Kares said:

olb99 said:

This is a hard problem. When you want to sort sets of items, do you choose the minimum value? The maximum value? The average value? Something else?

For albums, do you choose the latest recording date? The sequencing date? The mastering date?

And for a single song, what's a recording date? Do you choose the date of first tracking? Overdubs? Mixing? Remixing? Something else again?

And for albums, do you choose the first release date? Even if there was an early, limited release?

.
Release dates are fairly easy to determine. Even if there's an early, limited release, that is the first release. Recording dates, on the other hand, are almost impossible to know in many cases and trying to use them for sorting leads to a ton of issues, as mentioned above.

Agreed.

When it comes to recordiing dates my preference tends to go towards the completion of the project altogether, including mixing and compiling (with the exception of The B-Sides that was compiled some 4 years after anything on it was recorded and mixed, unless Power Fantastic and/or 4 The Tears In Your Eyes were (re)mixed in 93, but if so, it's not known to me).

Admitedly, my page lacks precision in that regard anyway, partly for lack of information (notably when it comes to live recordings that may have been overdubbed, mixed and edited months after the show, but also for studio material given that not everything is covered at length like the 83-86 period Duane covered), so it's a "best guess" game. Still, I think it makes sense of P's musical journey more than just release dates.

Kares said:

databank said:

When it comes to online discographies, I think it's sensible to have one with only the lifetime releases, even if you'll have another one with posthumous releases.

.

I think it's important because an artist also defines a canon by choosing to release certain things over others. And this canon says something important about them, their vision and their work. Like, Prince wouldn't ever, ever have released Piano & A Microphone 1983 in 1983 (if ever at all).

.

And even with more "finished" products, like Welcome 2 America, it turned out that for any reason he did choose not to release it. I mean he could just have dropped it on his website and sold it to the fans, it wouldn't have cost him a dime, but no, he chose to keep it for himself period. It says something. What? I'm not sure, but it says something.

.

(Following this logic it also says something that he'd choose to release TBA in 1994 not 1987, admitedly, but at least he did choose to release it).

.

Not to mention potential posthumous tinkering, like, W2A isn't even the last config came-up with before abandoning the project. Hell, it's not even a proper earlier config, the tracklist was tampered with, so that's not even exactly what he considered releasing as such at any point (which is a hell of a pity if you ask me: to this day I still don't understand what they were thinking).

.

That said, I agree that, major tampering aside (like posthumous overdubs), it would also be interesting to have a chronology with posthumous releases retconned into it.

.

Maybe a system like Wookiepedia where you can pick categories to show and hide and decide what to see. Then you could even have categories for side projects, video albums, etc. https://starwars.fandom.c...ends_media

And while we're at it I'm sure you could also devise a website where you can choose between recording dates order or release date order.

.
I don't think we should read too much into what P decided to release or put aside. There can be many different reasons for an artist to put something aside. I believe when he really didn't want a recording to be heard by the public he destroyed it instead of putting it on the vault shelves. (Just take 'Wally' as an example: he clearly didn't want the original to be heard, so he erased it. Yet, he was back at it the next day and he rerecorded it in a different way, and put that one on the shelf. He didn't release it, but he wanted it on the shelf. Why?...)
.
There might have been several masters he deemed TOO important to be released immediately, so he put it aside for a later, better occasion – when, for example, he could combine it with an also planned new movie or other project, or simply when he would be able to promote it etc, etc. We don't know. He was also quoted saying in regards to an unreleased master that 'it is for my children'. I think he planned a much longer life so who knows what his intentions were regarding all those tapes. Regardless though, he is sadly gone, so the vast body of work he left behind should be studied and made available just as it happens to all genius artists after their passing.

.
I totally share your ill feelings towards the many issues with the posthumous releases though, even though I understand the many possible obstacles producers must be facing. (Morris Hayes's studio burning down was one that definitely affected how W2A turned out, for example.) But we all agree they should be more transparent and explain the decisions they make.

.

