On Princevault it says that P was credited for all musical instruments and that the others were credited but with uncertain involvement. Does anyone think it was pretty much Prince who played all of the instruments?

I think/hope so, and the music has Prince's style all over it. Could someone clear this up for me?

[Edited 1/31/16 2:57am]

[Edited 1/31/16 3:05am]

purplemajesty23 said:

I've always seen it as a Prince album first and foremost. Unlike the other NPG albums, he and his symbol adorn the cover, and he is the lead vocalist throughout. I think he credited it to NPG because he viewed it more as a fun side-project thing. Thematically, it's the Black Album of the 1990s.

purplemajesty23 said:

On Princevault it says that P was credited for all musical instruments and that the others were credited but with uncertain involvement. Does anyone think it was pretty much Prince who played all of the instruments?

I think/hope so, and the music has Prince's style all over it. Could someone clear this up for me?

[Edited 1/31/16 2:57am]

[Edited 1/31/16 3:05am]

We dont have more info that what's on P vault but it's pretty obvious that Prince played most of everything except for the horns.

toejam said:

I've always seen it as a Prince album first and foremost. Unlike the other NPG albums, he and his symbol adorn the cover, and he is the lead vocalist throughout. I think he credited it to NPG because he viewed it more as a fun side-project thing. Thematically, it's the Black Album of the 1990s.

Apparently it was at first announced as a album then redubbed a NPG album. An early config of Exodus announces the upcoming third NPG album to be titled NPS, though.

I think the reson why it was redubbed a NPG album is because of the Newpower Pak concept: I think ether Larry told P he wanted to release his album as GCS and P then said in that case mine will be NPG, or maybe P came-up with the idea. But I think it's a NPG albumù only because the other is GCS instead of LG.

Creatively speaking, though, Gold Nigga and Exodus were no less Prince albums than NPS: neither were democratic efforts by P and the band, they were Prince projects.

databank said:

toejam said:

I've always seen it as a Prince album first and foremost. Unlike the other NPG albums, he and his symbol adorn the cover, and he is the lead vocalist throughout. I think he credited it to NPG because he viewed it more as a fun side-project thing. Thematically, it's the Black Album of the 1990s.

Apparently it was at first announced as a album then redubbed a NPG album. An early config of Exodus announces the upcoming third NPG album to be titled NPS, though.

I think the reson why it was redubbed a NPG album is because of the Newpower Pak concept: I think ether Larry told P he wanted to release his album as GCS and P then said in that case mine will be NPG, or maybe P came-up with the idea. But I think it's a NPG albumù only because the other is GCS instead of LG.

Creatively speaking, though, Gold Nigga and Exodus were no less Prince albums than NPS: neither were democratic efforts by P and the band, they were Prince projects.

100% agree!!

At work when we started on this campaign we always called it a Prince album. So I'm not surprised most people then think that. We had to be really careful with how this was to be promoted. Naturally when Prince came over to London for the promo, the Cafe gig and the Come On video shoot, most comms included different combinations of Prince, Symbol and NPG. When we then got onto the Rave campaign that cemented the confusion as we all called it a Prince album but Prince was the producer credit. Everyone at the label were relieved when he was Prince once more, but he always was anyway!

toejam said:

The band were all over it, it just wasn't clear in the credits who played what. Mike Scott was on Eye Like Funky music, Push It Up, Come On etc, Rhonda played bass on nearly all the tracks, and frettless bass on The One. Marva obviously sang backing on most tracks, Kat D was on Come On and a few others. Larry, Chaka, Doug E Fresh are on more tracks then they are credited on also.

It's more of a Prince and Kirk 50/50 split, as a lot of the beats were started by Kirk.

The NPG Horns (Hornheads) were on a few, on When U Love Somebody he used the horn section from a Prince tribute band however i cant remember the name of the tribute band. He did a few aftershows using the horn section in 1997, invited them up to Paisley Park to lay down horns on a few tracks, however most of the songs never came out and only When U Love Somebody ended up on the album.

Michael B Nelson from the hornheadz was very unhappy with the demo like quality sound of the album, sonically it was very rough and always sounded unfinished to a lot of the guys involved. Hans Buff who was the engineer on the album told a story about Michael B Nelson actually speaking to Prince on the phone saying "i'll pay for it to be re-mixed and remastered!" but Prince wanted it to sound that way, which links to why it came out as an NPG album...

