very very cool. Roadhouse my fave!

Even though Eggplant has been described as 'goofy', it's actually my favourite of these four leaked tracks. The second half goes into a pretty intense psychedelic groove which is kind of the opposite of goofy. Very cool.

[Edited 9/17/16 3:57am]

imprimis said:

'Roadhouse Garden' is certainly the star of this particular batch of leaks. It may not be a fully developed song, and therefore may be bland for some persons' tastes, but it is competent, pleasant and unthreatening, with commercial potential for an album track in its era. The version here comes off as something of a haunting, if a bit insipid, Prince 'Dream Factory'-era equivalent to Bruce Springsteen's 'I'm on Fire', with its vocal delivery pace and in-and-out moody synths, weird lyre/guitar heavily processed digital synth patch that is the basis for the comparisons to 'Vicki Waiting'. Also a nice expansion of the train metaphor he seems enamoured by 1985-1987.

.

Given the limitations of a set of songs developed out of Warehouse jam sessions ('Our Destiny', 'Roadhouse Garden'), and sourced [from a 24-track mobile recording vehicle] live performance in a small club, no sterile studio take could ever properly capture in a viable 'album' format the raw energy and playing off the crowd. He also had to accommodate the changes in his image and sound over the two years this was worked on. There is not enough underlying substance to the live arrangement of the song, and getting it right for a studio release was a difficult task, but I think this circa ~1986 era further-work-in-progress version was well on its way to an acceptable result.

.

'Come Elektra Tuesday' is quite a disappointment, unfit for meaningful commercial release outside of a Vault compilation, and it greatly underserves its Princeloric widely mythologized title.

.

'Glamorous Life' is nice to have. It is mostly unprocessed and unmixed, and as such provides an insight into the build and design of a major commercial track. The listening experience is hindered by the phasing caused by the deliberate stereo-to-mono audio quality downgrade by the trader(s) who leaked it.

.

'Rough' is rough, most likely a 'Dirty Mind' or early post-'Dirty Mind' demo (later said to be re-recorded or revamped for an Alexander O'Neal proto-Time release, and briefly dusted off and considered for use on the 'The Family' in 1984, although no overdubbing occurred at that time), but as a composition, I can see it would have potential, and I imagine we would rather like the 1985/1986 updates made to it for 'Jill Jones' and it how it could fit comfortably among the other material from those sessions.

.

'Eggplant' is amusing, but quickly assembled and even more quickly forgotten, another 'It's a Wonderful Day' type of Prince/Coleman/Melvoin effort that simply isn't good enough to merit formal release. Time to spare on an off-day and playing around P's fancy new Galpin Blvd console. I suspect (fear?) that many of the alleged '100+ songs' recorded by P jointly or with involvement by W/L after Parade are of this type of production. This is just not the type of material that a major star of P's standard at the time ought to have been investing precious time into. The non-release of this material I also presume is what W/L are actually referring to in their historical complaints of their contributions being written out of [what became] the SOTT album.

.

[Edited 9/16/16 22:24pm]

Thank you Matt I love coming into threads and reading what you have to say. makes everything more interesting

dance4me3121 said:

Prince singing "jungle love" and "jerk out" would be very awesome

Give me the first three The Time albums with Prince in vocals and I'll die a happy man...

fishwillbite said:

Even though Eggplant has been described as 'goofy', it's actually my favourite of these four leaked tracks. The second half goes into a pretty intense psychedelic groove which is kind of the opposite of goofy. Very cool.

[Edited 9/17/16 3:57am]

Yes I agree, it's my favorite as well. The second half is really good

[Edited 9/17/16 4:38am]

nonames said:

MIRvmn said:

very nice....

Come Elektra Tuesday reminds me of "4 the Sex of It"

Is Eggplant the 80's Jughead?

Come Elektra Tuesday really hits the spot.

Can somebody pleeeeease org not me where to find these????

Incredible stuff, indeed! Again - big thanks to whomever gifted these gems. Personally, it's been the happiest I've been in a while!

Awww, wish that Finest Whiskey was full length, excellent sound I want to hear more of!

imprimis said:

'Roadhouse Garden' is certainly the star of this particular batch of leaks. It may not be a fully developed song, and therefore may be bland for some persons' tastes, but it is competent, pleasant and unthreatening, with commercial potential for an album track in its era. The version here comes off as something of a haunting, if a bit insipid, Prince 'Dream Factory'-era equivalent to Bruce Springsteen's 'I'm on Fire', with its vocal delivery pace and in-and-out moody synths, weird lyre/guitar heavily processed digital synth patch that is the basis for the comparisons to 'Vicki Waiting'. Also a nice expansion of the train metaphor he seems enamoured by 1985-1987.

.

