Just caught this on my phone (on Facebook, I wasn't there), but the camera never went in for a close up.

Thanks for the heads up. We need a high quality scan though so we can add it to all our bootlegs

High Res pic from Facebook: https://scontent.fdpa1-1....e=598AFF01

Interesting that the album is kind of credited to The Flesh.

Quote from Susannah Melvoin on Facebook: "In 1986, Prince and the Revolution completed the still unreleased album, The Dream Factory. At our home on Galpin Avenue, the Installation of the recording studio had been completed. So, now Prince could record at anytime, day or night. No lost opportunities to get his ideas down on tape. We had a game room off the studio that at that time I was painting and drawing a mural on. As referenced in the lengthy, epic Crystal Ball, "my baby draws pictures of sex, all over in graphic detail, sex". Prince wanted me to come up with some ideas for The Dream Factory album art work . So I never finished my mural but I did get three ideas done for the artwork. He'd only asked that the title be written somewhere on the piece. It was originally The Flesh/ Dream Factory. He chose my third attempt. It was the fantasy and thrill he agreed and chose. This version, has me opening the door to his dream world.. or as it will be forever known "The Dream Factory."

I like this as a piece of history and I like the story behind it, but I can't say it's the best artwork I've ever soon.

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But it's nice.

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Is anyone else seeing Pac-Man characters in those flowers?

darkroman said:

I like this as a piece of history and I like the story behind it, but I can't say it's the best artwork I've ever soon.

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But it's nice.

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Yes, I'm glad she shared it... and I'm going to stop there!

So this would have been the official one? At least it's better than that godawful photoshopped image of Prince, Wendy, and Lisa with the sunflowers and clouds that's used for the cover on a lot of bootlegs.

JudasLChrist said:

darkroman said:

I like this as a piece of history and I like the story behind it, but I can't say it's the best artwork I've ever soon.

.

But it's nice.

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Yes, I'm glad she shared it... and I'm going to stop there!

It's...interesting, that's for sure.

I agree, it's nice to have as a piece of P history.

see this as the first mockup of around the world in a day. Now imagine a graphic designer making something more "acceptable" out of it. Personally, I think it's cute, but seems drawn by a child. It beats a number of those covers put out later designed by Parke though. (those were just awful)

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Something weird though, the man in the moon is not smiling!

[Edited 4/23/17 11:54am]

mediumdry said:

see this as the first mockup of around the world in a day. Now imagine a graphic designer making something more "acceptable" out of it. Personally, I think it's cute, but seems drawn by a child. It beats a number of those covers put out later designed by Parke though. (those were just awful)

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Something weird though, the man in the moon is not smiling!

[Edited 4/23/17 11:54am]

Agreed. I think it's the colored pencil-work that makes it look not super professional / child-like. I'll say though ... that's a lot better than I could draw.

I believe "The Flesh" attribution is significant in tracing the evolution and progression of how he planned to release subsequent albums prior to disbanding the Revolution. This may throw a bit of a curveball in the number and nature of possible 1986-1988 album releases as conceived at the time.

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[Edited 4/23/17 12:38pm]

imprimis said:

I believe "The Flesh" attribution is significant in tracing the progression of how he planned to release subsequent albums prior to disbanding the Revolution. This may throw a curveball in the number and nature of possible 1986-1988 album releases as conceived at the time.

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Indeed. Any theories off the cuff?

[Edited 4/23/17 12:32pm]

crimesofparis said:

mediumdry said:

see this as the first mockup of around the world in a day. Now imagine a graphic designer making something more "acceptable" out of it. Personally, I think it's cute, but seems drawn by a child. It beats a number of those covers put out later designed by Parke though. (those were just awful)

.

Something weird though, the man in the moon is not smiling!

[Edited 4/23/17 11:54am]

Agreed. I think it's the colored pencil-work that makes it look not super professional / child-like. I'll say though ... that's a lot better than I could draw.

Agreed, it does look child-like, but glad she decided to share it.

paulludvig said:

imprimis said:

I believe "The Flesh" attribution is significant in tracing the progression of how he planned to release subsequent albums prior to disbanding the Revolution. This may throw a curveball in the number and nature of possible 1986-1988 album releases as conceived at the time.

