And the MUSIC continues...forever...

* Purple Music, the Purple Rain album Bside long versions outtakes

Dig if u will the picture - of u and I engaged in a kiss.

The sweat of your body covers me.

Can u picture this, my darling?

An ocean of violets engulf our persons.

A bird screams.

At 1st, I think it's u and u thought it was me.

Oh, if only violets could talk.

Insecurities.

Do u know who u are?

Then it doesn't matter who screamed 1st.

Did it matter who ate of the apple 1st?

The end result was negative.

Can u pass me the pepper?

Why, because u told me salt was bad 4 me.

I thought u liked eggs.

I thought u liked me.

Well, eggs are the only thing I can make besides a baby.

Why do u look at me like that?

What are u thinking?

I know u better than u think I do.

There's this purple suspicion that lurks in the anals of my mind that u and I are alike in more ways than 6.

Can u relate?

oh yeah?

Then what's the difference between a beautiful man and an ugly man with money?

Nothing - as far as you're concerned.

Do u still want 2 spend the night?

Good.

Come on.

U said u would wash my hair.

Shall we go swimming 1st?

U can't swim.

Wonderful.

"I'll teach u 2 swim, I'll teach u 2 try, I'll teach u 2 laugh, but not 2 cry. I'll teach u 2 trust me when u think I lie, I'll teach u 2 love me until we die."

It's from a song I wrote.

Do u believe that?

U do?

Well, I lied.

I just made it up.

Pretty good, huh.

It's not nice 2 lie.

I think we're on the right track.

Shall I wash u 1st or shall u wash me?

"We were all such babies, so hungry for success. With Purple Rain it
became a total family affair." JJ (Jill Jones)

P U R P L E R A I N

Screenplay
by
Albert Magnoli


Formerly Dreams by William Blinn

BEFORE HE CREATED THE MUSIC, HE LIVED EVERY BIT OF IT

Let's Go Crazy

Dearly beloved
We are gathered here 2day 2 get through this thing called life
Electric word life, it means 4ever and that's a mighty long time
But I'm here 2 tell U there's somethin' else... the afterworld
A world of never ending happiness
U can always see the sun, day or night
So when U call up that shrink in Beverly Hills
U know the one - Dr. Everything'll Be Alright
Instead of asking him how much of your time is left
Ask him how much of your mind, baby
Cuz in this life things are much harder than in the afterworld
In this life U're on your own
And if de-elevator tries 2 bring U down, go crazy
Punch a higher floor!

If U don't like the world U're living in
Take a look around U, at least U got friends
U see, I called my old lady 4 a friendly word
She just picked up the phone, dropped it on the floor
"Ahh! Ahh!" was all I heard

CHORUS:
Are we gonna let de-elevator bring us down?
Oh no, let's go!
Let's go crazy, let's get nuts
Let's look 4 the purple banana till they put us in the truck
Let's go!

We're all excited, but we don't know why
Maybe it's cuz we're all gonna die
And when we do, what's it all 4?
U better live now before the grim reaper
Come knockin' on your door
Tell me...

CHORUS

Come on, baby
Let's get nuts!
Yeah (Crazy)
Let's go crazy

Are we gonna let de-elevator bring us down?
Oh no, let's go crazy! (Go crazy!)
I said let's go crazy! (Go crazy!)
Let's go! (Let's go!)
Go! (Let's go!)

Dr. Everything'll Be Alright will make everything go wrong
Pills and thrills and daffodils will kill
Hang tough children

He's coming!
He's coming!
Coming!

Take me away!

© 1984 Controversy Music - ASCAP

8 LET’S GO CRAZY (4:39)
Produced, Arranged, Composed and Performed by Prince and The Revolution
Recorded at The Warehouse in the summer of ‘83 by David Leonard and Susan Rogers
Published by Controversy Music, administered by WB Music Corp. ASCAP
From PURPLE RAIN

Five weeks later, Warner shipped the album. Less whimsical and lascivious than his other work, the keenly focused PURPLE RAIN was the definitive Prince. The subsequent simultaneous release of the movie and LET’S GO CRAZY (a second No. 1 single) drove the package to the top of the charts where it remained for an astounding six months.-Alan Leeds

What was a typical recording session with Prince like during the Purple Rain era?