Ordering releases on recording date base could be impossible in many cases, as some releases could have recordings made decades apart – or in other cases we have no idea of the real recording dates. (Also: recording date based sorting would make numbering impossible, and it might be just me but I do consider numbering releases a very effective marketing tool that greatly encourages collecting.) So while it does hurt my eyes to see the Black Album after 'Come', I accept that in the long run, release-date based sorting is our only possible consistent choice.

[Edited 4/4/25 9:07am]

Yeah, no, what I meant was I don't want to read too much in the sense that unless Prince and/or witnesses explained a decision (like with TBA), we can't possibly know what went in his mind and that's not the point (though we can and, I guess, should try and make educated guesses*, but they'll be just that).

What I meant is what we can definitely, objectively read is that Prince did choose to release certain things and not to release certain others.

Regardless of what he left behind for others to release (and I suspect he left most everything, I believe Wally is one of very few exceptions where he deliberately erased it, and even there, Susan said he kept a cassette of it, so the Estate may even be able to release this if they ever find it), there's what he chose to take responsibility for in his lifetime, the statements he chose to make at any given time and the statements he chose not to make.

I still believe this is important.

But then again, you could go from there and make a solid argument that not releasing TBA in 87 was a statement and that releasing it in 94 was yet another statement, so it should be positioned in 94, yet I chose to position it in 87 on my list. I realize the contradiction.

.

*Regarding W2A specifically, as well as the very atypical fact that he chose not to release albums between 2010 and 2014, my hypothesis (for what it's worth, of course) is that he was desilusioned by records sales plunging because of piracy and streaming, and realizing that even alternate strategies like selling the record with concert tickets, newspapers or online didn't make him that much money either comparatively to before (or playing shows, which became his main source of income). I would even go as far as to assume he kind of decided to "punish" his audience for not buying records ("no more candy 4 u"). Because he clearly did go on recording constantly during those years, so it was a deliberate choice to sit on the material.

.

Question: that fire at Morris' studio vaguely rings a bell, but I can't for the life of me remember what happened, let alone how it impacted W2A. My understanding is that the Estate found 3 different configurations (whether they were dated or not, IDK) and that the finished product was made with bits of all 3, thus not exactly reflecting any of them. Could you elaborate on the fire?

databank said:

Admitedly, my page lacks precision in that regard anyway, partly for lack of information (notably when it comes to live recordings that may have been overdubbed, mixed and edited months after the show

.

Oh, so you mean you would/could even date a live recording with the date of overdubbing or mixing? Wow, that possibility never even entered my mind, and I can't even remember a single example of a live release using such a date. I think it was always, universally agreed that a date of a live recording is the date of the original performance. Unless I misunderstood you.

.
The folder-naming format I use for my personal collection is
Surname, Forename (YYYY-MM-DD) - Title (rec YYYY-MM-DD) [rYYYY] [bitdepth] {HD}

where the (first) sorting date is the release date, (rec) is recording date (if known), [r] is the remaster date and {HD} is just a filtering label indicating higher than 16bit/44.1kHz resolution – and in most cases, when I don't have exact names, I simply omit the months and days, so it'll look like

Surname, Forename (YYYY) – Title [rYYYY] [24-96] {HD}

Kares said:

databank said:

Admitedly, my page lacks precision in that regard anyway, partly for lack of information (notably when it comes to live recordings that may have been overdubbed, mixed and edited months after the show

.

Oh, so you mean you would/could even date a live recording with the date of overdubbing or mixing? Wow, that possibility never even entered my mind, and I can't even remember a single example of a live release using such a date. I think it was always, universally agreed that a date of a live recording is the date of the original performance. Unless I misunderstood you.

