Hupp! Kan man inte ladda upp egna videos?! Trodde det här var internet!
Hupp! Kan man inte ladda upp egna videos?! Trodde det här var internet!
Det mest fascinerande med Prince är alla historier jag hört från folk som jobbat med honom. Jag misstänker nästan att han har lite asperger.
Läste en Prince historia från en cracked.com artikel om låten Kiss. Med tanke på källan har jag ingen aning om vad som var sant och vad som var överdrivet. Han hade skrivit låten från början i en mer country-liknande stil på akustisk gitarr. Sen gav han bort låten till några kompisar i ett funkband, som arrade om den till en ordentlig funklåt. Sen hälsade Prince på och lyssnade på vad de hade gjort med låten och sade "nu är den här låten för bra för er, så jag tar tillbaka den". Sen raderade han alla spår utom trummorna och den där monotona syntfrasen, som skivbolaget mycket motvilligt släppte och så blev det en hit.
Grattis på födelsedagen Prince! Happy Birthday!
För att hylla denna särdeles unika musikbegåvning, den främste av alla, så har jag under ett par dagar bara försökt att hitta de mest exklusiva klippen med 'His Royal Badness'. Mycket av materialet har varit ovanligt svårfunnet.
Så se nu till att snabbt cacha/spara följande prylar för de brukar försvinna snabbare än en höna skiter.
Håll till godo!
- - - Uppdaterad - - -
Prince documentary
https://www.youtube.com/watch?v=dRNYiFxR2Ps (Full Version)
https://www.youtube.com/watch?v=rirI3Dg6H1s
Har även sett en dokumentär från mitten/slutet på 80-talet där följande personer hyllar Prince. Men kan inte hitta den nu, det kan ha varit dåvarande Music Box, Super Channel, Sky Channel eller MTV. Kommer inte ihåg exakt.
Eric Clapton
Miles Davis
Bono
Little Richard
Bruce Springsteen
M.fl.
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Hela livekonserter
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Bästa livekonserten EVER imho, otroligt intim (trots att ljudet inte är perfekt)
Prince and the Revolution 1985 March 30th live @ Syracuse NY
http://video.naij.com/view=iptqhemh&...ect&autoplay=1
Något bättre ljud osv, men coolast är ändå hans 'private sessions'
Prince - Lovesexy tour - live broadcast Dortmund 1988
http://v.youku.com/v_show/id_XNDQ3OTQ5NzA4.html
- Prince n' his guitar only
- 28:45 "If I had a Harem"
- Prince piano solo number
- 87:53 "when 2 r in love" intro
- 88:24 "Venus de Milo"
- 89:57 "Starfish and Coffee"
- 91:00 "Raspberry Beret"
- 91:34 "Condition of the Heart"
- 93:00 (jerks off the audience)
- 93:10 "Strange Relationship"
- 94:14 (funkout "Strange Relationship")
- 94:44 "when 2 r in love" outro
Prince - Parade - 'Under The Cherry Moon' Tour 1986 (tror denna är från Detroit)
http://v.youku.com/v_show/id_XMTY5Mzc5Mjg0.html
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Live-samarbeten:
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Prince live with Amy Winehouse 2007
https://www.youtube.com/watch?v=jD5eLtOn7ns
Amy finds out Prince wants to collaborate with her
https://www.youtube.com/watch?v=5VPc0PLiRNI#t=326
Prince + Stevie Wonder live
https://www.youtube.com/watch?v=YDUYGx3dkHE
Prince + Chaka Khan
https://www.youtube.com/watch?v=9BOBVyyNiDQ
http://www.dailymotion.com/video/xxa...olanda-s_music
Ascoolt även fast Prince verkar vara berusad eller något.
Prince + MJ + James Brown live 1983
https://www.youtube.com/watch?v=lHaFj7gOWh4
Prince live on drums 1987 - It's Gonna Be A Beautiful Night
https://www.youtube.com/watch?v=7hbJqTaFkPY
Samma låt live, samma år fast den här gången tillsammans med Miles Davis
http://www.wat.tv/video/prince-miles...5f_2hztv_.html
Prince + Lenny Kravitz
https://www.youtube.com/watch?v=juN3AvDEXb8
Prince The Sting/Ron Wood "Miss You" 14 August, 1986
http://prince.org/msg/7/320993
Prince + Ron Wood "Miss You" 1988
http://www.wat.tv/video/prince-cat-s...fv_5sxcd_.html
http://v.youku.com/v_show/id_XNDQ4MD....3.1-2.1-1-1-0
Prince + Mary J. Blige
http://vimeo.com/51861763
Prince Beyonce
https://www.youtube.com/watch?v=rOHVEeLQFEQ
Prince + Nikka Costa live
https://www.youtube.com/watch?v=yjWAE1zEgYw
Han ska tydligen uppträda med Nile Rodgers den 4:e juli, kan bli episkt
http://prince.org/msg/12/406464
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Utmärkelser och TV-framträdanden
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Prince gets Oscar award
https://www.youtube.com/watch?v=hk3xZxguRCg
Prince gets Grammy awards
https://www.youtube.com/watch?v=S8ZQTKlO3kY
Prince Receives American Music Award
https://www.youtube.com/watch?v=QrHgFhkm_eY
Prince Chris Rock interview
https://www.youtube.com/watch?v=T9ZN9nKQqe0
https://www.youtube.com/watch?v=3IbatunJpzs
Chris Rock "Prince Won"
https://www.youtube.com/watch?v=UgG1RO-7gLo
Prince - Controversy live capitol 1982
http://www.wat.tv/video/prince-contr...2x_5qkz1_.html
Prince - Sign O' the Times live MTV VMA 1987
http://www.wat.tv/video/prince-sign-...0x_6hyyt_.html
Prince - Cream acoustic Live MTV