First reason, it was inspired by the shows on the Jam of the year tour in 1997, the party like atmosphere those shows had. It was a funky party album and he wanted it to represent the sound of his band at the time.

Secondly, releasing a more throwaway album under his own name (or the symbol) would have been a much bigger deal as opposed to the NPG, he obviously knew it wasn't his most serious work, or knew it wasnt his greatest work, by putting it out under the NPG he kind of escaped criticism and could carry on touring throughout 1998, before launching Rave in 1999 which was (love it or hate it), a consistant album clearly intended on being commercially viable.

RumAndRaisin said:

The band were all over it, it just wasn't clear in the credits who played what. Mike Scott was on Eye Like Funky music, Push It Up, Come On etc, Rhonda played bass on nearly all the tracks, and frettless bass on The One. Marva obviously sang backing on most tracks, Kat D was on Come On and a few others. Larry, Chaka, Doug E Fresh are on more tracks then they are credited on also.

It's more of a Prince and Kirk 50/50 split, as a lot of the beats were started by Kirk.

The NPG Horns (Hornheads) were on a few, on When U Love Somebody he used the horn section from a Prince tribute band however i cant remember the name of the tribute band. He did a few aftershows using the horn section in 1997, invited them up to Paisley Park to lay down horns on a few tracks, however most of the songs never came out and only When U Love Somebody ended up on the album.

Michael B Nelson from the hornheadz was very unhappy with the demo like quality sound of the album, sonically it was very rough and always sounded unfinished to a lot of the guys involved. Hans Buff who was the engineer on the album told a story about Michael B Nelson actually speaking to Prince on the phone saying "i'll pay for it to be re-mixed and remastered!" but Prince wanted it to sound that way, which links to why it came out as an NPG album...

First reason, it was inspired by the shows on the Jam of the year tour in 1997, the party like atmosphere those shows had. It was a funky party album and he wanted it to represent the sound of his band at the time.

Secondly, releasing a more throwaway album under his own name (or the symbol) would have been a much bigger deal as opposed to the NPG, he obviously knew it wasn't his most serious work, or knew it wasnt his greatest work, by putting it out under the NPG he kind of escaped criticism and could carry on touring throughout 1998, before launching Rave in 1999 which was (love it or hate it), a consistant album clearly intended on being commercially viable.

U seem to have a lot of insider info, it'd be cool if u shared ur knowledge on who plays on what with the Princevault team

The horns on When U Love Somebody are actually both the Days Of Wild horn section AND the Hornheads. Prince wasn't happy with the DOW performance and asked MBN to rerecord the horns but in the end, quite oddly, Prince decided to merge both horn sections' recordings and that's what we have on the album. I can't reveal my source for that info as this was told to me off the record, but it's a reliable source.

RumAndRaisin said:

The band were all over it, it just wasn't clear in the credits who played what. Mike Scott was on Eye Like Funky music, Push It Up, Come On etc, Rhonda played bass on nearly all the tracks, and frettless bass on The One. Marva obviously sang backing on most tracks, Kat D was on Come On and a few others. Larry, Chaka, Doug E Fresh are on more tracks then they are credited on also.

It's more of a Prince and Kirk 50/50 split, as a lot of the beats were started by Kirk.

The NPG Horns (Hornheads) were on a few, on When U Love Somebody he used the horn section from a Prince tribute band however i cant remember the name of the tribute band. He did a few aftershows using the horn section in 1997, invited them up to Paisley Park to lay down horns on a few tracks, however most of the songs never came out and only When U Love Somebody ended up on the album.

Michael B Nelson from the hornheadz was very unhappy with the demo like quality sound of the album, sonically it was very rough and always sounded unfinished to a lot of the guys involved. Hans Buff who was the engineer on the album told a story about Michael B Nelson actually speaking to Prince on the phone saying "i'll pay for it to be re-mixed and remastered!" but Prince wanted it to sound that way, which links to why it came out as an NPG album...

First reason, it was inspired by the shows on the Jam of the year tour in 1997, the party like atmosphere those shows had. It was a funky party album and he wanted it to represent the sound of his band at the time.

