Which Prince track that was given away to another artist/protege should have been kept for himself?

All Day, All Night always comes to my mind but I'm curious what others think

Sugar Walls anyone?

How's he gonna sing "sugar walls" himself?

But it's a great production for sure.

Averett said:

ufoclub said:

How's he gonna sing "sugar walls" himself?

But it's a great production for sure.

I've been joking about the sacred lost demo of Sugar Walls featuring Prince's original lead vocals for years - merely jesting... maybe

breakdown2k14 said:

breakdown2k14 said:

Averett said:

ufoclub said:

How's he gonna sing "sugar walls" himself?

But it's a great production for sure.

I've been joking about the sacred lost demo of Sugar Walls featuring Prince's original lead vocals for years - merely jesting... maybe

I bet it exists. There's demos of other songs meant for others with equally "female" lyrics.

he puts that crap "it" or "u got the look" instead of Sex of It???

ufoclub said:

Averett said:

I've been joking about the sacred lost demo of Sugar Walls featuring Prince's original lead vocals for years - merely jesting... maybe

I bet it exists. There's demos of other songs meant for others with equally "female" lyrics.

Nasty Girl would be another crazy demo to behold

luvsexy4all said:

luvsexy4all said:

he puts that crap "it" or "u got the look" instead of Sex of It???

at least put "crap" in quotes too because not everyone looks at this two tracks as such!

- Get It Up (Ought to have been on 'Controversy')

.

.

- 777-9311 (Probably not originally recorded explicitly and solely for 'What Time Is It?')

.

.

- I Don't Wanna Leave You (Presumably a last-minute fill-in or replacement for the reclaimed 'International Lover', or perhaps even for the withdrawn/unused 'Do Yourself a Favor', although it most likely would not have made the 1999 album, no matter. Not that the 'What Time Is It?' version isn't good, but it is very much unsuited to Morris and unlike the rest of 'The Time' canon, and much better as a Prince work, whose vocals are mixed to be almost co-lead in many places on the released version. Maybe production-wise caught with a foot just a titch too much on the wrong side of that post-Controversy to 1999 boundary. As an aside, the released version has one of the most glaring edits in his entire library).

.

.

- Desire (Prince's version, with live drumming, although 'The Family' album version is sensuous)

.

.

- The Screams of Passion (Although 'The Family' album version is great, would be funkier and nastier without the Claire Fisher overdubs, all of P's original synths restored, and P's vocals)

.

.

- All Day, All Night (The very version at whatever stage of production the widely circulating studio-overdubbed boot represents. JJ's vocals are too screechy, and the additional synth lines added (and the earlier ones dropped) change the feel of this track for the worse entirely)

.

.

- The Dance Electric (an ideal track, and, moreover, album title and concept around which to form the basis of his follow-up to 'Purple Rain', in a commercially sensitive alternate 1985 Prince universe). This is probably P's biggest disregarded or missed opportunity during his halcyon days. Not necessarily a straight-forward hit, the song is a good, "album-track" Computer Blue suite-like effort that would have been propelled much further, to the top of the charts on the heels of Purple Rain. Its pensive, foreboding, apocalyptic Oberheim string backing and the natural ability to be extended at considerable length with its electrifying guitar solo would have made it a compelling highlight for live concert performance circa an alternate 1985-1986.

.

.

- Neon Telephone (at its early, less overdubbed, more sparsely produced, 'Buggles'-like mid-1985 version stage)

.

.

- Wouldn't U Love to Love Me? (P's 1986 update of his 1982 recording, allegedly revamped for, but more likely simply offered to, Michael Jackson, and released with its vocals replaced in edited form on Taja Seville's 1988 album. I'm not certain where this would fit in terms of P's own albums of the day, some putative, vastly different 1986 - 1988 album alternate universe with other such rejected and repurposed tracks).

.

.

- One Day, I'm Gonna Make You Mine (Apparently tracked with the pitch-shifted vocals, recorded at the same time as, in the same production styling as, and perhaps considered for some early stage of the unrealized 'Camille' or 'Crystal Ball')

.

.

- Yo, Mister (A Billboard Top 10 if released as a P track in 1986 or 1987, would also fit comfortably within the street-wise 'social message' preoccupation in [cross-over] pop music prevalent around this time)

.

