jjam said:

Seeing how the Estate can't be trusted with their total balls up of not getting the Paisley Park museum properly cleared by the local council , I think all the people who have previously unheard outtakes should leak them as a protest.

They should've focused on getting some music out there to bring in revenue first, rather than hastily trying to open Paisley as a museum just months after Prince's death. They're sitting on a mine of recordings, which I gather, they haven't even started archiving.

This is the same version of Glam Life, he just added Sheila's vocals & percussion, Jill Jones & Prince can still be heard in Sheila's version & that's why Jill said he could have given it to her. But she was on damn near evertyhing back then, esp. Sheila, Vanity & Apollonia's stuff

BEAUGARDE said:

This is the same version of Glam Life, he just added Sheila's vocals & percussion, Jill Jones & Prince can still be heard in Sheila's version & that's why Jill said he could have given it to her. But she was on damn near evertyhing back then, esp. Sheila, Vanity & Apollonia's stuff

.

Jill is not on this particular demo, even though most of what you say above is correct. And I'd be inclined to advocate for her if she had been.

The quote from Jill suggests she was doing work with Prince on the song, and then Sheila E was coming in later and doing the lead on the song. That is why she said Prince could have given it to her. She talked about G-Spot as well that she did the backing vocals with Prince, and then it was going to Vanity 6, but that she liked it and asked Prince for it for her album.

She just confirmed with me about backing vocals "Hey there. Yes its me ..."

imprimis said:

Most of us love and respect Jill. But I've listened over and over and over again on high-quality gear, and I do not hear anyone but Prince on the demo.

.

I think the interest and questioning about who the 'female' background vocalist (almost certainly only Prince in falsetto) has been caused by the phasing downshift by the leakers, which has inadvertently made that part really stand out.

.

By 1983, P had already promised Jill for several years that he would put together an album for her.

.

I view her statement (quoted below) as a lament that P, who (obviously) already had an established emotional and on-and-off romantic relationship with Jill, rushed to assemble an album and gave this to a newcomer (if that is the appropriate term, since it has been said that P first met Sheila as early as 1978), with the added sting that this song ended up being a Top 10 as the result of the PR phenomenon (and Jills' eventual album became only a very modest success in Europe).

.

It's a tremendous pop song, but I'm not certain that it would be as well known without WB's 1984 marketing machine behind it, and the particular cultural plateau of that very moment in time, and Jill probably would not have got an album that year even if he did let her have some of the better commercial tracks from this time. By holding out, and being very solicitous to Jill once her album finally got its chance, and contrastingly by quickly putting together an album for Sheila here, this had the 'perverse effect' (from Jill's POV, anyhow) of Sheila getting hot-off-the-presses material from and during the most successful period of Prince's career.

.

Although she hung around the Purple camp at the time (and was in a position to observe some of it comings and goings), we cannot be certain she would have even been aware of this one track *specifically* prior to its release. The song was originally written about Apollonia, and slated for the A6 album (hypothetically to be sung by A).

.

To balance things out, for fairness' sake,

.

Jill appears on 'Ooo She She Wa Wa', helping to fill Susan's relatively weak vocal (the same kind of production trick Paula Abdul used on 'Forever Her Girl' album); this was also a late entry to the album ('Blue Limousine', the last entry for the album had Susannah Melvoin 'imitating' Susan for the backing).

.

And she does also appear on 'The Belle of Saint Mark', and allegedly (*unconfirmed* at this point) the A6 take of 'Manic Monday'. Jill does not appear on any other V6 or A6 or related material ('17 Days', 'Take Me with U', 'Oliver's House', 'Next Time Wipe the Lipstick Off Your Collar'). She most likely did base her vocal on 'G-Spot' after Vanity's (rather than P's), however, and a number of other songs considered for her first album and aborted second album were culled from Vanity 6 outtakes. The very first new song laid down specificially for her album, 'My Man', seems to borrow the A6-style bubblegum synthpop record approach.

-----------------

It has the salaciousness of 'what could have been' and a hint of betrayal/conspiracy, so I'm certain some will continue to insist that it's Jill, but on this particular demo, I simply don't hear her, and her voice is distinctly recognizable to me (even though she was often tasked with camouflaging/enhancing/standing in for other billed performers).

.

If you closely follow along with the softer parts that sound momentarily like they could be a female vocalist, as the line continues you'll hear Prince's unmistakable vocal inflexions.

.

I don't understand the desire for grown people to indulge fictionalized Purple soap opera.