Susan Rogers:

The only time we would remix something after the fact is when the original track was cut live like in the case of "Let's Go Crazy" and subsequent records like "Mountains." And of course we would remix tracks that were recorded live by the mobile truck. We would bring it back in the studio, fix it and mix it. That was the case with "Purple Rain" and a few other tracks on that album.

http://www.vibe.com/2014/...o-stories/

You've said that Emancipation was created in a freer climate than that under which you recorded for Warner Bros. Yet there doesn't seem to my ears to be a significantly "freer" sound on the new album than in your earlier work.

Well, when you're in the creative process, the first thing you naturally think about is the "bombs," the great ones that you've done before. You want to fill in the slots on your album with the songs that will make everyone the happiest: fans, musicians, writers, and so on. I used to try to fill those gaps first whenever I was trying something new, or wait to challenge myself to do another great one.

This means that you think about singles: time constraints, for example, and the subject matter. [For that reason] my original draft of "Let's Go Crazy" was much different from the version that wound up being released. As I wrote it, "Let's Go Crazy" was about God and the de-elevation of sin. But the problem was that religion as a subject is taboo in pop music. People think that the records they release have got to be hip, but what I need to do is to tell the truth.

APRIL 1997 * MUSICIAN

The Sound of Emancipation

PURPLE RAIN
PRINCE AND THE REVOLUTION
Warner Bros.

The spirit of Jimi Hendrix must surely smile down on Prince Rogers Nelson. Like Hendrix, Prince seems to have tapped into some extraterrestrial musical dimension where black and white styles are merely different aspects of the same funky thing. Prince's rock & roll is as authentic and compelling as his soul and his extremism is endearing in a era of play-it-safe record production and formulaic hit mongering. "Purple Rain" may not yield another smash like last year's "Little Red Corvette," but it's so loaded with life and invention and pure rock & roll thunder that such commercial considerations become moot. When Prince sings "Baby I'm a Star," it's a simple statement of fact.

The Hendrix connection is made overt here with the screaming guitar coda that ends "Let's Go Crazy," with the manic burst that opens "When Doves Cry" and in the title song, a space ballad that recalls "Angel" with its soaring guitar leads and a very Hendrixian lyrical tinge ("It's time we all reach out for something new -- that means you, too"). There are also constant reminders of Sly Stone in the ferocious bass lines and the hot, dance-conscious mix. But like Jimi and Sly, Prince writes his own rules. Some of his effects are singularly striking - note that eerie, atonal synthesizer touches that creep in at the end of "The Beautiful Ones" and the otherworldly backward-vocal montage in the frankly salacious "Darling Nikki" -- and his vocals continue to be among the most adventurous and accomplished on the current scene. Prince also does wonderful things with string-section sounds, and his band -- if it's not actually him playing all the parts -- burns throughout.

Anyone partial to great creators should own this record. Like Jimi and Sly, Prince is an original; but apart from that, he's like no one else.

-- KURT LODER

Producer, Arranged By, Composed By, Performer– Prince And The Revolution

B side: Erotic City (USA) Take Me With U(UK)

released JULY 18, 1984

NEW MUSICAL EXPRESS
August 04, 1984

4-Star Dirt

"Let's Go Crazy" opens with the self-deflating manifesto established on past outings, the end of the world is nigh so liberate your underwear and your ass will follow. It's a hot and juicy all-out rocker with an automated Ant beat and it sets me in mind of a pre-conversion electro-age Little Richard, though it's obvious from the way he wields his guitar and cocks his titfer that Prince would rather be compared to Hendrix.

