VaultCurator said:

Hi Love Galore,

It turns out there are only 37 that are both unreleased and yet to be leaked. Someone pointed out to me that 'Call Of The Wild' had actually leaked, but was mistakenly titled '9-5 People'. Also for some reason I also had Baby Go-Go marked too.

Here are the remaining 37 tracks...
1985-01-05 Fish Fries
1985-04-16 untitled instrumental
1985-04-19 Evolsidog
1985-04-19 Tibet
1985-05-01 Velvet Kitty Cat (new recording)
1985-05-26 Stella & Charles
1985-05-27 Married Man
1985-05-27 Polka-Dotted Tiger
1985-05-27 Zebra With The Blonde Hair
1985-06-02 Unnamed New Song
1985-07-10 God Is Everywhere
1985-07-25 (U Got The) Good Drawers
1985-11-12 Soul Sister (variation of New Position?)
1985-11-30 An Honest Man (recording 1)
1985-12-09 She Pony
1985-12-17 An Honest Man (recording 2)
1985-12-18 Love On A Blue Train (recording 1 faster version)
1986-01-04 Tricky
1986-02-09 Duet With Dad (AKA Sunday Afternoon)*
1986-02-17 Euphoria Highway (recording 1)
1986-02-17 Euphoria Highway (recording 2) (Only partial leak)
1986-03-11 Fun Love
1986-03-11 Twosday
1986-03-19 And How
1986-05-10 Frustration
1986-05-11 Boy U Bad
1986-05-15 Untitled track
1986-07-22 Dixieland style instrumental
1986-07-22 Untitled Instrumental (AKA. Easy Does It)
1986-09-28 Baby Doll House
1986-10-05 Rescue Me
1986-10-08 Nine (recording 1 'Six And 1/2')
1986-10-16 Untitled Track
1986-11-01 Nine (recording 2)
1986-12-13 Untitled Track
1986-12-26 Ponyride
1986-12-28 Wally (recording 1)

*Top note claims song was only overdubed, although book sugests it was also tracked on this day.

[Edited 6/19/21 2:49am]

VaultCurator said:

Hi Love Galore,

It turns out there are only 37 that are both unreleased and yet to be leaked. Someone pointed out to me that 'Call Of The Wild' had actually leaked, but was mistakenly titled '9-5 People'. Also for some reason I also had Baby Go-Go marked too.

Here are the remaining 37 tracks...
1985-01-05 Fish Fries
1985-04-16 untitled instrumental
1985-04-19 Evolsidog
1985-04-19 Tibet
1985-05-01 Velvet Kitty Cat (new recording)
1985-05-26 Stella & Charles
1985-05-27 Married Man
1985-05-27 Polka-Dotted Tiger
1985-05-27 Zebra With The Blonde Hair
1985-06-02 Unnamed New Song
1985-07-10 God Is Everywhere
1985-07-25 (U Got The) Good Drawers
1985-11-12 Soul Sister (variation of New Position?)
1985-11-30 An Honest Man (recording 1)
1985-12-09 She Pony
1985-12-17 An Honest Man (recording 2)
1985-12-18 Love On A Blue Train (recording 1 faster version)
1986-01-04 Tricky
1986-02-09 Duet With Dad (AKA Sunday Afternoon)*
1986-02-17 Euphoria Highway (recording 1)
1986-02-17 Euphoria Highway (recording 2) (Only partial leak)
1986-03-11 Fun Love
1986-03-11 Twosday
1986-03-19 And How
1986-05-10 Frustration
1986-05-11 Boy U Bad
1986-05-15 Untitled track
1986-07-22 Dixieland style instrumental
1986-07-22 Untitled Instrumental (AKA. Easy Does It)
1986-09-28 Baby Doll House
1986-10-05 Rescue Me
1986-10-08 Nine (recording 1 'Six And 1/2')
1986-10-16 Untitled Track
1986-11-01 Nine (recording 2)
1986-12-13 Untitled Track
1986-12-26 Ponyride
1986-12-28 Wally (recording 1)

*Top note claims song was only overdubed, although book sugests it was also tracked on this day.

[Edited 6/19/21 2:49am]

Thanks for that!

VaultCurator said:

soladeo1 said:

Prince recorded 181 songs in 85-86, or around 90 a year...but yet we only know of ~20 songs he recorded in 1980??? Something doesn’t add up... [Edited 6/18/21 21:08pm]

.

