MD431Madcat said:

EXACTLY!

Dez and his look back then comes to mind...

OldFriends4Sale said:

Not in the 80s. And I'm talking about all of them.
The bands,, his and the proteges

It had a big part of what made that period so huge

You did so much to open up the dimension and dynamics of Prince's sound. Did you play specific rock, punk, or new wave material for him during your time with him? I don't think he could have gotten the particular crunchy almost-Farfisa funk of “Ronnie Talk 2 Russia” without having heard some of the underground sounds of the early '80s. Also, did you have anything to do with the still-unreleased track “No Call U” or the first version of “Tick Tick Bang” — they have that weird, rockabilly shred that stopped being a part of the mix post-1999.

I was continually bringing him those kinds of records and turning him on to bands. I would blast everything from Generation X "Dancing With Myself" to Spandau Ballet to early Def Leppard to L.A. bands like The Pop and 20/20. The rockabilly obsession was sparked by us seeing Stray Cats in London, before they came back to the States and broke. We were all blown away with them — the look, Brian Setzer's amazing sound, just the sheer authenticity of it. We started wearing pompadours immediately!

Let's not forget that personal and professional lives were very intricate.

Not only "In A Large Room With No Light" would have better fit
on the first W&L solo album, it was an intellectual trap profiling on the horizon.

Ok, we did sextuplets, 5/4, the "gimme one-gimme five, shit" routine, the Duke big band style,
some Charlie Parker, the "take me home", the "Las Vegas".
We did pop, vaudeville, string quartets, hard rock, stadium rock, rockabilly, funk jams, experimental.
The Revolution has made its mark.

Yet, I don't understand: if W&L had to express themselves,
wasn't Paisley Park Records the perfect label to do so?
"A Large Room With No Light", "A Place In Heaven", "Miss Understood", "Teacher Teacher"
there is a whole GirlBros album scattered in The Vault.

And yet, it didn't happen.
The only thing I can think of is: at some point, Prince realized
there was something pretty strange and borderline with making love
to someone who is the identical twin of your band guitarist.
It's not like it's Jerry Lee marrying his underage cousin,
but hey, people, don't tell me it's not odd.

You go back from work,
and here's your woman, looking exactly as one of your... I'm gonna use "employee",
just for the sake of the example.

Until your woman becomes your background vocalist.

Prince seemed to have make a clear distinction between his art and his muses (between work and home)
only during the time he was married to Manuela.
And still, Manuela was already a PP... oh, geez, employee.

Prince leaves Susannah = Prince disbands the Revolution

You can inverse the terms, that fantastic bonatoc®™ patented equation remains true.
Don't get all Per Nilsen on me with dates and shit.
No heart beats at the drum of a calendar.
The opposite is true.
Calendars mark our loves until and once they're passed.

So the ones who were struck by The Revolution in their teens,
of course they get all angry and shit. What came after was the first job,
the first nervous breakdown, the first major break-up, the first taxes.

Then you get both in awe and pissed off at Prince.
Here it is, doing what he wants, obviously richer with any year passing (the fact that he spends all of his money in videos and side projects and charities does not mean he doesn't cash it in first).
Still having fun, that skinny mothafucka!

Honey, hand me the gun will you please,
I've got a T.V. set to shoot.

Except some of us came to age with Mayte.
Some of us witnessed the 1980 Ritz.

I don't listen to "Emancipation" that much, because it's a very demanding album.
But I certainly would love Prince a little less without it.
Heck, without any of his albums, inaudible stuff included.

In a weird way, I love my "best of" of Emancipation as much as any classic of the eighties.

"Emancipation" is a masterpiece because it's made to make your own playlist out of it.
It's pretty modern, as usual with the nineties Prince. It's an album with mp3 players in mind.

Come on. 3 hours of music in a row? No way.
So pick your nine favorites, and there you have it.
A creative, over-the-top, illuminated Peter Pan with a mission,
and sadly maybe a "Photoshop for Dummies" book on the nightstand.
They're expecting a child.
Now try to listen to "The Holy River", and wonder if it was written and/or recorded before or after (or both) the loss of Boy Gregory.