.

- So Strong (My belief is that this song was worked on for Jill Jones, or perhaps Sheena Easton, circa late 1986-early 1987, and/or, perhaps, Bonnie Raitt early-1987, and certain tracks may date back as far as ~1984, perhaps for Apollonia 6, and ultimately given to Dale later in 1987 to record new vocals. Nevertheless, whatever its exact history, it would have been a Billboard Top 10 in 1987, if released as a Prince effort with a suitable vocal. It seems he put quite a bit of effort into it, so the 'guide vocal' may in fact be at that level. Dale also did an admirable job, but her 1988 version had low odds of chart success)

.

.

- If I Love U 2nite (Not necessarily superior to other versions, but I have the pressing sense this belongs on a P album or B-Side/extended single. One of those songs like 'Last Heart' or 'Strange Relationship' that almost wants to be a hit or at a least very important track, but is held back by some ineffable missing critical ingredient in its design).

.

- I Guess I'm Crazy (A bit raw and underdeveloped, which may be part of its charms, and better than Mavis' overdubbed version, although again with no clear album placement. Seems to have been initially recorded with himself in mind, rather than a female associated artist)

.

.

- Mind Bells (The released Kahoru Kohiruimaki version is probably its best ultimate placement in practical terms, but it is a much more enjoyable track, although still dismissible, as a Prince effort. Nowhere to fit, quite frankly, in Prince's 1989-1990 project scheme, although it has a certain level of cult worship in segments of the P fanbase)

.

.

- Allegiance (1991, or more likely 1989. 1991 is the alleged date, but in my view is the date P's master was presented to Howard Hewett as part of his PP deal, and/or the date Hewett's own version was laid down. P's version seems to date from approximately the time of 'Dance with the Devil', the first half of 1989. I presume P's version was either too dated by this time, or just too weird and idiosyncratic to be simply vocal-overdubbed by another artist. Hewett's version was itself very dated by the time it rolled around in ~1993. The released version is not bad, much more polished even, but still a not too inspiring early 1990s, heavily New Jack-influenced production design re-recording. The original, if you remove its horrifically grating intro, is a haunting, chilling late-80s synth and blues-funk exercise of some merit).

.

- Love, Thy Will Be Done (Would have worked well on 'The Love Symbol', although its 1990 production is a bit long-in-the-tooth, and sonically/thematically incompatible with GB and D&P).

.

.

[Edited 1/28/16 23:37pm]

imprimis said:

- Get It Up (Ought to have been on 'Controversy')

.

.

- 777-9311 (Probably not originally recorded explicitly and solely for 'What Time Is It?')

.

.

- I Don't Wanna Leave You (Presumably a last-minute fill-in or replacement for the reclaimed 'International Lover', or perhaps even for the withdrawn/unused 'Do Yourself a Favor', although it most likely would not have made the 1999 album, no matter. Not that the 'What Time Is It?' version isn't good, but it is very much unsuited to Morris and unlike the rest of 'The Time' canon, and much better as a Prince work, whose vocals are mixed to be almost co-lead in many places on the released version. Maybe production-wise caught with a foot just a titch too much on the wrong side of that post-Controversy to 1999 boundary. As an aside, the released version has one of the most glaring edits in his entire library).

.

.

- Desire (Prince's version, with live drumming, although 'The Family' album version is sensuous)

.

.

- The Screams of Passion (Although 'The Family' album version is great, would be funkier and nastier without the Claire Fisher overdubs, all of P's original synths restored, and P's vocals)

.

.

- All Day, All Night (The very version at whatever stage of production the widely circulating studio-overdubbed boot represents. JJ's vocals are too screechy, and the additional synth lines added (and the earlier ones dropped) change the feel of this track for the worse entirely)

.

.

- The Dance Electric (an ideal track, and, moreover, album title and concept around which to form the basis of his follow-up to 'Purple Rain', in a commercially sensitive alternate 1985 Prince universe). This is probably P's biggest disregarded or missed opportunity during his halcyon days. Not necessarily a straight-forward hit, the song is a good, "album-track" Computer Blue suite-like effort that would have been propelled much further, to the top of the charts on the heels of Purple Rain. Its pensive, foreboding, apocalyptic Oberheim string backing and the natural ability to be extended at considerable length with its electrifying guitar solo would have made it a compelling highlight for live concert performance circa an alternate 1985-1986.

