Prince & Related Artists
All songs written or co-written
by Prince except where indicated.
This song is easily one of the best tracks on The Time's Corporate World album: a melodic rock number with a strong chorus. The verses are rapped by Morris Day, while female vocals join in on the chorus. It was planned to be the first single release from the album. It was offered to Cat later in 1989 when Prince had ceased production on the album.
This is Prince's recording of the track he gave to Mazaratti for their 1986 self-titled album. It is fairly close to the released version, containing lyrics inspired by the Wizard Of Oz, among the usual sexual innuendoes.
Mayte's vocals open and close this tranquil and subdued number in which speaks about a future without fear and barriers among people in a club called "Love4OneAnother." It was on an early configuration of Emancipation.
A 1,000 Hugs And Kisses
"A 1,000 Hugs And Kisses" was recorded with Rosie Gaines and parts of The NPG at Olympic Studios in London, June 1992, on the Diamonds And Pearls tour. The track was shortlisted for the MPLS project and it was later tried out in 1993 by Nona Gaye, which is the circulating version. The song is a restrained and seductive soul number. The arrangement features a rhythm guitar to the fore. An attractive horn riff adorns the chorus and a saxophone solo enters towards the end of the song. Gaye is longing for her lover to come home, offering him a thousand hugs and kisses upon his return, "Lock the door, you better unplug the phone, cause I want to give you a thousand reasons why we need to be alone."
A Place In Heaven
Intended for the Dream Factory project, this song is a lovely, melodic pop tune somewhat in the style of "Starfish And Coffee." Prince sings in his falsetto voice over a sparse piano backing and a light drum machine beat. The second version has Lisa singing lead. The song concerns the importance of maintaining a positive outlook and making the most of the life we have (recalling the theme of "Pop Life").
A Positive Place
Recorded at Larrabee Studios in October, 1990, this cut was to be on the "NPG" maxi single and features Robin Power on vocals. The fairly monotonous number segues from "My Tree" and describes themes presented in Graffiti Bridge. The song leads into "Come Outside And Play".
All Day, All Night
Prince's 26th birthday was celibrated with a gig at First Avenue that showcased new material. "All Day, All Night", along with "Roadhouse Garden" and "Our Destiny" were all premeired at this performance. The 3 songs were later worked on in the studio and "All Day, All Night" was eventually given to Jill Jones for her 1987 self-titled album. Her album version is very close to Prince and the Revolution's live take.
An alternate take exists of the track on the Carmen Electra album. The outtake more clearly resembles "Adore" from Prince's Sign 'O' The Times. It was remixed to hide its similarity a bit. The remix changed a few lyrics around as well.
Alphabet St. (acoustic)
This is most likely a bluesy demo of the Lovesexy track. It consists of Prince accompanying himself on acoustic guitar. Some of the lyrics are improvised but are fairly close to what was released.
This remix of "Alphabet St." is similar to the "This is not music" remix that was released as the B-side to the Lovesexy album track in 1988. However, this version contains additional lyrics and other ideas not found in the released B-side.
All My Dreams
This long, suite-like track segues from "Old Friends 4 Sale" on the original Parade album. Playful and adventurous, this impressive outtake contains two melodic themes. One features Wendy & Lisa on vocals while Prince's voice sounds if he singing through a phone. Without interrupting the flow, the song enters a dreamlike segment of two lovers where Prince's voice is slowed down half-speed and then ends climatically with a message to never give up on your dreams. The spoken intro to the slow speech appears on "Acknowledge Me."
This is Prince's original recording given to Howard Hewett's 1993 Allegiance album. A beautiful ballad, the title is not sung until the very end where Prince "hereby states (his) allegiance" to his lover, even comparing her to a drug he can't get enough of.
Around The World In
There are two alternate versions of "Around The World In A Day". One is a extension of the album track. This one is a more conventional-sounding pop/rock version with a prominent guitar and bass. The lyrics are identical to each other, however, and they are simply extended from the album track (with a few less backing vocals).
Prince's own recording of "Baby Go-Go," is very different from the released version on Nona Hendryx's 1987 album Female Trouble. Hendryx's version is a re-recording of the song by her musicians. Although retaining the funky bass riff, which is the basis of the melody, she turned Prince's lean, understated, and dramatic synth-led track into a big production number with thrusting horns and guitars to the fore.
You're A Trip
Prince's original recording of "Baby, You're A Trip" is close to the released version on Jill Jones' 1987 album. The original doesn't contain Clare Fischer's orchestral parts or the semi-spoken ending on Jill's version.
Written after the Dream Factory project was shelved, "The Ball" is a straightforward party song with no deep message, Prince has "no time for attitudes" and urges everybody to give up "any notion about the way things are" and come to the Crystal Ball to "get loose." Most of music was reused for "I No" on Lovesexy. In fact, Prince even kept the "party talk" that was used as a segue between "The Ball" and "Joy In Repetition." A part of the segue was used once again when most of the original recording of "Joy In Repetition" turned up on Graffiti Bridge. "The Ball" was intended to open side four of the 3-LP Crystal Ball.
The track from Batman is an edit of this outtake. The middle section is basically the same, but the 2 sections based on "200 Balloons" are extended. This version contains some samples from "House In Order", which was later given to Mavis Staples, and "Rave Unto The Joy Fantastic", which was supposed to be in the film but was replaced by "Partyman" after being rejected. "Batdance" replaced "Dance With The Devil", which Prince thought was too dark.
Be My Mirror
Vocals by Prince, this song is a sweet piano-based pop tune with a lullaby-like melody, addressed by a parent to his or her "special little girl." It appeared on the soundtrack to the original version of I'll Do Anything, but was shelved when the film was transformed from a musical to a sentimental comedy.
This version is the full version of the track that was edited down for Purple Rain. It contains a few more lyrics toward the end. It was recorded in September, 1983 at Sunset Sound.
Big Tall Wall
Written during the Dream Factory sessions, this track was replaced when other songs were recorded for the album. It was also considered for an early version of the Graffiti Bridge album. Sung in a variety of vocals by Prince, the lyrics concern protecting his lover form others by putting her behind a big tall wall. The lyrics also contain the phrase "I've got more holes than a golf course", later used as the segue preceding both "Alphabet St." and "Joy In Repetition". The music is almost demo-like, containing little more than a drum machine and an occasional guitar.
This is Prince's version of the song he gave to Japanese artist Kahoru Kohiruimaki from a studio session on September 3, 1989 (could be the date of the final mix). Kohiruimaki just substituted some of Prince's vocals for her own. Prince and an engineer can be heard talking before the track. It was collaborated with Levi Seacer, Jr.
Boom Boom, Can't You
Feel The Beat Of My Heart?
Originally recorded in 1982, this track was updated for a Jill Jones project in 1989. The medley of the chorus is quite similar to another 1982 track, "All The Critics Love U In New York" from 1999. The lyrics concern sexual excitement. A video for the song was produced, indicating that this may have been the first single from the unreleased album.
Brand New Boy
Intended to be the lead track on the M.C. Flash album, "Brand New Boy" is performed with lead vocals by Margie Cox and backing vocals by Prince. The song features prominent organ and guitar. The theme is basically about looking for a new lover.
This song was an early attempt by Prince to write a 1950s-style blues-based rock number, predating "Jack U Off" on Controversy and later "rockabilly" efforts. Even though the song sounds like a spontaneous live recording with his band, probably recorded by Prince on his own. A bluesy piano opening is followed by Prince's a cappella vocal intro before the song gets underway. The arrangement emphasizes an electric piano and a fast, fluid bassline. Sometimes called "Broken, Lonely And Crying," it was occasionally played on the Dirty Mind club tour the spring of 1981.