.
The folder-naming format I use for my personal collection is
Surname, Forename (YYYY-MM-DD) - Title (rec YYYY-MM-DD) [rYYYY] [bitdepth] {HD}

where the (first) sorting date is the release date, (rec) is recording date (if known), [r] is the remaster date and {HD} is just a filtering label indicating higher than 16bit/44.1kHz resolution – and in most cases, when I don't have exact names, I simply omit the months and days, so it'll look like

Surname, Forename (YYYY) – Title [rYYYY] [24-96] {HD}

It never crossed mine for a long time either, but (at least for lifetime releases, putting pothumous releases aside) when you think of any musical work of art in terms of creative process, it's only completed when it's completed, which in the case of a live recording definitely include editing, mixing and overdubbing — all of which are arbitrary artistic decisions made at a given moment by the work's creator to shape the final product in view of releasing it to an audience.

databank said:

Kares said:

.
I don't think we should read too much into what P decided to release or put aside. There can be many different reasons for an artist to put something aside. I believe when he really didn't want a recording to be heard by the public he destroyed it instead of putting it on the vault shelves. (Just take 'Wally' as an example: he clearly didn't want the original to be heard, so he erased it. Yet, he was back at it the next day and he rerecorded it in a different way, and put that one on the shelf. He didn't release it, but he wanted it on the shelf. Why?...)
.
There might have been several masters he deemed TOO important to be released immediately, so he put it aside for a later, better occasion – when, for example, he could combine it with an also planned new movie or other project, or simply when he would be able to promote it etc, etc. We don't know. He was also quoted saying in regards to an unreleased master that 'it is for my children'. I think he planned a much longer life so who knows what his intentions were regarding all those tapes. Regardless though, he is sadly gone, so the vast body of work he left behind should be studied and made available just as it happens to all genius artists after their passing.

.
I totally share your ill feelings towards the many issues with the posthumous releases though, even though I understand the many possible obstacles producers must be facing. (Morris Hayes's studio burning down was one that definitely affected how W2A turned out, for example.) But we all agree they should be more transparent and explain the decisions they make.

.

Ordering releases on recording date base could be impossible in many cases, as some releases could have recordings made decades apart – or in other cases we have no idea of the real recording dates. (Also: recording date based sorting would make numbering impossible, and it might be just me but I do consider numbering releases a very effective marketing tool that greatly encourages collecting.) So while it does hurt my eyes to see the Black Album after 'Come', I accept that in the long run, release-date based sorting is our only possible consistent choice.

[Edited 4/4/25 9:07am]

Yeah, no, what I meant was I don't want to read too much in the sense that unless Prince and/or witnesses explained a decision (like with TBA), we can't possibly know what went in his mind and that's not the point (though we can and, I guess, should try and make educated guesses*, but they'll be just that).

What I meant is what we can definitely, objectively read is that Prince did choose to release certain things and not to release certain others.

Regardless of what he left behind for others to release (and I suspect he left most everything, I believe Wally is one of very few exceptions where he deliberately erased it, and even there, Susan said he kept a cassette of it, so the Estate may even be able to release this if they ever find it), there's what he chose to take responsibility for in his lifetime, the statements he chose to make at any given time and the statements he chose not to make.

I still believe this is important.

But then again, you could go from there and make a solid argument that not releasing TBA in 87 was a statement and that releasing it in 94 was yet another statement, so it should be positioned in 94, yet I chose to position it in 87 on my list. I realize the contradiction.

.

*Regarding W2A specifically, as well as the very atypical fact that he chose not to release albums between 2010 and 2014, my hypothesis (for what it's worth, of course) is that he was desilusioned by records sales plunging because of piracy and streaming, and realizing that even alternate strategies like selling the record with concert tickets, newspapers or online didn't make him that much money either comparatively to before (or playing shows, which became his main source of income). I would even go as far as to assume he kind of decided to "punish" his audience for not buying records ("no more candy 4 u"). Because he clearly did go on recording constantly during those years, so it was a deliberate choice to sit on the material.

.

Question: that fire at Morris' studio vaguely rings a bell, but I can't for the life of me remember what happened, let alone how it impacted W2A. My understanding is that the Estate found 3 different configurations (whether they were dated or not, IDK) and that the finished product was made with bits of all 3, thus not exactly reflecting any of them. Could you elaborate on the fire?

