U know, I haven't made love in so long
But with U, I know it would be just like riding a bike
I'd remember everything I've ever learned
Baby, if the Kid can't make U come, nobody can
(Morris)
Yeah
(17)
Oh, um
What's it gonna be, baby?

If The Kid Can't Make You Come was written by Prince under the pseudonym Jamie Starr, but was credited on the album to Morris Day. It was co-produced by Morris Day and Prince under the name The Starr Company. Prince plays most instruments on the track.

Initial tracking took place on 16 April, 1983 at Sunset Sound, Hollywood, CA, USA (two days after Chili Sauce (as Proposition #17), the day before Chocolate). While reflecting about the song's history on Facebook in 2014, Jesse Johnson stated:

"Morris who is a very, very gifted drummer went in sat down to play "Kid", but he kept speeding up Prince tried it, he kept speeding up too! So we got this brilliant idea, when looking back at it now it's funny the P and I thought this was a really good resolution. Morris out of the three of us was the only one that had a drink now and again, or let me put it clearer, Morris was the only one that knew how to drink. P & I were real amateurs, honestly ... Prince & I drank a glass of wine or my case a glass of WHINE! (ohh my head the room is spinning, I don't feel well, etc, etc) will I'm playing the DRUMS on "The Kid" and of course all guitars."

"The Kid" mentioned in the song's title is a deliberate reference to Prince's character "The Kid" in the Purple Rain movie, in which The Time appeared as The Kid's nemesis.

-PrinceVault

If the kid can't make you come (7:33)
recorded 14th-22th April 1983 by [Prince] with [Morris Day] & [Jesse Johnson] at Sunset Sound [7] • performed by [Prince](all instruments) with [Morris Day](lead vocals), [Jesse Johnson] (guitar/drums) & Sharon Hughes (background vocals) • final mixing January 1984 at Sunset Sound [7]
written by [Prince] (uncredited) • registered to [Prince] (as Jamie Starr)
finally released 1984 on the Album [Ice Cream Castle]

If the kid can't make you come (7:33)

You like my crib, baby?
Well, come a little closer. Don't be shy.

Darlin', I want you so bad. I can almost taste the smell of your skin.
And honey, I'd be so sad, if you didn't break down and let me in.
You better let me in, baby. Don't you know ...

If the Kid can't make you come, nobody can.

Am I gettin' through, baby?

Sweetheart, I can be gentle as a lamb. If that's what gets you off.
I wanna get you off, baby.
And lover, straddle my brass and we'll dance in the land of the hard and soft.
I don't care, baby. Whatever gets you off?

If the kid can't make you come, nobody can.

Need I say more, baby?
Do you wanna straddle my brass?

If the kid can't make you come, nobody ...

That's a pretty blouse.
.... Thank you.
Take it off.
.... Is that better?
A little bit, I'd rather see it live in concert though.
.... Well, I'll tell you what, cutie. I'll let you take that off.
Oh yes!
This little hook went to Holland. This little hook went to France.
This little hook went to London. And this little hook went to...
.... Uhmm.
Oh Lord! Honey, don't you ever try and breastfeed no baby.
.... Why not?
Never mind. What time is it?
.... Titty time.
I know that's right.
.... Uhmm.

What's my name?
.... Morris.
No, come on baby, what's my real name?
.... Uuh, uh, uhh.
Talk to me, talk to me.
.... M ... Mo ... Mor ... Morris!
Yes! Oh baby, you're just too sexy.
.... Morris?
Yeah baby.
.... What's my name?
It's baby, ain't it?
.... Oh Morris, what's my ...
Ah ga ga ga ga!
.... Oh, Morris!
Too sexy!

I bet you never thought I'd be this good, did you?

Let me hear the pledge of allegiance, baby.
.... What do you mean?
You know, like you used to do in school.
.... You got to be kidding. I guess you're not.
Come on baby, Morris is listening.
.... OK... I pledge allegiance ... to the flag... of the United States... of America ...
.... and to the republic... for which it stands.
Oh Lord! You're just too sexy.
.... Uuh.
Ain't nobody bad like me?

