thanks for the great replies

madhouseman said:

“When I got there, her and Jimmy Iovine couldn’t figure out how to work the drum machine,’ added Prince, ‘because people were using live drums at that point… so I went down there and programmed it for them and pretty much played most of the song there in about 20 or 30 minutes.”

“He came in, listened to the song you know, very cool, very quiet,’ fleshed out Nicks. ‘And I said, "Do you hate it?" and he said "No, it's okay, it's cool" and they set up an OB8 for him and he played the doo doo doo doo doo, the 1/16 note thing and then, he did it like one time. And then he went to the middle part where it goes deedat deedat deedat deedat.”

Stevie would eventually add “not only did Prince make it up right on the spot, he played it with only two fingers. Then he left.”

I'm looking forward to your book, how's it coming?

I have never heard this part of the story, where is it from? A published interview?

databank said:

madhouseman said:

“(Prince) spoiled me for every band I've ever had because nobody can exactly re-create - not even with two piano players-what Prince did all by his little self.”

Stevie Nicks

STAND BACK was a result of Stevie Nicks’ January 29^th wedding. "I'm driving to my honeymoon night in Santa Barbara from L.A., and 'Little Red Corvette' comes on," Nicks remembered. "We're like, oh my God, it's Prince! So I start singing all these words, and I'm like, 'Pull over, we have to get a cassette player! And we have to record this!' I'm writing in the car — here we are, newlyweds, and we get to our hotel and we're setting up the tape recorder and I've made up my whole new melody to [the song].”

When she returned to Los Angeles, she asked and was given Prince’s private phone number (“I'm Stevie Nicks, I can get it.”). “I told him: 'I'm recording this song and I wrote it to "Little Red Corvette" and I'm giving you 50 percent of it and I want to know if you'd like to come play on it on one of the next three nights.' He was there in an hour.”

“When I got there, her and Jimmy Iovine couldn’t figure out how to work the drum machine,’ added Prince, ‘because people were using live drums at that point… so I went down there and programmed it for them and pretty much played most of the song there in about 20 or 30 minutes.”

“He came in, listened to the song you know, very cool, very quiet,’ fleshed out Nicks. ‘And I said, "Do you hate it?" and he said "No, it's okay, it's cool" and they set up an OB8 for him and he played the doo doo doo doo doo, the 1/16 note thing and then, he did it like one time. And then he went to the middle part where it goes deedat deedat deedat deedat.”

Stevie would eventually add “not only did Prince make it up right on the spot, he played it with only two fingers. Then he left.”

Ultimately, they didn't use everything he played, but his synth part is prominent in the final mix.

Stevie’s 1991 Timespace tour book summed up the way the song came together. “It never belonged to me, it has always belonged to the world~and to Prince, who inspired the entire song.”

"Prince and I became really good friends," Nicks eventually proclaimed to MTV news, "and he actually gave me a cassette, and said, 'There's a song on it, and I would like you to write.' I take it home and put it on, and I'm listening to this like amazing song ... and it's 'Purple Rain'! And I'm like, I can't write a song to this! It [wasn't] 'Purple Rain' yet, but it [was] the track that became 'Purple Rain.”

There is more to it, but this is the basic story.

(from an early, unpublished draft of PRINCE: The Studio Sessions by Duane Tudahl)

Awesome! Thx so much! I really hope u can finish this book one day, it could be the next big thing next to Per Nielsen's DMSR (hopefully going beyong 87)!

Right now the only part being planned is 1983/84. That is volume 1 which covers Purple Rain, ATWIAD, The Time, Apollonia 6, The Family and other stuff. If the book is successful, other volumes may follow, but it is a lot of detailed work so we'll see how it goes. Hopefully volume 1 will be out this year. Thanx.

madhouseman said:

databank said:

Awesome! Thx so much! I really hope u can finish this book one day, it could be the next big thing next to Per Nielsen's DMSR (hopefully going beyong 87)!