.
I don't recall the Estate finding 3 different configurations of W2A, but I remember them talking about "3 CDs". They didn't specify whether those were 'red book' (standard music) CDs or CD-ROMs with files of unknown formats. They could've been data CDs with 24bit wav files, or separate wav files of multitrack recordings, or wav files of several different mixes etc. So I don't think it was 3 x 74 minutes of original music (as I'm afraid most people who heard about the "3 CDs" thought), but one album's worth of music spread over 3 data discs in some high res format or different versions/mixes of tracks spread over 3 CDs.

.

Anyway, Morris lost his entire studio and I remember him posting about it on fb, mentioning that it's not just gear but plenty of original recordings that was lost too. My understanding was that P trusted him to add whatever he wanted, but Morris's additions were mostly lost in the fire, and as those additions weren't archived at Paisley, what was left is the preview copies Morris probably gave Prince. Hence the few CD-reading issues (clicks) that can be heard on the released record.
As for what songs ended up on the album: perhaps a few were omitted because they weren't finished or perhaps they couldn't read them from the CDRs without tons of reading errors or perhaps they were lost in the fire, I don't know. But again: we shouldn't have to try to speculate on such matters, the producer of any vault release should be totally transparent about these kinds of information.

databank said:

Regardless of what he left behind for others to release (and I suspect he left most everything, I believe Wally is one of very few exceptions where he deliberately erased it, and even there, Susan said he kept a cassette of it, so the Estate may even be able to release this if they ever find it), there's what he chose to take responsibility for in his lifetime, the statements he chose to make at any given time and the statements he chose not to make.

I still believe this is important.

But then again, you could go from there and make a solid argument that not releasing TBA in 87 was a statement and that releasing it in 94 was yet another statement, so it should be positioned in 94, yet I chose to position it in 87 on my list. I realize the contradiction.

.

The way I see it: the artistic statement is the recording itself, not the decision to release it or not. The latter is so far removed from the artistic process of creation, it can be based on a zillion other, mundane things. The real statement is what happens at the microphone. And when he didn't feel content with a particular statement, he erased the work (I'm sure Wally wasn't the only such occasion).

Kares said:

databank said:

Yeah, no, what I meant was I don't want to read too much in the sense that unless Prince and/or witnesses explained a decision (like with TBA), we can't possibly know what went in his mind and that's not the point (though we can and, I guess, should try and make educated guesses*, but they'll be just that).

What I meant is what we can definitely, objectively read is that Prince did choose to release certain things and not to release certain others.

Regardless of what he left behind for others to release (and I suspect he left most everything, I believe Wally is one of very few exceptions where he deliberately erased it, and even there, Susan said he kept a cassette of it, so the Estate may even be able to release this if they ever find it), there's what he chose to take responsibility for in his lifetime, the statements he chose to make at any given time and the statements he chose not to make.

I still believe this is important.

But then again, you could go from there and make a solid argument that not releasing TBA in 87 was a statement and that releasing it in 94 was yet another statement, so it should be positioned in 94, yet I chose to position it in 87 on my list. I realize the contradiction.

.

*Regarding W2A specifically, as well as the very atypical fact that he chose not to release albums between 2010 and 2014, my hypothesis (for what it's worth, of course) is that he was desilusioned by records sales plunging because of piracy and streaming, and realizing that even alternate strategies like selling the record with concert tickets, newspapers or online didn't make him that much money either comparatively to before (or playing shows, which became his main source of income). I would even go as far as to assume he kind of decided to "punish" his audience for not buying records ("no more candy 4 u"). Because he clearly did go on recording constantly during those years, so it was a deliberate choice to sit on the material.

.

Question: that fire at Morris' studio vaguely rings a bell, but I can't for the life of me remember what happened, let alone how it impacted W2A. My understanding is that the Estate found 3 different configurations (whether they were dated or not, IDK) and that the finished product was made with bits of all 3, thus not exactly reflecting any of them. Could you elaborate on the fire?