.

.

- Neon Telephone (at its early, less overdubbed, more sparsely produced, 'Buggles'-like mid-1985 version stage)

.

.

- Wouldn't U Love to Love Me? (P's 1986 update of his 1982 recording, allegedly revamped for, but more likely simply offered to, Michael Jackson, and released with its vocals replaced in edited form on Taja Seville's 1988 album. I'm not certain where this would fit in terms of P's own albums of the day, some putative, vastly different 1986 - 1988 album alternate universe with other such rejected and repurposed tracks).

.

.

- One Day, I'm Gonna Make You Mine (Apparently tracked with the pitch-shifted vocals, recorded at the same time as, in the same production styling as, and perhaps considered for some early stage of the unrealized 'Camille' or 'Crystal Ball')

.

.

- Yo, Mister (A Billboard Top 10 if released as a P track in 1986 or 1987, would also fit comfortably within the street-wise 'social message' preoccupation in [cross-over] pop music prevalent around this time)

.

.

- So Strong (My belief is that this song was worked on for Jill Jones, or perhaps Sheena Easton, circa late 1986-early 1987, and/or, perhaps, Bonnie Raitt early-1987, and certain tracks may date back as far as ~1984, perhaps for Apollonia 6, and ultimately given to Dale later in 1987 to record new vocals. Nevertheless, whatever its exact history, it would have been a Billboard Top 10 in 1987, if released as a Prince effort with a suitable vocal. It seems he put quite a bit of effort into it, so the 'guide vocal' may in fact be at that level. Dale also did an admirable job, but her 1988 version had low odds of chart success)

.

.

- If I Love U 2nite (Not necessarily superior to other versions, but I have the pressing sense this belongs on a P album or B-Side/extended single. One of those songs like 'Last Heart' or 'Strange Relationship' that almost wants to be a hit or at a least very important track, but is held back by some ineffable missing critical ingredient in its design).

.

- I Guess I'm Crazy (A bit raw and underdeveloped, which may be part of its charms, and better than Mavis' overdubbed version, although again with no clear album placement. Seems to have been initially recorded with himself in mind, rather than a female associated artist)

.

.

- Mind Bells (The released Kahoru Kohiruimaki version is probably its best ultimate placement in practical terms, but it is a much more enjoyable track, although still dismissible, as a Prince effort. Nowhere to fit, quite frankly, in Prince's 1989-1990 project scheme, although it has a certain level of cult worship in segments of the P fanbase)

.

.

- Allegiance (1991, or more likely 1989. 1991 is the alleged date, but in my view is the date P's master was presented to Howard Hewett as part of his PP deal, and/or the date Hewett's own version was laid down. P's version seems to date from approximately the time of 'Dance with the Devil', the first half of 1989. I presume P's version was either too dated by this time, or just too weird and idiosyncratic to be simply vocal-overdubbed by another artist. Hewett's version was itself very dated by the time it rolled around in ~1993. The released version is not bad, much more polished even, but still a not too inspiring early 1990s, heavily New Jack-influenced production design re-recording. The original, if you remove its horrifically grating intro, is a haunting, chilling late-80s synth and blues-funk exercise of some merit).

.

- Love, Thy Will Be Done (Would have worked well on 'The Love Symbol', although its 1990 production is a bit long-in-the-tooth, and sonically/thematically incompatible with GB and D&P).

.

.

[Edited 1/28/16 23:37pm]

So the hard part of my question, which "one" if you had to narrow it down?

luvsexy4all said:

he puts that crap "it" or "u got the look" instead of Sex of It???

'It'... one of the best songs he's ever done.

Love... Thy Will Be Done.

The live version he done in Paris 1998 is awesome so I'd love to hear a proper studio version.

nyse said:

GLAMOROUS LIFE and IF EYE LOVE U TONIGHT.

'The Glamorous Life' was obviously always conceived as a track for an associate artist, which makes it qualitatively different from some of the other suggestions in terms of calculating the very remote probabiity that P might have for a moment considered retaining it for himself. The current guide vocal that is low in the mix isn't at the standard to be a lead, and it probably wouldn't have the Larry Williams sax if it didn't end up a Sheila's album.

