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Reply #150 posted 11/10/17 8:20pm

OldFriends4Sal
e

avatar

moderator

I'm going through a timeline and Cat Glover officially joined the band

Cat was a guest of Devin Devasquez @ a dinner party sometimes in late December 1986 early 1987

I met Prince... the formal introduction was at his house in Beverly Hills. I was invited by Devin DeVasquez, a Playboy Playmate who was also on Star Search (as a spokemodel). She was dating Prince at the time. Prince's father (John L. Nelson) and DeVasquez were good friends.
She invited me to Prince's house for dinner and I met him when he walked in with a DAT (digital audio tape) or a cassette tape and it was "Housequake." He wanted Fargnoli (Prince's then manager) to come upstairs and hear it. He saw me sitting at the table wearing all purple—suspenders, high-waisted pants—and I had on that chauffeur's hat that I gave him for his birthday. (He wore it singing) "Forever in My Life" in (the concert film) "Sign o' the Times." He said "Who is that sitting at the table?" I was invited there for a friendly dinner by DeVaquez and he popped up, looking cute as ever, I might say.
After dinner we all went to a club. We took different cars and we ended up at a club called Voila in Beverly Hills, a private club, downstairs in a mall. I was sitting there with Fargnoli, DeVaquez, Prince and a couple of other people. Prince said (speaking in a low, raspy voice) "Cat, when a good song comes on will you dance with me?" I said "Sure!"

The first song came on and he didn't ask to me to dance. The second song came on; he didn't ask me to ask. On the third song, "Simply Irresistible" by Robert Palmer, he asked me to dance. I was wearing cowboy boots and a pair of Levi's jeans. He reached to hold my hands while we were dancing, but, I had leather gloves on, so, I couldn't feel anything.
He started doing dance steps and I started doing them; whatever he did, I did. I think he noticed that, so, he started doing them more and I started doing them more. I think we stayed on the dance floor for two songs. After that, the DJ played some kind of uptempo house music, which I love, being from Chicago. I remember I walked toward the DJ and there was a wall. I put my hands on the wall and started jackin' (a dance move closely associated with house music that originated in Chicago).

That's the night it all started.

.

.

The "Sign o' the Times" single cover...that was when Prince actually asked me to join his band. I had no idea what was going on.
He asked me to go by his house in Beverly Hills and pick up a dress. I flew to Minneapolis the next day and I had no idea that was the dress I was supposed to wear. But, that dress was supposed to be for Susannah Melvoin, Wendy's twin sister. It just so happened I fit the dress. I came to find out that was the dress he wanted me to wear for the cover and he didn't let me know what it was for.
Earl Jones, Jill Jones' uncle, did my hair. I put on the dress, they gave me Prince's glasses, Prince told me to play the guitar and they started shooting. That how it ended up on the cover.
By the way, that heart you see on the cover, was a thick glass mirror. It was so heavy and that's why you see my muscles. I was shaking holding that heart. I said "Prince, if you were going to make the heart black, you could just drawn a black cardboard heart and it would have been effortless."
But, he's smart and he's such a genius, he wanted it to look like him. I got it. If you're holding something heavy, I don't care if you're a baby, girl or woman, your muscles are going to show. Even my dad thought that was Prince. Prince's dad thought that was Prince. Amazing, right?

Cat%252C+Sign+o+the+times+Cover.jpg

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #151 posted 11/10/17 8:40pm

ISaidLifeIsJus
tAGame

avatar

bonatoc said:

It coulda been a single thread.
I can't detach the imagery of the movie from the album.

But maybe because I lived it from so close and so for real.
If you zoom this .gif @ 400%, you get the idea.




...or you can go to the movies.






Say, did I already write you about how I was in the front row in front of his mike?
(the org: "shut up already, damn!")


Quit

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Reply #152 posted 11/10/17 11:26pm

rap

OldFriends4Sale said:

this was the first official image/article I saw of the new band line up.
I believe it was in Rolling Stone magazine

carlson-sign_o_the_times__lightbox.jpg

PRINCE IN EUROPE: A PREVIEW OF HIS NEW SHOW

BY KURT LODER

IT'S FOUR IN THE MORNING, May 15th, at Quasimodo, a small, black-walled Berlin jazz cellar, but the beer is still flowing, and fresh hash smoke curls languidly through the hot, stuffy air. Some 300 people are packed into the place, most of them lucky holdovers from a set much earlier in the evening by the expatriate American singer Joy Ryder. Now they are crushed around the club's tiny stage, staring in popeyed wonder at the totally unexpected mystery gig currently under way.