Given the limitations of a set of songs developed out of Warehouse jam sessions ('Our Destiny', 'Roadhouse Garden'), and sourced [from a 24-track mobile recording vehicle] live performance in a small club, no sterile studio take could ever properly capture in a viable 'album' format the raw energy and playing off the crowd. He also had to accommodate the changes in his image and sound over the two years this was worked on. There is not enough underlying substance to the live arrangement of the song, and getting it right for a studio release was a difficult task, but I think this circa ~1986 era further-work-in-progress version was well on its way to an acceptable result.

.

'Come Elektra Tuesday' is quite a disappointment, unfit for meaningful commercial release outside of a Vault compilation, and it greatly underserves its Princeloric widely mythologized title.

.

'Glamorous Life' is nice to have. It is mostly unprocessed and unmixed, and as such provides an insight into the build and design of a major commercial track. The listening experience is hindered by the phasing caused by the deliberate stereo-to-mono audio quality downgrade by the trader(s) who leaked it.

.

'Rough' is rough, most likely a 'Dirty Mind' or early post-'Dirty Mind' demo (later said to be re-recorded or revamped for an Alexander O'Neal proto-Time release, and briefly dusted off and considered for use on the 'The Family' in 1984, although no overdubbing occurred at that time), but as a composition, I can see it would have potential, and I imagine we would rather like the 1985/1986 updates made to it for 'Jill Jones' and it how it could fit comfortably among the other material from those sessions.

.

'Eggplant' is amusing, but quickly assembled and even more quickly forgotten, another 'It's a Wonderful Day' type of Prince/Coleman/Melvoin effort that simply isn't good enough to merit formal release. Time to spare on an off-day and playing around P's fancy new Galpin Blvd console. I suspect (fear?) that many of the alleged '100+ songs' recorded by P jointly or with involvement by W/L after Parade are of this type of production. This is just not the type of material that a major star of P's standard at the time ought to have been investing precious time into. The non-release of this material I also presume is what W/L are actually referring to in their historical complaints of their contributions being written out of [what became] the SOTT album.

.

[Edited 9/16/16 22:24pm]

I couldn't disagree with you more. Not only is this song, which I admittedly called "goofy", my favorite of the recent leaks, but songs like this bring character and diversity to Prince's catalog. Say what you want about W & L's "colorful" contributions to Prince's sound, but they were just that: hues and rays in Prince's otherwise cold, electronic world.

[Edited 9/17/16 7:49am]

Come Elektra Tuesday sounds too slow for me like it was intentionally slowed down by the leaker. I don't know, his voice just doesn't sit right with me for some reason. I sped it up (not sure if I got the speed right) to bring out Camille a bit and it takes it to whole other level. Would like to hear other people's opinions if it sounds correct or not.

Wow...amazing.

[Edited 9/17/16 8:16am]

cb70 said:

Come Elektra Tuesday sounds too slow for me like it was intentionally slowed down by the leaker. I don't know, his voice just doesn't sit right with me for some reason. I sped it up (not sure if I got the speed right) to bring out Camille a bit and it takes it to whole other level. Would like to hear other people's opinions if it sounds correct or not.

As I've already said, I believe this is a re-recording like In A Large Room With No Light, If I Could Get Your Attention and the numerous other re-recordings he did in the last few years. I just can't see this being the original. The vocal style and instrumentation do not fit the time period it was supposedly recorded in.

KlyphIsBackAgain said:

dodger said:

KlyphIsBackAgain said:

As I've already said, I believe this is a re-recording like In A Large Room With No Light, If I Could Get Your Attention and the numerous other re-recordings he did in the last few years. I just can't see this being the original. The vocal style and instrumentation do not fit the time period it was supposedly recorded in.

I see your points but I wonder if he would have kept Jill's vocals in there if he re-recorded it in recent years

First, we don't know that's Jill..... but if it is it's not like Prince hasn't pulled vocal riffs and sound effects from old songs to use on new songs before.

KlyphIsBackAgain said:

dodger said:

KlyphIsBackAgain said:

First, we don't know that's Jill..... but if it is it's not like Prince hasn't pulled vocal riffs and sound effects from old songs to use on new songs before.

Jill confirmed on Twitter it's her. I know he'd re-use old riffs and sound effects but vocals from old associates? Maybe someone could ask Jill if she can shed any light on it

Acknowledge Me uses Bonnie's riffs from Cross The Line. Hell, acknowledge me even uses his vocals from All My Dreams. Didn't realize Jill had confirmed it.

[Edited 9/17/16 8:23am]

KlyphIsBackAgain said:

dodger said:

KlyphIsBackAgain said:

Acknowledge Me uses Bonnie's riffs from Cross The Line. Hell, acknowledge me even uses his vocals from All My Dreams. Didn't realize Jill had confirmed it.

Good call on Acknowledge Me 👍🏻 You could be right, I agree it's got some recent like sounds and has a bit of Gold Standard feel to it

Not only that but this does NOT sound like an analog recording nor an analog recording that got cleaned up. It sounds digital to me. Prince didn't record digitally in '85 did he?