Right now the only part being planned is 1983/84. That is volume 1 which covers Purple Rain, ATWIAD, The Time, Apollonia 6, The Family and other stuff. If the book is successful, other volumes may follow, but it is a lot of detailed work so we'll see how it goes. Hopefully volume 1 will be out this year. Thanx.

ONE volume for TWO years of sessions only?! Man that promises to be the most detailed work EVER regarding P's recording sessions! I can't wait for it to be out, I'll buy it the minute it's out (PLEASE make it available in ebook!). I really wish it will be promoted highly on the Org and other fan sites, everyone needs to support your hard work and make sure it'll only b the first volume in a long series!

madhouseman said:

Right now the only part being planned is 1983/84. That is volume 1 which covers Purple Rain, ATWIAD, The Time, Apollonia 6, The Family and other stuff.

Must. Have. One.

Please keep us updated.

BobGeorge909 said:

In finally b listened to this song for the very first time just now. I hadn't heard it because of a known distaste I have for stevies voice. I've made a mistake and should have stayed the course. Her voice....WOW...how can ANYone bear that voice for more than 2 seconds is beyond me. She sounds like a dying witch in the middle of having her vocal chords ripped out. Flat out horrid. I hope in the future I can keep the promise to myself of never listening to a Stevie nicks song again.

Stevie Nicks has one of those really distinctive voices that people either love or hate.I think her voice works better with the Fleetwood Mac material."Stand Back" is more of a dance/pop track and I gotta admit,her vocals sound kinda "off" at certain points in the song.She doesn't sound completely comfortable/confident singing this type of song.

databank said:

ONE volume for TWO years of sessions only?! Man that promises to be the most detailed work EVER regarding P's recording sessions! I can't wait for it to be out, I'll buy it the minute it's out (PLEASE make it available in ebook!). I really wish it will be promoted highly on the Org and other fan sites, everyone needs to support your hard work and make sure it'll only b the first volume in a long series!

This covers over 150 sessions and yes it is very detailed. I've interviewed over 50 band members, singers, musicians, engineers, etc. and have compiled info from Warner Brothers, the Library of Congress and the various studios involved. My goal is to make it the most detailed work about his studio sessions until he writes one himself. I want this to be the sort of book I'd want to read filled with anectdotes, song origins, insights and observations from those who were there, and as many quotes by Prince and others as possible. I don't want it to be a book that relies on UPTOWN MAGAZINE'S 'THE VAULT' (which I helped research). I want it to be an in depth look at each day that Prince was working during those two years. I have mined over 500 articles/interviews from magazines and other Prince books looking for pieces to the gigantic puzzle. I've tried to correct incorrect information and I hope that I've created something similar to THE BEATLES RECORDING SESSIONS. Thanx for the well wishes, and I can guarantee that I'll be pimpin' this thing when it comes out here on the org and everywhere else I can.

V10LETBLUES said:

madhouseman said:

“When I got there, her and Jimmy Iovine couldn’t figure out how to work the drum machine,’ added Prince, ‘because people were using live drums at that point… so I went down there and programmed it for them and pretty much played most of the song there in about 20 or 30 minutes.”

“He came in, listened to the song you know, very cool, very quiet,’ fleshed out Nicks. ‘And I said, "Do you hate it?" and he said "No, it's okay, it's cool" and they set up an OB8 for him and he played the doo doo doo doo doo, the 1/16 note thing and then, he did it like one time. And then he went to the middle part where it goes deedat deedat deedat deedat.”

Stevie would eventually add “not only did Prince make it up right on the spot, he played it with only two fingers. Then he left.”

I'm looking forward to your book, how's it coming?

I have never heard this part of the story, where is it from? A published interview?

“When I got there, her and Jimmy Iovine couldn’t figure out how to work the drum machine,’ added Prince, ‘because people were using live drums at that point… so I went down there and programmed it for them and pretty much played most of the song there in about 20 or 30 minutes.”