Secondly, releasing a more throwaway album under his own name (or the symbol) would have been a much bigger deal as opposed to the NPG, he obviously knew it wasn't his most serious work, or knew it wasnt his greatest work, by putting it out under the NPG he kind of escaped criticism and could carry on touring throughout 1998, before launching Rave in 1999 which was (love it or hate it), a consistant album clearly intended on being commercially viable.

i distinctly remember prince himself saying that "Mad Sex" was something he found in the studio

that Kirk had 'left on the mixing board' and he liked it so much he developed it further. i just don't
remember when he said it. possibly one of the interviews around that time? he had that hair with
all those little ponytails sticking out, not the rave-do yet, the pre-rave-do

To me it is a Prince or TAFKAP album, yes there are Hornheadz and the NPG, but whose vocals is it on the songs?, what do the songs sound like? exactly, this is a Prince album thru and thru. Not a very good one, but it is still him.

Adorecream said:

To me it is a Prince or TAFKAP album, yes there are Hornheadz and the NPG, but whose vocals is it on the songs?, what do the songs sound like? exactly, this is a Prince album thru and thru. Not a very good one, but it is still him.

Vocals do not determine whose album an album is or (for example) some George Duke albums, credited to him, would in fact be Various Artists compilations.

All NPG releases are just as much Prince albums as NPS. I don't understand why this is still being debated after 18 years.

TrevorAyer said:

First 2 npg records were very collaborative with the band writing a lot of the grooves ... Nps was coolaborative too but different band members and more p involvement .. Nps is better than gold exp and emancipation imo .. The last great p songs for many years on nps

There is no indication that "the band wrote a lot of the grooves" on GN and Exodus. Prince however shared royaties with all bandmembers on both albums but according to current research it has been confirmed that at least the tracks on Exodus were for the most part solo compositions by Prince, so for most tracks it was most likely a "gift" from him to them (as happened later with Sheila on R1600, Mark on the 2 songs Prince rewrote for Mazarati, + Carmen, Tamar and Bria on their respective albums).

A reliable inside source told me once that they thought it very likely that Tony wrote his own lyrics on GN, though, but they weren't sure about that. That same source also told me that Levi arranged and recorded a track with the whole band and submitted it to P for GN, and Prince declined to use it saying that the song wasn't his and had no business being on his record (though the track sounded exactly like the others and would have fitted in perfectly). This shows how much of a collaboration GN and Exodus were... Prince also assembled and reassembled the tracklist for Exodus several times without consulmting the band.

On a side note it's always nice to see some love for NPS, one of my favorite P albums ever and a very misunderstood project IMHO.

TrevorAyer said:

Wasn't the bump squad a bland sonny band? I thought that song came from an old bump squad tune ... I could be wrong but my impression was a lot of goldnigga was tony m raps and npg music with p helming the hooks Sexy mf hook is by tony so my impression was that p was not just writing all songs on his own .. Npg was a spin off of the colabs on p records giving the band more fredom to write Even the mad sex story indicates p worked on grooves of others and kept it under the npg because their imput was strong Chaka was also part of the new power pack so the theory of npg gcs does not quite add up It was certainly a gift from p to put out these records but as bad of a rapper p is , i have a hard time believing that p wrote all tonys raps Sonny and bland were together before and after p and had deep funk grooves for miles and both destroy p on their respective instruments ... P also expressed great respect for sonny and bland so i still find it more believable that npg was highly collaborative

I seem to recall the Sexy MF line is from Levi, he used to walk around saying it.

.

Also, remember reading Tony wrote his own raps on Gold Nigga, as well as Sexy MF and My Name Is Prince (he was credited for those 2 but of course him and Levi had to go to court to get paid). Didn't Prince write in the D&P album booklet he was the wittiest pen in Twin Cities or something like that.

TrevorAyer said:

When I saw p act 1 montreal there was an interview in local paper with tony in which he said he kept blurting out sexy mf at soundchecks when they were working on the groove ... P hated it at first but eventually caved as it was too catchy This is from memory so i could be wrong but i think i got it right

It was Levi.

.

Sexy MF

"Sexy M.F." is a single released on June 30, 1992, by Prince and The New Power Generation, from the Love Symbol album.^[1] The B-side was "Strollin'", from the previous year's Diamonds and Pearls. The UK CD single had a third track, "Daddy Pop", also from Diamonds and Pearls. The song (named after the chorus line "You sexy motherfucker") caused some controversy,^[2] and an edited version, "Sexy Mutha," was created for radio and the music video, as well as the "clean version" of the U.S. album.