Can I Play With U?
Recorded in late December 1985 for Miles Davis for possible inclusion on his Tutu album, Miles and his keyboard player, Adam Holzman, added their parts to the tune, but when Prince heard the other material, he did not think his number fit and pulled it. The lyrics has Prince's speeded up vocals making advances on a girl, while the song is highlighted by Eric Leeds' funky sax riff and Prince's frenzied guitar playing.
Can't Stop This Feeling
Originally recorded in 1982, this song was later re-recorded and released on Graffiti Bridge, maintaining the lyrics from this 1986 effort. Recorded during the Dream Factory sessions (but actually intended for a Broadway musical), it segues into "We Can Funk" (1986 outtake). Two alternate mixes of the song exist from this year.
Carmen On Top
On an early configuration of Carmen Electra's 1993 self-tiled album, this slow funky song has a James Brown-like groove and horn arrangement. Tony M.'s vocals can be heard in various parts of the track.
This is Prince's version of the song that was released several years later on The Time's Pandemonium album. It was at one time considered for placement on Ice Cream Castle. The vocals are close to the released song and Prince's appearance as a waiter even remains intact.
Version #2 of "Come" was a reworking of the demo aired before the Los Angeles Act I concert on April 16, 1993. Prince re-recorded the lead vocal and added several musical embellishments, as well as a chorus. The song has a very "live" feel to it and was presented in the "interactive musical" Glam Slam Ulysses. Unfortunately the musical split the song into segments, so a full recording of this version is not circulating. An edit which contains the beginning and end of the song exists in better quality, but is missing some of the lyrics.
Prince aired a demo of this song at the Los Angeles Act I concert on April 16, 1993. It was reworked for the "interactive musical" Glam Slam Ulysses. This version utilizes a hypnotic drum beat while the lyrics evolved to include spiritual overtones. Prince re-recorded the song once again for his 1994 Come album.
Come Outside And Play
Recorded from the Larrabee sessions in October 1990 for the "New Power Generation" 12" single, Robin Power's question of "U want me 2 what?" and Ingrid Chavez's "Clap your hands and stomp your feet" segue into this song from "Eliminate The Negative" (1990 outtake). It's a fast rocking number with a catchy riff, acoustic guitar arrangements, and thick vocal overdubs by Prince.
This original clocks in around 11 minutes and is superb compared to the much edited down version on Purple Rain. Prince portrays himself as "computer blue" in search of the "righteous one," and in response, he is told that he is narrow-minded, chauvinistic and needs to be programmed to tell the difference between love and hate. Certain parts of this outtake were used on the Purple Rain tour.
Recorded while on the US Lovesexy tour, this is Prince's unreleased version of a song originally recorded by Fuzzy Haskins on the rare album A Whole Nother Thang (1976) and later re-recorded by Parlet on Pleasure Principle (1978). Fuzzy and Parlet were both offshoots of George Clinton's Parliament / Funkadelic group. Like a great number of musical "exercises" Prince does in the studio, it was never considered for any album. Nevertheless, his version is brilliant tight funk with a prominent organ and a catchy chorus.
Lead vocals by Morris Day, this title track from the Corporate World sessions is a funky song delivering a message that big companies should spend money to make a better world where kids can grow up safe. A similar theme is expressed in "It's Your World" on Pandemonium. The song includes a brief sample from Sly Stone's "Don't Call Me Nigger, Whitey."
Performed by Prince, this alternate take was recorded during the Dream Factory sessions. It differs from the released track in that several vocals by Wendy and Lisa were removed when Prince updated it for his Crystal Ball 3 LP set later in 1986. Also missing is the added instrumentation and sound effects throughout the song, as well as Clare Fischer's orchestra. The updated track was released in 1998 on the Crystal Ball 3 CD set.
The Dance Electric
This is Prince's 11:25-minute version of the song he gave to ex-band member Andre Cymone. The backing vocals by Wendy & Lisa were kept on Andre's version. The song played backwards was used as filler music during the Purple Rain tour. The lyrics dwell on the Second Coming.
Dance With The Devil
Intended for Batman, this dark eerie track utilizes a drum machine, piano, synth, and the voice of The Joker. The song is based on the scene where The Joker holds Vicki Vale hostage in Gotham's bell tower. Prince warns to be cautious of the devil's tricks. Some lyrics can be seen in the liner notes of the soundtrack.
This cut was recorded June 17, 1986, along with "Can't Stop This Feeling I Got" and "We Can Funk" for a Broadway musical. Despite a few lyrics at the start, this is more of a jam than a completed song. With a pumping bass and jazzy horns, Prince uses a slightly speeded up voice. It goes into an extended jam toward the end with Prince pleading to the band to follow his lead. The song was re-recorded for The Time's Corporate World album in 1989, but eventually turned up on Pandemonium.
Days Of Wild
Intended for The Gold Experience, this studio version is a repetitious mid-tempo funk workout with rapping about some negative aspects of the music business, weapons, drug abuse, and depicting women in a derogatory way. The version on Crystal Ball is live from Paisley Park.
Do Yourself A Favor
This is Prince's version of Pepe Willie's catchy soul/pop tune "If You See Me." Prince strips the music down to the bass and drums toward the end and incorporates a scene where he meets his former girlfriend and tries to impress her with his money. He uses his Morris Day-like voice to great effect. Pepe recalls hearing Prince's version around Spring 1982. Jesse Johnson released the song on his 1986 Shockadelica album.
A soft melodic, acoustic demo from 1979, this song is about the wanting of woman that belongs to another man. It was recorded for possible inclusion on Prince's self-titled album of the same year.
Don't Say U Love Me
Demo vocals by Prince, this song was offered to Paula Abdul, but turned down. Martika recorded the song with her vocals for Martika's Kitchen.
Don't You Wanna Ride?
This song exists as a simple demo recorded in 1976 by Prince on a tape recorder or a 4-track recorder. It is a lively, funky number created around an acoustic guitar riff. Prince sings in a double-tracked falsetto voice accompanied only by his acoustic guitar. Interestingly, his normal voice can also be heard in places. Prince refers to himself as "the golden lover" and he goes on to describe an encounter with "a foxy lady down in New Orleans" using sailing as a metaphor for their lovemaking.
Recorded in late 1985 during an extremely prolific time, "Dream Factory" became the title track for Prince's next major project. The song was later released on 1998's Crystal Ball 3-CD set, but this alternate version is missing a few lyrics and has a new intro. The intro is representative of Prince's experimental nature and contains samples of other Dream Factory songs "Witness" and "A Place In Heaven" (played backwards). There is also an argument between Wendy and Lisa and a club owner about their age.
Intended for Purple Rain, this song was taped during the benefit concert for the Minnesota Dance Theatre company at First Avenue, August 3rd 1983. It's a simple ballad with an electric piano to the fore. Prince sings of the sexual electricity that exists between him and his lover. No known studio recording is in circulation.
Elephants & Flowers
This original demo from Graffiti Bridge maintains the theme of spiritual redemption, but with slightly different lyrics. The song makes reference to a girl named "Coco" wearing a leather coat with the likeness of Jesus.
Re-recorded for the I'll Do Anything soundtrack, this haunting, somber medium-paced rock song uses a three chord repetition with no chorus. Prince is wondering how he is going to fill his empty room after being deserted. A second version is closer to the original version recorded in 1985.
