adorable2 said:

This issue has been out awhile. Anyway, P speaks on this saying that he doesn't like 2 talk about gear because he doen't want people running out buying all of his shit. He actually said 4 folks 2 get their own sound. Which I agree with. U could by a Strat, Marshall stacks, a crybaby pedal and all the fuzz boxes in the world, and your still not going 2 sound like Hendrix. So, don't bother buying shit that P uses, cuz you're not going 2 sound like him either. Get YOUR sound together.

buttcheeks said:

Yeah, and he also mentioned Brian May from Queen, who I already knew he was influenced by.
But it was cool 2 hear him give May and Boston their props.

Are you experienced? Well.. I am.

Jimi Hendrix

Copycat said:

- Well, I read it on the newsstand and this interview is by far better than any interview he gave to music magazines.
Prince really grew up. He says lots of interesting, wise things there (like saying that guitar players should learn from female singers like Billie Holiday - Miles Davis used to learn Sinatra´s phrasing).
His gear can be found easily on Google.

blackguitaristz said:

- Amen. The lesson Vernon Reid learned from Hendrix is: ´Do YOUR thing´...Prince is teaching the same lesson. That´s great.

Raine said:

That must be an entirely different issue, because the latest one doesn't have a half a page of that.

GustavoRibas how did you read the article?

Salles, check this thread tomorrow. I'll try to have something for you.

Guitar Player magazine July 2004 cover story.




Crown of Creation
Prince Summons The Funk On Musicology

This has been some year for Prince. With his induction into the Rock and Roll Hall of Fame (which will long be remembered for the jaw-dropping solo he played on "While My Guitar Gently Weeps"), his blistering performance with Beyonce at the Grammy Awards (the show's producers hopefully sent him some flowers in appreciation), and the release of Musicology (widely hailed as his best work in a decade), Prince has reclaimed the funk-rock throne.

And who's going to argue?

Musicology [NPG] delivers on all fronts with its savvy blend of greasy funk, soaring anthems, sweet ballads, and--who says funk and politics don't mix?--pointed assessments of George Bush ("Dear Mr. Man") and the war on terrorism ("Cinnamon Girl"). It's also loaded with hip guitar. Not that Prince will readily speak about his guitar playing or his gear. During our interview, he was more eager to talk about music education for kids, the record industry, and the flap over decency on the airwaves ("'Darling Nikki' was suggestive," he says, "but it wasn't nasty"), and the concept behind the new album.

"Musicology is all about music the way it used to be," says Prince, as we sit in his dressing room at the Mellon Arena in Pittsburgh, Pennsylvania. "And it's about getting the music to the people. That's why everyone who comes to the show gets a copy of the record. The CD is included in the ticket price, and we're giving out approximately 50,000 copies each week in order to keep increasing the exposure to the new album. Right now, we're only playing a few songs from Musicology in the show, but that will change as people become more familiar with it."

Although the massive giveaway seemed like an expensive way to promote an album, Prince disagreed. "It costs nothing to make the CDs," he says. "And the benefit of having your artistic freedom is that there won't be anyone forcing you to do a remix or anything else you don't want to do. I don't believe in remixing songs that are the key of life. When the record people get in there and say, ‘Why don’t you do it like this?’ Well, that’s their prerogative if they own the contract. But bands break-up over contracts—just talk to the Eagles about that. I’ve asked record execs why they aren’t under contract with each other, and all I get is, ‘That’s a very funny idea, Prince.’ See, the fight for me has always been about freedom and ownership. It’s simply preposterous to me that someone is going to own your work in perpetuity.”

Prince is probably the most successful independent artist in the music biz, and his desire to be in control of every aspect of his music seems to demand that he also work on his records alone—a habit that seems puzzling considering the pool of talent in his band.

“On some songs, I just like the way I play drums and keys better than anyone I know,” he explains. “My drummer, John Blackwell, can certainly do things I can’t do, but, if I bring him into the studio, there are things he’ll do differently than how I envisioned them. You know, I can’t even play ‘When Doves Cry’ the way I originally envisioned it. It’s like a painting—it is what it is. You know how [legendary director] Billy Wilder got such a seamless quality to his films? It was because he wrote and directed everything himself. It’s the same for me.”