https://www.youtube.com/watch?v=a87ICJZIFMg
----------------------------------------
Samarbeten och/eller förhållanden
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Sheena Easton
Cat Glover
Rosie Gaines
Mavis Staples
Martika
Chaka Khan
Apollonia (Apollonia 6)
Vanity (Vanity 6)
Jill Jones
Mica Paris
Beyonce
Sinead O'Connor
Sheila E
Carmen Electra
Kim Basinger
The Bangles
Kate Bush
Madonna
Wendy and Lisa
Amy Winehouse
Alicia Keys
Erykah Badu
Nikka Costa
Norah Jones
En Vogue
Salma Hayek
Mía Maestro
Mayte
Ida Kristine Nielsen
3rd eye girl
Whitney Houston
Gwen Stefani
Monie Love
Mary J. Blige
Janelle Monae
Over the years Prince has been romantically linked with many celebrities, including Kim Basinger, Madonna, Vanity, Sheila E., Carmen Electra, Susanna Hoffs, Anna Fantastic,[16] Sherilyn Fenn,[131] and Susan Moonsie of Vanity 6 and Apollonia 6.[19] Prince was engaged to Susannah Melvoin in 1985.[132] He married his backup singer and dancer, Mayte Garcia, on Valentine's Day, 1996. They had a son, Boy Gregory (born October 16, 1996), who was born with Pfeiffer syndrome and died a week after birth.[133] Prince and Mayte divorced in 1999. In 2001, Prince married Manuela Testolini in a private ceremony. Testolini filed for divorce in May 2006.[134] He also had a short-term relationship with protégée Bria Valente in 2007.[105]
Prince women
1980s-90s, in addition to genuine girlfriend, Prince was also rumored, and many female artists including: Madonna , Anna Fantastic, Carmen Electra, Sheena Easton , Sherilyn Fenn, Troy Beyer, Susanna Hoffs, Kim Basinger,, Nona Gaye and so on.
1980's Dirty Mind tour, Prince met 18-year-old Jill Jones (guest harmony singer warm up). Prince likes her voice, and encouraged her to sing, and she kept in touch. 1982 Prince invited her to participate in recording the album "1999" and with the tour to follow him, then Jill Jones became the Prince's girlfriend.
1982 Prince met B-movie actress and nude model Denise Matthews backstage at the American Music Awards Party in. Prince helped her renamed Vanity , saying she saw like seeing a female version of himself. However, they often occur together after the quarrel, because Vanity is a strong woman, and a strong desire to control Prince, like the little woman. Because she was not Prince was the only girlfriend, Vanity start alcohol and drug abuse, and in the "Purple Rain" is about to start shooting when the left Prince.
Early 1980s, Prince and high school girlfriend Susan Moonsie (Vanity 6, Apollonia 6 members) intermittent maintain relationships. 1983 Moonsie first recognize and Prince broke up, because Prince fell in love with Vanity. Moonsie broke up and became the Prince Vanity friends and still meet regularly with the Prince, this relationship continued until 1984.
1984 Prince fell in love with The Revolution members Wendy's twin sister Susannah Melvoin , Prince Susannah became the only girlfriend at this time, after their secret engagement (Susannah is a member of Prince's "Protégé" The Family Band, and participated in the Prince album recording ). However, this relationship was in a heated argument after the end ("When Doves Cry" inspiration came from here).
1996 Valentine's Day, Prince and his dancers Mayte Garcia married and in October gave birth to a boy, named Boy Gregory. However, since "Pfeiffer syndrome", the child died soon after birth. 1999 Prince and Mayte announced their divorce.
December 31, 2001, Prince and Manuela Testolini married. 年2006 Manuela to the court for a divorce.
Since 2007, Prince and his "Protégé" singer Bria Valente maintaining friendships between men and women.
Prince won seven Grammy Awards , five American Music Awards , three Brit Awards , three NAACP Image Awards, four MTV Video Music Awards. Cultural Heritage in 1990 Soul Train Awards Lifetime Achievement Award, 2006 Webby get Lifetime Achievement Award in 2010 to get BET Lifetime Achievement Award, in 2004 elected to the U.S. Rock Hall of Fame (Hall of Fame because of the debut album the singer needs to at least 25 years later, the Prince will be selected in the first year with selected qualified). UK Music Hall of Fame in 2006 was selected. In 2004, Rolling Stone magazine's "100 Greatest Artists" (100 Greatest Artists ofAll Time), Prince ranked 28.
Controversy
February 1981 Prince in the program for the first time on Saturday Night Live performances "Partyup". After the October issue of personal Chapter IV official album "Controversy". The album regarded as "Dirty Mind" companion, continuation of the previous genre and "sex" theme. Ranked 21 in the Billboard album chart, and reached platinum sales. Single "Controversy" and "Let's Work" in dance championship standings. The album also gave birth to a classic song "Do me, baby", because this song is only produced promotional singles, not massive sale, so not on the list. The album and subsequent albums were in the name of "Controversy Music" issue until 1996 "Emancipation".