-- Gavin Martin

*

Before a studio recording was made, Prince and the Revolution recorded the song live on 3 August 1983 at First Avenue, Minneapolis, MN, USA

In October 1983, a studio version was recorded at the St. Louis Park Warehouse in St. Louis Park, MN, USA, which would be edited down for the album (the full version was released on the 12" version of the single), during the same sessions that produced an unreleased studio version of Computer Blue.

-PrinceVault

"Yeah um It was a lot of fun, a lot of people like to say did you collaborated with Prince in the studio
I don't say we collaborated as much as the Revolution tried to live out his dream, we got into the mind of Prince we learned what it was he was trying to accomplish. So I think that was more the collaboration, us learning 'what is it you're looking for?'
and once we could see his direction, we would jam so much, we would sometimes jam from 10 o'clock in the morning to 10 o'clock at night. I remember sometimes eating lunch while I'm still playing. I would walk to the lunchroom with my bass because it was on a wireless rig and then I would go into the refrigerator grab food and come back and I'd still be playing with one hand while eating. That's how intense we were, and I think from that we helped Prince create not only a style and energy but it was almost like a freight train, it was so heavy that even when other musicians would come and stand up with us they didn't even know where to begin, it was very difficult for them to hang with us because the style that we developed was so powerful and was so rhythmic that uh they didn't know how to jam with us. It was a very interesting time period, but I think I think a lot of music came from that type of grooving and jamming together"

-BrownMark 2015

Make Love Not War, Erotic City Come Alive

co-lead: Sheila E.

The song starts with a guitar string plucked and whammied, before dropping into the drum track. The experimental number relies on a strong bass line and a simple keyboard riff. The song features Prince's voice both sped up and slowed down at various times to sound like different singers. Also featured is Sheila E., in her recording debut,

Initial tracking took place on 30 December, 1983 at Sunset Sound (two days after In A Spanish Villa and Next Time Wipe The Lipstick Off Your Collar, the same day as She's Always In My Hair, and the day before We Can Fuck (later retitled We Can Funk)). It is possible that Sheila E. added her vocals sometime between 1-4 April, 1984, when Prince and Sheila E. worked on tracks for her album The Glamorous Life-PrinceVault

"Yeah, he said the “f word,” he was reading the lyric, and I said ‘I’m not singing that.’ He said, ‘Why not?’ I said, ‘Because I’m not going to say that word.’ I said funk, f-u-n-k, and he said the other word." -Sheila E.

All of my purple life
I've been lookin' 4 a dame
That would wanna be my wife
That was my intention main

CHORUS:
If we cannot make babies
Maybe we can make some time
Fuck so pretty, U and me
Erotic City come alive
We could fuck until the dawn
Makin' love till cherry's gone
Erotic City, can't U see?
Fuck so pretty, U and me

Everytime I comb my hair
Thoughts of U get in my eyes
U're a sinner, I don't care
I just want your creamy thighs

CHORUS

All of my hang-ups are gone
How I wish U felt the same
We could fuck until the dawn (Until the dawn {x2})
How I wish U were my dame (Baby, won't U be my dame?)

CHORUS {x2}
(Oh yeah)
(Until the light)

Uh, whoa whoa, whoa whoa, whoa whoa whoa (Mmmm)
Whoa whoa, whoa whoa, whoa whoa whoa {x2}

Baby, U're so creamy

I... I... I... I... I...
Fuck some creamy human jive
Erotic City come alive

CHORUS

If we cannot make babies
Maybe we can make some time
Fuck so pretty, U and me
Erotic City come alive (I... I... I...)
We could fuck until the dawn (Come alive)
Makin' love till cherry's gone (Come alive)
Erotic City, can't U see?
Fuck so pretty, U and me

If we cannot make babies (U and me)
Maybe we can make some time
Some time, some time, some time, Erotic City
We could fuck until the dawn
Makin' love till cherry's gone
Erotic City, can't U see?
Fuck so pretty, U and me
If we cannot make babies
Maybe we can make some time
Yeah, oh, oh, Erotic City

Whoa whoa
Whoa whoa {repeated} Oh no!
Erotic City {x3}
(Baby, U're so creamy) {x2}
Come on and dance while U... while U still have your cherry baby
Cherry baby!
We could fuck until the dawn
Makin' love till cherry's gone
Erotic City, yeah

I... I... I... I...
Erotic City, yeah

PrinceVault:

Initial tracking took place on 30 December 1983 at Sunset Sound

It is possible that Sheila E. added her vocals sometime between 1-4 April 1984, when Prince and Sheila E. worked on tracks for her album The Glamorous Life, but this is uncertain.