.
I don't recall the Estate finding 3 different configurations of W2A, but I remember them talking about "3 CDs". They didn't specify whether those were 'red book' (standard music) CDs or CD-ROMs with files of unknown formats. They could've been data CDs with 24bit wav files, or separate wav files of multitrack recordings, or wav files of several different mixes etc. So I don't think it was 3 x 74 minutes of original music (as I'm afraid most people who heard about the "3 CDs" thought), but one album's worth of music spread over 3 data discs in some high res format or different versions/mixes of tracks spread over 3 CDs.

.

Anyway, Morris lost his entire studio and I remember him posting about it on fb, mentioning that it's not just gear but plenty of original recordings that was lost too. My understanding was that P trusted him to add whatever he wanted, but Morris's additions were mostly lost in the fire, and as those additions weren't archived at Paisley, what was left is the preview copies Morris probably gave Prince. Hence the few CD-reading issues (clicks) that can be heard on the released record.
As for what songs ended up on the album: perhaps a few were omitted because they weren't finished or perhaps they couldn't read them from the CDRs without tons of reading errors or perhaps they were lost in the fire, I don't know. But again: we shouldn't have to try to speculate on such matters, the producer of any vault release should be totally transparent about these kinds of information.

Thanks for explaining. Super sad for Morris what happened to him I really love this dude, besides being a mindblowing keyboard player musician, he also seems to be a real, real nice person, and his interviews are always very interesting.

I just thought of checking Pvault again and their statement is:

The released version was built from three reference CDs found by The Prince Estate in 2019, each containing different configurations of the album. Morris Hayes was commissioned to build the final tracklist from these three cds. The official version is similar to one of the configurations which also included Cause And Effect. It was decided not to retain this song for the final version because it was attached to the 20Ten album (Prince quotes titles from this album in the lyrics).

IDK if that's all we know or if they omitted part of the info, but in the end my remark and question would be, respectively:

1/ While it's good if the record actually reflects one config minus one song, I still think (at least based on the argument given here) that it was a grave mistake to remove CAE if Prince wanted it there.

2/ What do we mean by "one of the configurations"? Unless none was dated and, after all this time, Morris couldn't remember which was the last one, it should have been the last one. Now IDK, maybe it was, but I'd like to know.

I'm not entirely sure I listened to the W2A Estate podcasts at the time but suspect maybe not as, IIRC, they were not downloadable. Maybe more details were given there, IDK. Like (I think) Bart once said, though, and as you say yourself, those informations should have been included in the releases' liner notes or on the website.

The Estate is apparently pissed at the fanbase for being too negative, but they should understand that, thanks to a Prince fandom subculture largely started by Uptown Magazine some 35 years ago, there's a core group of fans that cares a lot about the academic information, as much as (if not more than, at this stage) the music itself. Remarks have been made on X by Mr McMillian about fans being too demanding about new music. Well, OK. Can we at least have information?

Kares said:

databank said:

Regardless of what he left behind for others to release (and I suspect he left most everything, I believe Wally is one of very few exceptions where he deliberately erased it, and even there, Susan said he kept a cassette of it, so the Estate may even be able to release this if they ever find it), there's what he chose to take responsibility for in his lifetime, the statements he chose to make at any given time and the statements he chose not to make.

I still believe this is important.

But then again, you could go from there and make a solid argument that not releasing TBA in 87 was a statement and that releasing it in 94 was yet another statement, so it should be positioned in 94, yet I chose to position it in 87 on my list. I realize the contradiction.

.

The way I see it: the artistic statement is the recording itself, not the decision to release it or not. The latter is so far removed from the artistic process of creation, it can be based on a zillion other, mundane things. The real statement is what happens at the microphone. And when he didn't feel content with a particular statement, he erased the work (I'm sure Wally wasn't the only such occasion).

Many artists (myself included) would disagree.

.

I mean yeah any work created is a statement, but as long as it's not out, it's a statement to yourself, if not a mere sketch. And not everyone deletes everything. Most artists keep sketches and aborted material for future reference, you never know when you may want to revisit an idea, or just check it out again for the sake of nostalgia. They're like a diary.

.