In 1981, The Time band was founded, Prince formed The Time's intention is to be able to do some work and their own Solo different music. Originally wanted to do their own vocals, later decided by the lead singer Morris Day. The Time before recording three albums of almost all arranged by Prince songwriter and instrumentalist and harmony, but only by Morris Day doing vocals, the band do live performances, so this is actually the Prince's three albums of music, and even some Prince is more than the same period a solo album but also good quality. Similar artists as well as Sheila E., Vanity6, Apollonia 6, Jill Jones, Mazarati, The Family, Madhouse, Carmen Electra, Andy Allo, etc., they are called Prince's "Protégé".
Sting
Ron Wood
Lenny Kravitz
Stevie Wonder
George Clinton
Andre Cymone
James Brown
MJ
Cee Lo Green
Tom Petty
Dhani Harrison
Jeff Lynne
Steve Winwood
Miles Davis
Kenny Rogers
Time
Earth Wind and Fire
NPG
The Revolution
94 East
Mazarati
The Family
Madhouse
Andy Allo
Rick James
Tevin Campbell
Sonny Thompson
Jimmy Russell
Larry Graham
Maceo Parker
David G
Raphael Saadiq
Rhonda Smith
Renato Neto
John Blackwell
-------------------------------
Purple Rain Live Recording
-------------------------------
Yes folks; det mesta utav låten Purple Rain är inspelat live på nattklubben First Avenue Minneapolis 1983. Var i stort sett bara en del sluteditering och stråkoutrot som gjordes i efterhand. Mästerligt!!!
http://www.antiquiet.com/music/2010/...in-1983-video/
http://www.4shared.com/video/5DWM9dt...html?locale=en
http://www.mixonline.com/recording/t...n-purple-rain/
This year marks the 25th anniversary of the track that is, perhaps, most emblematic of the entire Minneapolis music scene. “Purple Rain” was destined to be a Number One single and would pull its eponymously named soundtrack LP to the same position on the album charts when it was released on June 25, 1984. The film of the same name still lands in most Top Ten lists of music-themed movies, and it graphically fills in the details of family strife and artistic angst painted by the song's sparse lyrics. But as emotionally wrenching as “Purple Rain” is, in all of its incarnations, the track was the nose cone of a very precisely guided missile assembled by Prince — who had already had chart successes with hit singles like “1999,” “Little Red Corvette” and “Delirious.” It was very deliberately intended to take him to true superstardom, and it worked. The combination of a slate of brand-new songs that meshed R&B, soul, pop and hard rock with a reinvigorated band, The Revolution — featuring Lisa Coleman and Wendy Melvoin (who would go on to their own music and scoring successes as Wendy and Lisa, aka Girl Bros. — gave Prince the creative and economic momentum to propel him for the next quarter-century.
Prince's rocket would be fired from an odd launching pad. The First Avenue club in downtown Minneapolis had been the locus of the city's bubbling music scene, a career crucible for acts including The Replacements, Soul Asylum and Hüsker Deü, as well as Prince, who headlined there, riding on early hits like “Dirty Mind.” (Minneapolis was a fairly progressive place, but most local black artists, including Jimmy Jam and Terry Lewis, preferred a venue called the Nacirema Club — “American” spelled backward.) Instead of taking the new songs into the studio, Prince instead opted to do them as a live recording. The premise was a benefit for the Minneapolis Dance Company, which assured a relatively weak turnout and a manageably sized audience that would provide the intimacy and immediacy that would electrify the recordings without going over the brink to mark it as a live concert recording. The cheers, clapping and whistles are all present on the extended coda of the album version, which runs close to nine minutes long. Another argument for the live recording is that several of these tracks would be featured as live performances in the film Purple Rain, taking place in the same club.
The performance was captured by David Z, who had pursued a career as a songwriter and recording artist in Los Angeles, but had returned to his native Minneapolis as an engineer and producer. He began working with Prince in the group Grand Central in 1978, and in 1979 the four demo sides he co-produced and engineered garnered Prince a deal with Warner Bros. Records. Z continued working with the artist, engineering on his first and third albums, the former with Los Angeles-based engineer Tommy Vicari, whom Z had met when Vicari engineered his publishing demos at A&M Studios. “Warners wanted an engineer with credits to do the first album,” says Z, who'd have his own hit-record credit a few months later when his production of Lipps Inc.'s “Funkytown” climbed the pop charts.
Z's connection to Prince is deeper than technical and professional — his older brother, Cliff Rifkin, was the regional promotion executive for Warners in Minneapolis and had facilitated Prince's signing to the label, and his younger brother, Bobby Z, had become Prince's drummer in the Revolution. So Z wasn't surprised when he was asked to engineer the tracking of a live recording, set for August 3, 1983, even though he wasn't completely sure what its outcome was supposed to be. “With Prince, you never knew,” he says. “I thought we were recording a concert, but I wasn't sure if it was going to be a record, too. I knew they were working on the movie, as well. You just had to go in prepared to record whatever it was going to be as well as you could.”
Prince's road manager, Alan Leeds, asked for and got what he regarded as the best remote truck available: Record Plant's Black Truck, crewed at the time by Dave Hewitt and Kooster McAllister — teammates who would go on to become leading competitors in the remote recording business. The truck was well-equipped for its time, with a custom 44×24 console recording to a pair of Ampex 1200 2-inch tape decks. The truck's outboard included four UREI 1176 compressor/limiters, two UREI LA-3A compressors and two dbx 160 compressors. Monitoring was by Westlake speakers with Bryston 4B amplifiers. “At the time, you could not do better than that, between that equipment and Kooster and Dave Hewitt working with you,” says Z.
