign o the Times
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Shame the movie doesn't include ALL of the songs that were filmed!! | |
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Are any of them (outtakes) worthy of inclusion if the film was re-edited?
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With what I've seen I think he picked the best, I'd like to hear others opinions | |
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Was the aftershow filmed? | |
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Lol, thats put a completely different spin on the song for me | |
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lol I'm not even going to correct that lol that's hot | |
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I've not heard of it, if MTV was involved there probably would have been. Prince actually misses out on a lot of opportunities to get his popularity on a larger scale. Back then it would have been EASY for him to video tape concerts or/and put them on discs and sell them. Didn't have the technology we do know to pirate things. Back then it would have been easier for me to go ahead and buy it than try to get a black market copy | |
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Do U Lie? | |
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It was 7:45, we were all in line 2 greet the teacher Miss Kathleen Starfish and coffee, maple syrup and jam Cynthia wore the prettiest dress but different color socks CHORUS: Starfish and coffee Cynthia had a happy face, just like the one she draws CHORUS (La la la la...)
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Susannah Melvoin: Backing vocals Starfish and Coffee Lyrics co-written by Susannah Melvoin
Initial tracking took place on 20 April, 1986 at Prince's Galpin Blvd Home Studio, Chanhassen, MN, USA (three days after Crystal Ball), without the school alarm bell sound effect opening the song, which was added later. The track was initially included as the ninth track on the late April configuration of the Dream Factory album. It was kept for inclusion as the eighth track on the first disc on the 3 June, 1986 configuration and the seventh track on the 18 July, 1986 configuration. When the album developed into the triple-album Crystal Ball, the alarm bell opening was added, and the song was included as the sixth track on the first disc on the 30 November, 1986 configuration, which was eventually pared down and became Sign O' The Times. Prince re-recorded the song in Autumn, 1995, at Paisley Park Studios, Chanhassen, MN, USA, | |
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If you copy and paste text it is nice to mention the source. | |
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I get this information from PrinceVault
It referenced here all the time
the credits came from the album | |
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La, La, La, He, He, Hee (Extended Version)
While specific recording dates are not known, initial tracking took place in mid-January, 1987 at Prince's Galpin Blvd Home Studio, Chanhassen, MN, USA after completion of the Sign O' The Times album (during the same set of sessions that produced Come Home and overdubs onto 77 Bleeker St.). According to the liner notes of The B-Sides, the track was created as a response to a dare by Sheena Easton who claimed that Prince couldn't write a song from such a basic phrase (resulting in her writing co-credit).
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Dinner Party March 24,1987 TLM: You were part of an amazing dinner party on March 24 1987 that included Miles, Prince, Prince’s Dad, Sheila E and you. Was that the first time you met Miles? Eric Leeds: He had come by a rehearsal for the Sign ‘O’ The Times tour that afternoon and I was introduced to him then. I had gone home after rehearsal and got a call from one of Prince’s assistants, “By the way, Prince is inviting you to have dinner with him,” so I jumped in my car and went over to Prince’s house. I kinda think that Prince wanted me there to open up the conversation with Miles and get things rolling. Miles was as much a performer during that dinner as he ever was on stage. You couldn’t get him to shut up and it was very funny! There are some aspects of that evening that I’m not sure I want anybody else to know about, and if I do, it’s going to be in my book! [note that at present, Eric has no firm plans to write a book]. But basically the most interesting aspect of the relationship between Prince and Miles was the dance that they would do around each other. What Prince really related to about Miles was his character – his legacy, his mystique and everything that Miles represented as a personality. Prince saw in Miles so much of what he thought of himself – the person that goes against the grain, that’s opinionated, that doesn’t allow himself to be controlled by any aspect of the industry for his own artistic vision. And that’s very much what Miles saw in Prince. He saw a young version of himself but there was always something about the generational thing. It was like “The King is dead, long live the King.” You had these supreme egos that had an undying respect for each other but neither wanted to give it up to each other. So with Miles, you could almost see the cartoon balloon over his head saying: “Yeah you’re young and hip, but I’ve got all of these years of experience that you haven’t had yet.” While Prince was looking at Miles and saying “Yeah, you’re the icon – but you’re old! I’m the new version!” And it defined and characterised every aspect of their relationship and it was hilarious to sit back and watch that unfold. That was the biggest enjoyment for me – watching these two dance around each other. TLM: Any more recollections you want to share? Eric Leeds: At one point in the evening, Miles grabbed me by the arm and said: “Eric, let me see your carriage!” I’m looking at him and trying to be cool and I say: “My what?!!” And he says, “Your carriage! Show me how you hold your horn!” And then I realised: “Oh my God, he’s using an archaic definition of the word carriage. He said “Show me how you stand when you hold your saxophone.” Then he goes: “Do you do it like this?” And he mimicked the way a saxophone player holds his horn. I looked at him and laughed and then I said, “Is that the way I should hold it?” And he said “Yes,” and I replied, “Well Miles, that’s exactly how I hold it!” When we were sitting down the first thing I wanted to ask him was about the acid funk band with [guitarist] Pete Cosey [1973-1975], which is the band that I absolutely loved. I was one of the few people at the time that did! And Miles looked at me and said “You liked that band? Nobody liked that band! I never met anybody who liked the band. You liked that band?” I said “Miles, there were some of us who loved that band.” I also got the indication from his demeanour that that was a period of his life he didn’t remember too much about and what he did remember, he didn’t want to remember. I don’t think a lot of people realised that a lot of what Miles said, he said for effect. That he really wanted to say dumb stuff at times just to see how you would react or it was his way of making of point. So it was a case of trying to figure whether he was saying something for effect, or was heartfelt or was a direct response to a comment. I remember asking him “Are you into someone like [trumpeter] Lester Bowie? A part of me said “Lester Bowie comes from the Art Ensemble of Chicago, a kind of music Miles was known for disliking, so what will he say?” Miles changed his tone of voice and looked at me very seriously and said: “Why wouldn’t I like Lester Bowie?” But then it would not have surprised me if I saw an interview with him in a magazine the next week where he dissed Lester Bowie! Because he was going to say what he was going to say depending on how he felt or what he felt the purpose of the question was. It was an interesting night. | |
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