Empty Room (#2)
Inspired by Susannah Melvoin, Prince revamped the original 1985 version with this rock-oriented version, while maintaining the cymbals used from the original. A video of the song was often shown before the 1995 Ultimate Live Experience tour.
Intended for Vanessa Williams, this demo from December 1985 ended up on Sheena Easton's 1987 No Sound But A Heart album. It was later re-recorded by Chaka Khan in 1988. Vanessa's album was to be produced by George Clinton but never materialized.
Although recorded solo by Prince, he performs it as a band number, calling out the names of his band members while mocking Dez Dickerson's decision to leave by asking "Dez, don't U like my band?" The song is built around a guitar riff and is rockier than most of the 1999 material. Prince pleads with his lover to take a bath with him, even to the point of threatening rape. The song was considered for Vanity 6's first album. With the revised title of "Xtraloveable", the track was picked by fans during the "Prince: A Celebration" for the projected Crystal Ball Volume II album.
Face Down (Money Mix)
Several mixes of "Face Down" were intended to be on a maxi-single of the Emancipation track but remain unreleased to this day. This mix of the song is totally re-recorded version. Prince replaces the harsher curse words with "cleaner" substitutes, as well as adding lyrics from "18 & Over".
Created around a funky bassline, this groove by was on an early configuration of Emancipation and performed a few times in March 1995 aftershows. The lyrics are rapped and make a reference to Prince's last Warner Bros. contract ($10 million upfront per album) and fans recording his live shows.
Feel U Up
This outtake was recorded toward the end of 1981 and was taped in sequence with "Irresistible Bitch". Both songs were later re-recorded. The lyrics are very similar to to the released song although the vocals seem to have been recorded at a low level. "Feel U Up" was re-recorded in 1986 for the shelved Camille album and finally released in 1989 as the B-side to "Partyman".
Flesh And Blood
This track was newly written in 1989 for a Jill Jones project. The lyrics concern "revolutionary" love and even mention Napoleon and Josephine. Jill will do what's necessary in the relationship despite being "only flesh and blood." The music is fast and energetic and Prince's voice can clearly be heard in the chorus.
"The Flow" rap was added to "The Future" halfway through the Nude tour in 1990. The original version of the song has Tony M. rapping over a funky groove, which actually resembles "Live 4 Love." Rosie Gaines joins in on the chorus. The chant of "Michael B. in the house" was later used in "Daddy Pop" on Diamonds And Pearls.
"Funky" is actually a cover song with the names in the original replaced by the NPG members. Like most of Exodus, it features lead vocals by Sonny T. Despite the title, the song is more rock-blues than funk. It segues from "Love, Thy Will Be Done" and is followed by another cover song: "Proud Mary".
The Funky Design
This busy one-chord funk offering has mostly rapped lyrics. ridicules all the musical "rookies" that are "kickin' it with the groove folks in the wrong key" and advises they find somebody who will hip them to the "funky design." The chorus features the title phrase followed by a high-pitched synth line while the song includes a base solo with 's voice in an angry, accusatory tone. replaced his vocals with Sonny T.'s and the song was the closing track on the December 2, 1994 sequence of Exodus. Sonny's version also included a new phrase sung in the chorus. 's original version was posted on NPG Online LTD on July 17, 2000 before the entire track was released by the NPG Music Club on Feb. 20, 2001 along with "Mad." The released version features 's lead vocals.
Along with "Sex Shooter" and "Vibrator", "G-Spot" was intended for a second Vanity 6 album. The song is mentioned in, and segues from "Vibrator". Vocals are by Prince on this early version, which is less polished than what ended up on Jill Jones album. The lyrics are practically the same, although at the end Prince imitates James Brown, even calling out the name of Brown's sax player, Maceo Parker, whom Prince would work with years later. The song may have been intended for Purple Rain at one point.
Using the same instrumentation from the "Open Book" outtake, this ballad was given to Louie Louie for their 1993 Let's Get Started album. In the song, Prince pleads to his lover to not hesitate and listen to others in regards to their relationship.
Get On Up
"Get On Up" is alive recording with members of the Revolution and Sheila E.'s band. The song is a cover of the 1967 original by The Esquires (written by Gilbert Moorer), which Prince performed a portion of on the Act I tour in 1993. Parts of the song were also used in "Everybody Get On Up" on Carmen Electra's 1993 album.
Girl O' My Dreams
This rock-oriented track was recorded June 18, 1986, for a Broadway musical, and features the expanded Revolution. The song is about what Prince wants in a woman. It was later drastically reworked and recorded by T.C. Ellis for his 1991 True Confessions album.
Sessions began in late 1987 for Sheila E.'s fourth album with Prince, with this track being included. The album was scrapped when Sheila left Paisley Park in 1989. Sheila provides the vocals and plays percussion, Boni Boyer on organ, while Prince plays guitar on this number about the empowerment of women.
Glam Slam '91
Broadcast on WLOL radio station in Minneapolis on January 6, 1991, this song contains a sample from "Love Machine" and Duke Ellington horn arrangements. Most of the lyrics ended up on "Gett Off" from Diamonds And Pearls, while the chorus is borrowed from "Glam Slam" off Lovesexy.
Go Carmen Go
This unreleased track from Carmen Electra's album is a rock-rap number with heavy guitars and a repeated chant of the title by the Gameboyz. It contains a sample of "Push" throughout the song, as well as James Brown.
God Is Alive
"God Is Alive" was recorded at Olympic Studios in London, July 1988, on the Lovesexy tour. The song was placed on the first configuration of Graffiti Bridge (September 1988) and the original Rave Unto The Joy Fantastic album (October 1988). A part of the song was often played on the Lovesexy tour, segued from "I Wish U Heaven." "God Is Alive" is a raw, stripped down funk/rock effort boasting an infectious vocal chant. Mavis Staples shares lead vocals with Prince. The song takes shape around a primitive-sounding drum machine beat and a repetitious synth bass motif. Prince inserts fiery guitar chords and licks throughout. He also adds some synth touches, but the arrangement is very spartan and demo-like. The arrangement and overall sound is close to that of "Rave Unto The Joy Fantastic," which was recorded around the same time. The song reaffirms Prince's belief that God dwells inside of man. He urges people to let God into their lives and "take a blissy ride," which will make them "so happy, purely satisfied." His simple message for a better world is "up with education, down with crime." The title of song is shown in the Graffiti Bridge movie.
This uptempo rock effort features guitar and keyboard. The speeded up vocals by Prince are playful with many sampled voices. A second version was also recorded with Dr. Mambo's Combo's guitarist Billy Franze on vocals. The song is a collaberation with Levi Seacer, Jr.
The Grand Progression
This outtake was left off the Graffiti Bridge record and film in favor of "Still Would Stand All Time." It's a beautiful, gentle love song, set against delicate piano playing and some touches of synth. It was meant to be the climatic song of the movie.
Hey Louie Louie
Offered to Louie Louie, but turned down in favor of "Get Blue," this upbeat rap number featuring Tony M. uses the metaphor of a professional baseball player, Louie, who's headed to the Hall of Fame.
Performed as a duet between Prince and St. Paul, this version is very close to the released song on The Family. There are a few lyrical differences, however, and this take doesn't contain the strings in the released song.