What I'm trying to say is that some of us
hanged in there, because although we missed the intricacies of 2nd/Sus4, 9/13 (the ones who went far enough to actually play Lisa's and Wendy's chords, and therefore know what they sound like),
the story of the man had become his music.

At some point in the nineties, Prince sings what he lives.
It may sound very cringeworthy to many, because hey, how harsh can a millionaire life be, right?

We all deserve a kick in the ankle sometimes.
But hey, if a man is considered guilty for what you know the drill.

I said it before. There's not been a year without Prince not astounding me in some way,
and near the end it was becoming so useless he stopped fighting even with himself.
But still with a smile.

The light-hearted and yet deep spirit of "Baltimore" and "Black Muse",
what is the point to judge them deeper than "Dance On" or "All My Dreams".
By making sure he never repeated himself, he had already proven that he could (not repeat himself).

So he was more than rightful to use less intricacies, more major chords.
Prince: — Hey, you want some 9ths, 11ths and 13ths, you have "The Rainbow Children".
Exactly.

The music of Prince, became his journal, in a very Fleetwood-Macky way.
It's honesty that comes from a blessed, self-conscious, despicable, admirable man,
who found a group where he could heal from his son's loss.
Sometimes, it's just unbearable. I'm sure there are moments in your life
when you can listen to "One Song" and feel moved.
Luckily (for some of us), it's just one song.

So in the end, who the fuck cares if it was Larry, the JW or the Moon Sect,
Prince needed something tangible, and these nutcases have one strong Dogma.
I'm pretty sure Prince went to the limits of the JW faith and came back from that as well.
But we can't blame him for his experiences and experiments with his own life.

Yet he never stopped his duty. I repeat: yet he never stopped his duty.

We had a very peculiar Prince at times. There's not an era that won't unsettle you.
I mean, just the haircuts are blog's material.
I can't stand the Rave Smurf Suit®, I just can't.
But it brings a smile to my face, not hate.
I mean he's the only mofo I know who climbs on stage dressed like that.
By "American Woman", I'm so into the gigantic groove that Prince
could be wearing the same thing he's wearing on the Lovesexy cover sleeve, I wouldn't give a damn.
Some Horny Purple MILFs™ would, I'm quite sure, but let's not set the Org on fire again ("Burn Motherfucker, Burn!")


A difficult artist, because you have to try to reset your views
while taking his ups and downs into account.
In a very strange way, that is what Per Nilsen and the Princevault sensed:
it's important to put dates, because Prince professional and personal lifes are so intricate,
they blend into each other.

As I go through life as well, I try not to give a special preference on past years.
That is one of the many things Prince teached me.
Fuck yeah it ain't easy.

[Edited 11/4/16 10:59am]

bonatoc said:

Let's not forget that personal and professional lives were very intricate.

Not only "In A Large Room With No Light" would have better fit
on the first W&L solo album, it was an intellectual trap profiling on the horizon.

Ok, we did sextuplets, 5/4, the "gimme one-gimme five, shit" routine, the Duke big band style,
some Charlie Parker, the "take me home", the "Las Vegas".
We did pop, vaudeville, string quartets, hard rock, stadium rock, rockabilly, funk jams, experimental.
The Revolution has made its mark.

Yet, I don't understand: if W&L had to express themselves,
wasn't Paisley Park Records the perfect label to do so?
"A Large Room With No Light", "A Place In Heaven", "Miss Understood", "Teacher Teacher"
there is a whole GirlBros album scattered in The Vault.

And yet, it didn't happen.
The only thing I can think of is: at some point, Prince realized
there was something pretty strange and borderline with making love
to someone who is the identical twin of your band guitarist.
It's not like it's Jerry Lee marrying his underage cousin,
but hey, people, don't tell me it's not odd.