Prince has so many songs that were really raunchy — songs like “Darling Nikki,” that spawned a whole national movement spear-headed by Tipper Gore. What are your memories of that time or that song?

Sheila E: I loved it. Are you kidding? Back then?

Even though it was raunchy?

Sheial E: Yeah, I mean, I didn’t know any better. That was the ‘80s. We were having a blast, I’m young. It’s like I walked around: ‘Hey, I’m naked. Look at me.’ Playing, just doing, having a blast. I had so much fun. And I loved the show that he put together. We all loved those songs. That thing was brilliant, then. And some of the songs are still great — just change the lyrics a little bit. I do “Erotic City” in my show. But I change the lyric.

http://time.com/3387754/s...view-book/

Take Me With U

I can't disguise the pounding of my heart
It beats so strong
It's in your eyes, what can I say
They turn me on

CHORUS:
I don't care where we go
I don't care what we do
I don't care pretty baby
Just take me with U

Come on and touch the place in me
That's calling out your name
We want each other oh so much
Why must we play this game?

Don't care where we go
I don't care what we do
I don't care pretty baby
Just take me with U

I don't care if we spend the night at your mansion
I don't care if we spend the night on the town
All I want is 2 spend the night 2gether
All I want is 2 spend the night in your arms

2 be around U is so-oh right
U're sheer perfection (Thank U)
Drive me crazy, drive me all night
Just don't break up the connection

CHORUS {x2}

Just take me with U
Won't U take me with U?
Honey, take me with U

© 1984 Controversy Music - ASCAP

PrinceVault:

Initial tracking took place on 27 January 1984, at Sunset Sound, Hollywood, CA, USA (seven days after A Million Miles (I Love You), five days before Tricky).

The track was initially intended to be credited to Apollonia 6 and it was included as the first track on a 29 February 1984 configuration of the Apollonia 6 album, before being added to the final configuration of Purple Rain, compiled on 14 April 1984 (its inclusion made it necessary for Let's Go Crazy and Computer Blue to be shortened).

The recording used on both albums was the same (although edited for time restrictions on Purple Rain), and was always intended as a duet between Prince and Apollonia.

MANIC MONDAY

Initial tracking for Prince's original version took place on 4 February 1984 at Sunset Sound, Hollywood, CA, USA (the day before recording Ooo She She Wa Wa); the song was intended for Apollonia 6 (as a duet between Prince and Apollonia), and was included as the third track on the 29 February 1984 and Spring 1984 configurations of the Apollonia 6 album, but was withdrawn from the album prior to release.

The Bangles' version of Manic Monday was mostly re-recorded (information on recording dates and location are needed), but it features some of Prince's original backing tracks (Brenda Bennett's background vocals can still be heard on the released version).

Jill Jones- background vocals (uncredited, unconfirmed)

-PrinceVault

6 o'clock already, I was just in the middle of a dream
I was kissing Valentino by a crystal blue Italian stream
But I can't be late cuz then I guess I just won't get paid
These are the days when U wish your bed was already made

CHORUS:
It's just another manic Monday
I wish it was Sunday
Cuz that's my fun day
My "I don't have 2 run" day
It's just another manic Monday

Have 2 catch an early train, got 2 be 2 work by 9
If I had an airplane, I still couldn't make it on time
Cuz it takes me so long just 2 figure out what I'm gonna wear
Blame it on the train, but the boss is already there