Hit U In The Socket
Rosie Gaines sings lead vocals on "Hit U In The Socket." The song was recorded in June 1991 (horns were added in November 1992) and was originally placed on Gaines' Concrete Jungle album, prepared for release on Paisley Park Records on March 22nd 1994. However, the album was withdrawn when the label was terminated. "Hit U In The Socket" starts off sounding a great deal like Sam and Dave's classic "Soul Man," but it soon develops into a fun, upbeat pop number with a very funky feel. The lyric is more serious than the buoyant music suggests, issuing a warning to "girls out there" to be aware of men who lie and cheat to get what they want, namely sex. These men do not want to commit to relationships, instead being free to see other women and being with the boys. The expression of being "hit" in the "socket" is hardly one of Prince's most subtle or imaginative metaphors. The song was updated with new music and released in May, 2001 on the New Power Generation Music Club.
Falsetto vocals by Prince, this song was eventually given to Jevetta Steele for her 1993 Columbia Records (2nd edition) album Here It Is and released as a US single. The song is quite an ordinary ballad, which Prince initially offered to Anita Baker.
Honky Tonk Women
On October 8, 1993, the The Undertaker mini-concert film featured this jam and showcased , Sonny T. and Michael B. Only 1,000 copies of the video were sold. This Rolling Stones cover features improvised lyrics and segues into "Bambi".
I Am The DJ
's falsetto vocals and Eric Leeds' sax riff, along with a catchy chorus, drive this funk dance groove along. Intended for Emancipation, implores everyone that he is the DJ, the first and only act that can take you higher on the dance floor. The lyrics also pick on MTV's playlist.
I Can't Love U
Prince recorded a demo of "I Can't Love U Anymore" in a hotel room in Australia, while on the Diamonds And Pearls tour in April, 1992. Written for I'll Do Anything, the song is a stunningly beautiful piano ballad, with a delicate falsetto vocal delivery by Prince, who laments the end of a relationship. Capturing the emotion of the lyric, the song has a haunting, plaintive melody. The song is a classic Prince heartbreak tale, addressed to a woman with "no real love in [her] heart." The track has a great deal of potential if the piano demo would become a fully-realized song.
I Hear Your Voice
This is Prince's demo version (lyrics "even bought a new dress" is in his version also) given to Patti LaBelle for her 1991 Burnin' album. The song, about an ex-lover, was co-produced with Rosie Gaines & Francis Jules.
I Spend My Time Loving You
Demoed in 1976 on a cassette recorder, this is a calm and gentle number which Prince sings in a timid falsetto voice over delicate guitar picking. Prince sings about his love for a woman who replaces his pastime of "painting watercolor portraits". The track also makes an early reference to "the dawn", and God - "who changed the day into the night", both themes he would explore throughout his career. The overall wistful mood and acoustic arrangement foreshadow songs like "So Blue" and "Crazy You" on For You.
Layered vocals by Prince, this excellent track concerns a man wondering if his lover knows how much he loves her since "a gust of southern wind" took her away. It's quite similar to "Elephants & Flowers" in vocal arrangement and melody.
I'll Do Anything
This jazz-flavored title track is from the unreleased movie soundtrack of the same name by James L. Brooks. Prince speaks of doing anything to be loved while the instrumentation features a complex interplay between rhythm guitar, keyboard and bass.
If I Had A Harem
"If I Had A Harem" was recorded at Paisley Park in October 1988 in between shows on the Lovesexy tour. The track was placed on the 1988 version of the Rave Unto The Joy Fantastic album. Interestingly, the circulating studio version is remarkably different from the slow, bluesy Lovesexy tour live version (released on video), which was titled "Blues In C (If I Had A Harem)." In contrast, "If I Had A Harem" is a light and bouncy rockabilly-flavored offering, featuring an additional keyboard riff that makes it quite different from the live take. Prince also throws in some jazzy guitar phrases. The lyrics of the two versions are essentially the same but there are several minor differences. The song is lighthearted and humorous, with Prince gently mocking his reputation as a stud. Prince puts a twist on the theme as he explains that, if he had a harem of girls "like all the papers say," he would only "have them for one reason: just to take care of you."
If I Love U 2 Nite
First done by The Rebels in 1979, Prince re-recorded this superior outtake with his falsetto vocals. It was then given to Mica Paris for her 1990 Contribution album. Mayte re-recorded it as "If I Love U 2night" for her 1995 Child Of The Sun album.
In A Large Room With
Eric Leeds' sax starts off this busy, animated rock number with jazz overtones. The song has a lively spontaneous feel, probably recorded with the expanded Revolution. The music contradicts the serious lyrics, which concern the harshness of life and feelings of being lost. Prince compares life to "looking for a penny in a large room with no light". Originally considered for the 19 track, 2-LP Dream Factory, the song was later dropped.
This original synth-dominated version segues from "Feel U Up," with Prince singing the lyrics James Brown-like. It was re-recorded 2 years later as a B-side to "Let's Pretend We're Married."
It Takes 3
An Exodus leftover, "It Takes 3" was recorded during the initial sessions for the album, in May 1994. Sonny Thompson sings lead vocals on this relaxed but undistinguished jazz and blues-flavored effort. The song has a typical NPG live sound, including The NPG Hornz and an organ to the fore. The song is based around a fast bass line that repeats throughout, interrupted only by an ascending horn riff derived from James Brown (both "I Got You (I Feel Good)" and "Cold Sweat" boast similar riffs). Thompson alternatively sings and speaks the fairly sexist lyrics. He is trying to convince his girlfriend to bring along a female friend the next time they make love. After first trying to sweet-talk her, he makes it quite clear that she cannot be with him unless she does as he says, warning her, "If you ain't got a friend, you can't be with me."
It's A Wonderful Day
Intended for Dream Factory, "It's A Wonderful Day" is a fairly nondescript uptempo number, and may have been intended to be replaced at a later time, according to Susan Rogers. Recorded in January, 1986, the song is a positive and upbeat number and features prominent vocals from Lisa and Wendy. Although discarded, some of the song may have been inspiration for Camille track, "Good Love".
This song dates back to 1982, but was re-recorded here by Mazarati, along with "100 M.P.H." and "Kiss" for their 1986 album. Prince retained "Kiss" for himself and "Jerk Out" turned up on The Time's 1989 Pandemonium album with Mazarati's BG vocals remaining intact. The lyrics are slightly different.
An early configuration of Carmen Electra's album features "The Juice". It is a funky effort and easily one of the better outtakes from the sessions. The message is upbeat and concerns doing your best to achieve what you want in life. The song benefits from strong sampled background vocals and a catchy chorus.
Journey 2 The Center
Of Your Heart
Copyrighted at ASCAP on August 25, 1995, this beautiful ballad by was on an early configuration of Emancipation, but never used. It was later given to Chaka Khan for her 1998 Come 2 My House album and is about the conquest of another's heart in spite of everything else.
This demo was recorded in April, 1985 and given to Mazarati , along with "100 M.P.H." and "Jerk Out" for their 1986 album. The demo only consists of Prince on acoustic guitar singing the first verse and the chorus.
Mazarati, along with David Rivkin and Brown Mark, took Prince's acoustic demo of "Kiss" and totally reworked it into this funk number, which is quite similar to the released track. Upon hearing the new version, Prince reclaimed the song, making very few changes for the Parade track, even keeping Mazarati's backing vocals intact. Prince replaced Terry Casey's lead vocal and added a rhythm guitar part and dropped out the bass when he reclaimed the track
The Latest Fashion
Radically different than the Graffiti Bridge version of "The Latest Fashion", this earlier take is far superior. The song was originally written in 1987 and offered to Dale for her Riot In English album. The version recorded for Corporate World in 1989 did not reuse the music (and some lyrics) for "My Summertime Thang" as in the released version. This version is darker as Morris explains over the phone that he was lying to his jilted partner (though she has been lying as well).