.

OldFriends4Sale said:

it is most likely Jill Jones singing behind Prince on this one

"...(Prince) could have given me "The Glamorous Life". Sheila E. would come to the studio to play basketball and I did not know that the child was going in (to the studio) late at night and singing the songs...:"

-Jill Jones

.

[Edited 9/23/16 9:31am]

On this particular demo (at its stage of development), or the released version on the TGL album? I am going to take the attribution with a grain of salt, given her Sinead-grade loopiness and instability in the past 10 to 15 years.

.

OldFriends4Sale said:

The quote from Jill suggests she was doing work with Prince on the song, and then Sheila E was coming in later and doing the lead on the song. That is why she said Prince could have given it to her. She talked about G-Spot as well that she did the backing vocals with Prince, and then it was going to Vanity 6, but that she liked it and asked Prince for it for her album.

She just confirmed with me about backing vocals "Hey there. Yes its me ..."

I believe 'G-Spot' was first recorded with V6 specifically in mind (although his demo vocal is good enough on this one to make it work as a P release), and recorded soon thereafter with Vanity vocals (circulating among elite traders, possibly seguing with 'Vibrator' on a very rough early mid-1983 sequencing of a proposed V6 follow-up), then temporarily reclaimed, as it was liked by Magnoli as prospective song for the movie project (and, of course, is mentioned as a Kid/Revolution performance in early drafts of the script, and rehearsed with the Revolution in the late Summer and early Fall of '83), and then abandoned after 'Darling Nikki' was recorded, and never slated for A6, as he decided to tone down the *6 idea and move it slightly in the direction of a PG-13 teen bubblegum 'concept album'. At that point, it was one of the better, more recently Vaulted tracks when P had time to devote to the long-deferred JJ album in Spring 1985. It's quite clear that Jill is influenced by or emulating some of Vanity's particular vocal shibboleths on her take of it (listening to it on monitor phones). It's also possible that Jill is present on the V6 recording of it, for that matter, as well.

.

OldFriends4Sale said:

The quote from Jill suggests she was doing work with Prince on the song, and then Sheila E was coming in later and doing the lead on the song. That is why she said Prince could have given it to her. She talked about G-Spot as well that she did the backing vocals with Prince, and then it was going to Vanity 6, but that she liked it and asked Prince for it for her album.

She just confirmed with me about backing vocals "Hey there. Yes its me ..."

[Edited 10/4/16 18:57pm]

imprimis said:

On this particular demo (at its stage of development), or the released version on the TGL album? I am going to take the attribution with a grain of salt, given her Sinead-grade loopiness and instability in the past 10 to 15 years.

.

OldFriends4Sale said:

The quote from Jill suggests she was doing work with Prince on the song, and then Sheila E was coming in later and doing the lead on the song. That is why she said Prince could have given it to her. She talked about G-Spot as well that she did the backing vocals with Prince, and then it was going to Vanity 6, but that she liked it and asked Prince for it for her album.

She just confirmed with me about backing vocals "Hey there. Yes its me ..."

on the demo, which mostly likely translated to the album cut. She and Susannah were used vocally a lot for sessions work.
When I first heard it I could hear the ladies voice behind Prince on this one.

She's on this.

imprimis said:

I believe 'G-Spot' was first recorded with V6 specifically in mind (although his demo vocal is good enough on this one to make it work as a P release), and recorded soon thereafter with Vanity vocals (circulating among elite traders), then temporarily reclaimed, as it was liked by Magnoli as prospective song for the movie project (and, of course, is mentioned as a Kid/Revolution performance in early drafts of the script, and rehearsed with the Revolution in the late Summer and early Fall of '83), and then abandoned after 'Darling Nikki' was recorded, and never slated for A6, as he decided to tone down the *6 idea and move it slightly in the direction of a PG-13 teen bubblegum 'concept album'. At that point, it was one of the better, more recently Vaulted tracks when P had time to devote to the long-deferred JJ album in Spring 1985. It's quite clear that Jill is influenced by or emulating some of Vanity's particular vocal shibboleths on her take of it (listening to it on monitor phones). It's also possible that Jill is present on the V6 recording of it, as well.

.

OldFriends4Sale said:

The quote from Jill suggests she was doing work with Prince on the song, and then Sheila E was coming in later and doing the lead on the song. That is why she said Prince could have given it to her. She talked about G-Spot as well that she did the backing vocals with Prince, and then it was going to Vanity 6, but that she liked it and asked Prince for it for her album.