Jerome Benton representing the Time on the Purple Rain tour

My Love Belongs To You is an unreleased track recorded on 20 April 1983 at Sunset Sound, Hollywood, CA, USA (the day after Velvet Kitty Cat). The track was recorded for possible use on The Time's third album Ice Cream Castle, but the song was not included on the release.

-PrinceVault

(64) INT. STAIRWELL, VANITY'S MOTEL -- MORNING

She enters the LOBBY, closes the door
behind her. She turns -- another
CARNATION is on the stairwell. She's
intrigued, glances up the stairs --
there's another one, and yet another
further up. She's confused, but grabs
them, disappears up the stairs.


HALLWAY
as she comes to a halt outside her room,
picking up carnations along the way.
She opens her door, cuts inside.


(65) INT. VANIITY'S ROOM -- MORNING

She goes into the bathroom, fills the
sink with water, arranges the flowers
within. She smiles radiantly -- they
look beautiful. Suddenly something
seizes her thoughts. She opens her
bureau drawer quickly, pulls out the
yellow pages, leafs through it
hurriedly, We READ: Parking, Passport,
Paving...then Pawnbrokers. She stops,
runs her finger down the page, then
hunts quickly through her drawer. Her
eyes dance mischievously when she pulls
out her gold chain. She places it on
her bureau, hurries to her clothes rack.
Suddenly, a quick KNOCK at the door--

MAN(O.S.)
Miss V.?

She looks around the corner -- a flower
delivery MAN stands in the hallway,
holding a bouquet of roses--

VANITY
Yes...?

MAN
Delivery.

VANITY
(surprised)
Come in ...

He cuts inside, and is followed by
another MAN, holding a bouquet of
daisies--

VANITY
Hey -- wait a minute. What's
going on?

The Men leave the room--

MAN
Downstairs.

She hurries to the window, looks out--



(66) EXT. STREET -- DAY -- VANITY'S POV--

Morris and Jerome standing by the curb,
their eyes fastened excitedly on her
window, leaning against a flower truck.
We catch a glimpse of a Man bringing her
a dozen chrysanthemums--

MORRIS
Good morning, dahling.


(67) EXT. VANITY'S WINDOW AND STREET -- DAY

(INTERCUT)

VANITY
You're crazy! -- What are you
doing?

MORRIS
(excited)
Come down -- come down.

VANITY
I can't -- I've got things to
do.

MORRIS
C'mon, ten minutes. I want to
show you something-

She shakes her head--

VANITY
I'm sorry, but thanks for the
flowers. You're really crazy.

She disappears from the window. They
stand expectantly a long time. Finally
Jerome looks at Morris--

JEROME
Well...what do you think?

Morris is staring intently at the window
-- he purses his lips sensualy--

MORRIS
Chili sauce.

Just then Vanity steps outside, looks
stunning in her tight, black pants and
boots. Her eyes dance vivaciously, a
red sash is tied around her waste.
Morris gives Jerome his sexy, half-
lidded, pouty-lip look--

MORRIS
Oh, Lord...

69) INT. REHEARSAL HALL --DAY

The Time is JAMMING like MAD, deep in
the heart of "Sex Shooter." Brenda and
Susan move furiously to the beat, trying
their best to get it right. They are
watched by ...

...Morris, Vanity and Jerome standing
off to the side. Morris has a contented
look on his face, even though his girls
are screwing up. Vanity's eyes are wide
with excitement

MORRIS
As you can see, we need
someone with your special
qualities.

(76) INT. REHEARSAL HALL -- DAY

The PLACE is JUMPING! Once again The
Time is deep in the guts of "Sex
Shooter," but now there's a difference.
The MUSIC is fiercer and crisper -- the
BEAT tailored, more defined.

Morris and Jerome stand off to the side
sporting huge grins. They're avidly
watching...