Leaving For New York
This is one of the most accomplished and interesting unreleased songs from the pre-For You years. Prince demoed the song on a cassette recorder in 1976 and recorded a version of it at Moonsound the same year. It is a gentle piano ballad with some very "Princely" lines, including probably what is his first use of the words "purple", "rain" and "dawn". The song is addressed to a lover, "a love extraordinaire", he is leaving behind as he is going to New York. She is in pain but he assures her that she will "overcome that misery". Oddly enough, the lyrics never specifies why Prince is going to New York.
This song was recorded with the Lovesexy tour band in late 1987. Prince wrote the song in response to a poem by Ingrid Chavez called "The Line." It is a sparse, monotonous bass-driven rock number with prominent vocals by Sheila E. and Boni Boyer. The song borrows some music and lyrics from "Take My Hand, Precious Lord" (by Thomas A. Dorsey). Toward the end, a new dance called "The Kangaroo" is introduced. The theme of "crossing the line" was used in the Lovesexy shows.
Although written alongside the Dirty Mind material, this track instead points toward 1999 with its synth-dominated texture and use of a simple drum machine, creating a hypnotic feel. Written tongue-in-cheek about new band member Lisa Coleman, the lyrics state how Prince knows Lisa is nasty and how he plans to take her away from her current man.
Live 4 Love
"Live 4 Love" was one of the first tracks written for Diamonds and Pearls in late 1989 and updated in 1990. A chant of the title which was lifted from the live version of "Purple Rain" from the Nude Tour is sampled throughout this track. There are a few lyrical differences from the released track and seems to be sung with less passion. Prince also makes use of his falsetto vocals here.
Love Machine (#1)
This is the first version of the song, featuring Prince on lead vocals. There are some "dirtier" lyrics in this version including: "Don't lie, you want some head that'll make you cry" and "tunin' in to your pussy's psyche." It also contains the line from the remix of "Partyman", "When I want sax, I call Candy", referring to Candy Dulfer.
Love Or Money
This original is superior to the released version, being built around a funky guitar riff that was removed when Prince decided to release the track as the B-side to "Kiss." Prince also uses his normal voice on the original.
Love...Thy Will Be Done
Demo vocals by Prince, this excellent track about God was recorded by Martika for her Martika's Kitchen album. The NPG later updated the song and has played it live several times. The instrumentation was later used again on "One Of Us" from Emancipation.
This 1994 outtake is an appealing funky uptempo effort with a catchy chorus, similar to "Acknowledge Me" and "Mr. Happy." incorporates a high-pitched synth line that comes to the fore on the chorus. The lyrics speak of going mad if he ever gets the female protagonist into bed. replaced his vocals with Sonny T.'s and the song was included on the December 2nd 1994 sequence of Exodus. 's original version was finally officially released as an MP3 on the New Power Generation Music Club on Feb. 20, 2001 along with "Funky Design."
This I'll Do Anything outtake has Prince playing bass up and down the fretboard, in addition to rhythm guitar and organ fills. He alternates between speaking and singing the lyrics about positive thinking and self-motivation.
Make It Through The
Arguably one of the best outtakes from the 1976-79 period, and re-recorded several times, Prince sings this pop tune in a soft timid voice that is lower than his trademark falsetto, which he used almost exclusively until 1981. He describes his world as cold and empty without his woman. It was later recorded again with Sue Ann Carwell on a 1978 project.
Originally recorded by Apollonia 6 with background vocals by Prince for their self-titled album, it was eventually replaced by "Happy Birthday, Mr. Christian" at the last minute. It was then given to The Bangles for their 1986 Different Light album.
Demo vocals by Prince, the lead were simply replaced by Martika for her Martika's Kitchen album.
Me Touch Myself
A sparsely arranged track containing little more than a drum machine, bass, and some synth embellishments. Prince's sings the versus in a low whisper-like voice while the chorus is multi-layered. Prince fantasizes about his woman which leads to sexual frustration.
Recorded in early 1987, Prince's version of "Melody Cool" is quite similar to the released version, but lacks the intro as well as Mavis Staples ' ad-libs. The song may have roots back to a 1983 piano demo not in circulation. After Mavis re-recorded it, the song was added to the 1988 Rave Unto The Joy Fantastic album and later Graffiti Bridge.
This is Prince's version given to Japanese artist Kahoru Kohiruimaki for her 1989 Time The Motion album. She simply substituted his vocals for her own. The song has a production date of September 3rd, 1989, which probably refers to the final mix date.
Susannah Melvoin sings lead vocals on this track, an outtake from The Family album. The song is a cheerful pop exercise with somewhat silly lyrics depicting Susannah as the misunderstood (play on words), lovelorn girl. The drumming is similar to "Erotic City."
An acoustic demo from 1979 about how much Prince misses his woman, the ocean, the summer breeze, the blue skies, and, oddly enough, "those big old fancy cars." It's one of 20 songs written for the Prince album.
Often titled "A Better Place 2 Die" by bootleggers, this classic was recorded towards the end of the 1999 sessions. Prince played a brief part on tour in Los Angeles, March 28th, 1983. It's an excellent melodic mid-tempo rock number focusing on piano in the versus with a guitar giving the chorus added punch, similar to "Free." The musical resemblance to "Free" may be one of the reasons it was left off 1999. The lyrics dwell on imminent nuclear war destruction and looking for "a better place to die."
Recorded during the Corporate World sessions, Morris Day sings lead on this funky number about a dance that "only people with money can do." "Murph" is slang for a thick roll of money, while "Murph drag" means the money roll is so heavy, it drags along the ground. The title is mentioned in "The Latest Fashion" on Graffiti Bridge. It features various samples from the What Time Is It? album and Candy Dulfer on saxophone. An edit of the song was released in April 2001 on the New Power Generation Music Club.
My Baby Knows How
To Love Me
This bouncy uptempo pop tune was pulled out of the vault to use on the 1989 Jill Jones project. Originally recorded in 1982, it sounds similar to some of the Vanity 6 material written around that time frame; however, the 1989 take contains some sampling of the chorus and other "modern" updates. The lyrics relate that Jill would never stray from a lover that knows how to treat her.
"My Pony" is an unreleased track written and produced by Prince for George Clinton's Hey Man... Smell My Finger. The song was recorded in 1990 (horns were added in late January 1991). It was included on the first configuration of Clinton's album, dated February 5th 1991. The song is a rather stiff and monotonous funk number, livened up only by a jazzy horn arrangement by Eric Leeds. Another homage to sex, Prince draws a parallel between his lover and a pony, who makes him lose all self control. Obviously, Prince liked the image of the unrestrained and free-spirited pony, and it occurs in three songs from 1987-90: "Le Grind, "Alphabet St.", and "Horny Pony."
My Summertime Thang
Updated from the 1983 recording, the Corporate World version of "My Summertime Thang" contains movie dialogue from an early draft of Graffiti Bridge which was omitted from the final version. An "extended portion" of the song reuses some of this dialogue and features some guitar soloing by Prince. The song was reworked for Pandemonium with more singing. Also, the music and several lines of lyrics were used in the Graffiti Bridge recording of "The Latest Fashion". Also, one line, "You're fired" was used in "Shake!"
Mavis Staples' exclamation "leave my tree alone" launches this track, an uptempo number with falsetto vocals by Prince and backing vocals by Robin Power. It was recorded during the Larrabee sessions in October 1990 for the "New Power Generation" maxi-single and segues into "Eliminate The Negative." The lyrics warn that this is Prince's musical world and if you don't like it, get out!