She just confirmed with me about backing vocals "Hey there. Yes its me ..."

[Edited 10/4/16 18:52pm]

The early draft of the PR movie script described G Spot as more upbeat song, I wonder if there is a different version

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.
Morris listens with a complacent grin on
his face, his eyes searching out various
members of The Time who are scattered
through-out the club. When he connects
with one of them he makes a series of
absurd faces which sends them into
hysterics. For Prince is playing music
that The Time is noted for, and, as far
as Morris is concerned, performs better.
Not everyone in the club is dancing, or
paying attention, and this does not
escape his notice.

OldFriends4Sale said:

imprimis said:

On this particular demo (at its stage of development), or the released version on the TGL album? I am going to take the attribution with a grain of salt, given her Sinead-grade loopiness and instability in the past 10 to 15 years.

.

on the demo, which mostly likely translated to the album cut. She and Susannah were used vocally a lot for sessions work.
When I first heard it I could hear the ladies voice behind Prince on this one.

She's on this.

.

At what particular time periods in the recently leaked demo are you hearing her? Any particular moment that stands out? I hear only Prince and falsetto Prince. Why wouldn't he have her vocals consistently spread out in the same role as his falsetto, which clearly stands out as being the only thing in the background at certain moments.

[Edited 10/4/16 19:02pm]

Maybe he intended to re-record it before filming. Or maybe the screenwriter is hyperbolizing a bit and going off of very limited information from a list of some very salacious titles P proposed as possible soundtrack entries.

.

OldFriends4Sale said:

imprimis said:

I believe 'G-Spot' was first recorded with V6 specifically in mind (although his demo vocal is good enough on this one to make it work as a P release), and recorded soon thereafter with Vanity vocals (circulating among elite traders), then temporarily reclaimed, as it was liked by Magnoli as prospective song for the movie project (and, of course, is mentioned as a Kid/Revolution performance in early drafts of the script, and rehearsed with the Revolution in the late Summer and early Fall of '83), and then abandoned after 'Darling Nikki' was recorded, and never slated for A6, as he decided to tone down the *6 idea and move it slightly in the direction of a PG-13 teen bubblegum 'concept album'. At that point, it was one of the better, more recently Vaulted tracks when P had time to devote to the long-deferred JJ album in Spring 1985. It's quite clear that Jill is influenced by or emulating some of Vanity's particular vocal shibboleths on her take of it (listening to it on monitor phones). It's also possible that Jill is present on the V6 recording of it, as well.

.

[Edited 10/4/16 18:52pm]

The early draft of the PR movie script described G Spot as more upbeat song, I wonder if there is a different version

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.
Morris listens with a complacent grin on
his face, his eyes searching out various
members of The Time who are scattered
through-out the club. When he connects
with one of them he makes a series of
absurd faces which sends them into
hysterics. For Prince is playing music
that The Time is noted for, and, as far
as Morris is concerned, performs better.
Not everyone in the club is dancing, or
paying attention, and this does not
escape his notice.

jjam said:

Seeing how the Estate can't be trusted with their total balls up of not getting the Paisley Park museum properly cleared by the local council , I think all the people who have previously unheard outtakes should leak them as a protest.

I've shared what little I have that I didn't see readily at hand on the internet...others can do the same.

imprimis said:

Maybe he intended to re-record it before filming. Or maybe the screenwriter is hyperbolizing a bit and going off of very limited information from a list of some very salacious titles P proposed as possible soundtrack entries.

.

OldFriends4Sale said:

The early draft of the PR movie script described G Spot as more upbeat song, I wonder if there is a different version

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.
Morris listens with a complacent grin on
his face, his eyes searching out various
members of The Time who are scattered
through-out the club. When he connects
with one of them he makes a series of
absurd faces which sends them into
hysterics. For Prince is playing music
that The Time is noted for, and, as far
as Morris is concerned, performs better.
Not everyone in the club is dancing, or
paying attention, and this does not
escape his notice.

Interesting. The ending on Vibrator has the same beat as the beginning of the released G-Spot. i heard that song was supposed to segue into G-Spot for the proposed second Vanity 6 album

paisleypark4 said:

imprimis said:

Maybe he intended to re-record it before filming. Or maybe the screenwriter is hyperbolizing a bit and going off of very limited information from a list of some very salacious titles P proposed as possible soundtrack entries.

.