There are three men in long, hooded robes on stage -- one playing sax, another bass, the third wringing wondrous sounds out of a Fairlight synthesizer. There is an amazing woman playing drums -- it's Sheila E. And at center stage, wearing a rhinestone-spangled black leather jacket and at least three different kinds of dangling earrings, his heroically coiffed hair gathered into a small ponytail at the back, stands a little guy with a peach-colored guitar. Yes, it's Prince.

"Wanna go home?" he asks, peering out at the crowd with a coy smile.

"Nooo!"

"Me neither," he says, then glances at the band. "I think we oughta play the blues in G." A flurry of T-Bone Walker-style guitar lines suddenly fills the room, modulating quickly into a series of unmistakable Hendrixisms. The song is Jimi's "Red House," sort of. "There's a beach house over yonder," Prince sings, in a playful approximation of the original lyrics. "That's where my sugar stays...." He shouts out another verse or two and then takes off into a wild, glass-rattling guitar solo that makes jaws drop around the room and jacks up the temperature maybe another ten degrees.

It has been a long and amazing night, and there's still no end in sight. Many hours before, Prince and his new ten-member group, fresh from warm-up gigs in Sweden (they'll reach the U.S. sometime in August) -- played the fifth show of their 1987 European tour at West Berlin's Deutschlandhalle to a riotous response. It was Prince's first appearance in the divided city, and local scribes were already clapping together reviews centered on such words as genius and fantastic and marveling at the show's tech data: the thirteen trucks required to carry the elaborate stage set, the 240,000 watts of lighting, the 110,000 watts of amplification, the fourteen wardrobe trunks, two for Prince alone. In short, the first of Prince's two sold-out concerts in Germany's hippest city was an unqualified success -- at least for the approximately 12,000 people who danced and cheered their way through it.

The Prince camp, however, was less than totally pleased. There were some minor missed cues, and the rhythms of the tour hadn't yet settled into a satisfying groove. It had also been a disconcerting day: several members of the band had spent the morning visiting East Berlin and were still weirded out by the ugly hassling they got from the Volkspolizei gorillas on the eastern side of the Checkpoint Charlie border crossing. (Backing singer Cat Glover, who had rather rashly made the trip wearing a hot-pink suit and a white navy officer's hat, had been detained at length over a visa foul-up.) There was a certain fatigue factor at work as well. Three of the musicians -- bassist Levi Seacer, saxaphonist Eric Leeds, and keyboard phenom Matt Fink -- do double duty in Madhouse, the jazz-instrumental quartet that opens each show, and might have been subconsciously husbanding their energies in anticipation of this postconcert surprise gig that Prince had laid on. So, while the first concert at the Deutschlandhalle had been extraordinarily good by any normal standard, it hadn't been great -- which is Prince's standard.

But this surprise set at Quasimodo has been wonderfully invigorating. Madhouse opened up, blowing straight, muscular jazz and feeling more at home here than in front of the rock-funk crowds drawn to Prince concerts. Then Prince popped onstage, commandeered a synth and led the group into a steaming rendition of "Strange Relationship," from the Sign o' the Times album. That evolved into an extended jam ("Just keep on top of it!" Prince shouted), followed by the Hendrix workout. Next came a red-hot version of "Bodyheat," the James Brown dance classic, followed by a delicate and beautifully sung "Just My Imagination," the old Temptations hit, with more band members crowding onstage to join in. "Housequake," another song from the Sign LP, with Sheila E. whomping out a monster beat, loosened the roof on the place, and the closer, "It's Gonna Be a Beautiful Night," with Prince briefly taking over on drums, blew the sucker completely off. The crowd was a puddle of glee, most patrons unable to believe what they'd just seen (and free of charge). Then, quicker than you could say, "Elvis has left the building," Prince was gone.

This hour-long off-the-cuff jam -- a rare up-close demonstration of Prince's sensational powers as an instrumentalist, an improviser and (lest we forget) a singer -- was apparently just the tonic the whole troupe needed. By the following night, considerably refreshed and still buzzing from the Quasimodo gig, Prince and his band were primed to kill -- and proceeded, unforgettably, to do so.

The Friday-night crowd, another sellout, was already on its feet and screaming as an ocean of smoke poured out onto the stage. From somewhere within this impenetrable fog there erupted an abstract barrage of Hendrixian guitar sirens. A purple spotlight cut through the haze, revealing Prince in a long black leather coat and a pair of gold-rimmed glasses, playing his peach-toned axe. As the electro-thump drumbeat that animates the title track of Sign o' the Times boomed through the hall, he began singing, and a back-light spot flashed on, silhouetting Cat Glover -- clad in the black bra and bikini briefs she would wear through most of the show -- gyrating wildly on an elevated platform at stage right. As the number built to a crescendo, the rest of the group came trooping down a long, winding ramp at stage left, each pummeling a drum with marching-band precision. Joining Prince, they spread out n the stage, beating out a resounding tattoo. It was an exhilarating entrance.