You go back from work,
and here's your woman, looking exactly as one of your... I'm gonna use "employee",
just for the sake of the example.

Until your woman becomes your background vocalist.

Prince seemed to have make a clear distinction between his art and his muses (between work and home)
only during the time he was married to Manuela.
And still, Manuela was already a PP... oh, geez, employee.

Prince leaves Susannah = Prince disbands the Revolution

You can inverse the terms, that fantastic bonatoc®™ patented equation remains true.
Don't get all Per Nilsen on me with dates and shit.
No heart beats at the drum of a calendar.
The opposite is true.
Calendars mark our loves until and once they're passed.

So the ones who were struck by The Revolution in their teens,
of course they get all angry and shit. What came after was the first job,
the first nervous breakdown, the first major break-up, the first taxes.

Then you get both in awe and pissed off at Prince.
Here it is, doing what he wants, obviously richer with any year passing (the fact that he spends all of his money in videos and side projects and charities does not mean he doesn't cash it in first).
Still having fun, that skinny mothafucka!

Honey, hand me the gun will you please,
I've got a T.V. set to shoot.

Except some of us came to age with Mayte.
Some of us witnessed the 1980 Ritz.

I don't listen to "Emancipation" that much, because it's a very demanding album.
But I certainly would love Prince a little less without it.
Heck, without any of his albums, inaudible stuff included.

In a weird way, I love my "best of" of Emancipation as much as any classic of the eighties.

"Emancipation" is a masterpiece because it's made to make your own playlist out of it.
It's pretty modern, as usual with the nineties Prince. It's an album with mp3 players in mind.

Come on. 3 hours of music in a row? No way.
So pick your nine favorites, and there you have it.
A creative, over-the-top, illuminated Peter Pan with a mission,
and sadly maybe a "Photoshop for Dummies" book on the nightstand.
They're expecting a child.
Now try to listen to "The Holy River", and wonder if it was written and/or recorded before or after (or both) the loss of Boy Gregory.

What I'm trying to say is that some of us
hanged in there, because although we missed the intricacies of 2nd/Sus4, 9/13 (the ones who went far enough to actually play Lisa's and Wendy's chords, and therefore know what they sound like),
the story of the man had become his music.

At some point in the nineties, Prince sings what he lives.
It may sound very cringeworthy to many, because hey, how harsh can a millionaire life be, right?

We all deserve a kick in the ankle sometimes.
But hey, if a man is considered guilty for what you know the drill.

I said it before. There's not been a year without Prince not astounding me in some way,
and near the end it was becoming so useless he stopped fighting even with himself.
But still with a smile.

The light-hearted and yet deep spirit of "Baltimore" and "Black Muse",
what is the point to judge them deeper than "Dance On" or "All My Dreams".
By making sure he never repeated himself, he had already proven that he could not repeat himself.
So he was more than rightful to use less intricacies, more major chords.
It's an honesty that come from a blessed, self-conscious man,
who found a group where he could heal from his son's loss.
So in the end, who the fuck cares if it was Larry, the JW or the Moon Sect,
Prince needed something tangible, and these nutcases are, like every Dogma.
I'm pretty sure Prince went to the limits of the JW faith and came back as well.
And yet he never stopped his duty.

We had a very peculiar Prince at times. There's not an era that won't unsettle you.
I mean, just the haircuts are blog's material.

A difficult artist, because you have to try to reset your views
while taking his ups and downs into account.
In a very strange way, that is what Per Nilsen and the Princevault sense:
it's important to put dates, because Prince professional and personal lifes are so intricate.

As I go through life as well, I try not to give a special preference on past years.
That is one of the many things Prince teached me.

[Edited 11/4/16 10:41am]

Just saying.

paulludvig said:

bonatoc said:

Let's not forget that personal and professional lives were very intricate.

Not only "In A Large Room With No Light" would have better fit
on the first W&L solo album, it was an intellectual trap profiling on the horizon.