Interesting. The ending on Vibrator has the same beat as the beginning of the released G-Spot. i heard that song was supposed to segue into G-Spot for the proposed second Vanity 6 album

yeah,I have that same bootleg as "Vibrator" ends,we hear the beginning beats of "G-Spot" which makes me wonder if there is a Vanity 6 version of this song.I have always imagined that the second Vanity 6 album would have included "G-Spot".

SoulAlive said:

paisleypark4 said:

Interesting. The ending on Vibrator has the same beat as the beginning of the released G-Spot. i heard that song was supposed to segue into G-Spot for the proposed second Vanity 6 album

yeah,I have that same bootleg as "Vibrator" ends,we hear the beginning beats of "G-Spot" which makes me wonder if there is a Vanity 6 version of this song.I have always imagined that the second Vanity 6 album would have included "G-Spot".

.

The early-1990s DAT, from which the circulating 'Vibrator' we all have heard was taken, is indeed said to have a Vanity vocal 'G-Spot' on it.

.

We have come to associate 'G-Spot', to a certain extent, as a Purple Rain outtake of sorts, even though independent rumor that it was recorded for the second V6 album has long been circulating. We, of course, have two or three rehearsal recordings of it from approximately the late Summer or early Fall of 1983, which may tend to encourage this view.

.

It is most likely due to Magnoli's liking the track, when listening to the tapes of accumulated 1979-1983 material P was presenting him to screen for potential songs, that this song was reclaimed.

.

At that point, it was briefly considered as song to be released or performed by Prince (and his semifictional band), up until the late pre-production stage of the film. It was determined unfit for the film or album, either by management, for logistic/pacing purposes, or because it was replaced by newer material (perhaps 'Darling Nikki').

.

Also, not long after resuming work on the *6 album, now with an Apollonia 6 billing, he decided to go for more of a PG-13, slightly 'concept album', slightly bubblegumy approach. More pop-oriented, and more suggestive and playfully risque than forthrightly obscene (which is a shibboleth of early/mid 1983 Prince).

.

I speculate this is how 'Sugar Walls' came to be 'vaulted', making it an available outtake to send to Sheena Easton in January 1984, months after it had been initially tracked, most likely for the second *6 album.

.

[Edited 11/2/16 16:10pm]

imprimis said:

SoulAlive said:

yeah,I have that same bootleg as "Vibrator" ends,we hear the beginning beats of "G-Spot" which makes me wonder if there is a Vanity 6 version of this song.I have always imagined that the second Vanity 6 album would have included "G-Spot".

.

The early-1990s DAT, from which the circulating 'Vibrator' we all have heard was taken, is indeed said to have a Vanity vocal 'G-Spot' on it.

.

We have come to associate 'G-Spot', to a certain extent, as a Purple Rain outtake of sorts, even though independent rumor that it was recorded for the second V6 album has long been circulating. We, of course, have two or three rehearsal recordings of it from approximately the late Summer or early Fall of 1983, which may tend to encourage this view.

.

It is most likely due to Magnoli's liking the track, when listening to the tapes of accumulated 1979-1983 material P was presenting him to screen for potential songs, that this song was reclaimed.

.

At that point, it was briefly considered as song to be released or performed by Prince (and his semifictional band), up until the late pre-production stage of the film. It was determined unfit for the film or album, either by management, for logistic/pacing purposes, or because it was replaced by newer material (perhaps 'Darling Nikki').

.

Also, not long after resuming work on the *6 album, now with an Apollonia 6 billing, he decided to go for more of a PG-13, slightly 'concept album', slightly bubblegumy approach. More pop-oriented, and more suggestive and playfully risque than forthrightly obscene (which is a shibboleth of early/mid 1983 Prince).

.

I speculate this is how 'Sugar Walls' came to be 'vaulted', making it an available outtake to send to Sheena Easton in January 1984, months after it had been initially tracked, most likely for the second *6 album.

.

[Edited 11/2/16 16:10pm]

Thank you for your wonderful insight and information. Always wondered about the history of Sugar Walls, such a fantastic track with wild embelleshments of synths, drums and guitar work.

imprimis said:

SoulAlive said:

yeah,I have that same bootleg as "Vibrator" ends,we hear the beginning beats of "G-Spot" which makes me wonder if there is a Vanity 6 version of this song.I have always imagined that the second Vanity 6 album would have included "G-Spot".

.

The early-1990s DAT, from which the circulating 'Vibrator' we all have heard was taken, is indeed said to have a Vanity vocal 'G-Spot' on it.

.

