New topic
Printable
| |
- E-mail - orgNote -  Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
Friend, Lover, Sister, Mother, Wife
Initial tracking dates are unknown, but it is likely that the track was recorded in late 1995 or early 1996 at Paisley Park Studios, Chanhassen, MN, USA. According to the Emancipation booklet, the track was "written in Tokyo while she (Mayte) slept" and "recorded in secrecy", placing the writing in early January, 1996 (while in Tokyo on the Japan '96 tour); it is likely that he recorded a vocal or acoustic version at that point before recording the studio upon returning to the USA, but this is speculative. The studio version of this track was premiered at | |||||||
| - E-mail - orgNote - Report post to moderator | |||||||
Album Celebrates A New Freedom
He gazes at a huge photo of Mayte on his wall. She inhabits his music and conversation and inspired Paisley Park's conversion from corporate austerity to a kaleidoscopic fun house with cloud-mottled blue walls. No wonder he's ditched Prince, the rake whose salty tunes celebrated promiscuity. The Artist is plum bewitched and happily monogamous. "There's always been a dichotomy in my music: I'm searching for a higher plane, but I want the most out of being on earth," he says. "When I met Mayte, I looked at my situation and wondered what I was running from. Am I lonely? Is that why I surround myself with so many friends? "I don't think I knew the answer until I got married and made the commitment: 'I will take care of you forever.' When she walked down the aisle, and I looked into the eyes of this woman-child, I could see our future and the eyes of our child. At moments like that, you are floating. There is no ego."
He was not instantly smitten when Mayte joined his troupe as a teen. "She was my friend and my sister for years, the one person who never showed any malice toward anyone." Gradually, he recognized their destiny. He rattles off a list of coincidences that rival the JFK-Lincoln parallels: He was christened Prince. Her childhood nickname was Princess. Their fathers are both named John. His mother is Mattie, oddly similar to Mayte. Her mom is Nelle, akin to his surname, Nelson. Though The Artist rails against the record industry in songs like "White Mansion" and "Slave," most tunes wax romantic. Mayte inspired "Let's Have a Baby," "Sex in the Summer" and "Friend, Lover, Sister, Mother/Wife." On "Saviour," he coos, "We're like two petals from the same flower."
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
Album Celebrates A New Freedom
Mayte Garcia, the 23-year-old dancer he married Feb. 14, represents his heart's emancipation. She recently gave birth to their first child. That's all the father will divulge on the topic. No name, gender or birth date. Tabloids claim the couple's baby boy was born prematurely Oct. 16 with severe birth defects. "Mayte and I decided it's cool to talk about ourselves but not about our children," he says wearily. "There is a rumor out that my baby died. My skin is so thick now. I care much more about my child than about what anyone says or writes."
NEW YORK TIMES A Reinventor of His World and Himself
On Valentine's Day he married Mayte Garcia, who had been a backup singer and dancer in his band. A few months ago, he announced that she was pregnant and that the child was due in November. Since then he has refused further comment. "I'm never going to release details about children," he says. "They'll probably name themselves." On the album, he proposes marriage in "The Holy River," a rolling midtempo song akin to Bruce Springsteen's quieter side. Later, a sparse, tender piano ballad begs, "Let's Have a Baby". Asked about that song, he talks about the couple's wedding night. "I carried her across the threshold and gave her many presents," he says. "The last one was a crib. And we both cried. She got down on her knees in that gown, and I did next to her, and we thanked God that we could be alive for this moment."