One of the attractions of seeing Prince live is that he plays tons of guitar. At the Pittsburgh show, I witnessed what an absolute shred monster he can be when he kicks on a Boss DS-2 Overdrive through his Mesa/Boogie Heartbreaker amp. But Prince is also a masterful rhythm guitarist with a unique funk style. “I’m always trying to work in the bass notes when I’m playing funk rhythms,” Prince says. “It’s the same way that Freddie Stone [guitarist, Sly and the Family Stone] would always play the same parts as [bassist] Larry Graham, but just a tad higher. Kids don’t learn to play the right way anymore.

When the Jackson Five came up, they had to go through Smokey Robinson and the Funk Brothers, and that’s how they got it down. I want to be able to teach that stuff, because kids need to learn these things, and nobody is teaching them the basics. See, a lot of cats don’t work on their rhythm enough, and if you don’t have rhythm, you might as well take up needle-point or something. I can’t stress it enough. The next thing is pitch. That’s universal—you’re either in tune or you ain’t [laughs]. When you get these things down, then you can learn how to solo. Guitarists should listen to singers for solo ideas—especially women singers. Women haven’t had a chance to run the world yet, so you still hear the blues in their singing. Try to play one of the runs that Beyonce or Ella Fitzgerald does and you will surely learn something.”

On the Musicology tour, Prince performs several solo-acoustic songs on a Taylor 612CE Custom—something he hasn’t done since his Live Aid performance in 1986. “I might consider doing an acoustic tour,” he offers. “I liked doing the acoustic performance of ‘Reflection’ [a lovely ballad that has been re-released on Musicology] with Wendy Melvoin on the Tavis Smiley Show.

I thought it was the perfect song for Tavis’ show. He’s a friend, and I wanted to do something special for him. I always try to cater to the format I’m playing in. Like for Jay Leno, we’ll play something like ‘The Ballad of Dorothy Parker’ and really jazz it up.”

Over the past several years, Prince has steadily increased the presence of jazz harmony in his sound—which he explored in depth on the jazz-fusion odyssey The Rainbow Children and recalls in a furious interlude on Musicology’s “If Eye Was the Man in Ur Life.” Prince credited Blackwell and keyboardist Renato Neto—both certified jazz-rock mofos on drums and keyboards—for inspiring him to try new ideas.

“I like the audience to be as sophisticated as my music is,” says Prince, “and, sometimes, I’ve had more fun doing challenging things in after-show concerts than playing the hits at the main show. The best players used to play rock and roll. The first time you heard Boston, it was this huge, amazing sound with all that guitar doubling. Same with Brian May—nobody sounded like him. I still think of Return to Forever as a rock band. Those guys could really play, but there ain’t nobody doing that in rock these days.”

With only minutes to spare before showtime, Prince concluded the interview by saying, “When I changed my name back to Prince, I went into intense study of the bible with my friend Larry Graham. It gave me a sense of the world that I didn’t have before. For a long time I was into living life to its fullest in every way possible—including spending as much time in the studio as I could. And while I still spend so much time in the studio that people say I should be in a 12-step program, at least now I know where I’m headed.

Any musician who learns everything about their instrument will only know who they are if they spend the time to know God. That’s why I don’t like to talk about gear. People will go out and buy that stuff thinking it’s going to make them sound like me, and that’s not where it’s at. Go get your own stuff and come up with your own sounds. If you need a path to follow, a good place to start is by listening to Ike Turner—he was as tight as they come—or James Brown, who is all about rhythm. Put any colors you’ve learned from Joni Mitchell on top of that, and then you’ve got something!”



WHAT PRINCE WON’T TALK ABOUT

Prince is way more into making music than talking about how he makes it, and, as a result, he seldom divulges the juicy gear details GP readers crave. In fact, responding to my query about the role of compression and EQ in the sparkling direct-into-the board tones he obtains from his ‘70s-era Hohner guitar, Prince said: “The idea is to do nothing—it’s all about voltage through the board. I don’t want it limited or compressed, I want to electrify it.” However, Prince’s rig hasn’t changed much since our January ’00 interview, when guitar tech Takumi helped us diagram his boss’ setup. You can check out that issue for the full story, but here are some basics:

Guitars ‘70s Hohner, Custom Schecter {“Habibe”}, “Cloud” guitar {original made by David Rusan; Prince now plays a Schecter-made version}, Ibanez George Benson, Fender Stratocaster {with bridge humbucker and Floyd Rose locking trem}.