Inside the club, the stage was set as it would be for a live show — vocal microphones were Shure dynamic 57s, which were also used on Prince and Wendy Melvoin's guitar amps. Two pairs of AKG 451 condenser microphones were employed for audience and ambience tracks, one pair taped underneath left and right balconies near the stage and the other pair under a loft in the rear of the room. The drums were similarly miked in a conventional manner, with an AKG D-12 inside the kick drum, 57s on the top and bottom of the snare, Sennheiser 421 dynamic cardioid microphones on the rack toms, a Neumann KM84 condenser on the hi-hat and a pair of 451s as overheads. But there was also a new wrinkle: A pair of LinnDrum LM1 drum machines were part of the percussion package; one would run continuous loops during songs while the other was to be triggered by Bobby Z's snare drum via a small condenser microphone mounted inside the drum.
“Prince was very innovative — he wanted the Linn's snare sounds but wanted the feel of a drummer,” says Bobby Z. “You could still get a lot of emotion and human variation into the playing, but have access to a wider range of sounds. We look at that as normal now, but in 1983 that was pretty cutting-edge.”
“Purple Rain” is first and foremost an arena-rock ballad, and Bobby Z, used to playing an array of percussion styles around Prince's increasingly eclectic songbook, says laying into the track as a rock song came naturally. “Prince wasn't telling me what to play,” he says. “You knew right off what the song needed.”
In the Truck
As showtime neared, David Z sat in the truck, checking signal path and getting sounds as the band ran through its soundcheck; Hewitt would help monitor level while McAllister seconded as needed. Z says he put limiting and compression in the obvious places — LA-3As mainly on drums and vocals that would grow louder as the energy of the performance built. “I dialed in a little bit of effects and EQ, but what was going to tape was pretty much what they were hearing inside the club,” he says, referencing what he had learned doing several King Biscuit Flour Hour concert broadcasts. The band's own monitoring would be the monitor mix onstage. But the focus was on the recording levels. “We had three sets of eyes on the meters,” says Z, including tape op Paul Prestopino in the truck. “It was getting louder as the show went on, and if this was going to be a record, distortion was something we couldn't go back and fix.”
“Purple Rain” was the encore of the set, and possibly its most intense number. Some distortion was inevitable, as was the tape noise audible in the quiet passages in between peaks — something Z explains as a result of precautionary lower input levels.
When the show concluded, Z spot-checked the 2-inch reels for drop-outs and other possible problems. The only one he thought might be an issue was the weak bass sound due to the use of a wireless transmitter from the bass to the amp. “Wireless stage technology for musical instruments just wasn't there yet,” he says.
David Z's role in recording “Purple Rain” had a coda as unique as the one on the song. “Prince drove up to the truck after the show and asked how it sounded,” he recalls. “I was about to answer when a girl wearing a raincoat and nothing else stepped off the curb and flashed Prince. Then he drove away. That was pretty much our post-recording conversation. It was like a Fellini movie.”
On to L.A.
The tapes were sent to Studio 3 at Sunset Sound in L.A. with David Leonard, with whom Prince had worked at the studio on previous records, including “1999” and “Little Red Corvette.” (This was prior to the establishment of Paisley Park, Prince's Minneapolis studio, which opened in 1985.) Leonard recalls that there were several overdubs added to “Purple Rain,” as there were to other tracks from the recording, although he is less certain about exactly what was replaced or augmented.
“The process with Prince was that you would wait for him to come in and set him up to do whatever he wanted to that day,” Leonard explains. “He does almost everything himself; he even records his own vocals using a U47 on a boom stand over the console. If he needed you to do a punch or a patch, he'd ask. Otherwise, he'd do his own punching. He was hands-on for everything; he was driving the bus.”
This extended to playing any of the replaced instrument parts. Leonard would have Prince's favored collection of outboard gear available. These included the API 440 EQs built into the custom 1977 40-input/8-bus API DeMideo console in Studio 3, Universal Audio LA-2A leveling amplifier and UREI 1176 compressor/limiters, as well as the EMT digital 250 reverb and Lexicon Delta T digital delays, both of which are used heavily on “Purple Rain,” along with the studio's Number 2 live chamber. The delay return on the vocal is also sent to the same reverb, which greatly thickened the sound. But Leonard believes that most, if not all, of the lead vocal is from the club recording. “He is a superhuman vocalist,” he says of Prince, renowned for his four-octave range. “And there is a lot of the ambience tracks mixed in there, too.”
A live recording has its artifacts and Leonard found ways around them. “The [drum] overheads have a lot of bleed in them so we needed to gate that stuff out,” he says. “We also gated the live snare to make it cleaner and bit snappier.” The reverse sound effect just before the first verse of the song was likely a flipped snare or cymbal, Leonard reckons, though he says Prince would often do his own onomatopoeia versions of those effects. “There were always lots of edits,” he says, noting that he would also keep three half-inch 2-track decks at the ready for crossfades between songs or if Prince decided to overdub atop a mixed track.
The final touch on “Purple Rain” was the string section, also recorded at Sunset Sound's Studio 3, from an arrangement by Lisa Coleman's brother David. A quartet was recorded by Leonard using a pair of Telefunken 251 microphones for the violins on a Neumann U47 on the cello. It might have been the only relatively conventional step in the entire process.
Note: Prince's proclivity for personally handling virtually every aspect of his recordings seems to foster a kind of Men in Black-type memory-erasure effect. Neither David Z nor David Leonard recalls the other being in the truck during the recording of “Purple Rain,” and neither Kooster McAllister nor Dave Hewitt could state without reservation which of the two Davids was at the truck's console that night. It could also be due to the curiously large number of people named David involved with this and other Prince recordings. The narrative above is based on David Z's recollections of the tracking and David Leonard's memory of the overdub sessions. Also, the Sunset Sound Web page lists Susan Rogers and Peggy (Mac) McCreary as engineers on the work done there on Purple Rain.