We have come to associate 'G-Spot', to a certain extent, as a Purple Rain outtake of sorts, even though independent rumor that it was recorded for the second V6 album has long been circulating. We, of course, have two or three rehearsal recordings of it from approximately the late Summer or early Fall of 1983, which may tend to encourage this view.

.

It is most likely due to Magnoli's liking the track, when listening to the tapes of accumulated 1979-1983 material P was presenting him to screen for potential songs, that this song was reclaimed.

.

At that point, it was briefly considered as song to be released or performed by Prince (and his semifictional band), up until the late pre-production stage of the film. It was determined unfit for the film or album, either by management, for logistic/pacing purposes, or because it was replaced by newer material (perhaps 'Darling Nikki').

.

Also, not long after resuming work on the *6 album, now with an Apollonia 6 billing, he decided to go for more of a PG-13, slightly 'concept album', slightly bubblegumy approach. More pop-oriented, and more suggestive and playfully risque than forthrightly obscene (which is a shibboleth of early/mid 1983 Prince).

.

I speculate this is how 'Sugar Walls' came to be 'vaulted', making it an available outtake to send to Sheena Easton in January 1984, months after it had been initially tracked, most likely for the second *6 album.

.

[Edited 11/2/16 16:10pm]

Excellent analysis.

OldFriends4Sale said:

imprimis said:

On this particular demo (at its stage of development), or the released version on the TGL album? I am going to take the attribution with a grain of salt, given her Sinead-grade loopiness and instability in the past 10 to 15 years.

.

on the demo, which mostly likely translated to the album cut. She and Susannah were used vocally a lot for sessions work.
When I first heard it I could hear the ladies voice behind Prince on this one.

She's on this.

Are you saying that Susannah sings background on TGL?

paulludvig said:

OldFriends4Sale said:

on the demo, which mostly likely translated to the album cut. She and Susannah were used vocally a lot for sessions work.
When I first heard it I could hear the ladies voice behind Prince on this one.

She's on this.

Are you saying that Susannah sings background on TGL?

.

No.

.

I believe he is referring to a general practice increasingly from about mid-1984 until late-1986 of having Susannah perform b/g vocal duties ('Play in the Sunshine' being the latest recording on which Susannah makes an appearance on backing vocals). More specifically, though, he means to say 'Blue Limousine', on which Susannah Melvoin substituted for and imitated an absent Susan Moonsie for the session.

.

These romantic-working relationships create a lot of mystique, but the reality of what was recorded and how is a bit more mundane.

.

I don't believe there are any female backing vocals on the recently leaked late-1983 TGL demo (they're all P's falsetto), however, and possibly none on the final album release excepting anything Sheila stacked in the mix, even though many on here are insistent that Jill is on this very demo.

.

[Edited 11/3/16 16:33pm]

luvgirl said:

Question: So the Gspot that's circulating now isn't Vanity on backing vocals?

.

The quality of the outtake is muddled. It may be all Prince, or mostly Prince with a little bit of Jill and/or Lisa. It most likely also is older by a few months, and effectively the 'demo' Prince assembled for Vanity 6's follow-up album.

.

Almost assuredly no Vanity involvement on this circulating outtake version.

.

However, I do believe Jill is specifically basing her vocal inflexions on her released 1987 version on Vanity's, as such a version is presumed to have been recorded, and she is most likely using it as a guide vocal (Jill laid down her vocals in Spring 1985, at which point she was most likely simply replacing Vanity's, and the song was basically as we know it from the outtake, and more than a year away from being reconfigured into the sultry saxophone, embellished one that made the her album).

.

[Edited 11/3/16 16:37pm]

imprimis said:

(Admittedly, I'm not sure this is new, but I'm gonna post my question about it here, hopefully that's okay )

So I'm listening to what is apparently a band rehearsal, 34:22 long, during which you can occasionally hear Prince talking to band members or crew. Also, starting at 20:50 and again at 28:40, he sings a bit of "Feline" in it.

Anyone know more about this? For example, when/where was it recorded? He does mention Wendy by name in it (cueing her to play, etc.) so evidently it is Revolution era.

CandaceS said:

OK, thanks! Sorry I spammed the thread with something old, but I'm sure this will be useful for others like me who aren't so well informed about all this stuff!

[Edited 11/9/16 20:44pm]

luvgirl said:

Question: So the Gspot that's circulating now isn't Vanity on backing vocals?

I prefer the Vanity version its funkier

You shOUld always be aware of where To find good fUnk By princE