Hello (UK)
THE ARTIST FORMERLY KNOWN AS PRINCE:
(Typed up by Simon Quinn)
The couple were delighted when Mayte, 23, fell pregnant and they planned to celebrate the birth by recording 8 children's songs and developing children's fiction. But tragedy struck in October when their baby boy was born badly brain damaged, a month premature. Characteristically, the singer refuses to confirm or deny reports that the baby died a week after birth. But his commitment to work remains firm as he continues to promote his new triple CD and cassette Emancipation. Do you have a favourite song? Not really, but I like the second CD best. I could say "The Holy River" -- right in the middle after 5 romantic numbers -- is my favourite, but then I also like "Let's have a baby." Just before our wedding, Mayte spent a few days away from our home so I made a lot of changes to our house -- especially in our bedroom, where I placed a crib. It was beautiful. Then, on our wedding night, Mayte was still wearing her long white dress when I brought her into the room and played her "Let's have a baby" for the first time. She couldn't stop crying -- it was an unforgettable moment.
El Pais [Spain] - December 15, 1997 An Interview With 0{+> [Translated by Raul Gonzalez]
B.G.: Are you afraid of getting older? 0{+>: I love getting older. That means more music, more children, more experiences... more everything! I want to live so many, many years...... B.G.: Don't tell me: Three thousand years. 0{+>: Exactly! You have hit the nail, man!
MSN MUSIC CENTRAL EMANCIPATION CONVERSATION
His split with Warner was only one high note in 1996. The other was his marriage to muse and former belly dancer Mayte. He married the 22-year-old Puerto Rican beauty on Valentine's Day, then happily awaited the birth of their first child. That event proved tragic, though The Artist, 38, never confirmed any details of his baby boy's widely reported death from severe birth defects.
Everyone is talking about your baby except you. Why not? Mayte and I decided it's cool to talk about ourselves. My child hasn't told me it's all right to talk. I care much more about my child than about what anyone says about me. Do you want more kids? Yes! The more the merrier. My child will have so much fun, all the fun I never had as a child.
| |
| - E-mail - orgNote - Report post to moderator |
UNLEASHING BEINGSThe Artist Formerly Known As Prince Roseland Ballroom 1/11/97 New York City It was sometime around 10:30 PM huddled behind a sizable sound board amidst the screaming throng, when a bolt of memory crashed into the side of my skull with the sheer force of a gale wind. It was something Tori The words jumped off the page that day as clearly as they rammed a particularly tender side of my brain, which was being throttled by the second hour of another high-octane show by The Artist, the first musical event staged in New York City since the appellative death of Prince Rogers Nelson. This is what my life is, Amos said. These beings. They come in and out like fragments. My eyes were transfixed by the five-foot dynamo dressed in a black pinstripe outfit with tails and a high collar, who hadnt stopped moving to the push and pull of the rhythms pulsating from his five-piece band, as if he were willed by the music like a marionette dangling from invisible strings. Surely The Artist had reinvented himself for the duration of his 17-year career, changing fashion and hairstyle with the same schizophrenic passion as David Bowie, but most of all he had continually transformed himself musically, crawling inside various genres and striking its muse like the second and third comings of Frank Zappa. These songs, hundreds a year, were pouring out of him like separate beings, many fragments of one man. The other words which came to mind just then were the ones written in bold print on the press pass folded in the breast pocket of my winter coat: EMANCIPATION CELEBRATION. The show was in every sense an outpouring of freedom and intense expression from the opening note of Jam Of The Year, which by no coincidence is the overture to The Artists latest collection of beings. The 36-song opus, arguably his finest and most consistent body of work since the brilliant, Sign O The Times nine years ago, marks the end of his epic battle with Warner Bros. and supposedly heralds the long-awaited DAWN; first promised on the inside jacket of his most popular record, Purple Rain. This is not a promotion for anything, The Artist told the eclectic, sold-out crowd. From now on this is all about love for one another. This prompted even the most cynical among us, who might have raised an eyebrow or two when first hearing about the mans name becoming a self-styled symbol, to feel the effusive energy and burning spirit. What was more of an impromptu show than his polished tours, it pulsated without the usual pretense. Unlike the stage epics Id seen in the past, dating back to the original Revolution, this was an isolated event, less contrived and vibrating with a looser array of songs and jams. The latest incarnation of The Artists New Power Generation band featured two keyboards, drums, and exceptional female guitar and bass players. Tight as a glove and responding to the slightest movement of The Artists hip grind, or wave of his hand, this musical ensemble, like so many of his in the past, was akin to a collection of sonic pinball ornaments throwing around staccato breaks and flowing changes in key and tempo. Each song segued perfectly into another with The Artist as the disc-jockey; conjuring up an invisible conductor to some triumphant symphony in his head. He jumped onto piano, guitar, and bass, to initially spice up the musical soup, but would inevitably explode over the top as if the entire song was written for its purpose.