...Vanity, Susan, and Brenda dancing up
a fierce storm. Vanity fronts the two
Girls and moves panther-like in front of
the mirrors...

She's a dynamo, her face drawn tightly,
her movements crisp and precise. She
urges the Girls on, suggests and
cajoles, strengthening their resolve.
Sweat lathers their bodies and forms
rings on their Danskins. The act is
still very rough, but the potential for
success can be felt.

PRINCE suddenly enters the hall. Morris
spots him immediately and halts the
MUSIC. The Girls dance on a moment,
then stop perplexed. Vanity catches
Prince's look, shakes her head in
disbelief--

PRINCE
I want to talk to you.

She's out of breath, waves him off--

VANITY
Not now, I'm busy.

PRINCE
Now.

A TITTER goes through the Band Members -
- Vanity wipes her face, fixes him with
a glare--

VANITY
I said I'm busy -- we'll talk
later.

PRINCE
Uh, uh...

He grabs her suddenly, pulls her to the
door--

VANITY
Leave me alone! I've got a
show to do!

She pulls away savagely--

VANITY
YOU can't just come in here
and take me away! We'll talk
later!

Morris is enraged--

MORRIS
Man -- why don't you just do
the walk?

Prince glares at him, cups his genitals-
-

PRINCE
Why don't you kiss the one-
eyed snake?

The Band lets out a condescending GROAN
-- the tension rises

MORRIS
Jellybean!

Jellybean, 6'4", 210 pounds, steps from
behind the drums, moves up behind Prince-
-

JELLYBEAN
Let's go, Jack.

PRINCE
Fuck you!

He lunges, grabs Vanity again -- she
SHRIEKS--

VANITY
Leave me alone, dammit! Get
out of here!

Jellybean lurches, grabs Prince in a
HEADLOCK, lifts him off his his feet.
Prince kicks at him wildly--

JELLYBEAN
(enraged)
Fucker!!

He twists Prince's head backwards,
SMASHES his body to the ground--

JELLYBEAN
Stay still, motherfucker!!

But Prince continues fighting him with
everything he's got! Jellybean is
astonished--

JELLYBEAN
Shit!!

He twists Prince's neck savagely,
SMASHES! his legs to the floor again and
again--

JELLYBEAN
Stop!!

Vanity is crying--

VANITY
Jellybean, please...

Prince drops to his hands and knees exhausted. Everybody is
frozen now -- scared. The Girls are crying, the incedent
has already gone too far...


Jellybean settles his weight on Prince,
twists his head down painfully, trying
to break the resistance he alone can
feel. Prince remains silent, the anger
coursing through his body in tremors--

The Guys surround them, grabbing
Prince's arms, legs, and feet. He's
like a trapped animal now--

JELLYBEAN
Lift him.

VANITY
(crying)
Don't hurt him ...

They pick him up, move him toward the
door. He resists them slightly, his
body lurching in fit and starts.
Suddenly he breaks free, faces them with
his back to he door. But the Band
Members surround him, their wills
united, the obviousness of the situation
apparent to all.

He searches for Vanity's eyes, but she
can't face him and walks away. Anger
again surges in his veins. He cuts out
the door, SLAMS it behind him.

(83) EXT. CLUB/INT. MORRIS' CAR (1ST AVE. ST. BAR) -- NIGHT

KIDS are hanging out in front of the
club. The usual queue, however, is
noticeably absent.

The yellow Caddy sweeps up. Jerome is
at the wheel, Morris and Vanity sit in
the back. Morris is dressed elegantly,
resplendent in a 5O's-style suit. She's
beautiful in a sleek black dress, with
long black gloves, and heels--

VANITY
What are we doing here,
Morris?

MORRIS
What do you mean?

VANITY
I don't want to be here. I
don't want to hurt anybody.

MORRIS
It's not about hurting
anybody. This is business.
We can use the exposure.

Just then Brenda and Susan come up to
the car excitedly. Brenda is dressed in
a 40's-style dress, Susan wears a form-
fitting leopard one. They both look
gorgeous--

BRENDA
Hi -- you coming in?

