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24) INT. REHEARSAL HALL -- DAY
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Purple Rain the movie began as as the start of a concert film from Controversy calle the 2nd Coming, from there in Prince's famous purple notebook he began developing a movie called Dreams which Albert Magnoli title Purple Rain. the electricity of this era was magnified by the movie. What fans of Prince:For U-199 the Time & Vanity 6 understood about "Uptown" came to the big screen. And exciting time, the deleted scenes, the music, that intended music, the script with Vanity written in. the explicit scenes and the whole background including the infamous 1983 1st Avenue show that premiered live music that became the Purple Rain sound strack.Background myths and drama. Introducing the white cloud.
P U R P L E R A I N
BEFORE HE CREATED THE MUSIC, HE LIVED EVERY BIT OF IT | |
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God 4 the "rain", The Time: “chicken grease”,
God: 4 the rainbow Thanks 2 Don Thorin and all the cast & crew of Purple Rain Morris & Jerome
Thanks 2 all, may u live 2 see the Dawn.
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(25) EXT. STREETS AND ALLEY -- DOWNTOWN -- DAY
MORRIS
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.... 1, 2, 3, 4 Shit! Oh! Somebody bring me a piece of chicken! What... what Tricky say? What Tricky say? Yakety-yak? You can't fuck with that, look out! Why you, and you? Break now. Yes! When I look in the mirror. I see your ugly face. Now you go. You, you..., wait, wait, wait. Johnny, Johnny!
Tricky (non-album track) (lead vocals by [Prince] co lead Morris Day) (3:11)
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http://beldonsbluespoint....f-our.html
Here is part 2 of our interview with Jellybean Johnson, drummer for The Time. In it, he talks about, among other things, how real tension between Prince and The Time made Purple Rain a hit; playing with Ronnie Baker Brooks and Bernard Allison and why, when it comes to the blues, his instrument is the guitar and not the drums. BBP: The movie Purple Rain. You were in that, right?
Johnson: Yeah.
BBP: There was a rivalry (in the movie) between the Time and Prince’s people, the Revolution.
Johnson: And trust me, he used that—that had been going on for a couple of years—he used that to his advantage in that movie. And this is why he actually kicked Terry and Jimmy out of the fucking Time! Right before Purple Rain! Go back and watch Purple Rain. Jimmy and Terry—and people to this day think they are (in the movie). They’re not in Purple Rain. They’re not! He kicked them out! And it was supposed to be Morris’ band. He (Prince) fired them a few days before, and that’s why they went on to be famous producers.
BBP: So he did them a favor more or less, right?
Johnson: He did them a favor, more or less. But still it’s just—it’s just—all this shit is just so childish when you look back on it 35 years later. You’re like, “what the fuck was he doing?” Because you know what, man? He could have had all of us. We could have all been working for him; we could have all been making hits for him and everything and he would have made even more money. But his ego won’t let that happen. His ego cannot take that. He had all of us: every guy in the Time, with the exception of Jerome—and Jerome had his own record deal—every guy in the Time had a top 10 hit. Every one! Monte, Jesse, Jimmy and Terry sold over 100 million records. Morris, I—all of us—had Top Ten, Top Five records. Prince could have had all of us. Didn’t want to pay us; didn’t want to do it.
BBP: So you think it was a money issue, or was it an ego issue, or both?
Johnson: I think it’s ego and money. I think it was ego and money. Because he didn’t want us to become bigger than him. When I first toured, we first went on a major tour, we made $150 a week, dude.
BBP: (laughs) Really?
Johnson: Prince made millions. Those millions he took to make Purple Rain, he made that first tour, when he got the bonuses and shit, our bonus was $150. After three fucking months on the road! That’s all we made was $150 a week! That’s all we made! Morris made more: he paid Morris more because Morris was his alter-ego, as you said. The rest of us? That’s all we got! That includes Terry and Jimmy too.
BBP: But you know what’s interesting though, that movie would not have worked if it had not been for that tension, you know?
