databank said:

OldFriends4Sale said:

Yeah but Jill Jones and Taja were not a part of the 'scene' like the Time Vanity 6 Sheila E etc

I mean how there was that interconnection, doing shows together etc

.

Yeah I know he had a lot of artist sign through PP but were unrelated for the most part as proteges
and interconnected with Prince albums/music for the year

.

And of course Sheila E's 3rd album which was an extremely strong piece, went to the side.

Well If I'm not mistaken:

TT and V6 opened the 1999 Triple Threat Tour

Sheila opened the PR Tour

THEN

Madhouse opened the SOTT Tour

I don't remember anyone openening the Lovesexy Tour

Mavis occasionally opened the Nude and D&P Tours

Carmen opened the D&P Tour on occasions too (but some unrelated crappy bands did it as well, such as in Paris when I attended )

I think the NPG opened either the D&P and/or the Act I/II Tours as well (same shit with the crappy unrelated acts in paris )

There was the Sacrifice London aftershow with everyone that was aired then later released on video then 1-800 New-Funk. With this video and the compilation, in 1994 I really thought Prince was going to make something out of NPG records and I was highly disappointed (se were the folks at Edel) when it became clear that he'd given up on having a vanity label

.

So it somehow went on a little bit, then later there was the Triple Threat Tour of 1998, with Chaka and Larry and associated albums.

.

I agree thought that it could have been MUCH MORE, every show of every tour could and should have had one or two PP acts opening for it in order to promote the records and give a stronger community sense to the label. I think the reason it didn't happen was a matter of saving money but it sucks. It'd be interesting to ask Alan Leeds why it didn't happen but he'd probably say that it was one of the many issues with the label, that wasn't functional at all according to what he said in past interviews, because WB expected Prince to support it and Prince expected WB to support it so in the end no one supported it at all.

the Time also opened for the Controversy tour
Purple Rain tour Apollonia 6 / Eric Leads/Susannah/Jerome/Wally & Gregory would join in
And during the Parade tour Sheila E was the opening act on the Japan leg

and Sheila e/band & Madhouse would join in on songs during the PR tour

.

Yeah I know, no one opened the Lovesexy tour, but the set list was so long compared to others

But in general there seemed to be a more cohesive connection with the proteges albums and Prince's current album (vibe/sound/look)

As we know, marketing is not Princes stong point. Paisley Park could have had much greater sucess if the acts were supporting on for the full tour:

Parade Tour - Mazarati

SOTT tour - Jill Jones

Lovesexy Tour - Dale Bozzio

Nude Tour - Mavis Staples

D&P Tour - TC Ellis

Act I Tour - Ingrid Chavez

Act II tour - Carmen Electra

OldFriends4Sale said:

databank said:

Well If I'm not mistaken:

TT and V6 opened the 1999 Triple Threat Tour

Sheila opened the PR Tour

THEN

Madhouse opened the SOTT Tour

I don't remember anyone openening the Lovesexy Tour

Mavis occasionally opened the Nude and D&P Tours

Carmen opened the D&P Tour on occasions too (but some unrelated crappy bands did it as well, such as in Paris when I attended )

I think the NPG opened either the D&P and/or the Act I/II Tours as well (same shit with the crappy unrelated acts in paris )

There was the Sacrifice London aftershow with everyone that was aired then later released on video then 1-800 New-Funk. With this video and the compilation, in 1994 I really thought Prince was going to make something out of NPG records and I was highly disappointed (se were the folks at Edel) when it became clear that he'd given up on having a vanity label

.

So it somehow went on a little bit, then later there was the Triple Threat Tour of 1998, with Chaka and Larry and associated albums.

.

I agree thought that it could have been MUCH MORE, every show of every tour could and should have had one or two PP acts opening for it in order to promote the records and give a stronger community sense to the label. I think the reason it didn't happen was a matter of saving money but it sucks. It'd be interesting to ask Alan Leeds why it didn't happen but he'd probably say that it was one of the many issues with the label, that wasn't functional at all according to what he said in past interviews, because WB expected Prince to support it and Prince expected WB to support it so in the end no one supported it at all.

the Time also opened for the Controversy tour
Purple Rain tour Apollonia 6 / Eric Leads/Susannah/Jerome/Wally & Gregory would join in
And during the Parade tour Sheila E was the opening act on the Japan leg

and Sheila e/band & Madhouse would join in on songs during the PR tour

.