Prince interviewed on 103.5 WKTU (12/13/2010)

“He came in, listened to the song you know, very cool, very quiet,’ fleshed out Nicks. ‘And I said, "Do you hate it?" and he said "No, it's okay, it's cool" and they set up an OB8 for him and he played the doo doo doo doo doo, the 1/16 note thing and then, he did it like one time. And then he went to the middle part where it goes deedat deedat deedat deedat.”

Stevie Nicks, VH1 storytellers

Stevie would eventually add “not only did Prince make it up right on the spot, he played it with only two fingers. Then he left.”

Stevie Nicks, DETAILS magazine, 8/94

I hope this shows the depth of the research I’m doing. I am looking for those rare insights that explain the process, so I’m digging into the archives of articles, as well as conducting as many of my own as possible including members of The Revolution, The Time, The Family, Apollonia 6 and others.

The biggest thing I am missing are certain issues of PRINCE FAMILY NEWSLETTER. If you know of anyone who has some of them, let me know. There is one year (and a few scattered others) that I am missing and those were excellent sources of obscure information.

Thanx again.

madhouseman said:

V10LETBLUES said:

I'm looking forward to your book, how's it coming?

I have never heard this part of the story, where is it from? A published interview?

“When I got there, her and Jimmy Iovine couldn’t figure out how to work the drum machine,’ added Prince, ‘because people were using live drums at that point… so I went down there and programmed it for them and pretty much played most of the song there in about 20 or 30 minutes.”

Prince interviewed on 103.5 WKTU (12/13/2010)

“He came in, listened to the song you know, very cool, very quiet,’ fleshed out Nicks. ‘And I said, "Do you hate it?" and he said "No, it's okay, it's cool" and they set up an OB8 for him and he played the doo doo doo doo doo, the 1/16 note thing and then, he did it like one time. And then he went to the middle part where it goes deedat deedat deedat deedat.”

Stevie Nicks, VH1 storytellers

Stevie would eventually add “not only did Prince make it up right on the spot, he played it with only two fingers. Then he left.”

Stevie Nicks, DETAILS magazine, 8/94

I hope this shows the depth of the research I’m doing. I am looking for those rare insights that explain the process, so I’m digging into the archives of articles, as well as conducting as many of my own as possible including members of The Revolution, The Time, The Family, Apollonia 6 and others.

The biggest thing I am missing are certain issues of PRINCE FAMILY NEWSLETTER. If you know of anyone who has some of them, let me know. There is one year (and a few scattered others) that I am missing and those were excellent sources of obscure information.

Thanx again.

What has suprised you the most from your research?

paulludvig said:

madhouseman said:

“When I got there, her and Jimmy Iovine couldn’t figure out how to work the drum machine,’ added Prince, ‘because people were using live drums at that point… so I went down there and programmed it for them and pretty much played most of the song there in about 20 or 30 minutes.”

Prince interviewed on 103.5 WKTU (12/13/2010)

“He came in, listened to the song you know, very cool, very quiet,’ fleshed out Nicks. ‘And I said, "Do you hate it?" and he said "No, it's okay, it's cool" and they set up an OB8 for him and he played the doo doo doo doo doo, the 1/16 note thing and then, he did it like one time. And then he went to the middle part where it goes deedat deedat deedat deedat.”

Stevie Nicks, VH1 storytellers

Stevie would eventually add “not only did Prince make it up right on the spot, he played it with only two fingers. Then he left.”

Stevie Nicks, DETAILS magazine, 8/94

I hope this shows the depth of the research I’m doing. I am looking for those rare insights that explain the process, so I’m digging into the archives of articles, as well as conducting as many of my own as possible including members of The Revolution, The Time, The Family, Apollonia 6 and others.