Ok, we did sextuplets, 5/4, the "gimme one-gimme five, shit" routine, the Duke big band style,
some Charlie Parker, the "take me home", the "Las Vegas".
We did pop, vaudeville, string quartets, hard rock, stadium rock, rockabilly, funk jams, experimental.
The Revolution has made its mark.

Yet, I don't understand: if W&L had to express themselves,
wasn't Paisley Park Records the perfect label to do so?
"A Large Room With No Light", "A Place In Heaven", "Miss Understood", "Teacher Teacher"
there is a whole GirlBros album scattered in The Vault.

And yet, it didn't happen.
The only thing I can think of is: at some point, Prince realized
there was something pretty strange and borderline with making love
to someone who is the identical twin of your band guitarist.
It's not like it's Jerry Lee marrying his underage cousin,
but hey, people, don't tell me it's not odd.

You go back from work,
and here's your woman, looking exactly as one of your... I'm gonna use "employee",
just for the sake of the example.

Until your woman becomes your background vocalist.

Prince seemed to have make a clear distinction between his art and his muses (between work and home)
only during the time he was married to Manuela.
And still, Manuela was already a PP... oh, geez, employee.

Prince leaves Susannah = Prince disbands the Revolution

You can inverse the terms, that fantastic bonatoc®™ patented equation remains true.
Don't get all Per Nilsen on me with dates and shit.
No heart beats at the drum of a calendar.
The opposite is true.
Calendars mark our loves until and once they're passed.

So the ones who were struck by The Revolution in their teens,
of course they get all angry and shit. What came after was the first job,
the first nervous breakdown, the first major break-up, the first taxes.

Then you get both in awe and pissed off at Prince.
Here it is, doing what he wants, obviously richer with any year passing (the fact that he spends all of his money in videos and side projects and charities does not mean he doesn't cash it in first).
Still having fun, that skinny mothafucka!

Honey, hand me the gun will you please,
I've got a T.V. set to shoot.

Except some of us came to age with Mayte.
Some of us witnessed the 1980 Ritz.

I don't listen to "Emancipation" that much, because it's a very demanding album.
But I certainly would love Prince a little less without it.
Heck, without any of his albums, inaudible stuff included.

In a weird way, I love my "best of" of Emancipation as much as any classic of the eighties.

"Emancipation" is a masterpiece because it's made to make your own playlist out of it.
It's pretty modern, as usual with the nineties Prince. It's an album with mp3 players in mind.

Come on. 3 hours of music in a row? No way.
So pick your nine favorites, and there you have it.
A creative, over-the-top, illuminated Peter Pan with a mission,
and sadly maybe a "Photoshop for Dummies" book on the nightstand.
They're expecting a child.
Now try to listen to "The Holy River", and wonder if it was written and/or recorded before or after (or both) the loss of Boy Gregory.

What I'm trying to say is that some of us
hanged in there, because although we missed the intricacies of 2nd/Sus4, 9/13 (the ones who went far enough to actually play Lisa's and Wendy's chords, and therefore know what they sound like),
the story of the man had become his music.

At some point in the nineties, Prince sings what he lives.
It may sound very cringeworthy to many, because hey, how harsh can a millionaire life be, right?

We all deserve a kick in the ankle sometimes.
But hey, if a man is considered guilty for what you know the drill.

I said it before. There's not been a year without Prince not astounding me in some way,
and near the end it was becoming so useless he stopped fighting even with himself.
But still with a smile.

The light-hearted and yet deep spirit of "Baltimore" and "Black Muse",
what is the point to judge them deeper than "Dance On" or "All My Dreams".
By making sure he never repeated himself, he had already proven that he could not repeat himself.
So he was more than rightful to use less intricacies, more major chords.
It's an honesty that come from a blessed, self-conscious man,
who found a group where he could heal from his son's loss.
So in the end, who the fuck cares if it was Larry, the JW or the Moon Sect,
Prince needed something tangible, and these nutcases are, like every Dogma.
I'm pretty sure Prince went to the limits of the JW faith and came back as well.
And yet he never stopped his duty.