Then the lights went out, and the extraordinary stage set sizzled to life. An elaborate cityscape built on two levels, it echoes the cover of Sign o' the Times: a towering, impressionistic metropolis festooned with flashing neon signs -- UPTOWN, FUNK CORNER, BAR & GRILL, GIRLS, GIRLS, GIRLS. With all the lights popping on and off, the effect was that of a giant pinball machine. The band launched into the rollicking "Play in the Sunshine." On the stage level were Prince, bassist Seacer, rhythm guitarist Miko Weaver and backup vocalists Glover (whose picture on the sleeve of the "Sign" single has been widely mistaken to be Prince in drag), Greg Brooks and Wally Safford (two former Prince bodyguards). Elevated above them, and all but buried within her drum set, was Sheila E. And on the second tier, high above the stage, stood the two horn players, sax man Leeds and trumpeter Matt "Atlanta Bliss" Blistan, and keyboardists Fink and Boni Boyer.

Over the next ninety minutes, Prince and his extraordinary group ran, jumped, crawled and danced their way tirelessly through nineteen songs, ten of them from Sign o' the Times. Some numbers (the almost balladic version of "Little Red Corvette," for instance) were essentially abbreviated acknowledgments of past hits, but Prince did pull out the stops for certain oldies -- in particular a thunder-and-lightning performance of "Purple Rain" turned the house into a swaying sea of upraised arms. Equally memorable was the furious run-through of "1999" that closed the main part of the show, and the ultrafunk attack on "Kiss" that ended the first encore.

But in general it was the new material that was most powerfully presented. "Housequake" lived right up to its title and then some. The razor-riffed "Hot Thing" and the irresistibly exuberant "I Could Never Take the Place of Your Man" came across as instant and undeniable hits. On a steamier note, "If I Was Your Girlfriend" provided a perfect erotic set piece: as the song slithered to a close, Prince and the barely clad Glover, embracing before a giant, pink plastic heart, slowly went tilting back upon it into an unambiguous missionary positions as two neon signs high above the stage alternately flashed the words SEX and LOVE.

Throughout all of this, the band was spectacular. Prince has been listening to a lot of Duke Ellington and preelectric Miles Davis lately, and the show, while louder and maybe even funkier than ever, was also mightily enriched with jazz flourishes. The result, quite often, was an almost orchestral rock-jazz synthesis that was both harmonically exciting and (thanks to Sheila E. -- surely the world's hottest drummer in high-heeled pumps) relentlessly funky.

And the best came last. Prince started "The Cross" alone and shirtless, strumming the simple opening chords on his guitar as lighting effects flickered behind the darkened cityscape above him. Then the song started to build -- drums wading in, then fully cranked guitars, then the full band -- until the number attained an enormous, hall-shaking roar, with Prince soloing off into the stratosphere as a shower of mulitcolored silk flowers rained onto the stage. From there, the band jumped straight into "It's Gonna Be a Beautiful Night," which had the whole crowd chanting and stomping along with such abandon that certain far sections of the balcony seemed in danger off crashing to the main floor. Prince was out the stage door, into the limo and halfway back to his hotel before the cheering stopped.

(RS 503)

When and where was this photo taken??

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Reply #153 posted 11/11/17 11:37am

OldFriends4Sal
e

avatar

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The information is in the article. It is from she being discussed in the article.

rap said:

OldFriends4Sale said:

this was the first official image/article I saw of the new band line up.
I believe it was in Rolling Stone magazine

carlson-sign_o_the_times__lightbox.jpg

PRINCE IN EUROPE: A PREVIEW OF HIS NEW SHOW

BY KURT LODER

IT'S FOUR IN THE MORNING, May 15th, at Quasimodo, a small, black-walled Berlin jazz cellar, but the beer is still flowing, and fresh hash smoke curls languidly through the hot, stuffy air. Some 300 people are packed into the place, most of them lucky holdovers from a set much earlier in the evening by the expatriate American singer Joy Ryder. Now they are crushed around the club's tiny stage, staring in popeyed wonder at the totally unexpected mystery gig currently under way.