CHORUS

All of the nights, why did my lover have 2 pick last night 2 get down?
(Last night we got down)
Doesn't it matter that I have 2 feed the both of us? Employment's down
But when he tells me in his bedroom voice
"Come on, honey, let's go make some noise," what he says
Time, it goes so fast (when U're having fun)

It's just another manic Monday
I wish it was Sunday
Cuz that's my fun day
It's just another manic Monday

Bangles:Vicki Peterson – guitar, background vocals

Peterson explained in an interview with MTV UK in 1989 about why Prince gave them the song: "Prince really liked our first album. He liked the song 'Hero Takes a Fall', which is a great compliment, because we liked his music. He contacted us, and said, 'I've got a couple of songs for you. I'd like to know if you're interested,' and of course we were. One of the songs Prince brought to the group was 'Manic Monday', written under the pseudonym of Christopher."

Peterson talked about the evolution of what Prince brought them: "It was a Banglefication of a Prince arrangement. He had a demo, that was very specifically him. It was a good song, but we didn't record it like 'This is our first hit single! Oh my God! I can feel it in my veins!' We just did the song, and the album, and then sat back and thought about it."

AVC: What was it like to have Prince say, “So, hey, I’ve got this song for you”?

Susannah Hoffs: It was all very mysterious. I got a call… We were working with Peggy and David Leonard, a husband-and-wife engineer team who had done a lot of stuff with Prince in Minneapolis, and then I guess everybody came west, and they were working in studios in L.A. I think Peggy was working with us at the time, and David was working with Prince? Anyway, somehow word got to me to go to Sunset Sound and pick up the cassette from Prince. It was the old days of cassettes, you know. There were two songs on it, and one of them was “Manic Monday.” I didn’t actually see Prince that day, because… I don’t know, either he wasn’t there or he just wasn’t coming out of the studio or something. [Laughs.] But I just got the tape and played it on the way back to the studio where The Bangles were, and we immediately thought that “Manic Monday” was… [Hesitates.] I’ve got to look for that tape, ’cause there was another song on it, and… I have it somewhere—thank God I didn’t throw it out!—but I just haven’t had a chance to go through my old box of cassette tapes. I should probably do it soon, because that tape’s going to start degrading! [Laughs.] But it was cool. The title was really great. It just reminded me of “Manic Depression,” the Hendrix song, and had kind of a psychedelic thing. And then it had these great harmonies, and I don’t know, there were a lot of things about it where I just thought, “This is a really good fit for The Bangles. So I’m ever after grateful to him for giving us that song, because it ended up being our first radio hit.

.

AVC: I’ve read both that he is singing background vocals on the song and that he is not singing background vocals. I mean, I can’t actually hear him, but…

Susannah Hoffs: He is not singing background vocals. The tape that I had was more than a demo—it was a good sounding recording, and there was a woman singing on it, I’m pretty sure. I don’t think it was him singing. He was singing on the other song, but on “Manic Monday,” I’m pretty sure it was a girl’s voice. Gosh, time has passed since those days… [Laughs.] But at any rate, I think typically when he gave artists songs, which he was doing a fair amount of at that time, they would use his tracks. So I think when he came to the rehearsal studio when we were getting ready to go on the tour and he had finally heard our version of it, we were told—or maybe he said it at the rehearsal studio—that he was surprised that we had re-recorded it, because we could’ve just asked for the tracks and used his tracks. Maybe he even sent the tracks over. I’m trying to remember. But, anyway, he was really happy with how it turned it out. He was really happy with it, so that felt good. And after that, we ended up… He would show up at other concerts, and a couple of times we jammed with him. It was a lot of fun. He’s so great—such a great musician and writer and player and… everything!

http://www.avclub.com/art...les,63099/

FADE IN: PR Outake:Wednesday ... I Don't Know What I'd Do...