We had a very peculiar Prince at times. There's not an era that won't unsettle you.
I mean, just the haircuts are blog's material.

A difficult artist, because you have to try to reset your views
while taking his ups and downs into account.
In a very strange way, that is what Per Nilsen and the Princevault sense:
it's important to put dates, because Prince professional and personal lifes are so intricate.

As I go through life as well, I try not to give a special preference on past years.
That is one of the many things Prince teached me.

[Edited 11/4/16 10:41am]

Just saying.

what R U saying, since those are Bonatoc words?

I'm not criticising Princevault, I was just saying that in the case of the end of The Revolution,
it's useless to get such precise dates.

Their work is invaluable, but still, it's not like your heart suddenly decides that you're going to part away from your best friends, much less your lover/wife. It happens over time. Not at some very specific date.
At least that's what I think.

Per Nilsen, Princevault and other give a sense of the season.
The Funk Bible makes a better job of reconciling the sessions, the tour and the private life,
but it could not have seen the light of day without a strong calendar, of course.

But like Science, it's about observing and measuring after the event has passed.
Surely Prince didn't went through life with deadlines in mind.
Think about the websites.


Oh, and you can let go of my balls anytime you want now.
Oh, how contradictory some of Orgers are. What a world.
That putting stuff in bold characters, what are we, 3-year-olds?
If only...

[Edited 11/4/16 11:19am]

I'd largely agree with what bonatac says in his big post there.

A difficult artist, because you have to try to reset your views
while taking his ups and downs into account.

Ain't that the truth.

Thing is, you can turn this around; I love those Wendy and Lisa albums, as much as any post Sign O' the Times Prince album. But they missed his magic on there. Even though they had their own vibe that they evolved into I can still hear bits where I think Prince could have improved it.

[Edited 11/4/16 14:12pm]

bonatoc said:

I'm not criticising Princevault, I was just saying that in the case of the end of The Revolution,
it's useless to get such precise dates.

Their work is invaluable, but still, it's not like your heart suddenly decides that you're going to part away from your best friends, much less your lover/wife. It happens over time. Not at some very specific date.
At least that's what I think.

Per Nilsen, Princevault and other give a sense of the season.
The Funk Bible makes a better job of reconciling the sessions, the tour and the private life,
but it could not have seen the light of day without a strong calendar, of course.

But like Science, it's about observing and measuring after the event has passed.
Surely Prince didn't went through life with deadlines in mind.
Think about the websites.


Oh, and you can let go of my balls anytime you want now.
Oh, how contradictory some of Orgers are. What a world.
That putting stuff in bold characters, what are we, 3-year-olds?
If only...

[Edited 11/4/16 11:19am]

I was just pointing out a contradiction in your post.

Poorlovelycomputer said:

Lianachan said:

Poorlovelycomputer said:

Did the departure of Wendy and Lisa hurt or help Prince artistically after the breakup of the Revolution in 86? I feel it was still amazing but it lost something after they left? Any thoughts on the subject?

Yup, I think so. He was at his most creative when they were around. That doesn't mean a causal relationship, of course, but he was in a slow and steady creative decline since about then.

A decline between the turn of the century and last few years? Does this include his concerts?

gandorb said:

Lianachan said:

gandorb said:

A decline between the turn of the century and last few years? Does this include his concerts?

Creative decline I said. He remained an astonishing live performer.

I really think Prince went for the 1/4/5 and major chords on purpose.
There was a clear intent to change his compositions methods.
Let's record live in the studio.
I think he was going after his own feelings, rather to prove the world once again
how great a composer he was.

Creative decline? I think The Undertaker video proves
that a total shift in his guitar playing happened (and it happened again from "3121").
He almost single-handedly invented the independent online music distribution/marketing concept.
"What's My Name", "Loose" or "Shhh" are amongst the best things he's ever done.
"Days Of Wild" sums it all.