-------------------------
THAT SKINNY MOTHERFUCKER WITH THE HIGH VOICE
PRINCE
Prince has a long and storied past with the internet. After being one of the first artists to embrace it in the mid-90s, he became a bit of a recluse in the mid 00s and started hiring people to take down leaked material from the internet. But for some reason, that has now stopped. YouTube has become a literal treasure trove for Prince fans, with several old concerts, rehearsals and music videos now widely available.
Perhaps the best stuff floating around is from a show that Prince performed all the way back in 1983, pre-Purple Rain. Anyone who’s a hardcore fan has seen the video time and time again, but everyday casual fans have been left out of the loop.
The 1983 concert took place at First Avenue in Minneapolis. A year later when the club was featured in Purple Rain (the movie), the venue would be changed forever. In 1983 however, it was perfect for hosting a newly minted Prince & The Revolution. Prince had been performing with some of the band members for a while, but the show was the debut of guitarist Wendy Melvoin who would continue with the band until their dissolution in 1986.
But back on track – the 1983 show (August 3rd, to be more exact) was the first public live performance of Prince & The Revolution. The concert was a benefit for the Minnesota Dance Theater Company. It was also the first time the band would perform several of what would become their signature tracks, most importantly Purple Rain.
Everyone knows the song. Play the first few chords and you’ll have everyone around you singing along. But in 1983 that wasn’t the case. Instead you had a capacity crowd silenced by the song’s first performance. This is one of only a handful of bootlegs of this track that does not have the crowd going nuts; instead they listen to the song and literally see history in the making. Obviously they can’t sing along, the song is new. So instead they listen; Seeing Prince at his absolute rawest in a tiny club with bad sound, sweating his ass off for the Minnesota Dance Theater Company. And melting off faces with one of his best guitar solos.
This live show made up the basis for several Purple Rain tracks, including the title track, I Would Die 4 U and Baby I’m A Star. Prince’s vocals are spot on with how you know them – because they were recorded from a mobile truck outside of First Avenue. Add in a few overdubs and there you have it, one of the best selling albums of the 80s.
Regardless of how you view Prince now, back then one thing was clear – his name was Prince, his favorite color was purple, and he was a bad motherfucker.
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Övrigt:
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BBC interview 1989 where Eric Clapton declares that his favorite is Prince @ 32min 15sec
http://downloads.bbc.co.uk/podcasts/...0910-1115a.mp3
Hänryckt och fullständigt flabbergasted efter att sett detta klipp i slutet av 80s så rusade jag ner o köpte min första basgitarr.
(Visst; Mark King's livesolon hade redan väckt en hel del GAS)
Prince On Bass Guitar in his studio - Partyman
http://www.wat.tv/video/prince-on-ba...0k_2hztv_.html
@24:52 snackar bl.a. Bob Geldof om Prince. Från SVT The Eighties del 10/10
http://bit.ly/UkhGIy
Tack för länkarna. Verkligen en alldeles särskild talang som världen inte sett många (om ens någon annan) av. Tror dock att länkarna till "- Prince n' his guitar only" försvann. har du kvar dom?
Det är tidsmarkeringar från samma konsert. Så om du vill hoppa direkt till just gitarrinslaget så spola fram till 28:45.Ursprungligen postat av Peter70
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(Eftersom de var svårfunna så fick det bli den asiatiska varianten av youtube, så man får stå ut med ca 30 sek reklam innan man får se något.)
Prince - Lovesexy tour - live broadcast Dortmund 1988
http://v.youku.com/v_show/id_XNDQ3OTQ5NzA4.html
- Prince n' his guitar only
- 28:45 "If I had a Harem"
- Prince piano solo number
- 87:53 "when 2 r in love" intro
- 88:24 "Venus de Milo"
- 89:57 "Starfish and Coffee"
- 91:00 "Raspberry Beret"
- 91:34 "Condition of the Heart"
- 93:00 (jerks off the audience)
- 93:10 "Strange Relationship"
- 94:14 (funkout "Strange Relationship")
- 94:44 "when 2 r in love" outro
Ok, då är jag med och känner igen. Den här VHS:en har jag och har sett en himla massa gånger. Tack!
Allt annat vore en skandal! Helt ofattbart att han inte redan har fått det.This quote is hidden because you are ignoring this member.
Under min livstid har jag bara sett två stycken personer som ö.h.t. kan mäta sig i kategorin "inflytande på musik och musiker" och det är Lennon/McCartney...så klart. Sen efter dom tre kommer Jarre. Så man får ju hoppas att han oxå står med på listan tätt följt av Kate Bush. Bowie och Sting borde även vara med där.
Det räcker med att titta på den svenska musikscenen hur den totalt förändrades tvärt efter Prince megagenombrott. Glenmark, Orup, Dahlgren, Eric Gadd, Titiyo, Mauro Scocco/Ratata, Gessle/Roxette, +1, Nasa/Henzel & Thors, Visitors osv osv. Alla fick dom helt plötsligt en helt annan tyngd, dimension och framtoning - och det var Prince-effekten. Ingen musiker gick oberörd. Det var som en jordbävning skakade om hela musikbranschen. Vakna upp och inse att här har vi EN kille som gör ALLT ni gör, från låtskriveri->spelar flesta instrument->sjunger->dansar->mixar->proddar->arrar->liveshower osv, fast tusen ggr bättre.