Wednesday (sometimes erroneously known as There's No Telling What I Might Do) is an unreleased track recorded on 24 October 1983 at Prince's Kiowa Trail Home Studio, Chanhassen, MN, USA (five days before Father's Song). It was intended to be sung by Jill Jones in the movie Purple Rain and was included as the fifth track on a 7 November 1983, configuration of Purple Rain . Although it is likely that the recording is a performance by Prince with Jill Jones, it is listed here as a Prince and the Revolution recording as this is most likely how it would have been credited upon release on the Purple Rain album. The track remains unreleased.

-PrinceVault

(23) INT. CLUB EARLY MORNING

MUSIC wafts through the sun-drenched
CLUB. Jill is seated at the PIANO, 'a
la Marlene Dietrich, SINGING to her
heart's content. A cigarette dangles
from her lip, a police cap is perched
jauntily on her head. It's a simple bar
tune, delivered slightly off-key, but
with an openness that is endearing.
Chick is working in the corner,
chuckling to himself, stacking chairs,
sweeping up.

Suddenly she stops -- listens intently.
She jumps up, deliberately spills her
orange juice on the piano. Prince comes
around the corner, stops short--
-from the original Purple Rain script

" eslE dluow a nediam hsulb tniapeb ym keehc / roF taht hcihw uoht tsah draeh em kaeps thginot "

I Want 2 B A Modernaire
Modernaire, Modernaire

I Want 2 B A Modernaire
Modernaire, Modernaire

Pessimistic Attitudes
Never were aware

I Want 2 B A Modernaire
Modernaire, Modernaire

I Want 2 B ...
I Want 2 B....
Modernaire.....

I Want 2 B A Modernaire
Modernaire, Modernaire

I Want 2 Swim Underwater
I Want 2 Breathe....Modernaire
I Want 2 Surfice A New Human Beaing
Breath Of Cold Dispair.....

I Want 2 B A Modernaire
ModernaireI, Modernaire

I Want 2 B ..
I Want 2 B...
Modernaire.....

Plastic Bags In L.A
Tryed 2 Take My Girl Away

If She Realy..Wanted My Love
I Guess She Would Have Stayed

I'm Sick Of Pretty Liars
With Their Cool Cut Hair

I Rather Have A Dirty Long Hair Lover
When I Need Her, She's There
I Want 2 B A Modernaire

Modernaire.....
Modernaire.....

I Want 2 B ...
I Want 2 B....
Modernaire.....

Modernaire.....

I Want 2 B...A Paper Junkie
I Want 2 Make (?)
I Never Still A (?) Body
Unless I Stole A Limousine

I Want 2 B ..
I Want 2 B...
Modernaire.....

"Else would a maiden blush bepaint my cheek / For that which thou hast heard me speak tonight",

Dez Dickerson - lead vocals Prince - guitars, synthesizers and background vocals Unidentified female (possibly Jill Jones) - reversed background vocals

Modernaire (a.k.a. (I Want 2 B A) Modernaire) was performed (in part) by Dez Dickerson in Prince's first film Purple Rain. Over 20 years later, Dez Dickerson released the full song as the first track on his limited edition compilation A Retrospective (from his own tape copy of the track, rather than the master copy).

Three years later, Dez Dickerson released the single Modernaire, including the original version of the track and multiple cover versions of the song by dance artists (labeled on the single as "remixes").

Specific recording dates are not known, although it is believed that the track was recorded in mid-to-late 1983 at Prince's Kiowa Trail Home Studio, Chanhassen, MN, USA (credited as "the Purple House basement studio"), after Dickerson left Prince's band.

Some reversed background vocals by an unidentified female (possibly Jill Jones) include the lines "Else would a maiden blush bepaint my cheek / For that which thou hast heard me speak tonight", taken from William Shakespeare's play Romeo and Juliet (Act 2, Scene 2). This recording was later used in Intermission.

-PrinceVault

The song is dedicated to James Brown

Prince
Miscellaneous
Possessed
Oh yeah!