Furthermore, he was in his thirties. He had to make sure a strong commercial base (Prince repeatedly sold as the Icon, the mistery, TAFKAP, the comics, 21 nights, Le Grand Palais, Happy Feet) was there so his business could survive.
At the same time, and it's quite an achievement, he also gave the hardcore fan base, which are the best publicity in the world (they're the ones who persuaded the wolrd Prince was a genius over decades, throught the grapevine, as Apple Computers users were in the pre-JObs return days) plenty of reasons to keep their faith strong (Tora Tora, the PP parties, the aftershows, the leaks, the musicianship, the integrity, the ethic).

But you say Live ain't a full part of Prince's creativity and I say bullshit.
He had just become a better creative in real-time, with an audience,
than in the studio.

You have to take into account that by the 90s, Prince had 50 records behind him.
Between 1980 and 1990, there are probably 500 hundred, finished songs, whether released, released under side projects/protégés/give-aways.

What it was jokingly referring to in the interview segues of the "Symbol" album.
"— I'm into my fifth soul now, so that makes me..."

Again, what you consider less creative musically is precisely what makes Prince the musician he is:
You may not dig his music any more, but you hear this musicianship extraordinaire
and it unnerves you you don't have the Prince sound of your teens.
Go listen to "Black Muse" with an open mind about that.
You may shed a tear realizing you're missing out something by pure snobism.

Again, Prince didn't have to prove shit after "Lovesexy".
Ever again. The Org wouldn't exist without his bold career.composition.production skills.
There was no more obligation to create.
Not when you've reached those levels, both in the studio or live
(but keep in mind that if the Guy goes into a studio and goes out after a day with 3 masterpices on a good 1986 day, live and studio as such speed are the same thing).

[Edited 11/6/16 7:30am]

paulludvig said:

bonatoc said:

I'm not criticising Princevault, I was just saying that in the case of the end of The Revolution,
it's useless to get such precise dates.

Their work is invaluable, but still, it's not like your heart suddenly decides that you're going to part away from your best friends, much less your lover/wife. It happens over time. Not at some very specific date.
At least that's what I think.

Per Nilsen, Princevault and other give a sense of the season.
The Funk Bible makes a better job of reconciling the sessions, the tour and the private life,
but it could not have seen the light of day without a strong calendar, of course.

But like Science, it's about observing and measuring after the event has passed.
Surely Prince didn't went through life with deadlines in mind.
Think about the websites.


Oh, and you can let go of my balls anytime you want now.
Oh, how contradictory some of Orgers are. What a world.
That putting stuff in bold characters, what are we, 3-year-olds?
If only...

[Edited 11/4/16 11:19am]

I was just pointing out a contradiction in your post.

and I'm trying to explain my contradiction to you.
The guys who are persuaded that a given song could have never seen the light of the day if Prince didn't take a crap at precisely 15:56 GMT+0600 are necessary,
especially considering an artist who worked in such impressive ways.
I value their work. Fantastic librarians.

But it's useless to know at which point the final conversation between W&L and Prince happened. Because it's without a doubt a complicated and personal set of events that brought them there.
That's when I find the need to be precise pointless.
I try to reconcile events over a year, knowing that seasons and places can also influence people.
But I'm certainly in awe of the work done by the Prince librarians, it certainly shows the same dedication as Prince. But that's not creation. There's nothing left for imagination.

bonatoc said:

Lianachan said:

gandorb said: Creative decline I said. He remained an astonishing live performer.

I really think Prince went for the 1/4/5 and major chords on purpose.
There was a clear intent to change his compositions methods.
Let's record live in the studio.
I think he was going after his own feelings, rather to prove the world once again
how great a composer he was.

Creative decline? I think The Undertaker video proves
that a total shift in his guitar playing happened (and it happened again from "3121").
He almost single-handedly invented the independent online music distribution/marketing concept.
"What's My Name", "Loose" or "Shhh" are amongst the best things he's ever done.
"Days Of Wild" sums it all.