[Edited 1/29/16 7:33am]

imprimis said:

imprimis said:

nyse said:

GLAMOROUS LIFE and IF EYE LOVE U TONIGHT.

'The Glamorous Life' was obviously always conceived as a track for an associate artist, which makes it qualitatively different from some of the other suggestions in terms of calculating the very remote probabiity that P might have for a moment considered retaining it for himself. The current guide vocal that is low in the mix isn't at the standard to be a lead, and it probably wouldn't have the Larry Williams sax if it didn't end up a Sheila's album.

[Edited 1/29/16 7:33am]

matt what other tracks are yet to leak from the 2nd vanity album other than extraloveable and no call u are those the only tracks?

Dilan said:

imprimis said:

'The Glamorous Life' was obviously always conceived as a track for an associate artist, which makes it qualitatively different from some of the other suggestions in terms of calculating the very remote probabiity that P might have for a moment considered retaining it for himself. The current guide vocal that is low in the mix isn't at the standard to be a lead, and it probably wouldn't have the Larry Williams sax if it didn't end up a Sheila's album.

[Edited 1/29/16 7:33am]

matt what other tracks are yet to leak from the 2nd vanity album other than extraloveable and no call u are those the only tracks?

.

'No Call U' is more properly a 1999, or at least 1999-era outtake. It *may* have been considered and revisited with Vanity vocals, or intended at one point or another for such purposes, for the second album (perhaps even the first).

.

'G-Spot' was at one point considered for, although most likely not written or recorded specifically for, the second album, and there is a decent chance that a version Vanity's vocals was actually recorded, which may have helped carry this track over to Jill Jones for her long-delayed album in 1985 (after which it languished another two years, and was drastically changed/overdubbed in the process by David Z and others).

.

'Wet Dream Cousin', whose name has been given by b-leggers, *may* be the early instrumental component of a more complete track intended for a second Vanity 6 album.

.

'Vibrator' is of course most certainly a track worked on and completed for a second Vanity 6 album.

.

And also, we have the Vanity-vocals early demo of 'Sex Shooter'.

.

It seems that an early, uncirculating late Spring/early Summer 1983 '17 Days', which may or may not have anything in common with the released version, would have been written and recorded before Vanity departed the Prince camp.

.

I *speculate* 'Sugar Walls' was written and recorded either for a second Vanity 6 album, or for Apollonia 6 before he decided to reconfigure the latter project as more of a PG-13/R, less-naughty bubblegum outfit (rather than the NC17/X rated direction V6 and 1983 Prince seemed at first to be heading in), after which time it was set aside and available for Sheena Easton's eventual use. One version of the story says that it was sent over unilaterally by Prince after seeing her on the Tonight Show and happening to have David Leonard as a go-between as a common engineer. Sheena appeared on the Tonight Show on January 18th, 1984, and this song is clearly from 1983 (even Princevault is in agreement on this point) and it most certainly wasn't recorded for P to sing on his own. Another version says that, again with David Leonard as a common engineer, Sheena and Prince encountered each other in the same studio facility, at which time she or her producers requested he write or provide a track for her to record. Whomever it was intended for, it most likely wasn't written specially for Sheena, and there aren't many remaining suspects on whose projects to place this song, not to mention his occasional habit ~1983-1989 of going back into the drawer of The Hookers/V6/A6 material when looking for a song to give to a female associate to record (Sheila, the Bangles, Jill Jones, Bonnie Raitt, etc.)

.

It's not clear to what extent 'Extralovable' was considered for a Vanity 6 follow-up. I don't believe he wrote or recorded it specifically for that purpose (most likely instead for his own direct use), if it was ever later entertained or actually recorded with Vanity's vocals. Princevault and other sources allege this track is from 1982, and not 1983, almost insinuating that this may have been recorded for the album that became '1999' or even V6's first album, but that seems incompatible with my view of its production. It is just so distinctively *1983*, without even considering the Dez and Wendy references in the lyrics.

.

[Edited 1/29/16 10:00am]

Eternity

Love... Thy Will Be Done

With This Tear

On The Way Up

Time Waits For No One

[Edited 1/29/16 11:06am]

The Sex of It

Why Should I Love You