Something's the matter baby, I'm going insane
Something inside of me keeps talkin' 2 my brain
Why can't I stop this satanic lust?
I know I shouldn't hold U, but my body says I must

I'm possessed, ooh
And I don't know what 2 do
Ooh, I'm possessed, yes, ooh
I'm stone crazy in love with U

Something's the matter baby, U're all I see
Your voice is all I hear beggin' 2 me
I wish I didn't need U, wish I didn't care
I've got 2 make some love 2 U cuz it much 2 much 2 bare

I'm possessed, yes I am
And I don't know what 2 do
Ooh, I'm possessed, oh
I'm stone crazy in love with U

I'm possessed
Don't know what 2 do
I'm possessed
I'm stone crazy, ooh

Something's the matter baby, my mind's in a daze
I'm trippin' on your love, it's so hard 4 me 2 lay
Can't stop this yearnin', Lord knows I've tried
Free me from dispair, I'm much 2 young 2 die

I'm possessed, ooh
And I don't know what I'm gonna do
I'm possessed, ooh (I'm)
I'm stone crazy in love with you

I'm possessed, ooh (Yes I am)
And I don't know what I'm gonna do
I'm possessed, yeah!
I'm stone crazy in love with you, ooh
Yeah ooh
Yeah ooh
Yeah ooh
Yeah!

Possessed
Stoned up, up in the head, baby
Said I'm possessed, mm mm
All I want to do is lay you down in my bed
I'm possessed, oh
Yes I am
How's about me not knowin' what to do?
I'm possessed
Yes, oh yeah
I'm, I'm stone crazy in love with you, yeah yeah
Pussy sugar... yeah yeah

Possessed
Well, I'm goin' insane
Hey, I'm possessed
I only want to do things, baby
Only want to do things growin' inside a negro's brain, yeah
Yeah yeah..oh oh yeah
U're leaving me no choice
I'm gonna hit you with my guitar, baby

Oh yes
Mm, oh yes
Bobby Z, step on it
Step on it
Mm, step on it
Mm, step on it now
Step down on my head now, baby

Yeah, I'm possessed
I'm possessed, baby
Fucked up in my head
I want to use you in my bed, yeah
I'm possessed
Well, oh
Oh, I got this lust
Baby you know I got this lust, yeah
I don't want to hold ya
I don't want to hold ya
I don't want to hold ya
But my body says I must!
I must, yeah
Oh, oh baby, I must!
Do you mean "yeah"? (Yeah!) (Give it to me)
Baby, if I don't
'cause baby, if I don't
'cause baby, if I don't
You know your pussy puts up quite an awful fuss
Yes it does
Puts up a fuss, yeah
You know what that means
You're gonna get wet
Pussy get wet, mm mm

Something's the matter baby, I'm goin' insane
Something inside of me keeps talkin' to my brain
Why can't I stop this satanic lust?
I don't want to hold you but my body says I must

I'm possessed, yeah!
I'm possessed
Stone in love with you (Stone in love with you, baby)
Stone in love with you, baby
Stone crazy in love with you, baby

Me and the boys, we like to jam
Possessed!

Initial tracking took place on 24 May 1983 at Prince's Kiowa Trail Home Studio, Chanhassen, MN, USA, two months after the song's first live appearance. He recorded a new version on 17 March 1984 at Sunset Sound, Hollywood, CA, USA for use in Purple Rain. A short instrumental portion plays in the movie in the background of a scene in which Morris Day tries to seduce Apollonia.

The song is dedicated to James Brown in the credits of the Prince And The Revolution: Live VHS.

Prince and the Revolution: Live version

• Prince - vocals and guitar
• Bobby Z. - drums
• Brown Mark - bass guitar
• Wendy Melvoin - guitar
• Lisa Coleman - keyboards
• Dr. Fink - keyboards
• Eric Leeds - saxophone

Love reading this thread

Album Credits
Lisa Coleman: Keyboards and Voice
Wendy: Guitar and Voice
Bobby Z: Percussion
Brown Mark: Bass and Voice
Matt Fink: Keyboards and Voice
All thanks 2 God: the light,