Johnson: Yeah. You’re right. He used that, like I said, he used that to his advantage. Because the automatic tension was there, because it had been there. He used it to his advantage. And I give him credit for that. I’m still famous today for Purple Rain. I still get a little bullshit check every two or three months for Purple Rain…but Purple Rain’s going to always be part of his life too, even though he tries to poo-poo and play all of this new shit like “Screwdriver” and all that. People come to concerts, they want to hear “Purple Rain” and that old shit. This recent shit, they don’t be wanting to hear his ass with that. But it takes him time to figure shit out. But then he’ll sit down at a piano and brag about how many hits he’s got, and kick his man offstage and just play the shit by himself. That’s the kind of shit he does.
BBP: So why do you think the women get treated better?
Johnson: This goes all the way back to Vanity 6, Apollonia 6, and how we used to get treated because of them. We played for Vanity 6 and we were in their band, we didn’t get but an extra $100 for doing that shit…and when we came to major cities like New York, L.A., he booted our asses off there. He kept them, made us play for them and wouldn’t let The Time play. Do you know what it’s like to have a major star—Quincy Jones, Sting—coming to see us, and we don’t play? You know what? You should buy the Original 7ven. There’s a DVD in the album Original 7ven. You should buy that, man and watch that.
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Miami 1985 last show of the Purple Rain Tour. Jerome and jellybean backstage with some of the crew
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(32) INT. CLUB UPPER LEVEL -- NIGHT
as Vanity and Chick come to a halt in
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35) INT/BACKSTAGE ENTRANCE/CLUB -- NIGHT
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Chili sauce (originally entitled as "Proposition #17") (5:48)
Ah, good evening Mr. Day, two for dinner? You know, this is an exciting establishment you have here Sir, I'm afraid I don't get it Ah my dear, it's rough at the top Excuse me, baby You look so lovely tonight I have an Italian cook, Jerome My God darling, it fits, you must have strong hands Do you know what is meant by the words, uhh ? I hate to use them You know, I haven't made love in so long
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Only 3 songs were any good. Ice Cream Castles, Jungle Love & The Bird. The other 3 are crap. I read somewhere that Paul did not like the suit he had 2 wear on the album cover and had an arguement with Prince over it. Burnt Orange is a difficult colour 2 pull off but it's not as bad as the Pink one. | |
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Prince should have put a ruffled shirt under his suit. I like that color
When I auditioned for The Time...(laughs faintly) I was scared to death. I'll never forget it. I was, of all things, on vacation in a place called Breezy Point and I got the call for the audition. (I) went home and I did not get the cassette tape on time. I got it the night before the audition and had to learn everything the night before the gig.
I was nervous. I went in did the best I could, based on all the training I got from my family and all the gigs I had done prior to that. I guess it turned out okay. I wish I could remember the exact number (of songs I played), but, it felt like a million songs. It was probably four or five.
The first time I met Prince was at the first callback—my second audition (with The Time). He wasn't at the first one. I was nervous. He was this big rock star. He walked into the room and I think we were picking out swatches for the material we were going use for the suits in the movie ("Purple Rain"). It became my orange suit. I had picked out a beautiful black pinstriped suit and he said "No, you've got to stand out." Then he picked out an orange one for me. I said "I'm not wearing that." He said "Yes, you are."
So, that was one portion of our meeting.
Filming "Purple Rain..." talk about being thrown to the wolves, in a good way. My phrase is "Be ready for the opportunity, because, you don't when it's going to strike." I was fortunate enough for that to be a pretty incredible opportunity.
Those guys put me right in the mix. One minute, I'm auditioning for the band, the next minute I'm filming for a little film. We didn't know what it was going to do-- now it's turned into an incredible entity and is part of music history. It's pretty humbling, but, you never know that going in. You have to be ready.
I think growing up in that family of mine prepared me for a lot of different situations. (But), it couldn't prepare me for what those guys gave to me. It was a whole new line of education.
The one and only scene where I had a line was when we're (The Time) walking through the back hallways of First Avenue and Morris Day leans back and says "How's the family?"
They had us there quite a bit, more than you would think. (There were) a lot of club scenes. We didn't have any major speaking roles, but, we were there a lot. It was freezing. I remember that.