This is Prince's version he later gave to Three O'Clock (after The Jets turned it down) for their 1988 Vermillion album. Recorded during the Parade sessions, the song inspired the neon telephone in Under The Cherry Moon, used by Mary to speak with Christopher. The lyrics are about a woman who refuses to call Prince on account of her pride.
A serene and tender ballad demoed by Prince in 1976 on a cassette recorder. Prince's falsetto would appear to be double- or even triple-tracked. The acoustic guitar accompaniment is understated and sparse, so the song is almost an a cappella piece. The lyrics speak from a prisoner's viewpoint about how he's able to survive his jail term with his nightingale's love.
No Call U
This 1999 outtake is a frenzied rock-style effort built around a fluid synth bassline and a straightforward drum machine beat, similar to "Turn It Up." It injects a brief chorus to provide some variation. Prince wants a girl to call him to confirm he is the only one. The song was tried out for use by Vanity 6 and Jill Jones.
Robin Power sent Prince a tape of her raps in 1989 and although Prince said he wasn't impressed, he brought her to Paisley Park studios to work on some material. Number One is a rap that features the backing music of "Elephants & Flowers" and a sampled vocal from Prince. The lyrics and flow are very sub-par and it is not a surprise that this track was not released. It was, however heard briefly in the Graffiti Bridge film and sampled on the song "New Power Generation, pt 2".
Old Friends 4 Sale
This slow bluesy classic is one of Prince's most autobiographical songs in which he sings about Steve Fargnoli, Wendy Melvoin, Jimmy Jam and Terry Lewis, and the late bodyguard Chick Huntsberry. A somber mood is established from an eerie slightly discordant synth with a piano the main accompaniment. Recorded during the Parade sessions, two versions exist, with one including Clare Fischer's orchestra. It was revised in 1991.
On Your Own
Lyrics about the dissolution of a relationship, this lively pop/soul effort was written by for Ashley Davis (who sings lead). It is propelled by a bouncy synth bass and features extensive background vocals by , as well as some nice piano work.
Featuring lead vocals by Elisa Fiorillo, this track was recorded for the "New Power Generation" maxi-single at the Larrabee sessions October 1990. The antiwar lyrics "Every time I turn around, there's another war tryin' 2 bring me down" is a common theme repeated by Prince.
Prince's version is superior to Jevetta Steele's cover on her 1993 Here It Is album. Originally offered to Martika, this beautiful ballad speaks of a possible failed relationship. It features piano and synth.
Others Here With Us
Prince's experimental frame of mind is evident on this track, a dark, strange number with a stark instrumentation made up of tribal-like drumming and various sound effects, such as someone weeping. Prince's vocals are harsh and confused, matching the nightmarish lyrics mentioning death and suicide. Recorded during the Parade sessions, it confirms Prince's belief the spirit lives on after death.
Recorded in the autumn of 1992, "The P" was originally intended for Tevin Campbell's I'm Ready album. The track is an urgent, high-energy dance number with rapping by Prince. It revolves around a loud, booming bass loop. The brief chorus is followed by a simple horn-like motif that recalls "Fun" on Carmen Electra. The texture is dense, featuring many different sampled sounds and weird sound effects. "The P" is short for the penis, but the meaning is too obvious (not unlike "The Big Pump," which Prince gave George Clinton). Predictably, the song sexually preoccupied, with Prince asking "how many ways can you work the P." He makes it clear to the women he meets that he is only interested in a quick three-minute workout because "real love takes time to satisfy." More than likely, Campbell found the song far too dirty for his style. The lyrics mention Tevin numerous times and quotes the phrase "Ebony American" from Tevin's album. Prince sang this outtake live a couple of times in clubs.
P Control (House
This remix was handed out on tape to VIP's only during the VH-1 Fashion & Music Awards in Los Angeles, December 3rd 1995 and was performed during the opening segment by . It contains the rap from "Get Wild" on the Exodus album. The Club Mix version is on Crystal Ball, with the original being from The Gold Experience.
A mid-tempo pop effort, somewhat reminiscent of "Money Don't Matter 2 Night, in which Prince alternates between his normal speaking voice and falsetto vocals. Prince states he's tired of being a player of the field and wants to settle down.
Poor Little Bastard
"Poor Little Bastard" was recorded in Australia, April 1992, along with the other I'll Do Anything material. It features the entire NPG, including The NPG Hornz, playing live in the studio. The track is a gentle and sentimental pop ballad, sung in a tender falsetto by Prince. Asking, "Where is your papa now?", the lyric relates to the story of I'll Do Anything, with an actor raising his young daughter while trying to get a job.
An ode to James Brown in vocal style by Prince, this track is built around a repeated synth line. It was later reworked as an instrumental for the movie Purple Rain. The lyrics concern Prince's obsession with a girl and his inability to resist temptation. The song was added late to the Purple Rain tour.
Power From Above
Originally planned to be the opening track of Carmen Electra's album, "Power From Above" is a powerful uptempo dance cut introduced by synths that recall Bruce Springstein's "Born In The USA". The chorus of "Hey, we got the power, oh, we got the soul" was originally from the outtake "We Got The Power" and later used in "Batdance". Prince also makes appearances as several humorous characters throughout the song.
Carmen Electra raps over this stripped down funky groove. The chorus features samples of Prince singing "Power". The lyrics are very Prince-like (obviously) but in an attempt to sound hip, they actually come off quite weak.
This uptempo effort uses a drum machine and synth bassline, in the same vain as "All The Critics Love U In New York," while adding a "Controversy"-style rhythm guitar. Prince's voice is electronically manipulated to give the impression of getting high off his "purple" music. The message is anti-drugs, only comparing the natural high of music with the unnatural effects of drugs.
Rebirth Of The Flesh
Intended for the 8-track Camille album, Prince recorded this song at Sunset Sound on October 28th 1986 on the same day as "Rockhard In A Funky Place". When the Camille album was shelved, the song was slated for inclusion on Prince's next album project, Crystal Ball. It was going to be the opening track segueing into "Play In the Sunshine". The NPG Music Club made a 1988 rehearsal recording available in September 2001, which means that all the Camille tracks have now been officially released, although the original studio version remains unreleased. "Rebirth Of the Flesh" is a rousing and somewhat chaotic rock, spearheaded by a charged guitar riff. Prince's vocal is speeded-up. The song features a nonsensical sing-along chorus, "La, la, la, la, la, la, Souli-a-Colia". The 1988 live rendition is quite faithful to theoriginal studio recording. Miles Davis' early '50s classic Birth Of The Cool seems to have provided inspiration for the song title and some of the lyrics. Incidentally, Birth Of The Cool includes a track by Gerry Mulligan called "Venus De Milo", a title Prince borrowed for a Parade instrumental. The song introduces "the fathers of the new boogie cool", who have "got the beat you're looking for". They are guaranteed to rock the audience because they are from "the old school". Slightly altered, the introductory lyrics, "Kick drum pound on the two and four, all the party people get on the floor", turned up in "Escape" (the B-side of "Glam Slam" in 1988) and as the opening words of the Lovesexy show. The melody of the chorus "Walk Don't Walk" on Diamonds and Pearls also borrows from "Rebirth Of The Flesh".
premiered this blues number during the Act II tour aftershows. On October 8th 1993, the The Undertaker mini-concert film featured this jam and showcased , Sonny T. and Michael B. Only 1,000 copies of the video were sold. This is the studio version, whereas the Crystal Ball version is live.