Furthermore, he was in his thirties. He had to make sure a strong commercial base (Prince repeatedly sold as the Icon, the mistery, TAFKAP, the comics, 21 nights, Le Grand Palais, Happy Feet) was there so his business could survive.
At the same time, and it's quite an achievement, he also gave the hardcore fan base, which are the best publicity in the world (they're the ones who persuaded the wolrd Prince was a genius over decades, throught the grapevine, as Apple Computers users were in the pre-JObs return days) plenty of reasons to keep their faith strong (Tora Tora, the PP parties, the aftershows, the leaks, the musicianship, the integrity, the ethic).

But you say Live ain't a full part of Prince's creativity and I say bullshit.
He had just become a better creative in real-time, with an audience,
than in the studio.

You have to take into account that by the 90s, Prince had 50 records behind him.
Between 1980 and 1990, there are probably 500 hundred, finished songs, whether released, released under side projects/protégés/give-aways.

What it was jokingly referring to in the interview segues of the "Symbol" album.
"— I'm into my fifth soul now, so that makes me..."

Again, what you consider less creative musically is precisely what makes Prince the musician he is:
You may not dig his music any more, but you hear this musicianship extraordinaire
and it unnerves you you don't have the Prince sound of your teens.
Go listen to "Black Muse" with an open mind about that.
You may shed a tear realizing you're missing out something by pure snobism.

Again, Prince didn't have to prove shit after "Lovesexy".
Ever again. The Org wouldn't exist without his bold career.composition.production skills.
There was no more obligation to create.
Not when you've reached those levels, both in the studio or live
(but keep in mind that if the Guy goes into a studio and goes out after a day with 3 masterpices on a good 1986 day, live and studio as such speed are the same thing).

[Edited 11/6/16 7:30am]

Good point (I'm putting stuff in bold characters again)

bonatoc said:

paulludvig said:

I was just pointing out a contradiction in your post.

and I'm trying to explain my contradiction to you.
The guys who are persuaded that a given song could have never seen the light of the day if Prince didn't take a crap at precisely 15:56 GMT+0600 are necessary,
especially considering an artist who worked in such impressive ways.
I value their work. Fantastic librarians.

But it's useless to know at which point the final conversation between W&L and Prince happened. Because it's without a doubt a complicated and personal set of events that brought them there.
That's when I find the need to be precise pointless.
I try to reconcile events over a year, knowing that seasons and places can also influence people.
But I'm certainly in awe of the work done by the Prince librarians, it certainly shows the same dedication as Prince. But that's not creation. There's nothing left for imagination.

I think dates¨(or rather chronology) are important when we're trying to understand what took place in the past. To refer to your spesific point - I do think it matters what came first, the breakup of The Rev or the breakup with Susannah if we're going to argue that the one caused the other.

paulludvig said:

bonatoc said:

and I'm trying to explain my contradiction to you.
The guys who are persuaded that a given song could have never seen the light of the day if Prince didn't take a crap at precisely 15:56 GMT+0600 are necessary,
especially considering an artist who worked in such impressive ways.
I value their work. Fantastic librarians.

But it's useless to know at which point the final conversation between W&L and Prince happened. Because it's without a doubt a complicated and personal set of events that brought them there.
That's when I find the need to be precise pointless.
I try to reconcile events over a year, knowing that seasons and places can also influence people.
But I'm certainly in awe of the work done by the Prince librarians, it certainly shows the same dedication as Prince. But that's not creation. There's nothing left for imagination.

I think dates¨(or rather chronology) are important when we're trying to understand what took place in the past. To refer to your spesific point - I do think it matters what came first, the breakup of The Rev or the breakup with Susannah if we're going to argue that the one caused the other.

As personal events and professional output/decisions become more and more intricate, that's when I have a tendency to back up. It's a bit too voyeuristic for me.
I know it's one of the major sellers with Prince.
His art is his diary.

Since Prince's songs end up being its journal, I'd rather reconcile session dates with what happened in a given month on the personal side.