Yeah I know, no one opened the Lovesexy tour, but the set list was so long compared to others

But in general there seemed to be a more cohesive connection with the proteges albums and Prince's current album (vibe/sound/look)

Thx for the additional info

I just made an album of Dream Factory using this early configuration and, holy crap! I love it.

It's a wild, barmy, crazily inventive album... just like the perfect double album should, it has moments where it kind of shouldn't work but does... it's bold, meandering at times, razor sharp brilliant at others, and never less than incredibly inventive musically. I loooove hearing the extended wig-out that is Crystal Ball followed by the full length beauty of Power Fantastic...

Someone mentioned that It's A Wonderful Day and Teacher Teacher shouldn't be on there, and I was underwhelmed by those tracks before individually, but they actually work in the context of the album (hey, I didn't like Obla-Di, Obla-Da until I heard in the context of the White Album, either)

Someone also mentioned that Visons and Wendy (Interlude) are crap and, well, sorry, but to me that's just straight-up nonsense.... next thing you know, you crazy kids'll be telling me you don't like jazz music in general.....

Anyway, much as I love Sign O The Times, right now this configuration is bringing a whole new freshness to the period.... and I get to have both configurations, and Crystal Ball too.... man this is fun!

(Geek alert!)

Gustavm said:

OldFriends4Sale said:

Usually when I listen 2 SOTT I end up breaking it up. There is definately a lot going on there.

There are very stripped down sounding songs:SOTT, It, Forever In My Life, and more colorful songs:Play In the Sunshine, U Got the Look, If I Was Your Girlfriend

There there is Slow Love(co-written) Starfish & Coffee(co-written) IGBABNight live Parade tour

.

I actually listen to Lovesexy Parade ATWIAD Controversy throught more often because of the flow

.

I think I would have appreciate a Dream Factory / Camille release.

But in general 1986 produced a load of incredible music, that is hard to choose from.

.

It is also weird that a strong song like Power Fantastic wasn't on the last DF configuration. Of course we still don't know if that would have been the last one.

But I think for me once I learned more about how SOTT came to be I tend to listen to other personal playlists.

This below is my favorite configuration

This looks pretty awesome to me. What was the final configuration?

[Edited 3/21/15 12:47pm]

Rimshottbob said:

I just made an album of Dream Factory using this early configuration and, holy crap! I love it.

It's a wild, barmy, crazily inventive album... just like the perfect double album should, it has moments where it kind of shouldn't work but does... it's bold, meandering at times, razor sharp brilliant at others, and never less than incredibly inventive musically. I loooove hearing the extended wig-out that is Crystal Ball followed by the full length beauty of Power Fantastic...

Someone mentioned that It's A Wonderful Day and Teacher Teacher shouldn't be on there, and I was underwhelmed by those tracks before individually, but they actually work in the context of the album (hey, I didn't like Obla-Di, Obla-Da until I heard in the context of the White Album, either)

Someone also mentioned that Visons and Wendy (Interlude) are crap and, well, sorry, but to me that's just straight-up nonsense.... next thing you know, you crazy kids'll be telling me you don't like jazz music in general.....

Anyway, much as I love Sign O The Times, right now this configuration is bringing a whole new freshness to the period.... and I get to have both configurations, and Crystal Ball too.... man this is fun!

(Geek alert!)

Gustavm said:

This looks pretty awesome to me. What was the final configuration?

[Edited 3/21/15 12:47pm]

I like jazz, but no these interludes.

Is your argument that a double album should be meandering at times?

I guess I just find it a little surprising to single these interludes out as bad. They're both beautiful, and beautifully played... with a little mysteriousness about them....

I'm interested, what would you say is 'bad' about them? Is is that they're not 'songs' as such, or that they interrupt the flow of the record... or that you feel they don't belong on the record? Or maybe something else entirely...

And, maybe 'meandering' implies a negative, which is not how I see it... but by definition, a double album's terrain is wider and more ripe for exploration.

If you want a short, sharp shock/statement, you release a regular album of between, say, 35 - 45 minutes... double albums have always been about stretching out, they have to have pace, dynamic, adventurousness, maybe they delve into some odd corners or maybe up an occasional blind alley... that's part of the charm, isn't it?

While Sign O' The Times does this somewhat, Dream Factory (and paricularly this early configuration, for me) have a sense of abandon, adventure and sprawl that I find thrilling... it's Prince & The Revolution 'following the muse' a little more, it seems.

It's certainly a more daring record than Sign O' The Times.