Amps Mesa/Boogie Heartbreaker

Speaker Cabinets Mesa/Boogie Recto 2x12 {loaded with Celestion Vintage 30s}.

Rack Gear Digital Music MX-8, Roland GP-16, Zoom 9030, Rane ME30, Behringer Denoiser, Furman PL-8, Furman PL-Pro, Furman AR-117.

Stompboxes Boss DS-2 Turbo Overdrive, Boss VB-2 Vibrato, Boss DD-3 Digital Delay, Boss FL-2 Flanger, Boss OC-2 Octave, Boss BD-2 Blues Driver, Dunlop CryBaby wah, Dunlop Rotovibe.


PRINCE’S RIGHT-HAND FUNK MAN

A funkster par excellence, Mike Scott cut his teeth in Washington D.C., before relocating to Minneapolis, where he became the ace session guitarist for producers Jimmy Jam and Terry Lewis. Under the duo’s FlyteTyme operation, Scott played on albums by Janet Jackson, Mary J. Blige, TLC, Mariah Carey, Lionel Richie, Vanessa Williams, Patti LaBelle, and many others before joining Prince’s New Power Generation in 1994. Scott left NPG in 1996, and re-joined the band earlier this year.

What were you doing when you got the call to come back to NPG?
I was touring in Italy with some ex-members of a previous Prince band—Sonny Thompson [bass], Michael Bland [drums], and Tommy Barbarella [keyboards]. Initially, I was called to do some spot dates with Prince. But, after we did the Ellen DeGeneres Show, he asked me to join the band for this tour.

Prince hasn’t used a rhythm guitarist in some time—why did he want you for this tour?
When Prince isn’t playing guitar, he wants to feel like he’s still getting that same funk sound. I think he auditioned some other guitarists, but I guess he didn’t find what he needed.

So what does it take to be a member of NPG?
All I can say is, if you’re going to come into this band, you’d better be tight. When he gives you a funky rhythm part, he will only show it to you once, and you need to hit it like you own it every time after that.

Is there a certain tone you get that works well with his guitar sound?
Prince mostly plays single-coils, so I try to give him a clean, bright tone that’s similar, but slightly different. That’s why I use guitars with humbuckers or P-90s. The biggest challenge is just staying funky and in the pocket. If Prince plays up high on the neck, I’ll play something low to complement him.

What guitars are you playing on the Musicology tour?
I’m using a Gretsch 6120N New Nashville, a Hamer Monaco III, and a Taylor acoustic. I run the electrics through a Genz-Benz El Diablo amp with a Genz-Benz 2x12 cabinet, and my onstage effects consist of Line 6 DS-4 and DM-4 pedals, a Fulltone Fat Boost overdrive, an EBS BassIQ envelope filter, and a Dunlop CryBaby 535.

What’s the most important thing you’ve learned from playing with Prince?
Since I’ve been playing with him I’ve learned to play the whole guitar. He really took me to school on that. Prince always blows me away with the guitar harmonies he comes up with. When he and I are comping on some funky rhythm thing, he’s either playing some mad genius harmony with the part I’m playing or spitting some crazy, rhythmic groove that’s funky like a monkey—you can smell it in the air.

Prince has an endless supply of harmonic ideas, and I’ve learned so much from him about showmanship and playing in the pocket. In a live concert—when the adrenalin is flowing, the crowd is screaming, and you’re trying to hit a dance step while playing some rhythm part—the pocket can get away from you if you let it. He taught me to be more aware of the pocket so everything stays funky. I used to play all these fast, Scott Henderson-type things until Prince told me, “I’m going to kick your butt if I hear you playing more than one note at a time!”

thanks very much Supernova!
I enjoyed very much the reading,
you're the man!

Co-sign, 7salles - thanks Supernova!

Even though Prince doesn't go into much 'technical' detail (though I wouldn't understand it, anyway!) I thought it was a GREAT read. I particularly liked:

"And the benefit of having your artistic freedom is that there won't be anyone forcing you to do a remix or anything else you don't want to do. I don't believe in remixing songs that are the key of life. When the record people get in there and say, ‘Why don’t you do it like this?’ Well, that’s their prerogative if they own the contract. But bands break-up over contracts—just talk to the Eagles about that. I’ve asked record execs why they aren’t under contract with each other, and all I get is, ‘That’s a very funny idea, Prince.’ See, the fight for me has always been about freedom and ownership. It’s simply preposterous to me that someone is going to own your work in perpetuity.”