There are three men in long, hooded robes on stage -- one playing sax, another bass, the third wringing wondrous sounds out of a Fairlight synthesizer. There is an amazing woman playing drums -- it's Sheila E. And at center stage, wearing a rhinestone-spangled black leather jacket and at least three different kinds of dangling earrings, his heroically coiffed hair gathered into a small ponytail at the back, stands a little guy with a peach-colored guitar. Yes, it's Prince.

"Wanna go home?" he asks, peering out at the crowd with a coy smile.

"Nooo!"

"Me neither," he says, then glances at the band. "I think we oughta play the blues in G." A flurry of T-Bone Walker-style guitar lines suddenly fills the room, modulating quickly into a series of unmistakable Hendrixisms. The song is Jimi's "Red House," sort of. "There's a beach house over yonder," Prince sings, in a playful approximation of the original lyrics. "That's where my sugar stays...." He shouts out another verse or two and then takes off into a wild, glass-rattling guitar solo that makes jaws drop around the room and jacks up the temperature maybe another ten degrees.

It has been a long and amazing night, and there's still no end in sight. Many hours before, Prince and his new ten-member group, fresh from warm-up gigs in Sweden (they'll reach the U.S. sometime in August) -- played the fifth show of their 1987 European tour at West Berlin's Deutschlandhalle to a riotous response. It was Prince's first appearance in the divided city, and local scribes were already clapping together reviews centered on such words as genius and fantastic and marveling at the show's tech data: the thirteen trucks required to carry the elaborate stage set, the 240,000 watts of lighting, the 110,000 watts of amplification, the fourteen wardrobe trunks, two for Prince alone. In short, the first of Prince's two sold-out concerts in Germany's hippest city was an unqualified success -- at least for the approximately 12,000 people who danced and cheered their way through it.

The Prince camp, however, was less than totally pleased. There were some minor missed cues, and the rhythms of the tour hadn't yet settled into a satisfying groove. It had also been a disconcerting day: several members of the band had spent the morning visiting East Berlin and were still weirded out by the ugly hassling they got from the Volkspolizei gorillas on the eastern side of the Checkpoint Charlie border crossing. (Backing singer Cat Glover, who had rather rashly made the trip wearing a hot-pink suit and a white navy officer's hat, had been detained at length over a visa foul-up.) There was a certain fatigue factor at work as well. Three of the musicians -- bassist Levi Seacer, saxaphonist Eric Leeds, and keyboard phenom Matt Fink -- do double duty in Madhouse, the jazz-instrumental quartet that opens each show, and might have been subconsciously husbanding their energies in anticipation of this postconcert surprise gig that Prince had laid on. So, while the first concert at the Deutschlandhalle had been extraordinarily good by any normal standard, it hadn't been great -- which is Prince's standard.

But this surprise set at Quasimodo has been wonderfully invigorating. Madhouse opened up, blowing straight, muscular jazz and feeling more at home here than in front of the rock-funk crowds drawn to Prince concerts. Then Prince popped onstage, commandeered a synth and led the group into a steaming rendition of "Strange Relationship," from the Sign o' the Times album. That evolved into an extended jam ("Just keep on top of it!" Prince shouted), followed by the Hendrix workout. Next came a red-hot version of "Bodyheat," the James Brown dance classic, followed by a delicate and beautifully sung "Just My Imagination," the old Temptations hit, with more band members crowding onstage to join in. "Housequake," another song from the Sign LP, with Sheila E. whomping out a monster beat, loosened the roof on the place, and the closer, "It's Gonna Be a Beautiful Night," with Prince briefly taking over on drums, blew the sucker completely off. The crowd was a puddle of glee, most patrons unable to believe what they'd just seen (and free of charge). Then, quicker than you could say, "Elvis has left the building," Prince was gone.

This hour-long off-the-cuff jam -- a rare up-close demonstration of Prince's sensational powers as an instrumentalist, an improviser and (lest we forget) a singer -- was apparently just the tonic the whole troupe needed. By the following night, considerably refreshed and still buzzing from the Quasimodo gig, Prince and his band were primed to kill -- and proceeded, unforgettably, to do so.

The Friday-night crowd, another sellout, was already on its feet and screaming as an ocean of smoke poured out onto the stage. From somewhere within this impenetrable fog there erupted an abstract barrage of Hendrixian guitar sirens. A purple spotlight cut through the haze, revealing Prince in a long black leather coat and a pair of gold-rimmed glasses, playing his peach-toned axe. As the electro-thump drumbeat that animates the title track of Sign o' the Times boomed through the hall, he began singing, and a back-light spot flashed on, silhouetting Cat Glover -- clad in the black bra and bikini briefs she would wear through most of the show -- gyrating wildly on an elevated platform at stage right. As the number built to a crescendo, the rest of the group came trooping down a long, winding ramp at stage left, each pummeling a drum with marching-band precision. Joining Prince, they spread out n the stage, beating out a resounding tattoo. It was an exhilarating entrance.