Lisa & Wendy, Bobby, Mark & Matt: The Revolution,

Big Chick: the protector,

Steve, Bob & Joe: the producers,

Albert Magnoli: the director,

Peggy Mac: the patience,

Fred Moultrie: the money,

Lee Phillips: the brains

Warner Bros. Records & Film: belief,

God 4 the "rain",

Sandy: the case,

The Time: “chicken grease”,

Apollonia 6: Susan, Brenda & Apollonia: patience, wisdom & beauty,

Jill: love,

Roy Bennett: loyalty,

David Leonard: the blade,

Susan Rogers: energy, C

arol McGovney: devotion,

God: 4 the rainbow

William Blinn: the story,

Alan Leeds: the expert.

Thanks 2 Don Thorin and all the cast & crew of Purple Rain

Clarence Williams, Olga Karlatos, Kim: hi,

Morris & Jerome, Katy, Billy Sparks: what up ‘tho? Richard Arrington,

God: 4 the sun,

Wally, Gator, Dez Dickerson & the Modernaires,

Steve & everybody at 1st Avenue,

all the extras & anybody else we foolhardedly forgot 2 mention.

Thanks 2 all, may u live 2 see the Dawn.

The CLUB erupts in CRIES! Prince hits
the stage, launches into "G-spot," a
fast, high-spirited funk tune that gets
the crowd hopping. Vanity watches as
Prince whips the crowd into a frenzy.

F is 4 frustration
I'm looking 4 what isn't really there
I is instigation
I'm listening 2 the voice beneath my hair
N is 4 the naked body
And 4 what my naked eye can see

G-spot, G-spot
Where, oh where can U be?

A is 4 America
And 4 the things U read in magazines
L is 4 location
I am a clock, the time is 9:15
L is 4 the lust we share
We want 2 know the infamous pleasure

Y is 4 my yearnin'
Burnin' into mystery

G-spot, G-spot
Where, oh where can U be?

G-spot

G-spot

While specific recording dates are not known, initial tracking for Prince's original version took place between January and August 1983, most likely at Prince's Kiowa Trail Home Studio, Chanhassen, MN, USA. It was originally intended for Vanity 6's second album (which became Apollonia 6's first and only album Apollonia 6 when Vanity left the band). The song was then considered for Purple Rain, but was replaced on the album and in the movie by Darling Nikki in August 1983.

-PrinceVault

G-SPOT
1.

2.

3.

4.

5.

6.

Suddenly "G-Spot" comes to a rousing
end. The CROWD cheers wildly. Prince
moves quickly to the piano and launches
into "Electric Intercourse," a love
ballad which, as it progresses, becomes
a personal statement for Vanity and
Prince himself.

I feel some kind of love 4 U
I don't know your name
This is the kind of love that takes 2
I want U and I'm not ashamed

Cuz baby, U shock my wild
With a sexual electricity extraordinaire
Come and take advantage and undress me
I don't even know U, I don't even care

I feel some kind of sexual courage
Tell me do U feel it 2?
Our bodies wanna be 2gether
Girl, I wanna be with U

Electric is my body, baby
I'll shock U with my lips
Darling, don't U know
Your Technicolor climax is at my fingertips?
Hear me, baby

Electric intercourse, electric intercourse

Don't U wanna?
Electric intercourse, electric intercourse
Don't U wanna make love, sweet love, my love?

Mash it

Electric is my body, baby
I'll shock U with my lips (Yes I will)
Darling, don't U know
Your technicolor climax is at my fingertips
Baby, no no, listen 2 me

Electric intercourse, electric intercourse
Don't U wanna?

Electric intercourse, electric intercourse
(I say the first intercourse, I say the first one)
Don't U wanna make love, sweet love, my love?

Yeah

Electric intercourse, electric intercourse
Don't U wanna?
Electric intercourse, electric intercourse
Don't U wanna make love, my love, sweet love, yeah?

Don't U wanna?
Electric intercourse
Don't U wanna make love, yeah?

the BEAUTIFUL ONES replace GSPOT & ELECTRIC INTERCOURSE