Their excitement and nervousness is
endearing. Vanity's heart goes out to
them. She forces a smile, climbs out
unaided--

VANITY
Your horns are showing,
Morris.

MORRIS
Yeah...but they're holding up
my halo.

(84) INT. CLUB -- NIGHT

Prince is on-stage, deep into the
closing moments of "Computer Blue." He
paces back and forth frantically, still
locked in his own private hell. The
Crowd's attention has wandered, however,
and very few remain on the dance floor,
finding it too much trouble to keep up
with the changing shifts in the music.
Even his band members are edgy, casting
quick looks to each other, wishing to
get on with more compelling audience-
pleasing sounds.

MORRIS
Hee, hee...little empty
tonight, huh, Billy. But I
guess money isn't everything.

Jerome busts up--

JEROME
Oh no... that's cold...

But Billy agrees--

(87) INT. HALLWAY -- NIGHT

as Prince twists aggressively past a
handful of FANS, rudely disregarding
their attention. He Cuts into the
dressing room.

(88) INT. DRESSING ROON -- NIGHT

He's agitated, paces back and forth in a
frenzy. Suddenly the DOOR flies open.
Billy Sparks enters angrily--

BILLY
What the fuck's wrong with
you, Prince?!

PRINCE
I don't have time for your
bullshit, Billy. What do you
want?

BILLY
My stage is no place for your
personal shit!

PRINCE
That's life, man.

BILLY
Life my ass, motherfucker!
This is a business, and you're
not too far gone to see that.
(a beat)
I've told you this before.
You're not pulling them in
like you used to. The only
person who gives a fuck about
your music is yourself.


PRINCE
Fuck off!

But Billy can't help laughing--

BILLY
Just like your old man...

Prince shoots him a threatening look--

BILLY
Yeah -- you got it. Tell me
I'm wrong.
(a beat)
You're not blind. Look around
you. No one's digging you.

Prince turns away--

BILLY
Look at your band. Are they
in here right now? They're
out there 'cause they can't
stand being in the same room
with you.
(a beat)
What a fucking waste...like
father, like son--

PRINCE
Lay off that!

Billy turns to go--

BILLY
Take your head out of your
ass, Prince, check it out --
unless you like the view up
there. Your music doesn't
make sense to anyone but
yourself.

He closes the door behind him. Prince
stands dully a moment, then sits heavily
in a chair. Exhaustion suddenly
overwhelms him. He rests his head in
his hands, moments tick by...

He shakes himself awake -- Morris and
Jerome stand by the door--

JEROME
That was fucked up what you
did man. Morris doesn't like
it. And being a part of this -
- I don't like it either.

PRINCE
I don't care.

MORRIS
Hee, hee...huh, it's obvious
you don't have what it takes
to be on top.

He pulls an envelope from his pocket--

MORRIS
But to show you that I'm
sympathetic to your problems -
- here's a pass to our show
tomorrow night. Enjoy it.

They leave. Then Morris sticks his head
into the doorway--

MORRIS
Don't forget to bring a
girlfriend. Whawhak!

I can't be the only one here who sees the crew guy dip out of frame, in the background, once Morris takes a step forward, in this shot.

TrivialPursuit said:

I can't be the only one here who sees the crew guy dip out of frame, in the background, once Morris takes a step forward, in this shot.

lol I saw that too

It added to the mystery of that room lol

http://www.angelfire.com/...amp;f.html

Shooting of the Purple Rain film began in November 1983. The Time performed "Jungle Love" and "The Bird" in the film. They were recorded in 1983.

Disintegration

When it came to record The Time's third album, Ice Cream Castle, Prince's control was less firm than on previous albums with the group. This time, group members actually played on the record, and Morris Day and Jesse Johnson had a part in writing several songs.

However, there were dissensions in the studio, and guitarist Jesse Johnson, who was strongly involved in the project, was disappointed in Prince's strong control over the group, "He only let me write and produce on the last Time album because he knew I was quitting, and when I quit anyway he took my production credit off. I wrote, played and produced stuff like 'Jungle Love.'"