The biggest thing I am missing are certain issues of PRINCE FAMILY NEWSLETTER. If you know of anyone who has some of them, let me know. There is one year (and a few scattered others) that I am missing and those were excellent sources of obscure information.

Thanx again.

What has suprised you the most from your research?

so far... how open people are about the topic and how much correction that I'm doing from earlier projects I've researched. I am looking forward to this coming out. It is a book that honors the recording of these songs. I don't want to write a book that makes anyone look bad. I want this to be the sort of book that adds something to the reader's enjoyment of the music.

I had always known that Prince recorded the Love Song duet with Madonna, but up until recently (a few years ago) I didn't know that he played guitar on the albums title track and one or two others.

.

It's stuff like that that adds to the enjoyment of a project.

From All Music website

http://www.allmusic.com/s...0001046546

Inspired by a Prince song, "Stand Back" is supposedly based on the power that can be unleashed during a heated argument, but the song's rock-induced hooks and sharp keyboard instantly trivialize Nicks' lyrical intentions.

"Stand Back" became Stevie Nicks' fifth Top 40 single, stemming from her second solo album entitled The Wild Heart, released in 1983. Nicks had a monumental task ahead of her after the release of her stellar debut album, Bella Donna, in 1981, which netted her four Top 40 singles, with two of them climbing into the Top Ten. Prince originally made it into the studio to play keyboards on the first couple of drafts of "Stand Back," but it's Sandy Stewart's work that graces the final product, along with Toto's Steve Lukather on guitar. The song was an excellent choice in introducing The Wild Heart, emitting a marvelous rock & roll power through Nick's emotive vocals and through the depth of the soaring keyboards. Like "Edge of Seventeen," "Stand Back" is rock savvy and forceful, raising the song's stock slightly from a mainstream radio tune to something more expressive. When Fleetwood Mac released The Chain in 1992, a hearty four-CD retrospective of the band, it included a live, previously unreleased version of "Stand Back" with Lindsey Buckingham providing some astonishing guitar work. This rendition, because of Buckingham's guitar prowess and the live atmosphere (where Nicks truly shines), definitely trumps the original. Even so, "Stand Back"'s most familiar version surely deserves its Top Five status and serves as one of Stevie Nicks' best rock songs.

[Edited 4/15/14 10:32am]

V10LETBLUES said:

From All Music website

http://www.allmusic.com/s...0001046546

Stand Back

Composer: George Duning / Stevie Nicks

Inspired by a Prince song, "Stand Back" is supposedly based on the power that can be unleashed during a heated argument, but the song's rock-induced hooks and sharp keyboard instantly trivialize Nicks' lyrical intentions.

"Stand Back" became Stevie Nicks' fifth Top 40 single, stemming from her second solo album entitled The Wild Heart, released in 1983. Nicks had a monumental task ahead of her after the release of her stellar debut album, Bella Donna, in 1981, which netted her four Top 40 singles, with two of them climbing into the Top Ten. Prince originally made it into the studio to play keyboards on the first couple of drafts of "Stand Back," but it's Sandy Stewart's work that graces the final product, along with Toto's Steve Lukather on guitar. The song was an excellent choice in introducing The Wild Heart, emitting a marvelous rock & roll power through Nick's emotive vocals and through the depth of the soaring keyboards. Like "Edge of Seventeen," "Stand Back" is rock savvy and forceful, raising the song's stock slightly from a mainstream radio tune to something more expressive. When Fleetwood Mac released The Chain in 1992, a hearty four-CD retrospective of the band, it included a live, previously unreleased version of "Stand Back" with Lindsey Buckingham providing some astonishing guitar work. This rendition, because of Buckingham's guitar prowess and the live atmosphere (where Nicks truly shines), definitely trumps the original. Even so, "Stand Back"'s most familiar version surely deserves its Top Five status and serves as one of Stevie Nicks' best rock songs.