He did not have access to the same resources back in 1980, nor might he have been as inspired.

.

Are there gaps in our knowledge of his work from that year? Probably, considering that we've had some unexpected revelations in recent years. However, I highly doubt there are dozens of songs from that era which remain completely undocumented.

.

It's not like 1990 was that great a year for Prince either: http://www.princevault.co...orded_1990

.

BartVanHemelen said:

LoveGalore said:

BartVanHemelen said:

.

He did not have access to the same resources back in 1980, nor might he have been as inspired.

.

Are there gaps in our knowledge of his work from that year? Probably, considering that we've had some unexpected revelations in recent years. However, I highly doubt there are dozens of songs from that era which remain completely undocumented.

.

It's not like 1990 was that great a year for Prince either: http://www.princevault.co...orded_1990

.

You lot don't even bother reading the shit you reply to. HOW SIMILAR DO 8 AND 9 LOOK TO YOU.

.

Must be hard to grasp the concept of a comparison. I merely pointed out that 1990 wasn't (as far as we know) very productive either. Notice the word EITHER? There, I but it in bold and italics and all-caps.

How do you get from 700-800 songs in 1985 to 2000 songs in 1989? Hell that's a lot of gaps with missing, unchronicled songs. If these numbers are even remotely close to true, the author appears to have had an impossible job. Over to you VaultCurator.

https://www.youtube.com/w...u273pvAd_w

BartVanHemelen said:

BartVanHemelen said:

LoveGalore said:

BartVanHemelen said: You lot don't even bother reading the shit you reply to. HOW SIMILAR DO 8 AND 9 LOOK TO YOU.

.

Must be hard to grasp the concept of a comparison. I merely pointed out that 1990 wasn't (as far as we know) very productive either. Notice the word EITHER? There, I but it in bold and italics and all-caps.

Oh Bort, will you never learn.

I'm about 75% of the way through the book and I have two observations/comments:

1.) In the lead up to SOTT SDE being released, I recall hearing a lot of talk about SOTT not being as much of a solo album as fans generally consider it, and that it was really the last Revolution album. After reading this book, I have no idea how anyone could make that argument.

Yes, Wendy & Lisa were around while he was recording SOTT. In the broadest possible sense they were part of that era and, as such, may have indirectly influenced it. And yes, Wendy & Lisa contributed to a lot of songs during that time period that didn't make the finally cut.

But the final album, as released, was almost devoid of them. Correct me if I'm wrong, but "It's Gonna Be a Beautiful Night" is the only song with the Revolution, right? While Wendy & Lisa had done a lot of work on Strange Relationship, the version that appears on the album had most of their overdubs removed, right? Even if you give them credit for that song as well, that's still only 2 songs out of 16.

[Edited 6/20/21 10:04am]

lurker316 said:

I'm about 75% of the way through the book and I have two observations/comments:

1.) In the lead up to SOTT SDE being released, I recall hearing a lot of talk about SOTT not being as much of a solor album as fans generally consider it, and that it was really the last Revolution album. After reading this book, I have no idea how anyone could make that argument.

Yes, Wendy & Lisa were around while he was recording SOTT. In the broadest possible sense they were part of that ear and, as such, may have indirectly influenced it. And yes, Wendy & Lisa contributed to a lot of songs during that time period that didn't make the finally cut.

But the final album, as released, was almost devoid of them. Correct me if I'm wrong, but "It's Gonna Be a Beautiful Night" is the only song with the Revolution, right? While Wendy & Lisa had done a lot of work on Strange Relationship, the version that appears on the album had most of their overdubs removed, right? Even if you give them credit for that song as well, that's still only 2 songs out of 16.

They are also on Slow Love.

2.) I hadn't realized until I read this book that Eric Leeds is generally not a fan of Prince's music. There are many quotes hinting at that, and at one point he's quoted as saying: "I'm not even listening to the song half the time because Prince doesn't pay me to like his music, he's paying me to play it."

I found some old threads here on the Org talking about Leeds' opinions of Prince's music. As is often the case, those threads turned into an argument between two extremes: on one side, people tried spinning Leed's comments to suggest there was nothing remotely critical in them about Prince's music -- they felt the controversy was manufactured. On the other side, people condemed Leeds as though he was a Judas and faulted him for taking a paycheck from Prince.