.

Indeed. Any theories off the cuff?

[Edited 4/23/17 12:32pm]

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I have long felt that songs such as , 'In a Large Room with No Light', 'Paris', 'Power Fantastic', MLPS #1 & #2, were in a loose sense a post-late '85/early '86 continuation of The Flesh idea, and perhaps these became consolidated, interspersed, and distilled into other studio work from the time into a more carefully selected tracklisting for commercial release, and some of unique identity of The Flesh was lost as the name became an alternate reference for the (counter-)Revolution.

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W&L indicated that there were tentative plans for a double album, a live LP (perhaps drawn from the Paris show, this is my speculation alone here), and another single-LP release for between about late 1986 and indeterminate dates in 1987. I believe they were referencing from a time period before Crystal Ball or Dream Factory (if it had not yet been renamed) headed in the distinct direction of becoming a proto-SOTT (August/September 1986 and onwards).

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[Edited 4/23/17 12:47pm]

imprimis said:

paulludvig said:

Indeed. Any theories off the cuff?

[Edited 4/23/17 12:32pm]

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I have long felt that songs such as 'Power Fantastic', 'In a Large Room with No Light', 'Paris', MLPS #1 & #2, were in a loose sense a post-late '85/early '86 continuation of The Flesh idea, and perhaps these became consolidated, interspersed, and distilled into other studio work from the time into a more carefully selected tracklisting for commercial release, and some of unique identity of The Flesh was lost as the name became an alternate reference for the (counter-)Revolution.

.

W&L indicated that there were tentative plans for a double album, a live LP (perhaps drawn from the Paris show, this is my speculation alone here), and another single-LP release for between about late 1986 and indeterminate dates in 1987. I believe they were referencing from a time period before 'Crystal Ball' or 'Dream Factory' (if it had not yet been renamed) headed in the direction of becoming a proto-SOTT.

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[Edited 4/23/17 12:44pm]

Not sure if I'm familiar with 'Paris' and MLPS #1 & #2. Do these songs circulate under other names as well?

paulludvig said:

imprimis said:

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I have long felt that songs such as 'Power Fantastic', 'In a Large Room with No Light', 'Paris', MLPS #1 & #2, were in a loose sense a post-late '85/early '86 continuation of The Flesh idea, and perhaps these became consolidated, interspersed, and distilled into other studio work from the time into a more carefully selected tracklisting for commercial release, and some of unique identity of The Flesh was lost as the name became an alternate reference for the (counter-)Revolution.

.

W&L indicated that there were tentative plans for a double album, a live LP (perhaps drawn from the Paris show, this is my speculation alone here), and another single-LP release for between about late 1986 and indeterminate dates in 1987. I believe they were referencing from a time period before 'Crystal Ball' or 'Dream Factory' (if it had not yet been renamed) headed in the direction of becoming a proto-SOTT.

.

[Edited 4/23/17 12:44pm]

Not sure if I'm familiar with 'Paris' and MLPS #1 & #2. Do these songs circulate under other names as well?

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'Paris' is the possible (it was copyrighted at the same time) name for the instrumental introduction to 'Power Fantastic'. MLPS #1 & #2 were released by W&L officially, without any backstory provided, but were instrumentals recorded in ~mid-1986 on the upstairs piano at the Galpin Blvd house, one of which was used as an interlude on one or more configurations of the Dream Factory album.

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imprimis said:

paulludvig said:

Not sure if I'm familiar with 'Paris' and MLPS #1 & #2. Do these songs circulate under other names as well?

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'Paris' is the possible (it was copyrighted at the same time) name for the instrumental introduction to 'Power Fantastic'. MLPS #1 & #2 were released by W&L officially, without any backstory provided, but were instrumentals recorded in ~mid-1986 on the upstairs piano at the Galpin Blvd house, one of which was used as an interlude on one or more configurations of the Dream Factory album.

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OK. Thanks!

It's cute.

paulludvig said:

Interesting that the album is kind of credited to The Flesh.

that isn't actually credited to the Flesh, but could have been an album including the Flesh sessions

Which would have been definately cool to have released at the same time

imprimis said:

paulludvig said:

Indeed. Any theories off the cuff?