[Edited 4/15/14 10:32am]

Okay, what's the basis for that bolded bit? Is it an attempt to explain an inconsistency between Stevie's saying Prince did the parts and the fact that he's not credited? Because if it were a matter of someone else doing the released parts, then why would Stevie say she's unable to reproduce them with her keyboardists?

I'm guessing the AllMusic person is guessing...

EddieC said:

V10LETBLUES said:

From All Music website

http://www.allmusic.com/s...0001046546

Stand Back

Composer: George Duning / Stevie Nicks

Inspired by a Prince song, "Stand Back" is supposedly based on the power that can be unleashed during a heated argument, but the song's rock-induced hooks and sharp keyboard instantly trivialize Nicks' lyrical intentions.

"Stand Back" became Stevie Nicks' fifth Top 40 single, stemming from her second solo album entitled The Wild Heart, released in 1983. Nicks had a monumental task ahead of her after the release of her stellar debut album, Bella Donna, in 1981, which netted her four Top 40 singles, with two of them climbing into the Top Ten. Prince originally made it into the studio to play keyboards on the first couple of drafts of "Stand Back," but it's Sandy Stewart's work that graces the final product, along with Toto's Steve Lukather on guitar. The song was an excellent choice in introducing The Wild Heart, emitting a marvelous rock & roll power through Nick's emotive vocals and through the depth of the soaring keyboards. Like "Edge of Seventeen," "Stand Back" is rock savvy and forceful, raising the song's stock slightly from a mainstream radio tune to something more expressive. When Fleetwood Mac released The Chain in 1992, a hearty four-CD retrospective of the band, it included a live, previously unreleased version of "Stand Back" with Lindsey Buckingham providing some astonishing guitar work. This rendition, because of Buckingham's guitar prowess and the live atmosphere (where Nicks truly shines), definitely trumps the original. Even so, "Stand Back"'s most familiar version surely deserves its Top Five status and serves as one of Stevie Nicks' best rock songs.

[Edited 4/15/14 10:32am]

Okay, what's the basis for that bolded bit? Is it an attempt to explain an inconsistency between Stevie's saying Prince did the parts and the fact that he's not credited? Because if it were a matter of someone else doing the released parts, then why would Stevie say she's unable to reproduce them with her keyboardists?

I'm guessing the AllMusic person is guessing...

Because i found it interesting and for thoroughness sake.

V10LETBLUES said:

EddieC said:

Okay, what's the basis for that bolded bit? Is it an attempt to explain an inconsistency between Stevie's saying Prince did the parts and the fact that he's not credited? Because if it were a matter of someone else doing the released parts, then why would Stevie say she's unable to reproduce them with her keyboardists?

I'm guessing the AllMusic person is guessing...

Because i found it interesting and for thoroughness sake.

It is interesting, V10LETBLUES--I'm wondering why they said it (since it seems to contradict possibly what we've been led to believe), not why you bolded it. Has anyone seen anything else to justify the idea that there were earlier drafts of the song, but that Prince's playing was eventually replaced before release?

Oh, and to Madhouseman--I've also been anticipating your published version of your work for a while. I hope it proceeds as planned.

It is a very very very good song... always thought Prince played the synthchords.... disapointing to read he only did the synth bass (I believe that is what y´all mean???) and the high sound in the chorus... but still... great song!

EddieC said:

V10LETBLUES said:

Because i found it interesting and for thoroughness sake.

It is interesting, V10LETBLUES--I'm wondering why they said it (since it seems to contradict possibly what we've been led to believe), not why you bolded it. Has anyone seen anything else to justify the idea that there were earlier drafts of the song, but that Prince's playing was eventually replaced before release?

gotcha! I read it wrong

EddieC said:

Oh, and to Madhouseman--I've also been anticipating your published version of your work for a while. I hope it proceeds as planned.

Thanx. I'm excited about getting it out there. Still cranking through it but it isn't finished until it is finished. Glad to hear that there are people excited about it still.