I guess I came down in the middle. On the one hand, it's obvious he definitely didn't like a lot of Prince's music, and no amount of spin will change that. But on the other hand, nothing he said was meanspirted. He apparently respected Prince the person and the musician, but Prince's music simply wasn't his cup of tea. Even when he says Lisa's compositions were more complex and sophisicated than Prince's, to me, it comes across as a neutral observation, not an insult.

I respect that Leeds is offering his honest opinion. Many of Prince's associates were in absolutely awe of him, to the point of being syncophants and "yes men". It was probably good for Prince to have someone in his camp who didn't worship every noise that Prince created. Having a contrarian point of view can be healthy.

[Edited 6/20/21 14:27pm]

lurker316 said:

cool.

But, where's the book review thread with the link to buy it?

You all just assume we all have it already.

The original release thread has long expired.

This and many other very important/official Prince releases are buried in obscure threads.

Not the "org" i remember.

nayroo2002 said:

lurker316 said:

I'm so glad i received the book as scheduled...

Though i'm far from done with reading the whole book, i've already learned so many things...

For instance, "Evolsidog" was reported as being a Funk track on the old Turn It Up book but what we learn here is that it's in fact a reggae flavoured song that features Prince using steel drums & a backwards guitar. Wow

[Edited 6/21/21 0:33am]

[Edited 6/21/21 0:36am]

.

[Edited 6/21/21 0:32am]

fredmagnus said:

I'm so glad i received the book as scheduled...

Though i'm far from done with reading the whole book, i've already learned so many things...

For instance, "Evolsidog" was reported as being a Funk track on the old Turn It Up book but what we learn here is that it's in fact a reggae flavoured song that features Prince using steel drums & a backwards guitar. Wow

[Edited 6/21/21 0:33am]

[Edited 6/21/21 0:36am]

steel drums and backwards guitar I want it more than ever now

lurker316 said:

lurker316 said:

I do not want to complain here, just stating some facts.

Prince and the Purple Rain Era Studio Sessions: 1983 and 1984 (Prince Studio Sessions)

22.86 x 16 x 3.81 cm

Prince and the Parade and Sign O' The Times Era Studio Sessions: 1985 and 1986 (Prince Studio Sessions)

(bound first edition)

16.21 x 4.9 x 23.83 cm

.

I.e.: the newer book is remarkably smaller than the previous book.

This even though the newer book has more pages. (554 vs 728)

So why did they not make it a same or very similar form factor?

Right now it appears that even book publishers do not know how to produce book releases of a series.

(same as the Estate/WB/etc w.r.t. SDE editions)

.

The storyline itself (in the newer book) is nice reading and shows some previously unknown facts.

-

bunch of size queens !

))

-

tab32792 said:

-

Eric never was or is bitter.

I'd rather think Prince was (at the end).

-

wilmer said:

lurker316 said:

2.) I hadn't realized until I read this book that Eric Leeds is generally not a fan of Prince's music. There are many quotes hinting at that, and at one point he's quoted as saying: "I'm not even listening to the song half the time because Prince doesn't pay me to like his music, he's paying me to play it."

I found some old threads here on the Org talking about Leeds' opinions of Prince's music. As is often the case, those threads turned into an argument between two extremes: on one side, people tried spinning Leed's comments to suggest there was nothing remotely critical in them about Prince's music -- they felt the controversy was manufactured. On the other side, people condemed Leeds as though he was a Judas and faulted him for taking a paycheck from Prince.

I guess I came down in the middle. On the one hand, it's obvious he definitely didn't like a lot of Prince's music, and no amount of spin will change that. But on the other hand, nothing he said was meanspirted. He apparently respected Prince the person and the musician, but Prince's music simply wasn't his cup of tea. Even when he says Lisa's compositions were more complex and sophisicated than Prince's, to me, it comes across as a neutral observation, not an insult.

I respect that Leeds is offering his honest opinion. Many of Prince's associates were in absolutely awe of him, to the point of being syncophants and "yes men". It was probably good for Prince to have someone in his camp who didn't worship every noise that Prince created. Having a contrarian point of view can be healthy.

[Edited 6/20/21 14:27pm]

I feel exactly like you with regards to Eric's comments about Prince's music. I heard him talk about this on the Juice Podcast and he sounded genuine on this. It is not a diss, it's just that his idols are people from another era. He came from a different musical sensibility. Even though it is a little bit disappointing, I get it and I respect it.