I don't apply a positive or negative attribute to that, it's just different. Like I said, I'm glad to have both to listen to...

Not that I know of.... anyone? Would love to hear it...!

Rimshottbob said:

paulludvig said:

Rimshottbob said:

I just made an album of Dream Factory using this early configuration and, holy crap! I love it.

It's a wild, barmy, crazily inventive album... just like the perfect double album should, it has moments where it kind of shouldn't work but does... it's bold, meandering at times, razor sharp brilliant at others, and never less than incredibly inventive musically. I loooove hearing the extended wig-out that is Crystal Ball followed by the full length beauty of Power Fantastic...

Someone mentioned that It's A Wonderful Day and Teacher Teacher shouldn't be on there, and I was underwhelmed by those tracks before individually, but they actually work in the context of the album (hey, I didn't like Obla-Di, Obla-Da until I heard in the context of the White Album, either)

Someone also mentioned that Visons and Wendy (Interlude) are crap and, well, sorry, but to me that's just straight-up nonsense.... next thing you know, you crazy kids'll be telling me you don't like jazz music in general.....

Anyway, much as I love Sign O The Times, right now this configuration is bringing a whole new freshness to the period.... and I get to have both configurations, and Crystal Ball too.... man this is fun!

(Geek alert!)

[Edited 3/21/15 12:47pm]

I like jazz, but no these interludes.

Is your argument that a double album should be meandering at times?

i take U don't lik all those 1990's 'interludes on the albums?

KingSausage said:

Rimshottbob said:

Not that I know of.... anyone? Would love to hear it...!

It's the one song I'm missing from these early configurations of Dream Factory.

It's not circulating.

Rimshottbob said:

I just made an album of Dream Factory using this early configuration and, holy crap! I love it.

It's a wild, barmy, crazily inventive album... just like the perfect double album should, it has moments where it kind of shouldn't work but does... it's bold, meandering at times, razor sharp brilliant at others, and never less than incredibly inventive musically. I loooove hearing the extended wig-out that is Crystal Ball followed by the full length beauty of Power Fantastic...

Someone mentioned that It's A Wonderful Day and Teacher Teacher shouldn't be on there, and I was underwhelmed by those tracks before individually, but they actually work in the context of the album (hey, I didn't like Obla-Di, Obla-Da until I heard in the context of the White Album, either)

Someone also mentioned that Visons and Wendy (Interlude) are crap and, well, sorry, but to me that's just straight-up nonsense.... next thing you know, you crazy kids'll be telling me you don't like jazz music in general.....

Anyway, much as I love Sign O The Times, right now this configuration is bringing a whole new freshness to the period.... and I get to have both configurations, and Crystal Ball too.... man this is fun!

(Geek alert!)

Gustavm said:

This looks pretty awesome to me. What was the final configuration?

[Edited 3/21/15 12:47pm]

It is my favorite, perfect flow. I like It's A Wonderful Day (since it was in Under the Cherry Moon, he should have released it as a B side for Girls & Boys)
I would replace it with Sexual Suicide.
But I think this direction would have solidified Prince in a way he wouldn't hav felt the need to 'keep up' in the early 90s with his 'Gansta Rap' influence

Dream Factory would have been an even more 'mature' album that Parade

OldFriends4Sale said:

paulludvig said:

I like jazz, but no these interludes.

Is your argument that a double album should be meandering at times?

i take U don't lik all those 1990's 'interludes on the albums?

i don't mind the interludes on gold experience myself.I do prefer gold experience to dream factory actually. I think dream factory is o.k but can be a bit of a boring to listen to as is probably too laidback for my taste. It just needs living up for my personal taste. i do feel it would impress the critics though but personally i do not think sexual suicide, dreamfactory, place in heaven wonderful day etc are is top tier songs. They are more suited to b-sides like you say.. I think crucial and u got the look are better songs than any of the extra songs on dream factory not to got on crystal ball. I do not listen to much jazz but i still do not think it is is strengh even now but i credit him for trying to incorporate somethin new. He trys so many styles it is hard to like everything he does.

[Edited 3/23/15 6:24am]

KingSausage said:

Rimshottbob said:

Not that I know of.... anyone? Would love to hear it...!

It's the one song I'm missing from these early configurations of Dream Factory.