You tell 'em, Princey!

One thing puzzles me, though - when Prince says he doesn't believe in remixing songs that are the 'key of life', my interpretation of this is that (a) he doesn't like pandering to the corporate machine - i.e. he doesn't feel he should have to make a song more 'accessible' for the masses and (b) he doesn't wish to tamper with something that, in effect, is 'perfect' as it is. However, this didn't stop him from threatening to release re-recorded versions of his albums several years ago! Or doesn't he feel they were perfectly formed - or a perfect example of his creative mindset - at that time? (Or maybe I'm just reading this the wrong way). I know it was an ownership issue, however I can't see why he'd dislike remixing his own tracks but is quite happy to re-record entire songs/albums right from scratch! (Especially when, during his 'freedom' years, he's released remixes of many songs - 'Somebody's Somebody', 'The Good Life'. 'TGRES', to name a few). If that's the case - give us NEW B-sides instead! Fans, who'd already bought the album, would be more enticed to buy singles. (Not that I dislike remixes - some of my favourite P tracks are the remixed versions. But I do miss the old days when every single had a new, unreleased track accompanying it. )

Anyway, enough of my rubbish, does anybody know if this magazine is published in the UK?

IF PRINCE doesnt want 2 REveal HIs SEcret SOUND then he should not talk 2 the magazine! This man is so secrative he just doesnt want u 2 know what his secret sounds R!END OF STOry!
Your gonna have 2 find it ur self

7salles said:

You're very welcome!


Somebody let Salles in on that situation...

onenitealone said:

You're welcome!


Actually, the re-recording of his albums isn't the same as remixing those songs. And I believe (I could be wrong) that he was bluffing anyway. See, he can re-record his old albums (after a certain timeframe) and have ownership of those re-recorded master tapes before he's allowed to receive ownership of the originally recorded master tapes.

If he re-recorded his WB catalog or remixed any of his recent songs it would be done on his own terms, instead of compromising with record execs.

Remixing songs is something that many artists don't want to do. Meshell Ndegeocello didn't want her song "Pocketbook" from the Cookie album remixed, but she had to compromise with her record company and that remix is included as the last song on that album.

Doing things on your own terms is a good gig to have if you can get it, , and Prince is used to being in that position, even when he was at WB. But it doesn't always necessarily mean that you don't make one iota of compromise with anybody. It just means that your vision for your work isn't compromised. I hope that made sense.


I have no idea.

TipN4U said:

TipN4U,

VERY generous of U. Isn't it nice 2 know people still care 4 one another! CUDOS 2 U

TipN4U!! huh? how lazy I am. i haven´t noticed your message. sorry!
Thanks for the offer, i appreciate very much, but if it takes too much of your time don´t do it
but thanks! an if it really is not any boring thing for you to do. You´re welcome!

Supernova is a girl? I am confused

7salles said:

- I saw it at a bookstore here at the shopping mall where I work at.
Too bad it´s very expensive (12 dollars) but the pictures are cool. If somebody could please scan the pages, tell me...
Thanks

Is this a must 2 read article he looks goooood on the cover I must get the book just 4 the cover but; of course I will read his words.

HelloKittyIsMyFriend said:

THANK U.

ian said:

There was a lot of guitar nerd stuff in the last Guitar Player on which Prince was on the cover. Think it was 2000. Even had a little diagram of his guitar pedals and stage equipment. For someone like me it's about as interesting as staring at a haystack, but it was cool nonetheless. I enjoyed hearing Prince talk about how he got certain sounds out of his guitar on Rave.

faniam said:

Thank you, second.

Nep2nes said:

Oh yeah I read that one... but most of the real guitar geekiness was assumptions by the writer and info from Prince's guitar tech - not from Prince himself, if I recall correctly. I'll dig it out and have another read though

That said, this new article was pretty cool anyway. So I'll shut up complaining!
[This message was edited Sat Jun 26 12:05:59 2004 by ian]

jazzmaster said:

Prince is the "Bruce Lee" of music


[This message was edited Sat Jun 26 16:31:10 2004 by mrmarcus]

Supernova said:

I agree with every point and assessment u made. I've felt the same way eversince P said that he was rerecording his back catalogue!