KoolEaze said:

rap said:

What do the titles in Purple signify?

Sign of the Times album songs?

Was SOTT played/filmed at that concert as I have not come accross it??

rap said:

KoolEaze said:

Sign of the Times album songs?

Was SOTT played/filmed at that concert as I have not come accross it??

Nah, but the concert was filmed during that era, hence the choice of songs. I really like Prince´s rendition of If I Was Your Girlfriend during this concert. The Camille version is cool but this one is a little bit better. I also prefer the movie version over the album version.

KoolEaze said:

databank said:

I never really understood what made the relationship between these 2 so fascinating to everyone back the and until now. Prince collaborated with many other Afro-American icons, starting with James Brown, George Clinton and Stevie Wonder, but people didn't trip on this. And Prince's musical relationship to Miles wasn't really a big thing: 2 studio collabs without even being in the studio together, a single live performance together, Miles covering 2 unreleased Prince songs live and that's pretty much it. It's not as if they'd recorded a full album or something.

So what? Where did all the hype come from in the first place?

So true. I guess it has more to do with the similarities between them, their mutual respect and legend status, their eccentricities, both are Geminis, both were womanizers and unpredictable etc. etc. etc.

I never understood the fascination either.

By the way, I don´t think Prince ever collaborated with James Brown, except for that little incident with MJ....which can hardly be considered a collaboration.

He did when he remixed Brown's duet with Aretha Franklin back in 89 (http://www.princevault.com/index.php/Gimme_Your_Love). Prince more rerecorded the song than remixed it actually, and you can feel he worked hard at making a VERY funky piece, which it is, knowing who he was remixing.

databank said:

I never really understood what made the relationship between these 2 so fascinating to everyone back the and until now. Prince collaborated with many other Afro-American icons, starting with James Brown, George Clinton and Stevie Wonder, but people didn't trip on this. And Prince's musical relationship to Miles wasn't really a big thing: 2 studio collabs without even being in the studio together, a single live performance together, Miles covering 2 unreleased Prince songs live and that's pretty much it. It's not as if they'd recorded a full album or something.

So what? Where did all the hype come from in the first place?

Good question. I don't get it either.

OldFriends4Sale said:

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.

I dunno, to me Eric always comes off like a pompous ass . “Oh my God, he’s using an archaic definition of the word carriage"

V10LETBLUES said:

I dunno, to me Eric always comes off like a pompous ass . “Oh my God, he’s using an archaic definition of the word carriage"

I´ve had the pleasure of meeting Eric Leeds two times and had a chat with him and he came across as a really nice, honest and humble person with a great sense of humor and a deep understanding for Prince´s fans and what they like. Not pompous at all, on the contrary, very, very humble.

V10LETBLUES said:

OldFriends4Sale said:

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.

I dunno, to me Eric always comes off like a pompous ass . “Oh my God, he’s using an archaic definition of the word carriage"

It's clear, Eric is in awe of Miles, so I don't see how his use of the word archaic spells pmpous ass

I would not know what carriage meant in any form if Miles said that to me

ar·cha·ic (är-kk) also ar·cha·i·cal (--kl)

This is pretty fascinating stuff. I wasn't aware they actually performed together - even as a huge Miles aficionado, I was under the impression it was one of those encounters that never actually came to fruition.

That said, I was never a fan of 80's Miles, or the collaborations he did during that time - they're mostly just him playing that classic muted trumpet "over" a song...nothing special, really.

Can I Play With U? -Red Riding Hood

Can I Play With U? is an unreleased song recorded on 26 December, 1985 (the same day as A Couple Of Miles, two days before Slaughterhouse, U Just Can't Stop, Run Amok, Mobile, Madrid, Breathless, High Calonic and 12 Keys) at Sunset Sound, Hollywood, CA, USA, with saxophone overdubs by Eric Leeds on 27 December, 1985. The track was sent to Miles Davis (in both instrumental and vocal versions) in January, 1986, following a request from Warner Bros. for Prince to contribute to Davis' first Warner Bros. album (called The Perfect Way at the time, before being renamed Tutu).

The tracks were accompanied by a note from Prince, reading: "Miles, even though we have never met, I can tell just from listening to your music that you and I are so exactly alike that I know whatever you play would be what I'd do. So if this tape is of any use to you, please go ahead and play whatever you feel over it. Because I trust what you hear and play."

Miles Davis added trumpet to the song on 1 March, 1986 at Capitol Recording Studio, Los Angeles CA, USA. Prince contributed additional material to the track to extend it in 1986, but neither Davis nor Prince were very excited by the final result, and after hearing the rest of the finished album, Prince asked that his track be removed, as it didn't fit in with the style of the rest of the album.

No!
(Prince)
Yeah, yeah, yeah!

Saw U standin' over by the wall
Lookin' like U havin' no fun at all
If U want me and U have The Ball
Just give me your number baby, I'll give U a call

Hey baby, can I talk 2 U?
Can I walk with U?
Can I stay with U?
Can I play with U 2night?
No!
Lord, I wanna play with U
No!
Can I play with U?

I noticed that U were not havin' fun
Maybe it's because U ain't talkin' 2 anyone
Just give me a sign, pretty mama, and I'll be your number one
U and I creep 2 my house and then we'll take off everything

Hey baby, can I talk 2 U?
Can I walk with U?
Can I stay with U?
Can I play with U 2night?
No! Shh....
Can I play with U, mama?
Pretty mama
No! No!

I can tell U never really understood
The difference between bad and good
I can turn U out girl, U know I could
Let me talk, let me talk, let me talk, can I talk 2 U?
Oww!
I wanna play with U
Lemme talk, lemme talk, lemme talk 2 U, mama

Oww!

Can I Play With U?

Recorded in late December 1985 for Miles Davis for possible inclusion on his Tutu album, Miles and his keyboard player, Adam Holzman, added their parts to the tune, but when Prince heard the other material, he did not think his number fit and pulled it. The lyrics has Prince's speeded up vocals making advances on a girl, while the song is highlighted by Eric Leeds' funky sax riff and Prince's frenzied guitar playing.

rap said:

KoolEaze said:

Sign of the Times album songs?

Was SOTT played/filmed at that concert as I have not come accross it??

check out http://www.princevault.co...mber,_1987

ROLLING STONE (1985)

BY NEAL KARLEN

Do you read most of what's been written about you?

A little, not much. Sometimes someone will pass along a funny one. I just wrote a song called "Hello," which is going to be on the flip side of "Pop Life." It says at the end, "Life is cruel enough without cruel words." I get a lot of cruel words. A lot of people do.

I saw critics be so critical of Stevie Wonder when he made Journey through the Secret World of Plants. Stevie has done so many great songs, and for people to say, "You missed, don't do that, go back" -- well, I would never say, "Stevie Wonder, you missed." [Prince puts the Wonder album on the turntable, plays a cut, then puts on Miles Davis' new album.] Or Miles. Critics are going to say, "Ah, Miles done went off." Why say that? Why even tell Miles he went off? You know, if you don't like it, don't talk about it. Go buy another record!

Not long ago I talked too George Clinton, a man who knows and has done so much for funk. George told me how much he liked Around the World in a Day. You know how much more his words meant than those from some mamma-jamma wearing glasses and an alligator shirt behind a typewriter?

at Paisley Park

Great insight on & Miles unique relationship..