Then the lights went out, and the extraordinary stage set sizzled to life. An elaborate cityscape built on two levels, it echoes the cover of Sign o' the Times: a towering, impressionistic metropolis festooned with flashing neon signs -- UPTOWN, FUNK CORNER, BAR & GRILL, GIRLS, GIRLS, GIRLS. With all the lights popping on and off, the effect was that of a giant pinball machine. The band launched into the rollicking "Play in the Sunshine." On the stage level were Prince, bassist Seacer, rhythm guitarist Miko Weaver and backup vocalists Glover (whose picture on the sleeve of the "Sign" single has been widely mistaken to be Prince in drag), Greg Brooks and Wally Safford (two former Prince bodyguards). Elevated above them, and all but buried within her drum set, was Sheila E. And on the second tier, high above the stage, stood the two horn players, sax man Leeds and trumpeter Matt "Atlanta Bliss" Blistan, and keyboardists Fink and Boni Boyer.

Over the next ninety minutes, Prince and his extraordinary group ran, jumped, crawled and danced their way tirelessly through nineteen songs, ten of them from Sign o' the Times. Some numbers (the almost balladic version of "Little Red Corvette," for instance) were essentially abbreviated acknowledgments of past hits, but Prince did pull out the stops for certain oldies -- in particular a thunder-and-lightning performance of "Purple Rain" turned the house into a swaying sea of upraised arms. Equally memorable was the furious run-through of "1999" that closed the main part of the show, and the ultrafunk attack on "Kiss" that ended the first encore.

But in general it was the new material that was most powerfully presented. "Housequake" lived right up to its title and then some. The razor-riffed "Hot Thing" and the irresistibly exuberant "I Could Never Take the Place of Your Man" came across as instant and undeniable hits. On a steamier note, "If I Was Your Girlfriend" provided a perfect erotic set piece: as the song slithered to a close, Prince and the barely clad Glover, embracing before a giant, pink plastic heart, slowly went tilting back upon it into an unambiguous missionary positions as two neon signs high above the stage alternately flashed the words SEX and LOVE.

Throughout all of this, the band was spectacular. Prince has been listening to a lot of Duke Ellington and preelectric Miles Davis lately, and the show, while louder and maybe even funkier than ever, was also mightily enriched with jazz flourishes. The result, quite often, was an almost orchestral rock-jazz synthesis that was both harmonically exciting and (thanks to Sheila E. -- surely the world's hottest drummer in high-heeled pumps) relentlessly funky.

And the best came last. Prince started "The Cross" alone and shirtless, strumming the simple opening chords on his guitar as lighting effects flickered behind the darkened cityscape above him. Then the song started to build -- drums wading in, then fully cranked guitars, then the full band -- until the number attained an enormous, hall-shaking roar, with Prince soloing off into the stratosphere as a shower of mulitcolored silk flowers rained onto the stage. From there, the band jumped straight into "It's Gonna Be a Beautiful Night," which had the whole crowd chanting and stomping along with such abandon that certain far sections of the balcony seemed in danger off crashing to the main floor. Prince was out the stage door, into the limo and halfway back to his hotel before the cheering stopped.

(RS 503)

When and where was this photo taken??

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #154 posted 11/14/17 3:40am

bonatoc

avatar

Mo' like "he was back at the studio before the cheering stopped", damn!
Or at least "at a private gig", geez.
Great article.

But we didn't know, did we? Neither did the reporter.
We got it shortly, there, after.

Thank the damn TBA.


A year after it happened I got my pristine K7 of le New Morning '87 concert.

For years, I didn't realize that and Small Club both shared versions of "Just My Imagination",
I didn't care for the tracks name: "check, check, rolling!"
Just press play, y'know.

Le New Morning 1987 is really a great audience recording.
You can feel Prince, Levi, Sheila, Dr., they're all in the room, ignore the hiss. Fantastic clean sound solos from Prince.
And the crowd is great, "Just My Imagination" is as peaceful and sexy as Small Club's is ferocious and uplifted.

Seesaw or not, the girl is laughing, and that's "Paisley Park on tour", right there.
For love is the color this place imparts.
You can only guess Prince's funny face.
"Get sexy with it! Humm-hmm-hmm...".

SKipper teaching French Girls and Boys to sing, and they all laugh.
They're all kinda naked. Just the emotional shoulder, y'know.
Doesn't get much pure than that, does it.