V10LETBLUES said:

From All Music website

http://www.allmusic.com/s...0001046546

Stand Back

Composer: George Duning / Stevie Nicks

Inspired by a Prince song, "Stand Back" is supposedly based on the power that can be unleashed during a heated argument, but the song's rock-induced hooks and sharp keyboard instantly trivialize Nicks' lyrical intentions.

"Stand Back" became Stevie Nicks' fifth Top 40 single, stemming from her second solo album entitled The Wild Heart, released in 1983. Nicks had a monumental task ahead of her after the release of her stellar debut album, Bella Donna, in 1981, which netted her four Top 40 singles, with two of them climbing into the Top Ten. Prince originally made it into the studio to play keyboards on the first couple of drafts of "Stand Back," but it's Sandy Stewart's work that graces the final product, along with Toto's Steve Lukather on guitar. The song was an excellent choice in introducing The Wild Heart, emitting a marvelous rock & roll power through Nick's emotive vocals and through the depth of the soaring keyboards. Like "Edge of Seventeen," "Stand Back" is rock savvy and forceful, raising the song's stock slightly from a mainstream radio tune to something more expressive. When Fleetwood Mac released The Chain in 1992, a hearty four-CD retrospective of the band, it included a live, previously unreleased version of "Stand Back" with Lindsey Buckingham providing some astonishing guitar work. This rendition, because of Buckingham's guitar prowess and the live atmosphere (where Nicks truly shines), definitely trumps the original. Even so, "Stand Back"'s most familiar version surely deserves its Top Five status and serves as one of Stevie Nicks' best rock songs.

[Edited 4/15/14 10:32am]

Allmusic is full of shit, they say that Prince ghostproduced Tony LeMans and thqt's only one of the nonsense I've read there. Read about the albums/artists u know a lot about and u'll c many of their critics don't know shit.

madhouseman said:

databank said:

This covers over 150 sessions and yes it is very detailed. I've interviewed over 50 band members, singers, musicians, engineers, etc. and have compiled info from Warner Brothers, the Library of Congress and the various studios involved. My goal is to make it the most detailed work about his studio sessions until he writes one himself. I want this to be the sort of book I'd want to read filled with anectdotes, song origins, insights and observations from those who were there, and as many quotes by Prince and others as possible. I don't want it to be a book that relies on UPTOWN MAGAZINE'S 'THE VAULT' (which I helped research). I want it to be an in depth look at each day that Prince was working during those two years. I have mined over 500 articles/interviews from magazines and other Prince books looking for pieces to the gigantic puzzle. I've tried to correct incorrect information and I hope that I've created something similar to THE BEATLES RECORDING SESSIONS. Thanx for the well wishes, and I can guarantee that I'll be pimpin' this thing when it comes out here on the org and everywhere else I can.

Awesome! I can't wait! Many thanks for this unvaluable work and pleaaaaaaaaaase don't do like Per Nielsen (God bless him) and give up before u've done it all. Unfortunately it's frequent that such hard work is not profitable because it implies a massive amount of time and the audience is more niche than mainstream, but on the other hand u're writing HISTORY.

madhouseman said:

The biggest thing I am missing are certain issues of PRINCE FAMILY NEWSLETTER. If you know of anyone who has some of them, let me know. There is one year (and a few scattered others) that I am missing and those were excellent sources of obscure information.

.

Pretty sure I've got them all stored away somewhere (bought them all back in the mid-1990s when I became a subscriber). Not digitally of course; really wish Diana had done a digital dump when she called it quits and put all of her archive out there.

.

Ugh, so much P history is lost in dusty archives. Still hoping one day someone will find the urge to actually compile it all and deliver the definitive compilation of all things P.

.

Lemme know what you need; I don't have a scanner but I do have a decent photo camera so I should be able to provide you with legible pics of what you need.