[Edited 9/17/16 8:49am]

KlyphIsBackAgain said:

imprimis said:

KlyphIsBackAgain said:

imprimis said:

'Roadhouse Garden' is certainly the star of this particular batch of leaks. It may not be a fully developed song, and therefore may be bland for some persons' tastes, but it is competent, pleasant and unthreatening, with commercial potential for an album track in its era. The version here comes off as something of a haunting, if a bit insipid, Prince 'Dream Factory'-era equivalent to Bruce Springsteen's 'I'm on Fire', with its vocal delivery pace and in-and-out moody synths, weird lyre/guitar heavily processed digital synth patch that is the basis for the comparisons to 'Vicki Waiting'. Also a nice expansion of the train metaphor he seems enamoured by 1985-1987.

.

Given the limitations of a set of songs developed out of Warehouse jam sessions ('Our Destiny', 'Roadhouse Garden'), and sourced [from a 24-track mobile recording vehicle] live performance in a small club, no sterile studio take could ever properly capture in a viable 'album' format the raw energy and playing off the crowd. He also had to accommodate the changes in his image and sound over the two years this was worked on. There is not enough underlying substance to the live arrangement of the song, and getting it right for a studio release was a difficult task, but I think this circa ~1986 era further-work-in-progress version was well on its way to an acceptable result.

.

'Come Elektra Tuesday' is quite a disappointment, unfit for meaningful commercial release outside of a Vault compilation, and it greatly underserves its Princeloric widely mythologized title.

.

'Glamorous Life' is nice to have. It is mostly unprocessed and unmixed, and as such provides an insight into the build and design of a major commercial track. The listening experience is hindered by the phasing caused by the deliberate stereo-to-mono audio quality downgrade by the trader(s) who leaked it.

.

'Rough' is rough, most likely a 'Dirty Mind' or early post-'Dirty Mind' demo (later said to be re-recorded or revamped for an Alexander O'Neal proto-Time release, and briefly dusted off and considered for use on the 'The Family' in 1984, although no overdubbing occurred at that time), but as a composition, I can see it would have potential, and I imagine we would rather like the 1985/1986 updates made to it for 'Jill Jones' and it how it could fit comfortably among the other material from those sessions.

.

'Eggplant' is amusing, but quickly assembled and even more quickly forgotten, another 'It's a Wonderful Day' type of Prince/Coleman/Melvoin effort that simply isn't good enough to merit formal release. Time to spare on an off-day and playing around P's fancy new Galpin Blvd console. I suspect (fear?) that many of the alleged '100+ songs' recorded by P jointly or with involvement by W/L after Parade are of this type of production. This is just not the type of material that a major star of P's standard at the time ought to have been investing precious time into. The non-release of this material I also presume is what W/L are actually referring to in their historical complaints of their contributions being written out of [what became] the SOTT album.

.

I couldn't disagree with you more. Not only is this song, which I admittedly called "goofy", my favorite of the recent leaks, but songs like this bring character and diversity to Prince's catalog. Say what you want about W & L's "colorful" contributions to Prince's sound, but they were just that: hues and rays in Prince's otherwise cold, electronic world.

The other thing is that it gives us a glimpse into the creative process. And frankly, as a creative person, myself - I often find the process as interesting as the product (if not more so).

Is "Eggplant" great art? No. But who knows what other ideas - possibly great - might have been spawned by noodling stuff like this? That, to me, is the real value of the so-called lesser tracks.

That and getting a glimpse into Prince's goofy, non-stage persona. It's wonderful to hear him working and having fun.

Well, I actually greatly value W/L's influences and the attendant effects on P's musical growth (they are most identifiably responsible for the combination Soul - Prog Rock/Pop Revival Revue aspects of his 1985-1987 sound, among other colors and nuances during their tenure), but productions like these, of which I speculate many more exist, were *DOA* in their chances of making it to the 'wrecka sto' in their own era. The Snoopy/Peanuts-inspired dialogue is cute, though.

.

W/L are generally spectacular when meaningfully collaborating with P, rather than [co-]producing for him.

.

Cf. the W/L Sunset Sound-overhauled 'All My Dreams', 'Computer Blue', 'Dance Electric', 'Strange Relationship', 'Wonderful Ass', with a track such as this.

.

And, as in the case of 'Mountains', it may be a very fine and highly subjective line to draw roles.

.

The more brooding and moodier Coleman/Melvoin works ('Power Fantastic', 'Interlude', 'Visions', etc.) seem to bring about good results, as well. Their first album captures much of that.

.

[Edited 9/16/16 22:24pm]

Great summary- but NO re your W/L comments on eggplant

.

[Edited 9/17/16 9:49am]

i tried my best but but got no clue how to find these. sighhhssss.....sad now.