"Thank Uuuuu...".
Damn, Christopher.


[Edited 11/14/17 3:59am]

Africa, Cap'n Crunch, Norma Jean, Sex and Cheerio's
Play my record double speed, feel the climax fit 4 a king
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Reply #155 posted 11/14/17 2:11pm

214

bonatoc said:

Mo' like "he was back at the studio before the cheering stopped", damn!
Or at least "at a private gig", geez.
Great article.

But we didn't know, did we? Neither did the reporter.
We got it shortly, there, after.

Thank the damn TBA.


A year after it happened I got my pristine K7 of le New Morning '87 concert.

For years, I didn't realize that and Small Club both shared versions of "Just My Imagination",
I didn't care for the tracks name: "check, check, rolling!"
Just press play, y'know.

Le New Morning 1987 is really a great audience recording.
You can feel Prince, Levi, Sheila, Dr., they're all in the room, ignore the hiss. Fantastic clean sound solos from Prince.
And the crowd is great, "Just My Imagination" is as peaceful and sexy as Small Club's is ferocious and uplifted.

Seesaw or not, the girl is laughing, and that's "Paisley Park on tour", right there.
For love is the color this place imparts.
You can only guess Prince's funny face.
"Get sexy with it! Humm-hmm-hmm...".

SKipper teaching French Girls and Boys to sing, and they all laugh.
They're all kinda naked. Just the emotional shoulder, y'know.
Doesn't get much pure than that, does it.

"Thank Uuuuu...".
Damn, Christopher.


[Edited 11/14/17 3:59am]

I fuckin love your thoughts, thank you.

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Reply #156 posted 11/15/17 6:44pm

1725topp

OldFriends4Sale said:

not the Dream Factory, nor the Camille or Crystal Ball

the SOTT album music singles long versions bsides (1987)outtakes the band the style the times

not the concert film...there is a link below 2 discuss the SOTT film

Prince

Camille

Susan Rogers

Coke Johnson

Dr Fink

Sheila E

Eric Leeds
Miko Weaver

Levi Seacer jr
Atlanta Bliss
Gregory Brooks
Wally Safford
Boni Boyer
Cat Glover

14192643_1091069754279551_6392836292158442839_n.jpg?oh=28256677ed02bd9e0b32fe25dc47923f&oe=5A71D9EB

Sign O the Time movie concert

http://prince.org/msg/7/447838

Prince & his Madhouse 8

http://prince.org/msg/7/448090

the Camille era[aborted] ~1987

http://prince.org/msg/7/4...?&pg=1

the Black Album era[aborted] ~1988

http://prince.org/msg/7/448846

*

We have definitely had our disagreements over the years and will probably have even more. That's the nature of Prince fans. But, I truly appreciate your era threads, especially for how they can serve to inform new fans as well as remind us, from time to time, why we fell in love with that skinny mofo with the high voice!

 Reply w/quote - E-mail - orgNote - Report post to moderator
Reply #157 posted 11/16/17 7:22am

OldFriends4Sal
e

avatar

moderator

1725topp said:

OldFriends4Sale said:

not the Dream Factory, nor the Camille or Crystal Ball

the SOTT album music singles long versions bsides (1987)outtakes the band the style the times

not the concert film...there is a link below 2 discuss the SOTT film

Prince

Camille

Susan Rogers

Coke Johnson

Dr Fink

Sheila E

Eric Leeds
Miko Weaver

Levi Seacer jr
Atlanta Bliss
Gregory Brooks
Wally Safford
Boni Boyer
Cat Glover

14192643_1091069754279551_6392836292158442839_n.jpg?oh=28256677ed02bd9e0b32fe25dc47923f&oe=5A71D9EB

Sign O the Time movie concert

http://prince.org/msg/7/447838

Prince & his Madhouse 8

http://prince.org/msg/7/448090

the Camille era[aborted] ~1987

http://prince.org/msg/7/4...?&pg=1

the Black Album era[aborted] ~1988

http://prince.org/msg/7/448846

*

We have definitely had our disagreements over the years and will probably have even more. That's the nature of Prince fans. But, I truly appreciate your era threads, especially for how they can serve to inform new fans as well as remind us, from time to time, why we fell in love with that skinny mofo with the high voice!

We are grown men, mature enough to fight and then put on some Ballad of Dorothy Park GO Let's Work or the Line and know it is just a disagreement lol


Thank U 1725topp, we have to keep this thing we got...it's alive!!