Even if Eric wasn't personaly a fan of a lot of Prince's music, even much of the music he created with Prince, he still considered Prince a hero of his and a genius. There was an interview I read a while ago where he is clearly in awe of Prince as a musician. And what's more, he acknowledges that guys like Miles Davis -- who was one of Eric's greatest inspirations -- felt a musical kinship with Prince moreso than they did with more sophisticated counterparts. So Eric definitely has a lot of admiration for Prince's musical universe even if he also has ambivlance about a lot of the individual works.

lurker316 said:

I'm about 75% of the way through the book and I have two observations/comments:

1.) In the lead up to SOTT SDE being released, I recall hearing a lot of talk about SOTT not being as much of a solo album as fans generally consider it, and that it was really the last Revolution album. After reading this book, I have no idea how anyone could make that argument.

Yes, Wendy & Lisa were around while he was recording SOTT. In the broadest possible sense they were part of that era and, as such, may have indirectly influenced it. And yes, Wendy & Lisa contributed to a lot of songs during that time period that didn't make the finally cut.

But the final album, as released, was almost devoid of them. Correct me if I'm wrong, but "It's Gonna Be a Beautiful Night" is the only song with the Revolution, right? While Wendy & Lisa had done a lot of work on Strange Relationship, the version that appears on the album had most of their overdubs removed, right? Even if you give them credit for that song as well, that's still only 2 songs out of 16.

I'll defend W&L all day and night because I think they're great musicians and songwriters in their own right and had a very obvious influence on Prince's music... but I do agree pretty much with all of this. SOTT was a solo album, was always a solo album, and will always be a solo album. It's right there in the title. Hell, when it comes down to it even the Revolution albums are all Prince anyway.

The influences imho come out in the inflections of the music, same as how the Time is Prince & Morris (and occasionally Jesse I suppose? I don't hear any Jam & Lewis in it though). I can see the connections between the W&L solo stuff and Prince's Revolution work but it's kind of in a backwards manner, because the songs aren't being written by Prince, so you have to decide if you like W&L as songwriters as well. If you don't like their songs you're got gonna care one bit about the "vibes." I get it.

jaawwnn said:

lurker316 said:

I'm about 75% of the way through the book and I have two observations/comments:

1.) In the lead up to SOTT SDE being released, I recall hearing a lot of talk about SOTT not being as much of a solo album as fans generally consider it, and that it was really the last Revolution album. After reading this book, I have no idea how anyone could make that argument.

Yes, Wendy & Lisa were around while he was recording SOTT. In the broadest possible sense they were part of that era and, as such, may have indirectly influenced it. And yes, Wendy & Lisa contributed to a lot of songs during that time period that didn't make the finally cut.

But the final album, as released, was almost devoid of them. Correct me if I'm wrong, but "It's Gonna Be a Beautiful Night" is the only song with the Revolution, right? While Wendy & Lisa had done a lot of work on Strange Relationship, the version that appears on the album had most of their overdubs removed, right? Even if you give them credit for that song as well, that's still only 2 songs out of 16.

I'll defend W&L all day and night because I think they're great musicians and songwriters in their own right and had a very obvious influence on Prince's music... but I do agree pretty much with all of this. SOTT was a solo album, was always a solo album, and will always be a solo album. It's right there in the title. Hell, when it comes down to it even the Revolution albums are all Prince anyway.

The influences imho come out in the inflections of the music, same as how the Time is Prince & Morris (and occasionally Jesse I suppose? I don't hear any Jam & Lewis in it though). I can see the connections between the W&L solo stuff and Prince's Revolution work but it's kind of in a backwards manner, because the songs aren't being written by Prince, so you have to decide if you like W&L as songwriters as well. If you don't like their songs you're got gonna care one bit about the "vibes." I get it.

Yeah, what I'm taking from the book is that "Parade" was an incredibly collaborative album for Prince, given the significant input from the Revolution, Clare Fisher, David Z & Mazarati on 'Kiss'.... and that SOTT was a total volte face, a deliberate shunning of those outside influences, and very much a solo record ... Which I guess was always the consensus (at least, before the SDE publicity) - it's just interesting to read about the events leading up to that decision in such detail.