Innovatör, pionjär, geni, inspiratör, visionär, provokatör, virtuos - inget epitet är för stort för den här mannen.
Senast redigerat av T11 den 2014-07-11 klockan 14:32.
Alternativ länk till Prince and the Revolution 1985 March 30th live @ Syracuse NY
http://tvpot.daum.net/v/v2113TgzIqzPqzKeTKngPBN
Kul läsning om Susan Roger's tid med Prince:
http://www.vibe.com/photo-gallery/pu...studio-stories
http://www.vibe.com/photo-gallery/pu...stories?page=2
'Purple Rain' Turns 30: Prince's Engineer Shares Majestic (And Maddening) Studio Stories
There are those high pressured, perilous jobs that are not for the meek. The U.S. Secret Service; a window cleaner for the world's tallest building—Dubia's 2,716 feet wonder Burj Khalifa; Kanye West's publicist. But during the '80s, one would be hard pressed to find a gig more intimidating or unpredictable than working as a music engineer for Prince. Susan Rogers has lived to tell the tale.
An Associate Professor of Music Production and Engineering at the prestigious Berklee College from 1983 to 1988, Rogers had the ultimate insider's view of the obsessive, glorious run of arguably pop music's most prolific talent.
"You are talking about someone who would play a show from 8:30 p.m. to 11:30 p.m. and then perform at an afterparty," she recalls of Prince's torrid pace. "Then I would book a recording studio for 1 a.m. while on tour and Prince would work on his music or say Sheila E's record. There is so much great, unreleased material from Prince. We would work all day and night long, and then he would be up the next morning ready to do it all over again."
But the Purple Rain-era holds a special place in Rogers' heart. For the then 27-year-old, it was baptism-by-fire after being hired as the songwriting machine's personal studio technician in August of 1983. It was during this period that Rogers, who would go on to engineer for such acclaimed Prince works as Around The World In A Day, Parade, andSign 'O The Times, witnessed the making of the enigmatic artist's highest selling album (the soundtrack to the Oscar-winning 1984 film has to date sold nearly 20 million copies worldwide). In honor of the 30th anniversary of the Purple Rain album, VIBE sat down with the studio veteran to discuss her wild and crazy ride with Prince Rogers Nelson from superhuman, marathon recording sessions to escaping the clutches of film icon Elizabeth Taylor on the Purple Rain tour. This is not music, this is a trip. —Keith Murphy(@murphdogg29)
VIBE: You set out to become an engineer in 1978, at a time when women were an anomaly on the technical side of recording. What compelled you to go into such a male dominated field?
Susan Rogers: It was the clear ether of youth [laughs]. I did not know it was male-dominated, and I didn't know any musicians in the business. But what I did know is I loved records and that I had fantasized about being a studio engineer. I always knew I wasn't cut out to be a musician or a songwriter. My calling was to be on the other side of the glass and to be sung and played to. I just aimed in that direction and found myself there. If people needed a tape machine repaired, the tape machine doesn't care what gender you are [laughs].
What was it about Prince that made you want to work with him, and what was your role on the Purple Rain project?
I was riding a city bus in Hollywood and there was a kid who was sitting in the back of the bus with a boombox. I heard the song "Soft & Wet," and I remember thinking, "I got to find out who this is...this is great!" I became a Prince fan immediately. By the time [1980's]Dirty Mind came out, my mind was completely blown. It was everything I wanted music to be: It was R&B, rock, soul, and funk. And it was art music. Prince was bold, creative and he was making a statement and he had original thought.
I knew I would do anything to work with Prince. So then in 1983 I heard through the grapevine that Prince was looking for a technician. And then I went right to Glen Phoenix, who is the President of Westlake Audio, the studio where Prince recorded, and told him I would be perfect for him. I'm female and Prince likes working with females. I am completely well-trained as a technician so I knew I could do the work and I was a huge fan. Glenn asked me a lot of questions and then he sent me over to Prince's management.
That had to be very surreal for you, right?
It was. They made me an offer right then and there. At the time I was just joining Prince I didn't know what he was like and what he was thinking going into Purple Rain. But I can say that it was clear that he had momentum. When I first met Prince he was just coming off the 1999 tour. He had already done some of the recording for Purple Rain and there was more to be done. At this time, I wasn't hired as his engineer. I was his maintenance tech. But you got the sense from being around him that he felt empowered. Prince was aware that with this new power he could do even more than what he had achieved with 1999. It was a big deal for such a young artist to go to his record label and say, "I want to make a movie." This is an artist who created his own competition with the Time, Vanity 6, Sheila E, and others. Prince was going to try to see how far he could go with all of his artistry.
Were you around when they initially recorded parts of Purple Rain at August '83 First Avenue gig?
No. But I was hired in August of 1983, around the time the First Avenue songs were [premiered]. I was planning the transition from moving from Los Angeles to Minnesota. There was a mobile truck at First Avenue and David Rivkin, Bobby Z's brother, did the recording during the live gig. But I did arrive in time to do a lot of the overdubs for thePurple Rain album. The first thing Prince had me do was work on his home studio. I had to tear out an old console and install a new one. He had just brought a new API console. I repaired his tape machine, which was an Ampex MM 1200. I got a lot of stuff done. One of the first songs we worked on was "Darling Nikki." We did a lot of work for the Purple Rainalbum in his home studio.
"Darling Nikki" is a hell of a song to have as your first project. Did you press play and think to yourself, "What have I gotten myself into?"