No one really knows if he first disbanded The Revolution first so the strange feeling of dating his guitarist identical twin would leave. Hey, just a crazy idea.

We don't know for sure if they're related, and at the same time when it comes to Prince, we know that when something calls him, he turns the page both personally and professionnally.

Hence maybe what some consider as "less creative" output.
There were, at last, years in Prince where he lived cool and relaxed,
workngi without the stress (Musicology). Big deal if his music reflected that kind of simpler, calmer state of mind, and not the tortured boy of SITW.

This guy was MUERTO.
Que viva para sempre el poder, etc.

What I'm saying is that the reinvention of one's self is an act of creation.
I don't remember Prince not being creative in a way,
whatever his output was, even in his most failed experiments.

[Edited 11/6/16 8:10am]

nice!

OldFriends4Sale said:

MD431Madcat said:

EXACTLY!

Dez and his look back then comes to mind...

You did so much to open up the dimension and dynamics of Prince's sound. Did you play specific rock, punk, or new wave material for him during your time with him? I don't think he could have gotten the particular crunchy almost-Farfisa funk of “Ronnie Talk 2 Russia” without having heard some of the underground sounds of the early '80s. Also, did you have anything to do with the still-unreleased track “No Call U” or the first version of “Tick Tick Bang” — they have that weird, rockabilly shred that stopped being a part of the mix post-1999.

I was continually bringing him those kinds of records and turning him on to bands. I would blast everything from Generation X "Dancing With Myself" to Spandau Ballet to early Def Leppard to L.A. bands like The Pop and 20/20. The rockabilly obsession was sparked by us seeing Stray Cats in London, before they came back to the States and broke. We were all blown away with them — the look, Brian Setzer's amazing sound, just the sheer authenticity of it. We started wearing pompadours immediately!

bonatoc said:

bonatoc said:

MD431Madcat said:

THE REVOLUTION
WERE THE ONLY PRINCE BAND

THAT THE GENERAL PUBLIC

EVER KNEW OR CARED ABOUT.

And the entire band/vibe/music/look

elevated 'Prince' to heights he hadn't seen before or after them.

MD431Madcat said:

nice!

OldFriends4Sale said:

You did so much to open up the dimension and dynamics of Prince's sound. Did you play specific rock, punk, or new wave material for him during your time with him? I don't think he could have gotten the particular crunchy almost-Farfisa funk of “Ronnie Talk 2 Russia” without having heard some of the underground sounds of the early '80s. Also, did you have anything to do with the still-unreleased track “No Call U” or the first version of “Tick Tick Bang” — they have that weird, rockabilly shred that stopped being a part of the mix post-1999.

I was continually bringing him those kinds of records and turning him on to bands. I would blast everything from Generation X "Dancing With Myself" to Spandau Ballet to early Def Leppard to L.A. bands like The Pop and 20/20. The rockabilly obsession was sparked by us seeing Stray Cats in London, before they came back to the States and broke. We were all blown away with them — the look, Brian Setzer's amazing sound, just the sheer authenticity of it. We started wearing pompadours immediately!

and that rockabilly streak has been in Prince's music till the end

MD431Madcat said:

THE REVOLUTION
WERE THE ONLY PRINCE BAND

THAT THE GENERAL PUBLIC

EVER KNEW OR CARED ABOUT.

And the entire band/vibe/music/look

elevated 'Prince' to heights he hadn't seen before or after them.

Thats a fact folks.Even prince himself said not a day goes by that he isn't asked about wendy & lisa.I get that he or they wanted to move on 80's fans (originals )didn't want him to.Keep in mind he may of had fame somewhat prior but,with the rev thats when he BLEW UP.This industry HATES CHANGE.He was type cast.People wanted the p.r prince with the rev.Now the H.C Fans loved him moving on and the stans well they love everything he did and does Even after he passed away the ONLY pics they showed were p.r. he didn't get the memo that for the rest of his life he would have to play P.R

http://princetext.tripod....one90.html Prince speaks about wendy and lisa.