From the moment you're completely sure about the fact that something is kinda finished and/or that you're certain that you're working on something you truly intend to release (which is not the case of everything one creates), you start looking at it from a different perpective and your artistic decisions and/or last adustments will very much be informed by this knowledge. From that point onwards it's gonna be a statement to others, one that will face praise and criticism, one that will define how others perceive you both as an artist and as a person, one that will get a life of its own and evade you altogether and, more importantly, something you cannot ever, ever make disappear or alter anymore: even if you delete it from your catalogue or release an new version, copies of the original will remain and be commented no matter what. And that's what IMHO makes it a statement, this definitive aspect of it. That's, at least, my personal experience and that of many artists, in different fields, I've known or worked with or read about.

.

And really, based on what we know about Prince's recording sessions (and we know a lot by now), Prince didn't seem erase much. Wally is a big story precisely because it's a rare story. It's not like you can quote 45 songs deleted by Prince. Out of hundreds of unreleased songs we know of, there's ONE we know for a fact he deleted, and not even entirely since he kept a cassette. In all those eyars working with him, that's the ONE song Susan had to delete. It was a whim, not a habit. And we know there were some unspecified others in the 2000s according to Dave Hampton, but IIRC he didn't seem to imply there were loads of those and my understanding is that it was mostly because of the hardcore JW phase). I may be wrong, of course, we don't know everything, but I base my assessment of what we know for a fact.

.

[Edited 4/4/25 16:12pm]

databank said:

Kares said:

.

The way I see it: the artistic statement is the recording itself, not the decision to release it or not. The latter is so far removed from the artistic process of creation, it can be based on a zillion other, mundane things. The real statement is what happens at the microphone. And when he didn't feel content with a particular statement, he erased the work (I'm sure Wally wasn't the only such occasion).

Many artists (myself included) would disagree.

.

I mean yeah any work created is a statement, but as long as it's not out, it's a statement to yourself, if not a mere sketch. And not everyone deletes everything. Most artists keep sketches and aborted material for future reference, you never know when you may want to revisit an idea, or just check it out again for the sake of nostalgia. They're like a diary.

.

From the moment you're completely sure about the fact that something is kinda finished and/or that you're certain that you're working on something you truly intend to release (which is not the case of everything one creates), you start looking at it from a different perpective and your artistic decisions and/or last adustments will very much be informed by this knowledge. From that point onwards it's gonna be a statement to others, one that will face praise and criticism, one that will define how others perceive you both as an artist and as a person, one that will get a life of its own and evade you altogether and, more importantly, something you cannot ever, ever make disappear or alter anymore: even if you delete it from your catalogue or release an new version, copies of the original will remain and be commented no matter what. And that's what IMHO makes it a statement, this definitive aspect of it. That's, at least, my personal experience and that of many artists, in different fields, I've known or worked with or read about.

.

And really, based on what we know about Prince's recording sessions (and we know a lot by now), Prince didn't seem erase much. Wally is a big story precisely because it's a rare story. It's not like you can quote 45 songs deleted by Prince. Out of hundreds of unreleased songs we know of, there's ONE we know for a fact he deleted, and not even entirely since he kept a cassette. In all those eyars working with him, that's the ONE song Susan had to delete. It was a whim, not a habit. And we know there were some unspecified others in the 2000s according to Dave Hampton, but IIRC he didn't seem to imply there were loads of those and my understanding is that it was mostly because of the hardcore JW phase). I may be wrong, of course, we don't know everything, but I base my assessment of what we know for a fact.

.

[Edited 4/4/25 16:12pm]

.
But we're not talking about sketches here. We're talking about (more or less) finished songs. And the number one reason I love Prince so much is that he has indeed worked like writing a diary, recording almost every day, putting as many of his inspirations to tape as he could, without thinking twice about it, without considering a possible release.
.
"From the moment you're completely sure about the fact that something is kinda finished and/or that you're certain that you're working on something you truly intend to release (which is not the case of everything one creates), you start looking at it from a different perpective and your artistic decisions and/or last adustments will very much be informed by this knowledge. From that point onwards it's gonna be a statement to others"
– EXACTLY. And whenever Prince was in this mindset you describe, that's when he started overproducing, overpolishing stuff – in other words: that's the moment he starts losing my attention. I believe most of us prefer the original versions of his songs, when he was in the inspired, open mindset that allowed him to create freely. For me those are the ultimate artistic statements exactly because they don't intend to do anything other than being in the flow.