Rock Me, Lover
This track was recorded by Prince on a cassette recorder in 1976. he also recorded a version of the song in his Edina home in 1978. The originally cassette version of the demo is not dissimilar to "Don't You Wanna Ride?", another 1976 demo, being created around a guitar riff that repeats from start to finish. Prince sings in a falsetto voice accompanied only by his acoustic guitar. The raunchy lyrics provides clear hints where he was heading. Prince says that "Feels so good I could scream" when he and his lover "get down" and that his lover sure knows "how to cream". He asks her "Won't you rock me, lover? let me feel your heat up next to mine."
The Ryde Dyvine
"The Ryde Dyvine" was played by the Sonny Thompson-led The Crayons on The Ryde Dyvine TV film, broadcast Dec 19, 1992. The Crayons included Morris Hayes and members from Dr. Mambo's Combo. The project later became Minneapolis. "The Ryde Dyvine" is an energetic, uptempo number that invites listeners to explore their mind. The song promote racial harmony through music. The song was later released on a withdrawn cassette single and later a rare CD single, making it "semi-unreleased."
Written and recorded on the Nude tour, Prince talked about the song in the October 1990 Rolling Stone interview. The lyrics tell a story of a 16-year-old boy with the help of his friend trying to seduce a girl while listening to Tower Of Power. Intended for Diamonds And Pearls, background vocals are by Rosie Gaines.
The Second Coming
This prerecorded a cappella track by Prince opened the Controversy tour set. It concerns the Second Coming of Jesus Christ and a warning to all His children to learn how to love, in addition to gun control (a similar topic in "Annie Christian"). A film concept of the same name was considered by Prince to document the Controversy Tour but was eventually canceled.
"Seven Corners" features the spoken lyrics by Ingrid Chavez set to music by Prince and Levi Seacer, Jr. Summarizing the plot of Graffiti Bridge, Chavez recites the lyrics over a sparse backing with an echoed drum beat and piano. Some lines from the song were spoken in the film.
The Sex Of It
Played live a couple of times in 1987, Prince recorded this track in July after the Sign 'O' The Times tour. It's about a two-way relationship wherein he loves her but she wants him for the sex. It was eventually given to Kid Creole & The Coconuts for their 1990 Private Waters In The Great Divide album. Also in circulation is a 45-minute rehearsal of Prince teaching the song 2 his band.
The original Vanity 6 version of this song has the same basic lyrics that appears on Apollonia 6, but it includes Prince singing "Come on, kiss the gun, guaranteed 4 fun," as well as some miscellaneous background vocals. The song ends with a scream from Prince, as if he were an unwilling victim of Vanity's firearm. The instrumentation is unpolished and lacks the punch and clean sound of the final Apollonia 6 version. It was intended for Vanity 6's second album.
She's Just A Baby
From early 1981, this slightly blues-flavored number features Prince singing in falsetto about his love of a young girl. It's a more subdued expression of the "Uptown" concept of doing what you feel is right and not prejudging people - in this case, age.
Slave 2 The System
Originally on Emancipation, it eventually evolved into "Slave" where the marching drums were retained from this laid-back funky groove. sings about his future being arranged and the future of black men in general, even before birth. It contains some nice rhythm guitar work and Clare Fischer's strings. The completed Exodus outtake by The NPG is much faster with angry vocals.
This brilliant delicate ballad creates a nostalgic feel with Nona Gaye singing low over an understated synth backing. The highly personal track, written by concerns memories of her father, Marvin Gaye, and her childhood in Belgium.
Soft And Wet (#2)
This second version was updated with a sparser and tighter arrangement than the original 1976 recording. The lyrics were changed, although still slightly different from the one released on For You.
Something Funky This
Tony M. raps this outtake from Diamonds and Pearls. It's more of an introduction to the band than a proper song though. It debuted during the Glam Slam concert on Jan 6, 1991. Tony mentions all the band members except for Sonny T. and Damon D.
Something In The Water
(Does Not Compute)
This version features a piano to the fore and a prominent bass, as well as different vocal take from the 1999 version. Prince's piano playing is a delight and this alternate version is superb. The released version is a lot sparser, with the piano and bass being removed and vocals added.
The title, conceived around 1986 during the Crystal Ball sessions, is mentioned in "Joy In Repetition" off the Graffiti Bridge soundtrack as being "a year long." This polished hip-hop original is from 1989 and features Prince on vocals and a catchy chorus guitar riff. The guitar riff is taken from the intro instrumental famous on the "Small Club" aftershow boot of 1988. All other versions feature George Clinton on vocals.
Mentioned in "Joy In Repetition" off Graffiti Bridge, this version features George Clinton on vocals over Prince's vocals from the original. The guitar is removed from the chorus and the song is filled with samples, most notably a sample from "Cloreen Bacon Skin."
Demo vocals by Prince, the lead were simply replaced by Martika for her Martika's Kitchen album.
This Sign 'O' The Times track was originally recorded in 1982, but updated in 1985 by Wendy and Lisa. They added backing vocals, a sitar-like sound and other ideas to the mix. The track was going to be used on the canceled Dream Factory project. Prince later updated the track with a new vocal and other changes for the Camille LP, and that recording survived through the editing of the Crystal Ball 3 LP into Sign 'O' The Times.
Originally given to Earth, Wind & Fire for their 1993 Millennium album and then re-recorded by The NPG for the 1994 Blankman soundtrack, this version features on vocals. Another version exist with Sonny T. on vocals.
This track was recorded by Prince on a cassette recorder in 1976. Similar to other tracks such as "Rock Me, Lover" and "I Spend My Time Loving You", Prince is accompanied only by acoustic guitar. The cover version is lyrically faithful to the original track by Rufus and Chaka Khan.
Originally recorded in 1982, "Teacher, Teacher" was revamped in 1986 with additional input by Lisa and Wendy and included on various configurations of Dream Factory. The song recalls "Neon Telephone" in it's whimsical nature, featuring harpsichord and a organ riff reminiscent of 50's rock-and-roll. The lyrics concern a female student fighting off the advances of a horny teacher. "Teacher, Teacher" was offered to the group Three O'Clock when they signed with Paisley Park Records, but it was turned down in favor of "Neon Telephone".
Thrill You Or Kill
Andre Cymone's "Thrill You Or Kill You" is built around a funky bassline. Much like "Head", which it recalls in many ways, it is a one-chord funk effort, with a quick lead in before the chorus. It also features some very "Princely" synth embellishments, as well as lyrics which may have later inspired "Irresistible Bitch". Although the song threatens violence, it was probably written tongue in cheek. Recorded during The Rebels sessions in 1979.
Tick, Tick, Bang
Recorded in the summer of 1981 at Prince's home studio, this original is faster in arrangement and instrumentation than the Graffiti Bridge version. This Controversy outtake contains Prince's falsetto vocals, which were similar in other songs from the sessions.
Thieves In The Temple
The final track added to Graffiti Bridge ended up being the first single from the album. This demo consists of Prince singing in falsetto, accompanied by an acoustic guitar. There are a few differences in the lyrics, though it's close to the released version.
Prince spent three days in his home studio, July 7th to 9th taping "Train" for the Dream Factory project. It was later revamped for use by Mavis Staples. The version released on Time Waits For No One retains the basic tracks of Prince's original recording for Dream Factory. The song uses an unusual drum machine sound to mimic a train engine, as well as a traditional R&B horn performance by Eric Leeds and Atlanta Bliss.
Turn It Up
This outtake is a fast rockabilly-influenced effort, similar to "Horny Toad," propelled by a drum machine and a relentless pumping synth bassline. Prince's animated vocals compare his body to a radio, imploring his lover to come and play with his controls.