[Laughs] You have to remember I was his new employee. So Prince had me put up the tape of "Darling Nikki." I pushed up the faders and I remember thinking, "Holy shit!" "Darling Nikki" wasn't even finished yet, but you could tell it was something special. I would hazard to guess he did it all by himself; he played everything. The song "Let's Go Crazy" was recorded live at a rehearsal. That was one of the first things I did with Prince. He rehearsed the song and the arrangement of the song with his band The Revolution. At that time, St. Louis Park was the city where Prince rehearsed. Now typically, the recording studio is isolated from the musicians, but not in this case. We had the recording equipment right in the middle of the floor. We recorded the band live and then Prince and I stayed there late, late late to do the guitar solo and the additional instrumental parts. That was the first song I recorded with him from beginning to end. It was crazy.
You talk about recording with Prince so nonchalantly, but from all the stories about his recording exploits he was known for wearing out engineers. How were you able to keep up?
Let me tell you. At that time, four hours of sleep was a good night's sleep for Prince. I would usually get a phone call at 9 a.m. and it's from Prince. When he would call that meant come to the studio immediately. Prince would tell me what kind of set up he wanted. The most important thing was to never hand Prince an instrument that wasn't in tune. His technicians taught me how to tune his piano, drums, bass, and guitar. And this included setting up a vocal mic as well. Prince would come downstairs and usually have a lyric sheet written in long hand. And he would tape it up on a stand in front of the drums. I'd hit record and he would play the entire drum track from beginning to end without a click with the song in his head. He was a musical genius, especially on the drum machine.
Show off...
That's how talented he is. Prince wanted to be able to walk from the drum booth into the control room, pick up the bass and play the bass parts. Next he might do the keyboard or pick up the guitar. He'd get half of the instrumentation done and then by himself he would record his vocals. Once it was time for vocals, I would leave the room. He always had to do his vocals alone because he needed that concentration. We could finish an entire song and have it printed and mixed in one day and have copies made. And then a few hours later, the phone would ring again and it's Prince [laughs]. And I would come back and do the whole thing again. But that's just so extremely rare. Most people don't or can't work like that.
Can you think of any other artist that has been that obsessed with recording at such a torrid pace?
No. I can't think of any other artist who has ever done what he's done. His competition at that time was Michael Jackson, Bruce Springsteen and Madonna. Now there have been other artists since that have seemingly done it all in the studio. But they don't really do it all. They are not writing, producing and arranging all of their material. And playing every instrument and writing music for movies at the same time and writing for other artists. Prince was doing all this and designing every aspect of his live show. He even designed his own clothes. To do all this and be on top for as long as he was and to have that many hit records and exercising that much control and power and that much anonymity over that many aspects of your music there's no precedent for that.
You are not dealing with someone who wakes up and does the dishes, huh?
[Laughs] That's true! When I first got to Prince's home it was a typical split level suburban house and the studio was in a bedroom downstairs right below his living room. So his piano was right above me. While I was downstairs in his bedroom for a week installing his console and doing his wiring, Prince was just waiting for his studio to be built, and I would hear him on the piano playing over and over again. I heard him play an early version of "The Beautiful Ones" more than any other song. He was just working it out over and over again. It was a powerful theme for him in his playing. It was really a privilege to hear him play these great songs. He would sit down at the piano and just play.
What was a typical recording session with Prince like during the Purple Rain era?
A typical session for Prince was when we started a song from scratch we typically didn't leave the studio until it was mixed and printed. No one else did that. But Prince did that for every song. So if we came in and we started a song from scratch we would either do the drum machine or live drums first. Then we might bring in members of his band. But usually he would finish an entire song without any help. We would not leave until everything was overdubbed. When I officially became Prince's engineer I would usually be mixing it as we went along. He changed his method of recording after Paisley Park was built because he could finally use automation. But most of the time I was with Prince it was very old school.
The only time we would remix something after the fact is when the original track was cut live like in the case of "Let's Go Crazy" and subsequent records like "Mountains." And of course we would remix tracks that were recorded live by the mobile truck. We would bring it back in the studio, fix it and mix it. That was the case with "Purple Rain" and a few other tracks on that album.
Did you have a hand at recording Purple Rain's film score as well?
Even though I came in late on the project, I was doing quite a bit of work on the album and the movie. In addition to sequencing Purple Rain and taking it to mastering, I helped with recording the incidental music for the film. I was hearing it all as it was coming together.
Was there a sense that you were working on a game-changing project?
There was definitely a sense that the Purple Rain soundtrack and entire project was noteworthy. We had no idea that this thing was going to sell how many millions of copies that it did. But there was a sense that if they hadn't noticed Prince before they would notice him now. And he had songs that didn't make it on the album like "Wonderful Ass," which was on a tape that was just sitting there in his room when I joined him as an employee. He had those great [Purple Rain b-sides] like "17 Days," a song I loved! He had so much material. That was probably his most fertile period. And really good stuff. I was disappointed that his funk songs like "17 Days" didn't make it onto Purple Rain.
You engineered on the Purple Rain tour as well. What's your fondest memory?
We had a mobile recording truck at the Superdome in Louisiana. Imagine being a single-named artist and selling out two nights at a place that holds 60,000 people. That's where we recorded "4 The Tears In Your Eyes." This was an astonishing moment for me. I was on the side as the band was taking the stage and was hit by the sound of 60,000 people. I have never heard anything like that before. Prince and the stage looked so small in a place of that size. It was great just to realize what this guy had accomplished. After that we played Los Angeles, which was a big deal because you would see all of these celebrities backstage. I'm looking at Prince like, "Wow, you are the guy I go to work for everyday."