Se7en said:

I had always known that Prince recorded the Love Song duet with Madonna, but up until recently (a few years ago) I didn't know that he played guitar on the albums title track and one or two others.

.

It's stuff like that that adds to the enjoyment of a project.

.

Shit like that's been widely known since back then, afaik. Plenty of details here (which princevault should really include): http://prince.org/msg/7/354431

databank said:

Awesome! I can't wait! Many thanks for this unvaluable work and pleaaaaaaaaaase don't do like Per Nielsen (God bless him) and give up before u've done it all.

.

It's Per Nilsen (seriously, WTF is so hard about that name? why can't P fans get the name right of one of the most important people in cataloguing P's history?).

.

And he didn't give up, he simply saw no point in spending tons of time and money on a second volume for a bio that didn't really break the bank, even more so considering Prince's increasing opposition to Uptown and other fan publications.

.

Just look at the post-Uptown field: a sad state of affairs, with a wiki that is a fraction of what it should and could be, a bunch of forums (most of them deserted),... The online P fan presence had some promise back in the mid-1990s, but Prince's ongoing war against his fans just killed it dead by the early 2000s.

.

Anyone remember Warren Mason's The Vault, for instance? Just imagine what that could have become if it had continued: a vast archive of articles on all things P, indexed, categorized, tagged,... Which then could be used as source for a public P dedicated wiki, with in-depth description and eye witness accounts of concerts plus quotes of newspaper reviews of those concerts and perhaps a link to an audience recording (if P wasn't an ass about it) etc. A wiki that could be exported as an ebook, or several ebooks, e.g. one like Per's A Documentary (= diary-like), one analysing tours, one focusing on the history of a protege act,...

BartVanHemelen said:

databank said:

Awesome! I can't wait! Many thanks for this unvaluable work and pleaaaaaaaaaase don't do like Per Nielsen (God bless him) and give up before u've done it all.

.

It's Per Nilsen (seriously, WTF is so hard about that name? why can't P fans get the name right of one of the most important people in cataloguing P's history?).

.

And he didn't give up, he simply saw no point in spending tons of time and money on a second volume for a bio that didn't really break the bank, even more so considering Prince's increasing opposition to Uptown and other fan publications.

.

Just look at the post-Uptown field: a sad state of affairs, with a wiki that is a fraction of what it should and could be, a bunch of forums (most of them deserted),... The online P fan presence had some promise back in the mid-1990s, but Prince's ongoing war against his fans just killed it dead by the early 2000s.

.

Anyone remember Warren Mason's The Vault, for instance? Just imagine what that could have become if it had continued: a vast archive of articles on all things P, indexed, categorized, tagged,... Which then could be used as source for a public P dedicated wiki, with in-depth description and eye witness accounts of concerts plus quotes of newspaper reviews of those concerts and perhaps a link to an audience recording (if P wasn't an ass about it) etc. A wiki that could be exported as an ebook, or several ebooks, e.g. one like Per's A Documentary (= diary-like), one analysing tours, one focusing on the history of a protege act,...

Nilsen is as hard to write properly for Frenchies as Montreux is for Americans XD

I never said he gave up for BAD reasons, I perfectly understand that he got tired of working for free and getting legal shit from Prince on top of it all, but he DID give up and saying so doesn't necessarly have a negative implication.

As for Princevault being a fraction of what it should be, OK, but "could" be I'm not so sure: it's only a small group of people, not an open wiki (which I think is good or it'd be a mess in no time), and I think they really do their best but they do it for free and they have lives, too. Just look at my own discog site: started it 4 years and a half ago and still haven't managed to cover every year let alone doing the final proofreading: I wish I could spend 3 full months of my life finishing it and 3 more months to do an alphabetical list as well, but unfortunately I have other obligations.

And I don't remember that Mason Vault at all: what was it and when was it closed???