U Gotta Shake Something
Recorded on December 30, 1985, this track was taped during The Flesh sessions even though it was not planned for the album. It is a spontaneous funky jam featuring Prince on whatever, Sheila E. on drums, Eric Leads on sax and Levi Seacer, Jr. on bass. The crowd sound was mixed into the recording and a DJ introduces the band.
A blues-tinged number built around a funky bassline which Prince wrote for Ray Charles for use in a 1991 Diet Pepsi commercial. Reportedly, Prince received a cool $7 million for the slogan. The lyrics are about the virtues of a positive, spiritual frame of mind.
"Vibrator" is a hilarious number that is essentially Vanity's ode to her battery-operated sex toy. This classic Vanity 6 track was recorded in the summer of 1983 in preparation for their second album. It utilizes a drum machine and synth bassline while featuring Prince as a female storekeeper who eventually, after trying Jill Jones' store, sells Vanity her much needed batteries for her "body massager." Prince later used Vanity's vocals on the Madhouse 8 album and the track "Orgasm" from Come.
The Voice (#1)
"The Voice" was the first song recorded for Mavis Staples' second Paisley Park Records album. This is Prince's original version of the song, with vocals by him. The song is very close to what was released, but may be a bit less spontaneous than Mavis's version.
The Voice (#2)
This remix of "The Voice" was most likely intended for a single release from the album, but never materialized. The song is a bit more dance oriented, although the main lyrics are the same. Tony M. adds a rap at the end.
The Voice Inside
Written after Lovesexy in the summer of 1988, "The Voice Inside" was intended to be a track on the 1988 LP, Rave Unto The Joy Fantastic. The album was abandoned when Prince got involved with the Batman project and this track is one of the two from the album that remains unreleased. The song is an uplifting number urging everyone to listen to the voice of positivity when we feel the urge to succumb to negative vices. Musically, the song is uptempo and features a number of playful sound effects, similar to some of the Lovesexy material. It segues into "Melody Cool", which later was released on Graffiti Bridge, along with several other tracks from Rave Unto The Joy Fantastic.
We Can Funk
This cut was recorded June 17, 1986, along with "Can't Stop This Feeling I Got" and "Databank" for a Broadway musical. Segued from "Can't Stop This Feeling I Got", this original is excellent, quite different from the Graffiti Bridge version. It's a slow sensuous funk number with a whispered chorus and brass, heavy bass and lots of organ. It features a guitar solo from Miko Weaver. This song was was originally recorded in 1983 and known as "We Can Fuck", and it is those backing tracks that were used in the Graffiti Bridge version.
We Can Funk (#2)
This version of the Graffiti Bridge track features mainly George Clinton on vocals and contains additional instrumental background vocals and synths. It also has a few vocals that were not included in the album version. Other than that is it very similar to what was released.
We Can Work It Out
Singing in his regular voice, Prince sells himself to Warner Bros. Records as the lyrics "Making music naturally, me and WB" indicate. Ironically, 20 years later, is now free from any contract with Warner Bros. It's likely he recorded this outtake after signing a contract for his first 3 albums in June, 1977.
We Got The Power
"We Got The Power" was recorded in October 1988, in between shows on the Lovesexy tour. The song is sometimes referred to as "Dance With Power," but the engineer who worked on the song remembers it as "We Got The Power." The track is preceded by a brief robotic-sounding countdown lifted from Roger Vadim's 1967 film Barbarella. This countdown was later used in "Live 4 Love" on the Diamonds And Pearls album. "We Got The Power" is a fast, exuberant dance number propelled by a pumping synth bass, not dissimilar to the later "The Undertaker". The bass and a percussive drum machine beat provide a foundation on top of which Prince adds dissonant horn-like riffs and all manner of sound effects. The chorus features a multi-tracked choir with female vocalists, most likely Boni Boyer and Sheila E., singing along with Prince. The chorus, slightly changed, was lifted for use in "Batdance." A chant of "hey, we got the power, oh we got the soul" also became an important ingredient in the Carmen Electra outtake "Power From Above." It is obvious that Prince is referring to the power of God and the song ties in with the predominantly spiritually-oriented material Prince was writing at the time.
The circulating version of "Well Done" is more or less identical to the released version on The Steeles' Heaven Help Us All album, only with Prince's vocals instead of The Steeles'. The track dates back to 1990, when Prince worked on three songs with David Z. Rivkin and Levi Seacer Jr.: "Well Done," "And How" (released on the first edition of Jevetta Steele's Here It Is album), and "Move Me" (still unreleased). Prince later revamped "Well Done" for Heaven Help Us All, claiming sole credit for the song because he felt the new version was substantially different from the original recording. Rivkin, Levi, and JD Steele objected, however, preferring the first version, which featured many musical differences, including Rivkin's drum programming. The record company, Elektra, also liked the original recording better so it was chosen for inclusion on the album. In spite of this, Prince kept Rivkin and Levi out of the songwriting credits on the album (the song was originally registered at ASCAP in May, 1991 featuring all three as songwriters). The circulating version is the original take, with Rivkin's drum track.
"Christopher Tracy's Parade" was originally recorded as this outtake. The song is basically the same but with a reference to Wendy's guitar (rhymes with "car" in the next line) as opposed to Tracy's piano. Incidentally, Prince sings "little girl Wendy's parade" in "Kiss" right before the third verse.
Witness 4 The Prosecution
This raw, hard, bluesy rock number featuring Prince's guitar was recorded during the Dream Factory sessions. It was embellished with horns and background vocals by Wendy, Lisa, Susannah and Eric Leads. Prince uses a court analogy in describing his love/hate relationship with his woman.
Witness 4 The Prosecution
Prince re-recorded "Witness" in October, 1986, possibly for inclusion on his new project, Crystal Ball. The new version features additional lyrics and totally new music. Although the song features a rough guitar and keyboards, the main instrumentation is made up of bass and drums, quite similar to "Bob George."
Dating back to 1983, this funky pop effort was updated in 1986 using synth, rhythm guitar and a loud dominating drum machine. It's about a girl's ass making up for her lack of understanding Prince's quirky ways. Wendy and Lisa updated Prince's original and at one point chant "The Revolution will be heard!"
Work That Fat
Recorded over the instrumentation from "Martika's Kitchen," this hilarious number about "fat" girls features "Bob George"-style vocals from Prince and a guitar solo from Mike Scott, who later joined the band in 1997.
Wouldn't You Love
To Love Me? (#2)
Re-recording the 1976 original several times, Prince most likely recorded this version in his home studio in 1978. Later in the year, it was worked on again for a project with Sue Ann Carwell. It was finally copyrighted this track in 1980. Using bass guitar, keyboard and a soft drum machine, it was eventually given to Taja Sevelle for her 1987 self-tiled album.
This song is just a segment of the I'll Do Anything medley performed by the cast of the movie. The song also exists with vocals by Prince, but it is not in circulation. The song contains the ethereal sounds often heard on the album, and the ending is very similar to "Be My Mirror". The lyrics are uplifting and hopeful.
"You" is one of the most original songs recorded during The Rebels sessions: a hard, driving, guitar-fuelled rock tune with a fast pulse and playful synth effects. Gayle Chapman sings lead vocals in falsetto. The song was drastically updated in 1987 and re-titled "U". It was that recording from which Paula Abdul's version is based.
Your Love Is So Hard
Not intended for any album, this track is sparse and upbeat with lots of sampled brass, strings and voice embellishments by Prince. Prince tells a story of woman who treats him bad. The song was a collaberation with Levi Seacer, Jr.