In April of 1984, after the album was completed, Morris Day left Minneapolis to settle down in Santa Monica, California. This was the beginning of the end for The Time. Jesse Johnson had already decided to leave the group and Morris was more interested in pursuing a solo career. Their departures weren't announced officially until after the premiere of Purple Rain.

Ice Cream Castle

9 July 1984 saw the release of Ice Cream Castle . Four songs are listed by ASCAP as being written jointly by Prince, Morris Day and Jesse Johnson, "Ice Cream Castles," "If The Kid Can't Make You Come," "My Drawers," and "The Bird." Even though it's credited to Morris and Jesse on the sleeve, "Jungle Love" is listed as a Prince/Morris Day composition by ASCAP, while "Chili Sauce" is actually credited to St. Paul Peterson in collaboration with Prince and Morris. Prince's songwriting contributions are credited to Jamie Starr.

The album is the least satisfying of the three Time albums. It contains very little of the sting and zest of the two previous records. It's quite clear that Prince was beginning to spread his talents thin due to his writing of the albums with Sheila E and Apollonia 6 as well as material for his own use.

Concerning black/white love, the opening "Ice Cream Castles," a swaying R&B groove, fails to match "Wild And Loose" or "Get It Up," the strong opening cuts on their previous albums. Yet it stands heads and shoulders over the next two songs, "My Drawers," a guitar-heavy "funk metal" rock number, and "Chili Sauce," a tedious ballad with violin and spoken lyrics used more to show off Morris' cool persona than showcase any interesting musical ideas.

Side two is better, opening with "Jungle Love," a solid funky R&B groove with infectious chants and synth hook, as well as frenzied guitar work by Jesse. Along with "The Bird," another fine R&B cut, which closes the album, "Jungle Love" is the closest the band gets to achieving its past glories.

Sandwiched between "Jungle Love" and "The Bird" is "If The Kid Can't Make You Come," a ballad which sounds dreary, watered down, and at seven minutes, definitely outstays its welcome.

The final Time track to appear for six years was "Tricky," the B-side of "Jungle Love." This song however is just Prince mimicking Morris' vocals. The remaining band members can be heard giggling in the background at Prince's digs at Morris, "When I look in the mirror, I see your ugly face, I just wanna run" and "It's time for you to retire, you old." The song finishes with the sound of a toilet flushing.

Undoubtedly helped by Morris Day's charismatic appearance in Purple Rain, the album became the best selling Time album. It went gold and reached number three on the black album chart and number 24 on the pop chart.

I feel the same way.What Time Is It? is an amazing Time album,but Ice Cream Castles lacks the fun,party vibe of that record.

OldFriends4Sale said:

The album is the least satisfying of the three Time albums. It contains very little of the sting and zest of the two previous records. It's quite clear that Prince was beginning to spread his talents thin due to his writing of the albums with Sheila E and Apollonia 6 as well as material for his own use.

Velvet Kitty Cat is an unreleased track recorded on 19 April 1983 at Sunset Sound, Hollywood, CA, USA (two days after Chocolate, the day after Prince fired Jimmy Jam and Terry Lewis from The Time, the day before recording My Love Belongs To You).

The track was long thought of to be recorded for possible use on The Time's third album Ice Cream Castle, but the song was not included on the release. It was however also considered for the Apollonia 6 album.

It is possible that this track is an update of Mink Kitty Cat, but this is uncertain.

-PrinceVault

(96) EXT. BACK ALLEY, THE TASTE -- NIGHT

Morris and Vanity stagger down the ALLEY
obviously very drunk. Morris pulls from
a FLASK. Vanity is still in her
lingerie, wears an open coat over it.
Her speech is slurred--

VANITY
Did you hear these people
applauding? They loved us --
they wanted to rip us apart,
and this is just our first
night. I can see it now,
we're all going to be big
stars. I can feel it.