"Sexy M.F." is a merger of "old school" funk with modern R&B music. The song is built around the drums and bass, though the bass-line is somewhat subdued. Added to this is a consistent electric rhythm guitar undertone and horn stabs from the NPG Hornz. Throughout the song, the horns are given the chance to shine, along with a sax solo from Brian Gallagher. Musical solos are also provided by Levi Seacer, Jr. (guitar) and Tommy Barbarella (organ). The music and most of the lyrics were composed by Prince, while Seacer came up with the chorus and the song's title. Tony M. delivers a rap which he wrote. Recently, it has been covered by the Dave Matthews Band as a segue into their hit "Jimi Thing."

The song was recorded in Paisley Park Studios' Studio A. The title line was recited into a Shure SM57 by Levi Seacer, Jr.

TrevorAyer said:

Levi wrote the line and sang it in the chorus.

TrevorAyer said:

Well there must be someone who saw them live and knows if levi or tony sang the hook live .. Or did p sing it live? I really don't mind being wrong... Just don't trust the write ups without quotes from interviews... Anyone confirming live or on vid bootleg should be easy enough .. Someone must have noticed I tried to google the montreal interview but all i could find was a mention of levi and tony both suing prince over sexy mf and my name is prince .. I knew about andre and his dad and a few others not getting proper credit but was surprised this late in his game to behave that way Especially after getting such a huge contract

I saw both the 92 and 93 tours and I'm pretty sure the chorus was a sample (with P and band occasionally singing over it), but that was 24-23 years ago so my memory may fail me. We have a few soundboards from both tours so this can be checked easily.

What is AMAZING is that though I'd read the story I'd never realized to this day that Levi may have been singing the Sexy MF sample on the studio track! I've listened to it again and it sounds a lot like Prince but yeah, it doesn't sound exactly like him. I'm not 100% positive but I think it's Levi.

[Edited 2/4/16 21:13pm]

databank said:

TrevorAyer said:

Well there must be someone who saw them live and knows if levi or tony sang the hook live .. Or did p sing it live? I really don't mind being wrong... Just don't trust the write ups without quotes from interviews... Anyone confirming live or on vid bootleg should be easy enough .. Someone must have noticed I tried to google the montreal interview but all i could find was a mention of levi and tony both suing prince over sexy mf and my name is prince .. I knew about andre and his dad and a few others not getting proper credit but was surprised this late in his game to behave that way Especially after getting such a huge contract

I saw both the 92 and 93 tours and I'm pretty sure the chorus was a sample (with P and band occasionally singing over it), but that was 24-23 years ago so my memory may fail me. We have a few soundboards from both tours so this can be checked easily.

What is AMAZING is that though I'd read the story I'd never realized to this day that Levi may have been singing the Sexy MF sample on the studio track! I've listened to it again and it sounds a lot like Prince but yeah, it doesn't sound exactly like him. I'm not 100% positive but I think it's Levi.

[Edited 2/4/16 21:13pm]

Just listened to a D&P tour soundboard - its Levi. At the DNA aftershow 1993 - it was Sonny. I think I recall Levi singing/miming it on the Ryde Dyvine TV special.

.

Do you think its a sample on the studio track? I've read a few times it was Levi but it doesn't really sound like him, sounds more like Prince to me. I don't know where but I defo remember reading Levi used to walk round Paisley shouting to people 'you sexy motherfucker' and thats where P got it from.

databank said:

RumAndRaisin said:

The band were all over it, it just wasn't clear in the credits who played what. Mike Scott was on Eye Like Funky music, Push It Up, Come On etc, Rhonda played bass on nearly all the tracks, and frettless bass on The One. Marva obviously sang backing on most tracks, Kat D was on Come On and a few others. Larry, Chaka, Doug E Fresh are on more tracks then they are credited on also.

It's more of a Prince and Kirk 50/50 split, as a lot of the beats were started by Kirk.

The NPG Horns (Hornheads) were on a few, on When U Love Somebody he used the horn section from a Prince tribute band however i cant remember the name of the tribute band. He did a few aftershows using the horn section in 1997, invited them up to Paisley Park to lay down horns on a few tracks, however most of the songs never came out and only When U Love Somebody ended up on the album.

Michael B Nelson from the hornheadz was very unhappy with the demo like quality sound of the album, sonically it was very rough and always sounded unfinished to a lot of the guys involved. Hans Buff who was the engineer on the album told a story about Michael B Nelson actually speaking to Prince on the phone saying "i'll pay for it to be re-mixed and remastered!" but Prince wanted it to sound that way, which links to why it came out as an NPG album...