BartVanHemelen said:

databank said:

Nilsen is as hard to write properly for Frenchies as Montreux is for Americans XD

I never said he gave up for BAD reasons, I perfectly understand that he got tired of working for free and getting legal shit from Prince on top of it all, but he DID give up and saying so doesn't necessarly have a negative implication.

As for Princevault being a fraction of what it should be, OK, but "could" be I'm not so sure: it's only a small group of people, not an open wiki (which I think is good or it'd be a mess in no time), and I think they really do their best but they do it for free and they have lives, too. Just look at my own discog site: started it 4 years and a half ago and still haven't managed to cover every year let alone doing the final proofreading: I wish I could spend 3 full months of my life finishing it and 3 more months to do an alphabetical list as well, but unfortunately I have other obligations.

And I don't remember that Mason Vault at all: what was it and when was it closed???

Hey, as an American, I resent that! I can write Montreux, I just can't say it. As to Nilsen, I always have to check every time. Prince NELSON, Per NILSEN, Ida NIELSEN (did I get them all right?)

Actually, I've just now gotten to where I can be reasonably sure of Harry Nilsson's name, and he's one of the people whose complete discography I have.

I have most of them. The ones i'm missing are:

Volume 1 (1993)

All issues

Volume 2 (1994)

Issues 9-14

Volume 3 (1995)

1, 4, & 12

Volume 4 (1996)

Issue 5

If there is anyway to get these, it would be great. I can xerox them and send them back if necessary. I'm going through them all to find any rare quotes or information. Thank you very much.

databank said:

As for Princevault being a fraction of what it should be, OK, but "could" be I'm not so sure: it's only a small group of people, not an open wiki (which I think is good or it'd be a mess in no time),

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They should have a process to allow people to add information which then isn't necessarily published immediately but at least considered. Nothing stopping them from adding more people to the team.

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and I think they really do their best but they do it for free and they have lives, too. Just look at my own discog site: started it 4 years and a half ago and still haven't managed to cover every year let alone doing the final proofreading: I wish I could spend 3 full months of my life finishing it and 3 more months to do an alphabetical list as well, but unfortunately I have other obligations.

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Because you're doing it wrong. Shit like that is supposed to be a collaborative project.

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IMHO there are two problems:

- Things like PrinceVault and detailed discographies shouldn't bestarting now, they shoudl have been started 10/15 years ago and evolved along the way, with evidence backing up each entry etc.

- They also should not the work of just one guy or a small group, but of a community. IMHO things like this should be alike to software; we should be doing this via the likes of Github and simply supplying "patches" (i.e. missing information) or forking the existing "code" so it could be reformatted to fit another purpose. But again, this too should have been started ages ago and plenty of the knowledgeable people have simply left the scene.

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I maintain that if P hadn't been an ass we could have created some amazing stuff, the P fan community from 1995-early 2000s had some amazing people who surely would have come up with numerous solutions to problems which then could have resulted in software that other musician fan sites could use to structure information etc.

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And I don't remember that Mason Vault at all: what was it and when was it closed???

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Something like PrinceText, except with tons of articles and reviews etc. I don't remember when it got closed or why, I think Warren wanted to be part of the "Collective" back in 1996/97 but IIRC by then it was already gone for a while. I recall something like the Electric Sun project but I don't think anything ever came from that.

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TV was amazing, imagine being a P fan in the mid-1990s, coming online and discovering this huge treasure trove of articles you'd barely heard about. Ugh, I've got boxes full of 1980s era articles and reviews etc. which I'd hoped to be able to transcribe one day.

madhouseman said:

I have most of them. The ones i'm missing are:

Volume 1 (1993)

All issues

Volume 2 (1994)

Issues 9-14

Volume 3 (1995)

1, 4, & 12

Volume 4 (1996)

Issue 5

If there is anyway to get these, it would be great. I can xerox them and send them back if necessary. I'm going through them all to find any rare quotes or information. Thank you very much.

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I'll check. Dunno where I've stored them, but I'm sure I've got them all.

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