[Edited 4/23/17 12:32pm]

.

I have long felt that songs such as , 'In a Large Room with No Light', 'Paris', 'Power Fantastic', MLPS #1 & #2, were in a loose sense a post-late '85/early '86 continuation of The Flesh idea, and perhaps these became consolidated, interspersed, and distilled into other studio work from the time into a more carefully selected tracklisting for commercial release, and some of unique identity of The Flesh was lost as the name became an alternate reference for the (counter-)Revolution.

.

W&L indicated that there were tentative plans for a double album, a live LP (perhaps drawn from the Paris show, this is my speculation alone here), and another single-LP release for between about late 1986 and indeterminate dates in 1987. I believe they were referencing from a time period before Crystal Ball or Dream Factory (if it had not yet been renamed) headed in the distinct direction of becoming a proto-SOTT (August/September 1986 and onwards).

.

[Edited 4/23/17 12:47pm]

Looking back at the time, it seemed that like there was SOTT & Madhouse, that there would have been Dream Factory & the Flesh.

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Sorta reminds me of the 6.7.1985 Masquerade Ball show that had a combination of the Revolution, Sheila E Eddie M, the Family etc

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December 1985 the Family having broken up, a 2nd experimental band consisting of different people at different times including Jonathan Melvoin

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he had so much happening then including the Coco Boys band (battle of the band vs Mazarati) and film for it etc

OldFriends4Sale said:

paulludvig said:

Interesting that the album is kind of credited to The Flesh.

that isn't actually credited to the Flesh, but could have been an album including the Flesh sessions

Which would have been definately cool to have released at the same time

I suppose it could be interpreted that way too.

PurpleYoda3121 said:

So this would have been the official one? At least it's better than that godawful photoshopped image of Prince, Wendy, and Lisa with the sunflowers and clouds that's used for the cover on a lot of bootlegs.

I don't think I've seen a Dream Factory album fan art piece I liked yet.

I like this, sorta reminds me of a lighter version of Prince 1999 art.

This would have been polished up and probably had other things added/changed

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She said she 2 other pieces too, would like to see those.

This is cool to be able to add as album art to my dream factory set on computer

mediumdry said:

see this as the first mockup of around the world in a day. Now imagine a graphic designer making something more "acceptable" out of it. Personally, I think it's cute, but seems drawn by a child. It beats a number of those covers put out later designed by Parke though. (those were just awful)

.

Something weird though, the man in the moon is not smiling!

[Edited 4/23/17 11:54am]

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Actually that is a very good point.

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So it is fine to consider this as a scamp (an agency term for when we mock up creative).

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If this was then professionally interpreted and perhaps was extended to a gatefold, then it would be great.

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Susannah Melvoin on designing the Dream Factory album cover: Prince and I used to draw together. He was actually a really great artist. I was really into it, too. I would always have a pad and I was always drawing. I've been drawing since I was a kid. We would sit down and we would draw together. One particular night he couldn't come up with an album cover (for Dream Factory). I came up with a couple of different ones. One of them was actually a dramatized version of myself, opening up a door into this dream world, with images that were based on some of the songs. I remember that there was a lot of white space, because, I couldn't fill up the background with color... Everything was kind of drawn onto white paper. But, the doors were very ornate and I'm opening the door into the Dream Factory. The second album cover didn't have me on it. It just had the name Dream Factory, with some things hanging off the words. I used to do murals in the house where Prince lived, incredible, crazy murals that he would ask me to paint. We were always into doing stuff like that.

OldFriends4Sale said:

PurpleYoda3121 said:

So this would have been the official one? At least it's better than that godawful photoshopped image of Prince, Wendy, and Lisa with the sunflowers and clouds that's used for the cover on a lot of bootlegs.

I don't think I've seen a Dream Factory album fan art piece I liked yet.

I like this, sorta reminds me of a lighter version of Prince 1999 art.

This would have been polished up and probably had other things added/changed

.

She said she 2 other pieces too, would like to see those.

This is cool to be able to add as album art to my dream factory set on computer

In an earlier description she said that the things seen through the door represented album titles. Which album titles could she have meant?