First reason, it was inspired by the shows on the Jam of the year tour in 1997, the party like atmosphere those shows had. It was a funky party album and he wanted it to represent the sound of his band at the time.

Secondly, releasing a more throwaway album under his own name (or the symbol) would have been a much bigger deal as opposed to the NPG, he obviously knew it wasn't his most serious work, or knew it wasnt his greatest work, by putting it out under the NPG he kind of escaped criticism and could carry on touring throughout 1998, before launching Rave in 1999 which was (love it or hate it), a consistant album clearly intended on being commercially viable.

U seem to have a lot of insider info, it'd be cool if u shared ur knowledge on who plays on what with the Princevault team

The horns on When U Love Somebody are actually both the Days Of Wild horn section AND the Hornheads. Prince wasn't happy with the DOW performance and asked MBN to rerecord the horns but in the end, quite oddly, Prince decided to merge both horn sections' recordings and that's what we have on the album. I can't reveal my source for that info as this was told to me off the record, but it's a reliable source.

I'd be happy to share stuff with Princevault, i think the site is a blessing, a god send and incredibally well put together.

Credits have never been Prince's strong point put it that way, we'll never really know the majority of credits for his work, look at the recent Hit n Run 2 album, 5 years after Xtralovable was put out as a download, or 3 years after Groovy potential, the fans are finding out John Blackwell or Michael B were on those tracks.

You'd be surprised who plays on what, and when a lot of tracks were recorded. Like i said on a thread last year, a surprising amount of tracks are older then you think, on 20ten Sticky like Glue and Future soul song are updated versions of older tracks, Sticky Like Glue dates back to a demo from the 80's. And Somewhere Here On Earth was originally around as recording with the 1992/3 NPG, big band version with the hornheads.

To put it in perspective, imagine if 1000 Hugs and Kisses hadnt leaked years ago, and it came out on Hit n Run, we'd never have known it was an over twenty year old track. There's a lot in that vault that has been updated, riffs put in other songs etc, i am working on a bit of a book of it all, but currently it's more of an exhaustive list.

RumAndRaisin said:

To put it in perspective, imagine if 1000 Hugs and Kisses hadnt leaked years ago, and it came out on Hit n Run, we'd never have known it was an over twenty year old track. There's a lot in that vault that has been updated, riffs put in other songs etc, i am working on a bit of a book of it all, but currently it's more of an exhaustive list.

Those infos are pretty fascinating!

.

There are a lot of disjointed efforts and that's a pity:

- There's been Per Nielsen and Uptown's reasearch, that eventually evolved into Princevault, that are into both discography and recording sessions.

- There were BorisFishPaw's additional discography research and Scififilmnerd's additional recording sessions research.

- There's my own work on the discography and other officially made available material, that allowed me to unearth some rarities that weren't covered by, or correct some mistakes made by Princevault.

- There's Madhouseman 80's focused intensive research regarding recording sessions, for his upcoming books, that seems to add a lot of info to, and sometimes even contradict what had been found by Nilsen/Uptown/Princevault.

- And now u say u're working on another recording sessions project that seems more focused on post 1990 work, which is very interesting because Madhouseman said that it was unlikely he would ever be able to cover P's entire recording career, hence his focus on the first decade or so. So basically both projects are complementary

.

Imagine what we could achieve if we would unite our forces? Besides the few things my own research has revealed I have spotted numerous errors on Princevaults -often ommissions or typos, and don't get me wrong, their work is fabulous and has been a prime source of data for my own work, only with such a delirious amount of data small mistakes are unavoidable, and there must be a lot on my own discography as well despite my best efforts- but I'm too lazy to every time send them an email.

.

I was actually thinking of contacting them and the mods here and suggest that maybe there's a specific thread in the Org devoted only to spotting mistakes or apparant contradictions on the site, that they could check. The same thread (or a separate one) could be used for mistakes spotted in my own discography. I've actually received a lot of mails in that regard, but it'd be easier for me to handle if it was a thread, and it would be easier for me to quickly post an entry in a thread when I spot a mistake at Pvault than to send them a mail.

.