MORRIS
(singing)
Ain't nobody bad like me.

She kisses him spontaneously on the
cheek--

VANITY
Morris, you're a genius.

MORRIS
Ye-es...


He fixes her with a sexy look, takes a
healthy look from his flask, then gives
it too her. Vanity throws her head
back, drinks fully, the liquor coursing
over her cheeks. He devours her with
his eyes, opens the door to the Caddy--

MORRIS
Let's go, Bebe.

She stops as if remembering something--

VANITY
Huh, where's Jerome?

MORRIS
In his skin...hee, hee...

He's trying to nudge her into the Caddy-
-

VANITY
Is he coming?

MORRIS
I gave him the night off.

VANITY
Why?

He staggers back from the car, undulates
his hips wantonly--

MORRIS
Whawhak!

She busts up. Just then a MOTORCYCLE
can be heard off screen. They look
around drunkenly, trying to discern its
direction. Suddenly Prince BLASTS
around the corner FULL OUT! He streaks
by Morris and KICKS him flat on his ass
into the garbage--

MORRIS
(wails)
Oh, no -- Oh, God...No!

Prince skids to a slick stop. Vanity is
transfixed. The entire episode took
less than five seconds. He twists the
throttle, BLASTS down upon her...

She breaks in a panic! She runs
clumsily down another alley, her coat
flying. He WHIPS after her like a
madman. She flies around the corner --
a dead end! He fishtails to a slick
stop--

PRINCE
Get on!

There's no way out! Suddenly she lets
out an excited YELP, jumps on. He guns
the bike, BURSTS up the alley. Morris
jumps into his path drunkenly, his arms
extended--

MORRIS
Stop! Stop!

But Prince BLAZES down upon him, sending
him slipping and sliding to safety. He
BLASTS around the bend--

MORRIS
Motherfucker! You long-haired
faggot!

MC
(over)
(excited)
Let's bring them back! Ladies
and gentlemen, The Time!


(106) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The CROWD goes WILD! Morris, Jerome and
the Time return to the stage to a
frenzied throng. The PLACE is PACKED,
the CROWD applauding like MAD! LASER
LIGHTS strobe the house in a frenzy.
It's a glorious night, and Morris struts
back and forth imperialistically criss-
crossing the stage like a lion, urging
the audience on. He grabs a mike--

MORRIS
You love us right?! You want
us right?! I can't hear you!

Hold on, hold on, why y'all beatin' on shit, what's that mean?
Hold up, do y'all wanna learn a new dance?
Are U qualified 2 learn one?
Uh huh, that's what I thought, who can dance out there?
OK, we gonna try a new dance
And if I don't see everybody doin' it, I don't wanna see U no more
Jellybean, are we ready? (Yep, 1 2 3 4)
Y'all better do this one

What time is it?
Alright, y'all got 10 seconds 2 get 2 the dance floor
And...

Wawk!

The CROWD is SCREAMING -- Morris flashes
a wide, exaggerated grin--

MORRIS
What time is it?!
(a beat)
Whawhak!!


And MUSIC. The Time launches into "The
Bird" and Morris, laughing heartily,
does 'The Bird" (dance) with Jerome as
the audience ROARS their approval.

America, have U heard?
I got a brand new dance and it's called "The Bird"
U don't need no finesse or no personality
U just need 2 arms and an attitude and everybody sing with me
Come on now!

Wawk! Hallelujah! Whoa!

Brothers, don't be cool
Women like it sometimes when U act a fool
Sisters, don't be shy
Let your body get loose, U ain't 2 fat 2 fly
Come on now!

Wawk! Hallelujah! Whoa!
Y'all sing it with me, goes like this
Wawk! Hallelujah! Whoa!

Yes!
Hold on now, this dance ain't 4 everybody,

just the sexy people
White folks, U're much 2 tight
U gotta shake your head like the black folks
U might get some 2night
Look out!

America, have U heard?
I got a sexy new dance called "The Bird"
U don't need no finesse or no personality
U just need 2 arms and an attitude and everybody sing with me
Come on now!