The unexpected treat of the relaxed atmosphere was the passionate rediscovery of older numbers like Purple Rain, and B-side rarities like 17 Days, and How Come U Dont Call Me Anymore? The latter becoming an all-out gospel rendition complete with searing organ yelps and jazzy chords played by The Artist, who leaned purposely over a powder-blue baby grand piano while playfully camping with the audience. Having disdained his bulging catalogue the last few years there seemed–on the night– to be also an emancipation of fan favorites like If I Was Your Girlfriend, The Cross, Sexy MF, Take Me With You, and Raspberry Beret, to which he let the crowd sing the infectious chorus and asked genuinely surprised, You remember this? The highlight of the memory-lane portion of the show rested in a soulful and sexually charged medley of The Artists finest romantic ballads, beginning with a 10-minute instrumental wherein every member of the band took a solo. The almost half-hour ride through songs like Do Me Baby, Adore, and Scandalous presented a side of The Artist which is often taken for granted, since these are the tunes he can seemingly pen during a lengthy yawn. But the joint truly imploded whenever one of his new songs would crash the party with a savage kick drum and an ungodly groove, illustrating some of The Artists slickest, most funky licks in years. Through each scorching number he looked reborn, not just as an artist, but as a person; removing the screen hed so carefully built between himself and the audience for so many years. Songs like Get Yo Groove On, Right Back Here in Your Arms, and Mr. Happy, which recall the sounds of James Brown, Stevie Wonder, and Earth Wind an Fire still leaves his stamp in the equation, proving his exceptional songwriting prowess, while exhibiting why he is the perfect performer; an amalgamation of talent and gall enough to carry an abuse of boundaries to a new level. Before the night was over he took a moment to address his new Love 4 One Another foundation, which will help the needy while imploring everyone to leave a better person. This may be commonplace at a Bruce Springsteen outing, but is downright shocking coming the man who has had his share of positive messages draped with flash and metaphor. There was a moment during the particularly scathing Face Down in which he rapped vitriol against the cold, bottom-line of the music business, but by leading the audience inside his fight for creative freedom and emotion expression, the fragments became one. He was free, at least thats what he kept telling us, developing brand new counter melodies and rhythms by coaching us through sing-alongs and chants. It was then, allowed to peer into the mind of one of pop musics true geniuses, those lucky enough to attend could clearly see all the fragments and beings forever binding the music with the composer. | |
| - E-mail - orgNote - Report post to moderator |
Amos had told The Chicago Tribune in response to a question about the source of creativity.