I should clarify, for my personal collection, I choose to include TBA after SOTT & W2A after 20Ten, but, for online discographies I prefer to see the date material was first released.

Also, for my personal collection, I include releases by Prince, , Prince And The Revolution, Prince And The New Power Generation, New Power Generation & sometimes, depending on my mood, even Madhouse, all as Prince, filed chronologically.

I tried to find what you say here, if I'm wrong, I'm wrong, no problem.

But I don't read this anywhere on my Discogs page.

It says this on the first page of Prince :

-

American singer, musician, songwriter, composer, arranger, sound engineer, producer, actor, dancer. Frontman of Prince And The Revolution (from 1984 to 1986). And from 1991 onwards he was Leader of the New Power Generation (which evolved the line-up almost every year) until his passing in 2016. Prince was inducted into the Rock And Roll Hall of Fame in 2004.

-

The seperation of another link for Prince and The Revolution is indeed very confusing.

I agree. The Frank Zappa page, has no seperate links to The Mothers for example.

I send them an email about this. Why not.

(Indeed the Zappa page for example doesn't have any seperate links for The Muthers, The Mothers, The Mothers Of Invention, MOI, or Mothers.)

Kares said:

Vannormal said:

Wrong interpretation.

'Frontman' or 'leader', or 'collaborative' member, doesn't necessarily mean he is a part of that band.

By the way, 'leader' is more clear even.

And before these words were used it states : "American singer, musician, songwriter, composer, arranger, sound engineer, producer, actor, dancer."

That says enough.

But, true, it is interpretable if you want to see it wrong/different.

.
It's not my interpretation, it is clearly what they say: "P was famous additionally for his work in the band Prince And The Revolution." Notice "IN the band". Also, that 'Prince And The Revolution' is ONE link, and it links to a separate discography, with releases (PR, ATWIAD, P) that are EXCLUDED from the catalog of solo artist 'Prince'..

A good view of all things Prince (an absolute dream list/work for me) would be this :

an overview always going back to one basic list, but split-up in two categories ;

-

During his lifetime :

-

Everything chronologically : Prince's complete work during his life, from day-to-day. Chronological recordings & ideas of projects, live performances, etc. Something that can grow and be adjusted when new info comes up.

-

Then splitt up in :

A list of all recorded songs/ideas/music to tape, cassette... be it demo's or finished tracks, invented songs during jam sessions or rehearsals, with specifications per (new) track. Whatever he came up with.

-

A list of how things officially were released, as planned and agreed by Prince, what he wanted to share with us. Plus what he wrote/worked on for others, like collaborations and uncredited performances (for exemple when he played only keyboards on other's recordings, etc).

(again; the chronological way of things is important, and can be linked or refered to a more simplified basic list.)

-

All his live performances, be it private or public, even (private) jam sessions if there's available info on that.

-

After his passing :

-

Chronologically; releases / packages and whatever single releases. Preferably clearly refered (linked) to his chornological (day to day) recordings, performances, etc - obviously.

-

I can dream.

"Hot Thing" has 4 released versions.
'Lovesexy' has a one-track album release.
That said, i have absolutely every released studio track that Prince wrote, produced, or guested on.
My "O + ( >" playlist is over 1120 tracks without any live songs.
Can anyone nerdy enough list it all without "title barriers"???

Just today my shuffle went:
-"Jerk Out (Acapella)"
-"Love, Thy Will B Done (Prince Mix)"

-"Round & Round (Soul Dub Mix)"

-"Crystal Ball"

-"Adonis and Bathsheba"

-"Holla & Shout"

-"Let's Work (Remix)"

-"Mountains/Do U Lie/Kiss/Anotherloverholenyohead"

-"16"

Actually, i guess i don't need a proper list