Similarly I think Princevault, youself and Madhouseman should get in touch and put your data in common when it comes to recording sessions. I don't know, I just think it's silly to have different people working separately and having different bits of info. A typical example would be that specific info I have about Until U're In My Arms' horns that complements what was already known. I have a few others like that but I was too lazy so far to write to Princevault. Again for example has Madhouseman spotted that version of Sticky Like Glue from the 80's you are talking about? If he hasn't that's an info that would be fascinating to add to his research. I know Imprimis also got some other bits of info from taking to W&L and possibly other bandmembers and there must be some others among us.

.

I know there have been a lot of tensions in our community in the past but in the end, today I think we are a small group of people devoted to research who are of good faith and who, despite our personal lives often getting in the way because one doesn't get paid for researching P's discography and recording sessions, are trying to devote time to that stuff. Maybe it's time we try and work a bit more together even if we keep our separate, personal projects (sites, books...). Recently, Bart said something like that as well: more collaborative efforts between us all could lead to more accurate data being provided.

.

Thoughts?

Yay to all the researchers!! We appreciate all the hard work.

databank said:

RumAndRaisin said:

To put it in perspective, imagine if 1000 Hugs and Kisses hadnt leaked years ago, and it came out on Hit n Run, we'd never have known it was an over twenty year old track. There's a lot in that vault that has been updated, riffs put in other songs etc, i am working on a bit of a book of it all, but currently it's more of an exhaustive list.

Those infos are pretty fascinating!

.

There are a lot of disjointed efforts and that's a pity:

- There's been Per Nielsen and Uptown's reasearch, that eventually evolved into Princevault, that are into both discography and recording sessions.

- There were BorisFishPaw's additional discography research and Scififilmnerd's additional recording sessions research.

- There's my own work on the discography and other officially made available material, that allowed me to unearth some rarities that weren't covered by, or correct some mistakes made by Princevault.

- There's Madhouseman 80's focused intensive research regarding recording sessions, for his upcoming books, that seems to add a lot of info to, and sometimes even contradict what had been found by Nilsen/Uptown/Princevault.

- And now u say u're working on another recording sessions project that seems more focused on post 1990 work, which is very interesting because Madhouseman said that it was unlikely he would ever be able to cover P's entire recording career, hence his focus on the first decade or so. So basically both projects are complementary

.

Imagine what we could achieve if we would unite our forces? Besides the few things my own research has revealed I have spotted numerous errors on Princevaults -often ommissions or typos, and don't get me wrong, their work is fabulous and has been a prime source of data for my own work, only with such a delirious amount of data small mistakes are unavoidable, and there must be a lot on my own discography as well despite my best efforts- but I'm too lazy to every time send them an email.

.

I was actually thinking of contacting them and the mods here and suggest that maybe there's a specific thread in the Org devoted only to spotting mistakes or apparant contradictions on the site, that they could check. The same thread (or a separate one) could be used for mistakes spotted in my own discography. I've actually received a lot of mails in that regard, but it'd be easier for me to handle if it was a thread, and it would be easier for me to quickly post an entry in a thread when I spot a mistake at Pvault than to send them a mail.

.

Similarly I think Princevault, youself and Madhouseman should get in touch and put your data in common when it comes to recording sessions. I don't know, I just think it's silly to have different people working separately and having different bits of info. A typical example would be that specific info I have about Until U're In My Arms' horns that complements what was already known. I have a few others like that but I was too lazy so far to write to Princevault. Again for example has Madhouseman spotted that version of Sticky Like Glue from the 80's you are talking about? If he hasn't that's an info that would be fascinating to add to his research. I know Imprimis also got some other bits of info from taking to W&L and possibly other bandmembers and there must be some others among us.

.

I know there have been a lot of tensions in our community in the past but in the end, today I think we are a small group of people devoted to research who are of good faith and who, despite our personal lives often getting in the way because one doesn't get paid for researching P's discography and recording sessions, are trying to devote time to that stuff. Maybe it's time we try and work a bit more together even if we keep our separate, personal projects (sites, books...). Recently, Bart said something like that as well: more collaborative efforts between us all could lead to more accurate data being provided.

.

Thoughts?

Mine is not a thought on the collaboration process for the writing of such histories, but when I read these song origins/lineups reportings, I often wonder how these are verified--can one collect recording company documentation and/or have descriptions vetted by the mucisians and engineers? For the most part, as an outsider being somewhat curious, I can only imagine that these writings "sound about right" in their authenticity. It is amazing to know that there is a buzz about this stuff. I think collaborations among the adventurous toward the task would help, though.