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Chocolate" is a song from The Time's 1990 album Pandemonium. The song was originally recorded in mid-April, 1983 by Prince at Sunset Sound studios during sessions for Ice Cream Castle. Prince originally performed all instruments and vocals (instruments & backing vocals by Wendy & Lisa) and this recording remains unreleased, but circulates among collectors. The song was reworked in late 1989 for inclusion on Pandemonium and contains input by the band. Part of Prince's original vocals were edited and included to be a humorous account between Morris Day and a feisty waiter.
Chocolate #1 (lead vocals by [Prince]) (5:48)
Initial tracking took place on 17 April, 1983 at Sunset Sound, Hollywood, CA, USA (the day after If The Kid Can't Make You Come, the day before Prince fired Jimmy Jam and Terry Lewis from The Time, and two days before recording Velvet Kitty Cat). The track features Wendy Melvoin and Lisa Coleman, but they are not credited on the released version, despite their contributions remaining intact. It is uncertain when Morris Day's vocal overdubs were recorded, but these may have been recorded on the same day. Prince's original call-outs to Wendy Melvoin in the lyrics were changed to Morris Day calling out Jesse Johnson, although the guitar part is still Wendy Melvoin's solo; Jesse Johnson was heavily involved in choosing this track for Pandemonium, however, so it is surprising he did not re-record the guitar solo in 1989.
Chocolate - Melvoin, Melvoin, you gonna have two step on the gas Chocolate - Melvoin, play your guitar. I'm gonna go tap on the cowbell
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(38) INT. VAN1TY'S TABLE AND CLUB -- NIGHT
Ah my dear, it's rough at the top Excuse me, baby
I... I have an Italian cook Do U like diamonds?
I'm not usually so forward, but... Do U know what is meant by the words, uhh.. U know, I haven't made love in so long | |
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(50) EXT. PRINCE'S HOUSE AND STREET -- NIGHT
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(52) INT./EXT. CADDY -- NIGHT | |
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Interestingly the (CHILI SAUCE PROPOSITION 17) dialogue extends further into a deleted cab ride scene from the Kids house back into downtown Minneapolis
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Directed By
They're exaggerations or minimizations developed to fit a story that never happened, yet, in a strange way, a story that is their reality. To me, Prince & the Times entire thing is visual. The microcosm they've developed 4 themselves was a movie begging to be made." There's music... that means there's night, there's bars, there are alley's. All of a sudden, a story begins to emerge. Albert Magnoli | |
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I think I am the only person in the world who thinks that some of the Family songs would have been better suited for the Time. Mutiny and High Fashion with Morris on the lead. Then throw in Jerk Out, I Wanna Be your Man (JJ) Won't Let GO (JJ) and Chocolate. You would have a monster LP but again I am the only person in the world who thinks that way I am sure | |
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A lot of people compared some Family songs with the Time. But the Time was no more in 1985. . Chocolate as well an Ice Cream Castles sessions outtake, would have been wonderful on this album. Remove If the Kid Can't Make U Come(use it as a Bside) and add Chocolate. | |
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on a side note I've got a live Time gig from '83 palying in the background [soundboard quality] MY GOD THEY WERE SO FIERCE LIVE! | |
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yeah,Ice Cream Castles could have been a much stronger album if it was tweaked a bit."Chili Sauce" is such a waste,and so is "If The Kid Can't Make You Come".Why wasn't "Chocolate" used on this album? | |
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I wonder if like Apollonia 6 album, Prince knew Morris and the Time were not going to be promoting it, he decided not to add them. It sill could have been a hot album, non the less.
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If the Kid can't make you come is a snooze and it dies down twice. PLUS with Prince being the Kid that song annoyed me as a kid lol | |
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lol I would love 2 know more about the song. Obviously a lot of this music was made fo the movie scenes. I strongly think this would have been background music for the infamous Barn Scene, where the Kid & Apollonia finally consumate their relationship.
I actually liked the song. But I don't think it hold strong for the album. And using the Kid in the title didn't make much sense. But in the movie script Morris/Jerome did make mention 2 Apollonia(in the song Chili Sauces) | |
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