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #158 posted 11/16/17 5:11pm

OldFriends4Sal
e

avatar

moderator

IT

[Verse 1]
I think about IT baby all the time, all right
IT feels so good IT must be a crime, all right
I want to do IT baby every day, all right
In a bed, on the stairs, anywhere, all right
I want to do IT baby all the time, all right
Because when we do IT girl, IT's so divine, all right
I could be guilty for my honesty, all right
But I've got to tell you what you mean to me, all right (all right)
With you I swear, I'm a maniac, all right
You see IT ain't no joke, just a natural fact, all right

[Chorus]
I want to do IT baby all the time, all right
Because when we do IT girl, IT's so divine, all right
Doing IT, doing IT, doing IT, doing IT

[Verse 2]
I could be guilty for my honesty, all right
But I've got to tell you what you mean to me, all right
(yeah - I want to)

[Chorus](x3)
I want to do IT baby all the time, all right
Because when we do IT girl, IT's so divine, all right
Doing IT, doing IT, doing IT, doing IT

(You want to) think about IT, (You want to) think about IT (baby, all the time)
Think about IT all the time (fucking on your mind)
Feels so good IT must be a crime

[Outro]
Doing IT, doing IT, doing IT, doing IT
(Come on, come on)

Prince_sign-o-the-times_250.jpg

Initial tracking took place on 11 May 1986 at Sunset Sound, Hollywood, CA, USA (the day after Frustration and If I Could Get Your Attention and the same day as Boy U Bad).

The track was initially included as the fifth track on the first disc on the 3 June 1986 and 18 July 1986 configurations of Dream Factory.

It was kept for inclusion as the fifth track on the first disc as the album developed into the triple-album Crystal Ball on the 30 November 1986 configuration, which was eventually pared down and became Sign O' The Times.

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #159 posted 11/16/17 5:42pm

OldFriends4Sal
e

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Image may contain: 1 person, outdoor

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #160 posted 11/16/17 6:08pm

ISaidLifeIsJus
tAGame

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OldFriends4Sale said:

Image may contain: 1 person, outdoor

Duane and Prince.

I havent seen this pic before.

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Reply #161 posted 11/16/17 9:41pm

1725topp

OldFriends4Sale said:

Image may contain: 1 person, outdoor

*

2 funky! That's one pimp-a-licious dude right there!

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Reply #162 posted 11/17/17 6:03am

nelcp777

OldFriends4Sale said:

Image may contain: 1 person, outdoor

Thanks, nice pic, Never seen this before. Thank you!!!!

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Reply #163 posted 11/17/17 7:16am

OldFriends4Sal
e

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OldFriends4Sale said:

Image may contain: 1 person, standing

Levi is wearing everything Prince has on almost

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #164 posted 11/17/17 7:51am

nelcp777

OldFriends4Sale said:

OldFriends4Sale said:

Image may contain: 1 person, standing

Levi is wearing everything Prince has on almost

He is, never really paid attention. Miko's outfit, I am not too sure about.

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Reply #165 posted 11/17/17 8:23am

OldFriends4Sal
e

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nelcp777 said:

OldFriends4Sale said:

Levi is wearing everything Prince has on almost

He is, never really paid attention. Miko's outfit, I am not too sure about.

that is true, on the SOTT he seems to only wear the turtleneck outfits yellow/cream, black, white, blue

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #166 posted 11/18/17 1:50pm

OldFriends4Sal
e

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Dierks Studios Mobile 2 truck, June 1987 during the Sign '0 The Times tour in Rotterdam, Netherlands.
What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #167 posted 11/18/17 2:00pm

OldFriends4Sal
e

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OldFriends4Sale said:

the Ballad of Dorothy Parker

Dorothy was a waitress on the promenade
She worked the night shift
Dishwater blonde, tall and fine
She got a lot of tips

Well, earlier I'd been talkin' stuff

In a violent room
Fighting with lovers past
I needed someone with a quicker wit than mine
Dorothy was fast

Well, I ordered, "Yeah, let me get a fruit cocktail, I ain't to hungry"
Dorothy laughed
She said "Sounds like a real man to me"
"You're kinda cute, you want to take a bath?
(Do you want to, do you want to, bath)

Awh I said "Cool, but I'm leaving my pants on" (she say)
"'Cause I'm kind of going with someone"
She said "Sounds like a real man to me"
"Mind if I turn on the radio?"
"Oh, my favorite song" she said
And it was Joni singing "Help me I think I'm falling"

Brrring the phone rang and she said
"Whoever's calling can't be as cute as you"
Right then I knew I was through

Dorothy Parker was cool)

My pants where wet, they came off
But she didn't see the movie
'Cause she hadn't read the book first

Instead she pretended she was blind
An affliction brought on by a witch's curse
Dorothy made me laugh (ha ha)
I felt much better so I went back
To the violent room (tell us what you did)
Let me tell you what I did

I took another bubble bath with my pants on
All the fighting stopped
Next time I'll do it sooner
This is the ballad of Dorothy Parker

Dorothy Parker, Dorothy Parker, Dorothy Parker
Sweet hoo hoo ooo
Dorothy Parker, Dorothy Parker, Dorothy Parker
Well
Dorothy Parker, Dorothy Parker
Well, ohh, well, aohh

Prince_sign-o-the-times_250.jpg

Do you know why he picked Sunset Sound to work out of?