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
Damned If I Do
Damned if I do
| |
| - E-mail - orgNote - Report post to moderator |
Prince at the VH1 awards WENN
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
It's courtin' time
| |
| - E-mail - orgNote - Report post to moderator |
| |
| - E-mail - orgNote - Report post to moderator |
| - E-mail - orgNote - Report post to moderator |
Although it was an exciting time when this came out, this is/was the end of the Prince I grew to love musically. This is when he stopped being the shepherd, and became a sheep. He gave up his title of musical genius, and turned into just another R&B artist. If youre a fan of mainstream R&B, then you couldn't have asked for a better album. But if you're looking for a classic Prince album, well you won't find it here. Yes, he's still got it when it comes to live performances, but in the studio he's never recovered since.  | |
| - E-mail - orgNote - Report post to moderator |
For *me* Emancipation is one of my least liked Prince albums. I confess to preferring rockier Prince and as such felt this album lacked energy. Most of the tracks are ballads or mid tempo. Following on from the energy filled angry music of Come, TGE and C&D this came as a bit of a shock. Obviously Prince was happy but in terms of how the music turned out I think *I* preferred angry Prince! 'I loved him then, I love him now and will love him eternally. He's with our son now.' Mayte 21st April 2016 = the saddest quote I have ever read! RIP Prince and thanks for everything. | |
| - E-mail - orgNote - Report post to moderator |
1. 7. 1997
| |
| - E-mail - orgNote - Report post to moderator |
^ The Rosie O'Donnel show was great, funny and the performances were soooo cool. Prince 4Ever.  | |
| - E-mail - orgNote - Report post to moderator |
[img:$uid]http://img.photobucket.com/albums/v67/ecnirp2004/Prince/prince-holyriver.jpg[/img:$uid] Prince 4Ever. | |
| - E-mail - orgNote - Report post to moderator |
POP/ROCK ALBUM REVIEW 'Emancipation' proclamation: Outstanding Only a slave to the beat could create the liberating sonic spree on Emancipation (**** out of four). Released Tuesday, the three-hour, three-CD set by the artist formerly known as Prince is astounding in both its stylistic breadth and disciplined focus.
The Artist freely roams genres, moods and themes in 36 songs that capture his funk essence and distill his vision while showcasing a rare ability to master and manipulate any motif. In addition to honing his familiar rock/soul signature, he boldly tackles rap in Mr. Happy, Spanish rhythms in Damned If (Eye) Do, jazz swing in Courtin' Time, techno in Slave and house music in Sleep Around.
As usual, the sexual and the sacred intermingle in his tunes, though now there's a compelling emphasis on the joys of monogamy and commitment, from the sweet piano ballad Let's Have a Baby to the achingly devotional Friend, Lover, Sister, Mother/Wife.
The sprawling collection, produced, arranged, composed and performed almost entirely by The Artist, is rife with crunch and simmer, pelvic thrusts and fluttery heartbeats, euphoria and pique. Savion Glover of Broadway's Bring in 'da Noise, Bring in 'da Funk tap dances the percussion on a show-stopping, polyrhythmic Joint 2 Joint. A silky falsetto pierces Get Yo Groove On, and a sultry sway defines Sex in the Summer and the grinding In This Bed (Eye) Scream.
He reinvents four diverse songs popularized by other artists, including a playful cover of the 1972 Stylistics hit Betcha By Golly Wow! and a loving (Eye) Can't Make U Love Me, the Mike Reid tune Bonnie Raitt made famous. The Artist's gutsiest move may be unleashing a triple album, even one that's attractively priced at $25, mere months after Chaos and Disorder stiffed, selling only 100,000 copies. If Emancipation flops, it could signal the end of his Purple reign, but only commercially. Artistically, the royal funkster has lost none of his majesty.
By Edna Gundersen, USA TODAY | |
| - E-mail - orgNote - Report post to moderator |
[img:$uid]http://img.photobucket.com/albums/v67/ecnirp2004/Prince/page7-2.jpg[/img:$uid] Prince 4Ever. | |
| - E-mail - orgNote - Report post to moderator |
Anyone remember this??? Prince 4Ever. | |
| - E-mail - orgNote - Report post to moderator |
April 10. 1997 Check out post #55 I have more pics there | |
| - E-mail - orgNote - Report post to moderator |
^ thank you, OF4S Prince 4Ever. | |
| - E-mail - orgNote - Report post to moderator |
It's interesting how his Emancipation look started out very 'mellow' and simple looking, then it's like he got bored and the look changed into a lot of what looks like Prince | |
| - E-mail - orgNote - Report post to moderator |
thedance said: ^ thank you, OF4S beautiful | |
| - E-mail - orgNote - Report post to moderator |