Alright, when the horns blow,

I want everybody on the floor
U know this groove is sexy,

U ain't got no excuse no more
Jerome, I wanna show 'em where we live
Siamese twins joined at the suit, f

ellas, give me something 2 fly with

Wawk!

The Wright brothers can't fuck with that
Jerome, bring me my hat
Did I mess my hair up?
Fellas, y'all play something
I'ma go over here and talk 2 this girl

I pledge allegiance 2 The Time
Can y'all sing that? Sing it!
I said I pledge allegiance 2 The Time

Ha, ha, ha, ha! Hallelujah! Whoa!
Wawk! Hallelujah! Whoa!

Fellas? (Yeah!)
What's the word? (Wawk!)
When U wanna get some, what do U do? (Do "The Bird!")
Fellas? (Yeah!)
What's the word? (Wawk!)
When U wanna get some, what do U do? (Do "The Bird!")
America? (Yeah!)
What's the word? (Wawk!)
When U wanna get some, what do U do? (Do "The Bird")
Take it home!

Wawk! {x2}
Chili Sauce

It's the last call 4 alcohol
If U ain't got what U want, U got 2 get the hell out of here!

Thank U

108) INT. CLUB -- NIGHT

And it couldn't be more of a contrast!
The place is a riot of color and raucous
carryings on. "The Bird" is a smashing
success with everyone on the dance floor
trying gamely to get the steps right.
Morris and Jerome are flushed with
pride, surprising even themselves with
their impromptu adjustments to the act.
The MUSIC crescendos, then comes to a
rousing blistering end!

The stage is plunge into darkness. the
CROWD goes BERSERK. Billy Sparks shakes
his head happily--

BILLY
Jesus!

The Bird" is a song from The Time's third album, Ice Cream Castle. The song was initially recorded in the studio in 1983 with all instruments by Prince, except guitar, which was performed by Jesse Johnson. This version was replaced by a live recording with the full band at the First Avenue on October 4, 1983. This is the first Time song to be released both live and featuring The Time as a band, rather than Prince.

Hold on, hold on, why y'all beatin' on shit, what's that mean?
Hold up, do y'all wanna learn a new dance?
Are you qualified to learn one? That's what I thought
Who can dance out there? Okay, we gonna try a new dance
And if I don't see everybody doin' it, I don't wanna see you no more
Jellybean, are we ready? Y'all better do this one
What time is it? Alright, y'all got 10 seconds
To get to the dance floor and whawk

America, have you heard?
I got a brand new dance and it's called "The Bird"
You don't need no finesse or no personality
You just need two arms and an attitude
And everybody sing with me, come on now

Whawk! Hallelujah! Whoa
Whawk! Hallelujah! Whoa

Brothers, don't be cool
Women like it sometimes when you act a fool
Sisters, don't be shy
Let your body get loose, you ain't to fat to fly
Come on now

Whawk! Hallelujah! Whoa
Whawk! Hallelujah! Whoa

Yes, hold on now, this dance ain't for everybody
Just the sexy people
White folks, you're much too tight
You gotta shake your head like the black folks
You might get some tonight, look out

America, have you heard?
Got a sexy new dance it's called "The Bird"
You don't need no finesse or no personality
You just need two arms and attitude
And everybody sing with me, come on now

Whawk! Hallelujah! Whoa, come on
Whawk! Hallelujah! Whoa, everybody
Whawk! Hallelujah! Whoa, come on
Whawk! Hallelujah! Whoa

Alright, when the horns blow
I want everybody on the floor
You know this groove is sexy
You ain't got no excuse no more
Jerome, I wanna show 'em where we live
Siamese twins joined at the suit
Fellas, give me something to fly with, whawk

Alright, brothers, keep up with that
Jerome, bring me my hat
Did I mess my hair up?
Fellas, y'all play something
I'm go over here and talk to this girl

I pledge allegiance to the time
Can y'all sing that? Sing it
I said, I pledge allegiance to the time
Whawk! Hallelujah! Whoa
Whawk! Hallelujah! Whoa

Fellas? Yeah
What's the word? Whawk
When you wanna get some
What'd you do? Do "The Bird"

Fellas? Yeah
What's the word? Whawk
When you wanna get some
What'd you do? Do "The Bird"

America
What's the word? Whawk
When you wanna get some
What'd you do? Do "The Bird"
Take it home! Whawk! Whawk

Chili sauce
It's the last call for alcohol
If you ain't got what you want
You got to get the hell outta here
Thank you!