Susan Rogers: I don't know. When I joined him, he'd been working there and he just loved it. It was that DeMedio console. When we planned Paisley Park, he commissioned the great Frank DeMedio to build him a copy of that console at Sunset Sound.

Paul Wolff: I built all the EQs for that console when I owned API.

Susan Rogers: Oh, you did? When Prince got the new DeMedio console for Paisley Park, Frank DeMedio came out to check the console. After he was finished, he swept it. That console had a flat [frequency response], from 0 Hz to 70 kHz. The signal path was all discrete circuits – there were no integrated circuits. It had transformers and everything, but it was just flat. What a console! You may know the song, "The Ballad of Dorothy Parker." That's the first song we did on that console. Prince was so eager to record that that he sent Frank home. He just said, "Go home, and let Susan finish it." I put up tape, and we recorded the song. I'm thinking to myself, "Oh, my god; he's going to kill me. There's something wrong with this console." It sounded all muffled, because Frank hadn't finished troubleshooting it. It's like, "I know this console is flat. What's going on? There's no high-end!" I kept thinking that any second he was going to stop, yell at me, have a big fit, go upstairs, and then I can figure out what's wrong. But he wouldn't! He just kept going, kept overdubbing and doing the vocals, and then we mixed it. He finally stopped when we mixed it, 24-hours later. He finally went to bed; I got the voltmeter and saw that one half of the power supply's rails were down. Instead of bipolar [+/-] 15 volts, we just had 15 volts. We had half the headroom, and half the frequency response. It sounded muffled, but the song is about taking a bubble bath with his pants on. It was all a dream, so he didn't care!

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #168 posted 11/18/17 2:08pm

OldFriends4Sal
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STARFISH & COFFEE

It was seven forty-five we were all in line
To greet the teacher Miss Cathleen

First was Kevin, then came Lucy, third in line was me
All of us where ordinary compared to Cynthia Rose
She always stood at the back of the line
A smile beneath her nose
Her favorite number was twenty and every single day
If you asked her what she had for breakfast
This is what she'd say

Starfish and coffee
Maple syrup and jam
Butterscotch clouds, a tangerine
And a side order of ham
If you set your mind free, baby
Maybe you'd understand
Starfish and coffee
Maple syrup and jam

Cynthia wore the prettiest dress
With different color socks

Sometimes I wondered if the mates where in her lunchbox
Me and Lucy opened it when Cynthia wasn't around
Lucy cried, I almost died, you know what we found?

Starfish and coffee
Maple syrup and jam
Butterscotch clouds, a tangerine
And a side order of ham
If you set your mind free, honey
Maybe you'd understand
Starfish and coffee
Maple syrup and jam, oh oh

Ooh, hoo

Starfish and coffee

Cynthia had a happy face, just like the one she'd draw
On every wall in every school
But it's all right, it's for a worthy cause
Go on, Cynthia, keep singin'

Starfish and coffee
Maple syrup and jam
Butterscotch clouds, a tangerine
And a side order of ham
If you set your mind free, baby
Maybe you'd understand
Starfish and coffee
Maple syrup and jam, oh ho, oh (la-la-la-la-la-la-la)

Oh hoo (la-la-la-la-la-la-la), oh
Oh hoo (la-la-la-la-la-la-la-la)
Oh hoo (la-la-la-la-la-la-la-la)
(La-la-la-la-la-la-la-la-la-la-la)

Prince_sign-o-the-times_250.jpg

What's the matter with your life
Is poverty bringing U down?
Is the mailman jerking U 'round?
Did he put your million dollar check
In someone else's box?
Tell me, what's the matter with your world
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Reply #169 posted 11/20/17 5:12am

nelcp777

OldFriends4Sale said:

susan-studio.jpg

Dierks Studios Mobile 2 truck, June 1987 during the Sign '0 The Times tour in Rotterdam, Netherlands.

So cool!!!!!!!!!!!!!!!!!!!!!

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