This and a pristine quality version of "In A Large Room With No Light".

master said:

OldFriends4Sale said:

i take U don't lik all those 1990's 'interludes on the albums?

i don't mind the interludes on gold experience myself.I do prefer gold experience to dream factory actually. I think dream factory is o.k but can be a bit of a boring to listen to as is probably too laidback for my taste. It just needs living up for my personal taste. i do feel it would impress the critics though but personally i do not think sexual suicide, dreamfactory, place in heaven wonderful day etc are is top tier songs. They are more suited to b-sides like you say.. I think crucial and u got the look are better songs than any of the extra songs on dream factory not to got on crystal ball. I do not listen to much jazz but i still do not think it is is strengh even now but i credit him for trying to incorporate somethin new. He trys so many styles it is hard to like everything he does.

I don't mind interludes but I don't like most of them

Visions as a piano (opening) definately works
The Time (Pandemonium) the Love Symbol album the Janet album Velvet Rope and all the following and the Gold experience I can do without the interludes.
One or 2 here or there is ok sometimes
I like the Rainbow Children interludes.
I can't listen to the Gold experience overall

As far as the Dream Factory not having an official release we don't know what it would have been
I enjoy Crucial(the slow version?) but I like Dream Factory and Sexual Suicide more,

the 6.3.1986 playlist, there is nothing 'laid back about that one' my favorite
Crucial is 'easy' for Prince
I think if the Revolution split didn't happen. Some of these songs might have gone to proteges, maybe.

OldFriends4Sale said:

Crucial is 'easy' for Prince

Ditto. I never get why this one and "Power Fantastic" get so much praise.

They sound like demos that turned for the best into "Slow Love" and "Adore".

Maybe it's the production.
I find that "Teacher Teacher" and "Train" (BTW, where does "Train" fit into? DM, CB, or SOTT?)
have very bold/radical but interesting mix choices (some would argue they are awfully mixed).

But "Crucial", with its inflated reverbs, big drum splashes, sounds so bling-bling to me.
And composition-wise, it's not that impressive.
As always, it's impeccable craft, but that is valid for each and every P's song out there (and "in there").

bonatoc said:

OldFriends4Sale said:

Crucial is 'easy' for Prince

Ditto. I never get why this one and "Power Fantastic" get so much praise.

They sound like demos that turned for the best into "Slow Love" and "Adore".

Maybe it's the production.
I find that "Teacher Teacher" and "Train" (BTW, where does "Train" fit into? DM, CB, or SOTT?)
have very bold/radical but interesting mix choices (some would argue they are awfully mixed).

But "Crucial", with its inflated reverbs, big drum splashes, sounds so bling-bling to me.
And composition-wise, it's not that impressive.
As always, it's impeccable craft, but that is valid for each and every P's song out there (and "in there").

Agree on Train. Not so much on Crucial. The point with Crucial is the extended part, wouldn't you say?

bonatoc said:

OldFriends4Sale said:

Crucial is 'easy' for Prince

Ditto. I never get why this one and "Power Fantastic" get so much praise.

They sound like demos that turned for the best into "Slow Love" and "Adore".

Maybe it's the production.
I find that "Teacher Teacher" and "Train" (BTW, where does "Train" fit into? DM, CB, or SOTT?)
have very bold/radical but interesting mix choices (some would argue they are awfully mixed).

But "Crucial", with its inflated reverbs, big drum splashes, sounds so bling-bling to me.
And composition-wise, it's not that impressive.
As always, it's impeccable craft, but that is valid for each and every P's song out there (and "in there").

No, I LOVE Power Fantastic, there is a lot of emotion and feeling in the music and how he sings it. I also get swept up in Condition of the Heart the same.
.
I agree, Teacher Teacher & Train are bold moves
I love to listen to Teacher Teacher after Roadhouse Garden. Very lively celebratory and energetic
Train. I love the builds on all 4 of these mentioned songs

Prince's version was included as the third track on the 18 July, 1986 configuration of the album Dream Factory.

OldFriends4Sale said:

KingSausage said:

OldFriends4Sale said:

No, I LOVE Power Fantastic, there is a lot of emotion and feeling in the music and how he sings it. I also get swept up in Condition of the Heart the same.
.
I agree, Teacher Teacher & Train are bold moves
I love to listen to Teacher Teacher after Roadhouse Garden. Very lively celebratory and energetic
Train. I love the builds on all 4 of these mentioned songs

TRAIN: Prince's version was included as the third track on the 18 July, 1986 configuration of the album Dream Factory.

YES. Power and Condition are possibly my two favorite Prince songs.

Those are 2 songs that give me chills everytime I listen to them

bonatoc said:

OldFriends4Sale said: