ISaidLifeIsJustAGame said:

Here is the translation of Michael's interview:

DE MORGEN, Sasha van der Speeten, 6 juni 2019

“At least once a week I’m listening open-mouthed to secret recordings”

Tomorrow Originals lands on streaming service Tidal: a collection of unpublished original versions of hits that Prince wrote for other artists. Michael Howe, who manages the musical legacy of the superstar, explains.

Did you know that ‘Manic Monday’, the monster hit of The Bangles, was written entirely by Prince? It also applies to Martika's ‘Love ... Thy Will be Done’, to ‘Sex Shooter’ by Apollonia 6, ‘Jungle Love’ by The Time, ‘The Glamorous Life’ by Sheila E. and of course ‘Nothing Compares’ 2 U’ from Sinéad O’Connor. All of them classic pops from the pen of the pop icon that died unexpectedly in 2016. Prince also recorded his own ready-made version of each of those songs, as a guide for the artists who would eventually make the song famous.
A selection of the previously unpublished versions is on Originals, an album that can be streamed on Tidal starting tomorrow and will appear on other platforms on 21 June. The selection was in the hands of The Prince Estate, the organization that manages his estate, in consultation with rapper Jay-Z and Michael Howe, the chief archivist of Prince's legendary Vault.

Howe himself worked with Prince on the creation of his two very last albums. He also oversaw the excellent re-release of the monumental Purple Rain, Prince's best-known album, which was released two years ago. Originals can easily compete with the aforementioned reissue: it is a dizzying collection of very different songs that emphasizes Prince's wide range of styles.

After the sudden death of the superstar, three years ago, Howe was appointed chief archivist of The Vault, in which Prince had stowed thousands of unfinished and finished recordings since the mid-1980s. That secret content was moved to Iron Mountain in Los Angeles, a company specialized in data recovery. There, Howe and his team try to get head and tail to the unclear flood of recordings. A huge task, because Prince did not leave any instructions as to what should be done with all audio tapes, VHS tapes and hard disks full of music.

Listening carefully


“Now, fortunately there are many tapes that are correctly labeled,” says Howe, chuckling. “But some have received incomplete information. Or nothing is written on it. To find out exactly what is on such a tape, you simply have to listen carefully to the material. Guesswork is excluded. We make our way through the different formats and slowly but surely gain insight into the different periods. "


However, Howe cannot just reveal everything about his job. The Vault is the wet dream for the biggest Prince fan. Every pop music lover wants to know what gems the safe holds and when they will be released. But because so many interested parties are involved (from lawyers to heirs and the record company) and because the timing of the reissues is meticulous, Howe had to sign a detailed confidentiality agreement. As a result, he has to squeeze through all sorts of turns during our conversation in order to meet us somewhat without breaking the contract.”

What do you yourself consider the great added value of Originals?


Michael Howe: “What intrigues me personally as a fan - not necessarily as someone who works with his legacy - is how those songs have evolved from demo to finished song. Prince delivered most of these songs in detail to the final performer. That is why his DNA is so explicitly hidden in those hits. What I also find fascinating is that his vocal parts were so-called guide tracks for the singer so that they got a good idea of ​​the melody and the cadence. He often recorded those vocals in one take, but he often sounds so damn good that he surpasses those of the final versions.”

The main criticism of your work is usually about its legitimacy. Why would Prince want the recordings to be released from the vault at all? He left no instructions about it. On the other hand, he sometimes let himself be heard in interviews that he realized that The Vault would be emptied after his death.


“The highest priority on our checklist is always the question:" Could Prince have approved this? "And: is the inclusion of a caliber that reflects, protects and promotes his legacy? In a way he would have peace with? Yes, there is sometimes an existential struggle with that. But we take this very seriously. We feel Prince's eyes on our back almost every second of the archiving process.”

Are you sensitive to how notorious and sought after some unpublished recordings are among Prince fans? I have bootlegs such as the legendary Small Club after show in The Hague in '88, or collaborations with Miles Davis, and outtake albums such as Charade, which collects the remains of the Parade album. They are the classics among the bootlegs. Does The Estate meet the fans in that area with possible cleaned up versions of these?


“Of course we talk about that very often within The Estate. If we wanted to release famous bootlegs that already have very good sound quality, we would naturally like to make a version that will please Prince fans. Whatever the case may be, we try to keep up to date with the interests and wishes of the community and the most avid collectors. Look, I find the passion of the Prince community very admirable. Some of those people have a breathtaking amount of knowledge. It could be tricky if we would meet the wishes of prominent fans. We do not like favoritism. Why should we take one fan more seriously than another?”

What do you think of the idea to recreate the legendary NPG Music Club subscription service? Prince established this service in the 90s to be able to sell rare recordings online. Maybe you can make part of The Vault available via an alternative streaming service?


“I love that idea very much. And, honestly, we've already talked about that within the team. But for the time being it remains a vague plan that still requires a lot of elaboration. As far as I can estimate, it is a format that is perceived as positive by most stakeholders from the Prince entourage. There are a lot of restrictions that Prince had closed within the music industry so that you cannot just start with such an ambitious project. Anyway, I think such a concept is an excellent idea and perhaps we should strive to design a platform in the spirit of the NPG Music Club.”

How far back do the recordings in The Vault date? The rumor that recordings of the very first Prince concert ever existed at the Capri Theater in Minneapolis in 1979 is persistent.


“(Sigh) This is a soggy terrain for me. Not because I don't want to talk about it, because I would naturally like to be of service to you and tell as much as possible what I know. But I have had to sign a non-disclosure agreement that states very strictly what I can and cannot tell you. Look, let me reveal that there are indeed recordings from that time.”

The Holy Grail among the untraceable Prince recordings is called ‘Wally’, a song he wrote about the love of his life, the stunning Susannah Melvoin. He would have recorded a catchy piano version of it in 1986, after their break. Because his naked performance was so confronting for him, he ordered the flabbergasted technician to erase all recordings. There would only be a simple audio cassette. You hear me coming: is it in the vault?


“(Hesitates, grunts, sighs painfully) That is a difficult one for me to answer. Look, I'll tell you this: there is probably more than what you think related to that track. Whatever may or may not happen with that, I do not know, let alone speculate about it. You will have to draw your conclusion from my cryptic answer, I fear (laughs). I am not deliberately trying to be so reserved. If it was up to me, you would get the most honest answer to your question. It is very tricky to be frank about this.”

I think I know enough, thank you. How emotional is this job for you? You have known Prince personally. Now you must listen to his voice every day. You hear him sing, talk, laugh. That must have an impact on a person.


“(Sighs deeply, coughs a number of times and is audibly emotional) Absolutely. One time it hits a little harder than the other. You become very humble anyway when you are confronted with an art form of this high level. Certainly because it has touched so many people so deeply. I do, however, listen at least once a week open-mouthed to the tours de force he was capable of.”

Originals (****) streams from 7/6 on Tidal.

thank you so much for doing this. Christ there might be a glimmer of hope?!

What a job he has, imagine the emotion he must go through..imagine if it was us doing the project - i don't think I'd be able to handle it.

Well, it is safe to assume we will see more releases over the next years. I am glad the interviwer asked about 'Charade'...Small Club etc. Small Club needs to be heard by many music fans, not just the hardcare..

I'm happy about Originals.

ISaidLifeIsJustAGame said:

Here is the translation of Michael's interview:

.

Did you do this yourself, or did you take this uncredited from https://www.facebook.com/...521134622/ ?

Here's another Michael Howe interview that's informative and in need of translation http://www.schkopi.com/in...originals/

Cecy said:

Here's another Michael Howe interview that's informative and in need of translation http://www.schkopi.com/in...originals/

.

Great interview. Amazing how Howe says next to nothing when talking to some journos, yet is very candid in these ones.

Guys, there is such a thing as Google Translate.

skywalker said:

Here's my quick take:

-

Prince neglected his recorded legacy in many ways. He wasn't that interested in revisiting/remastering/re-releasing past eras of his career. I am cool with it. It's his choice as an artist. However, as a fan, it was always a bit of a letdown that he didn't (for example) think that albums like 1999, Purple Rain, or SOTT were worthy of expansive/comprehensive reissues and promotion. Hell, it's almost criminal the way he just let albums like The Gold Experience lapse into being obscure/out of print/hard to find status.

-

I guess what I am getting at is this: Regardless of what Prince would/wouldn't have done, I think the estate is doing a BETTER JOB than he EVER did at taking care of his back catalog. The fact that projects like Rave In2/Un2 are even being rereleased (albeit with out bonus content), is heartening to this fan. Especially considering Prince didn't have a long term, organized, plan for the future...

[Edited 5/31/19 11:41am]

You ARE a jedi

Thank You Strive.

Another great interview with Michael.

He is so respectful about P's music.

Strive said:

Guys, there is such a thing as Google Translate.

So, any more concrete info on what they are planning to do?

A strategy?

(I did not see it...)

BartVanHemelen said:

Cecy said:

Here's another Michael Howe interview that's informative and in need of translation http://www.schkopi.com/in...originals/

.

Great interview. Amazing how Howe says next to nothing when talking to some journos, yet is very candid in these ones.

Michael Howe seems like a reasonable person. Since he sddresses the demands of the fans, I wish he would address the case of those versions, such as NC2U, that we are quite certain have been remixed posthumously and do not relect Prince's last known recording of the tracks before they were overdubbed by, and for the artists that released them.

skywalker said:

I think the estate is doing a BETTER JOB than he EVER did at taking care of his back catalog.

.

I can start to appreciate that when we see proper releases in a continuous fashion for the years to come.

We know what is wrong with the PR remaster.

We learn what is wrong with the Originals release.

So this means I have yet to be convinced.

ISaidLifeIsJustAGame said:

Here is the translation of Michael's interview:

DE MORGEN, Sasha van der Speeten, 6 juni 2019

The Holy Grail among the untraceable Prince recordings is called ‘Wally’, a song he wrote about the love of his life, the stunning Susannah Melvoin. He would have recorded a catchy piano version of it in 1986, after their break. Because his naked performance was so confronting for him, he ordered the flabbergasted technician to erase all recordings. There would only be a simple audio cassette. You hear me coming: is it in the vault?


“(Hesitates, grunts, sighs painfully) That is a difficult one for me to answer. Look, I'll tell you this: there is probably more than what you think related to that track. Whatever may or may not happen with that, I do not know, let alone speculate about it. You will have to draw your conclusion from my cryptic answer, I fear (laughs). I am not deliberately trying to be so reserved. If it was up to me, you would get the most honest answer to your question. It is very tricky to be frank about this.”

Release it all! (as long as its not "tampered with")

udo said:

skywalker said:

I think the estate is doing a BETTER JOB than he EVER did at taking care of his back catalog.

.

I can start to appreciate that when we see proper releases in a continuous fashion for the years to come.

We know what is wrong with the PR remaster.

We learn what is wrong with the Originals release.

So this means I have yet to be convinced.

The years to come thing is frightening to me. It seems everyone is brainwashed to think that one cd a year is great, but at that slow rate, interest will be waning. The fans are not in the 15-30 age group. Most that will buy this either as a download or cd/vinyl are already 40 or more, not all, but most fans. By 2025, many will either be dead or too old to care. Whenever I mention why not just release 10 disc box sets each year so we get as much music possible before

1. The estate is already out of money, and may give up...not sure if that is really good or really bad

2. Michael Howe may be saying some nice things, but it seems the powers that be don't really care

about how great Prince was, or have any interest in emptying the vault...and when they figure out millions of dollars of profit are not likely, they may pull the plug.

3. For many "legacy" or older artists, the best revenue stream for physical sales and downloads are big boxsets. Yes, some mastering complications exist, since Prince did not seem to care about the Vault...but in 3 years, we have PR Deluxe, Moonbeam Levels, a 30 minute way too short Piano/Micro CD, and now Originals...not overwhelming, but better than what George Michael fans have...

stillwaiting said:

The years to come thing is frightening to me. It seems everyone is brainwashed to think that one cd a year is great, but at that slow rate, interest will be waning.

.

udo said:

stillwaiting said:

The years to come thing is frightening to me. It seems everyone is brainwashed to think that one cd a year is great, but at that slow rate, interest will be waning.

.

One CD a year is a good pace. That doesn't mean we wouldn't get a box set from time to time. Say Crystall Ball 2, etc. This year we get one new CD and an expanded 1999. That's great!

As much as I'd love to have everything now, I think it makes sense to space out releases at least a bit to give them a chance to shine. The current pace has a been a bit slow, but that's understandable given the legal wrangling and the extensive cataloguing that needed to be done. I think a future plan with 3-4 releases per year would be pretty satisfying.

kewlschool said:

udo said:

.

One CD a year is a good pace. That doesn't mean we wouldn't get a box set from time to time. Say Crystall Ball 2, etc. This year we get one new CD and an expanded 1999. That's great!

.

It is NOT great. (and that pace was not great)

At that pace we will not hear the greater part of the vault in our lifetimes.

That would be an evil situation which me must avoid coute que coute.

theres too much material to just release 1 a year...

jfenster said:

theres too much material to just release 1 a year...

Everything they release the fans complain about...so why would they do more?

ISaidLifeIsJustAGame said:

jfenster said:

theres too much material to just release 1 a year...

Everything they release the fans complain about...so why would they do more?

.

There is a difference between quality and quantity.

The Originals release once again highlights the quality issues as did the PR remaster.

Furthermore we are concerned with the quantity of releases per year.

ISaidLifeIsJustAGame said:

jfenster said:

theres too much material to just release 1 a year...

Everything they release the fans complain about...so why would they do more?

If all he left behind was a few hours of outtakes, I could live with it. But when they release a 34 minute cd, when cds hold 79:57, it is simply them hoarding what they have. If 34 minute cds are fine with you great. Maybe we'll get a reisuse of The War cassette next. Or maybe they can just release every single song as a cd single. Nothing like buying a cd crammed with 4 minutes of music.

ISaidLifeIsJustAGame said:

Here is the translation of Michael's interview:

DE MORGEN, Sasha van der Speeten, 6 juni 2019

“At least once a week I’m listening open-mouthed to secret recordings”

Tomorrow Originals lands on streaming service Tidal: a collection of unpublished original versions of hits that Prince wrote for other artists. Michael Howe, who manages the musical legacy of the superstar, explains.

Did you know that ‘Manic Monday’, the monster hit of The Bangles, was written entirely by Prince? It also applies to Martika's ‘Love ... Thy Will be Done’, to ‘Sex Shooter’ by Apollonia 6, ‘Jungle Love’ by The Time, ‘The Glamorous Life’ by Sheila E. and of course ‘Nothing Compares’ 2 U’ from Sinéad O’Connor. All of them classic pops from the pen of the pop icon that died unexpectedly in 2016. Prince also recorded his own ready-made version of each of those songs, as a guide for the artists who would eventually make the song famous.
A selection of the previously unpublished versions is on Originals, an album that can be streamed on Tidal starting tomorrow and will appear on other platforms on 21 June. The selection was in the hands of The Prince Estate, the organization that manages his estate, in consultation with rapper Jay-Z and Michael Howe, the chief archivist of Prince's legendary Vault.

Howe himself worked with Prince on the creation of his two very last albums. He also oversaw the excellent re-release of the monumental Purple Rain, Prince's best-known album, which was released two years ago. Originals can easily compete with the aforementioned reissue: it is a dizzying collection of very different songs that emphasizes Prince's wide range of styles.

After the sudden death of the superstar, three years ago, Howe was appointed chief archivist of The Vault, in which Prince had stowed thousands of unfinished and finished recordings since the mid-1980s. That secret content was moved to Iron Mountain in Los Angeles, a company specialized in data recovery. There, Howe and his team try to get head and tail to the unclear flood of recordings. A huge task, because Prince did not leave any instructions as to what should be done with all audio tapes, VHS tapes and hard disks full of music.

Listening carefully


“Now, fortunately there are many tapes that are correctly labeled,” says Howe, chuckling. “But some have received incomplete information. Or nothing is written on it. To find out exactly what is on such a tape, you simply have to listen carefully to the material. Guesswork is excluded. We make our way through the different formats and slowly but surely gain insight into the different periods. "


However, Howe cannot just reveal everything about his job. The Vault is the wet dream for the biggest Prince fan. Every pop music lover wants to know what gems the safe holds and when they will be released. But because so many interested parties are involved (from lawyers to heirs and the record company) and because the timing of the reissues is meticulous, Howe had to sign a detailed confidentiality agreement. As a result, he has to squeeze through all sorts of turns during our conversation in order to meet us somewhat without breaking the contract.”

What do you yourself consider the great added value of Originals?


Michael Howe: “What intrigues me personally as a fan - not necessarily as someone who works with his legacy - is how those songs have evolved from demo to finished song. Prince delivered most of these songs in detail to the final performer. That is why his DNA is so explicitly hidden in those hits. What I also find fascinating is that his vocal parts were so-called guide tracks for the singer so that they got a good idea of ​​the melody and the cadence. He often recorded those vocals in one take, but he often sounds so damn good that he surpasses those of the final versions.”

The main criticism of your work is usually about its legitimacy. Why would Prince want the recordings to be released from the vault at all? He left no instructions about it. On the other hand, he sometimes let himself be heard in interviews that he realized that The Vault would be emptied after his death.


“The highest priority on our checklist is always the question:" Could Prince have approved this? "And: is the inclusion of a caliber that reflects, protects and promotes his legacy? In a way he would have peace with? Yes, there is sometimes an existential struggle with that. But we take this very seriously. We feel Prince's eyes on our back almost every second of the archiving process.”

Are you sensitive to how notorious and sought after some unpublished recordings are among Prince fans? I have bootlegs such as the legendary Small Club after show in The Hague in '88, or collaborations with Miles Davis, and outtake albums such as Charade, which collects the remains of the Parade album. They are the classics among the bootlegs. Does The Estate meet the fans in that area with possible cleaned up versions of these?


“Of course we talk about that very often within The Estate. If we wanted to release famous bootlegs that already have very good sound quality, we would naturally like to make a version that will please Prince fans. Whatever the case may be, we try to keep up to date with the interests and wishes of the community and the most avid collectors. Look, I find the passion of the Prince community very admirable. Some of those people have a breathtaking amount of knowledge. It could be tricky if we would meet the wishes of prominent fans. We do not like favoritism. Why should we take one fan more seriously than another?”

What do you think of the idea to recreate the legendary NPG Music Club subscription service? Prince established this service in the 90s to be able to sell rare recordings online. Maybe you can make part of The Vault available via an alternative streaming service?


“I love that idea very much. And, honestly, we've already talked about that within the team. But for the time being it remains a vague plan that still requires a lot of elaboration. As far as I can estimate, it is a format that is perceived as positive by most stakeholders from the Prince entourage. There are a lot of restrictions that Prince had closed within the music industry so that you cannot just start with such an ambitious project. Anyway, I think such a concept is an excellent idea and perhaps we should strive to design a platform in the spirit of the NPG Music Club.”

How far back do the recordings in The Vault date? The rumor that recordings of the very first Prince concert ever existed at the Capri Theater in Minneapolis in 1979 is persistent.


“(Sigh) This is a soggy terrain for me. Not because I don't want to talk about it, because I would naturally like to be of service to you and tell as much as possible what I know. But I have had to sign a non-disclosure agreement that states very strictly what I can and cannot tell you. Look, let me reveal that there are indeed recordings from that time.”

The Holy Grail among the untraceable Prince recordings is called ‘Wally’, a song he wrote about the love of his life, the stunning Susannah Melvoin. He would have recorded a catchy piano version of it in 1986, after their break. Because his naked performance was so confronting for him, he ordered the flabbergasted technician to erase all recordings. There would only be a simple audio cassette. You hear me coming: is it in the vault?


“(Hesitates, grunts, sighs painfully) That is a difficult one for me to answer. Look, I'll tell you this: there is probably more than what you think related to that track. Whatever may or may not happen with that, I do not know, let alone speculate about it. You will have to draw your conclusion from my cryptic answer, I fear (laughs). I am not deliberately trying to be so reserved. If it was up to me, you would get the most honest answer to your question. It is very tricky to be frank about this.”

I think I know enough, thank you. How emotional is this job for you? You have known Prince personally. Now you must listen to his voice every day. You hear him sing, talk, laugh. That must have an impact on a person.


“(Sighs deeply, coughs a number of times and is audibly emotional) Absolutely. One time it hits a little harder than the other. You become very humble anyway when you are confronted with an art form of this high level. Certainly because it has touched so many people so deeply. I do, however, listen at least once a week open-mouthed to the tours de force he was capable of.”

Originals (****) streams from 7/6 on Tidal.

This tells us everything we need to know. Thank you very much for posting it!


.

[Edited 6/12/19 11:19am]

udo said:

kewlschool said:

One CD a year is a good pace. That doesn't mean we wouldn't get a box set from time to time. Say Crystall Ball 2, etc. This year we get one new CD and an expanded 1999. That's great!

.

It is NOT great. (and that pace was not great)

At that pace we will not hear the greater part of the vault in our lifetimes.

That would be an evil situation which me must avoid coute que coute.

So a 4 disc set release in 1 year wouldn't be enough for you? I mean that is what your implying, no?

kewlschool said:

udo said:

.

It is NOT great. (and that pace was not great)

At that pace we will not hear the greater part of the vault in our lifetimes.

That would be an evil situation which me must avoid coute que coute.

So a 4 disc set release in 1 year wouldn't be enough for you? I mean that is what your implying, no?

.

Was I not writing in English?

Do the math.

If you like music then you'll get to the same conclusions.

The quality of it is the most important because if it sounds bad what are you really putting out there. This is going to the loyals, there are no new recruits that are going to buy these songs they never heard. 99.9% of the population knows him for Purple Rain and thats about it with a few hits tossed in from other albums. The Originals to me was soemthing different but quality wise its still a mixed bag.

all I can say is thank God for bootleggers! It will be virtually impossible to release ALL gigs - can you see them releasing ALL 21 nights + ALL aftershows for example? - all we need really is the opening night [how many encores again?!]+ final night + final night aftershow.

PURPLEIZED3121 said:

all I can say is thank God for bootleggers! It will be virtually impossible to release ALL gigs - can you see them releasing ALL 21 nights + ALL aftershows for example? - all we need really is the opening night [how many encores again?!]+ final night + final night aftershow.

.

If them botleggars can give us a taste of what's out there, how many years until the Estate have done such a thing?

The magic word is boxsets.

Yes, more expen$ive but bigger turnover.

And later you split the set and sell the individual discs for a small markup.

How hard can it be?

1 a year is ok if it's NEW music.

But this what we're getting isn't, it's like getting nothung at all. In those 3 years we got a song or 3, hardly anything.