PrinceVault:

The Bird was the sixth and final track on The Time's third album Ice Cream Castle, and, in the Summer/Fall of 1984, The Bird was released as the album's second single. The Bird was written by Morris Day and Prince under the pseudonym Jamie Starr.

While reflecting on the track's history on Facebook in 2014, Jesse Johnson wrote "I wrote a 4 track version on 1999 tour, Prince kinda like the hook, he threw the rest of what I did in the trash can as he commenced to write and performed a straight heater." Johnson's name was initially included in the credits when submitted for copyright in May 1984, but after he left the band, his name was removed from the credits when the track was released. It was co-produced by Morris Day and Prince under the name The Starr Company. The song also features in the movie Purple Rain.

Ice Cream Castle version

• Morris Day - vocals
• Jesse Johnson - guitar
• Jellybean Johnson - drums
• St. Paul Peterson - keyboards
• Mark Cardenas - keyboards
• Rocky Harris - bass guitar

Unreleased studio version

• Morris Day - vocals
• Prince - all instruments

(109) INT. BACKSTAGE -- NIGHT

Morris, Jerome and The Time cut briskly
past admiring FANS, laughing and
shouting crazily--

BAND MEMBERS
(ad lib)
It's all over now. He better
watch out. He doesn't even
need to go on. He might as
well go home.



(110) INT. DRESSING ROOM -- NIGHT

As Prince, Jill and the Band sit in dead
silence listening to The Time's bluster
off screen. Suddenly The Time crosses
the doorway -- Morris does a double-
take, sticks his head into the room--

MORRIS
How's the family! Whawhak!

The Time busts up, drags Morris from the
room. Prince's group is shocked, casts
furtive glances to him -- but he remains
serene, then--

MC
(over)
Ladies and gentlemen,
please welcome Prince!

Applause offscreen. Prince stands
abruptly, straps on his guitar. His
Band Members look at him closely, trying
to discern his feelings. He gives them
a cursory glance, cuts out the door.

(124) INT. CLUB -- NIGHT

CELEBRATION! Everyone is JUMPING up and
down. Prince is radiant, strutting
across the stage, his hands upraised.
The CROWD goes WILD! He flashes a wide
grin to Vanity, then twists, eyeballs
the CROWD wickedly, wonderfully. It's
too much!

Everyone is joining in now. Even Morris
and Jerome, standing in the wings, start
DANCING like crazy. Then suddenly they
catch themselves, stop, act dignified.
But Vanity sees them and busts up. They
catch her look, laugh heartily and join
in again.

The MUSIC segues into a fierce BEAT.
The CROWD lets out a ROAR! Prince
strips off his guitar, streaks center-
stage. The Band launches into "Baby,
I'm A Star."

...And the CROWD laughing, dancing,
shouting and loving. The CLUB is ALIVE!

And the MUSIC continues...forever...

June 4, 1984 the Glamorous Life w/Sheila E. drops
June 7, 1984 1st Avenue Birthday show with Prince & the Revolution

June 25, 1984 Purple Rain w/Prince & the Revolution drops

Purple Rain movie premiere 7.29.1984

July 9th, 1984 Ice Cream Castles w/Morris Day & the Time drops

Old Friends..Thanks for posting these "P.R." movie premiere pics! Brings back a lot of cool memories from that summer.

I always wondered about this scene, and why he stayed behind. Was it guilt over the 'How's the family' remark that he truly felt bad about?