That had to be a humbling experience for everyone involved, right?
It really was. Prince was an output for recording and performing. That's all he did. But he didn't want to be backstage, and yet something remarkable happened at the Forum. Prince was held captive by Elizabeth Taylor! He didn't want to be talking to Elizabeth Taylor... not there; not after a sold-out show. But there he was. My ex-boyfriend John was also backstage. So I'm running around because we have the mobile truck there, too. John looked at Prince being talked to by Elizabeth Taylor and he saw a brother in trouble [laughs]. And John thought to himself, "I'm going to fall on the sword." So John jumped in between Prince and Elizabeth Taylor and did his best Quincy, Massachusetts, nutcase kid. He's screaming, "Prince, the show was wicked awesome! I took two hits of acid and smoked a big joint!"
That should have been a Dave Chappelle sketch.
It was hilarious! That was enough of a distraction where Prince could look at Taylor and go, "Well, nutcase in the room...what are you gonna do?" and make his escape. I never heard this until Prince told me that story afterwards. He was laughing when he told what happened. He said, "Man, that dude saved my life...I love that guy!"
Igår gjorde Prince ett unikt 8 minuters medley på Saturday Night Live, med Chris Rock som host.
Måste säga att det här var det bästa jag har hört o sett med Prince på länge, äntligen kände jag mig hemma igen.
SKYNDA SKYNDA att titta på klippet, det lades upp för 11 timmar sen och lär plockas ner inom ett par dagar:
http://theconcourse.deadspin.com/wat...759/+bubbaprog
Nu kommer jag inte åt den längre, fel land.
Bästa som jag lyckades finna nu var denna
https://youtu.be/Z9U4d0hpj0w
fast det är typ ngn som filmat sin TV med en mobil eller liknande, så ljudkvallen är inget att hänga i granen
Efter mycket om o men så lyckades jag kicka igång den på denna sida:
http://edition.cnn.com/2014/11/02/sh...s-rock-prince/
Var tvungen att först regga mig på http://what24.net och ett par minuter senare fick jag ett aktiveringsmail.
Sen lägger man in DNS:en på sitt nätverkskort o kör.
(Kan ev funka om du har en internationell VPN-anslutning (t.ex. HideMyAss), har dock inte testat eftersom jag saknar en sådan)
Det finns ingen som nyttjar sin talang bättre än Prince. Man kan lätt tro att det är 10 man bakom saker han gör ensam.
Killen gör låtar med riktigt usla texter och kommer undan med det.
Nu finns den upplagd utan krusseduller, bara klicka o njut
http://vimeo.com/110780720
Senast redigerat av T11 den 2014-11-04 klockan 14:44.
Bra ös. Men låtarna håller inte högsta Princeklass imho.. Dock jäkligt kul att se honom rocka loss
Det kan jag definitivt hålla med om, får lite känslan av att han är där mer för 3rdEyeGirl's skull än för sin egen.
Jag är nog lite bortskämd med hans gamla låt-/live-kvalle, för ett 'bara ok' riktat mot honom hade varit 'superbt' om någon annan hade stått för musiken/uppträdandet. Han får skylla sig själv för å va så himlans begåvad
Sladden.
Jag håller med. Ibland känns det som om han går för långt med att vara annorlunda. Det blir för mycket och för jobbigt.This quote is hidden because you are ignoring this member.Såg honom på WOW. Har lite delade känslor för hans musik.
En del grejer är briljant men 80 tals soundet och hans teatraliska röst pajar en del.
När det inte passar perfekt som i grymmaste "Darling Nikki"!!
Men herregud vilken grymt musikalisk gitarrist han är, var helt fantastisk när han spelade live, så musikalisk
Jag stämmer in i Hyllningssången !
Han är grym musiker och allt det där...och jag har VERKLIGEN försökt gilla det han gör men det utmynnar i endast en låt , mästerverket Purple Rain som ju är så sjukt bra å andra sidan.
Endast Purple Rain? Ingen utav dessa låtar då?
"For You"
"In Love"
"Soft and Wet"
"Crazy You"
"I Wanna Be Your Lover"
"Why You Wanna Treat Me So Bad?"
"Sexy dancer"
"When We're Dancing Close and Slow"
"Bambi"
"I Feel for You"
"It's Gonna Be Lonely"
"Dirty Mind"
"When You Were Mine"
"Uptown"
"Head"
"Sister"
"Partyup"
"Controversy"
"Sexuality"
"Do Me, Baby"
"Private Joy"
"Ronnie, Talk to Russia"
"Let's Work"
"Annie Christian"
"Jack U Off"
"1999"
"Little Red Corvette"
"Delirious"
"Let's Pretend We're Married"
"D.M.S.R."
"Automatic"
"Something in the Water (Does Not Compute)"
"Free"
"Lady Cab Driver"
"All the Critics Love U in New York"
"International Lover"
"Let's Go Crazy"
"Take Me with U"
"The Beautiful Ones"
"Computer Blue"
"Darling Nikki"
"When Doves Cry"
"I Would Die 4 U"
"Baby I'm a Star"
"Purple Rain"
"Around the World in a Day"
"Paisley Park"
"Condition of the Heart"
"Raspberry Beret"
"America"
"Pop Life"
"New Position"
"I Wonder U"
"Under the Cherry Moon"
"Girls & Boys"
"Life Can Be So Nice"
"Venus de Milo"
"Mountains"
"Do U Lie?"
"Kiss"
"Anotherloverholenyohead"
"Sometimes It Snows in April"
"Sign o' the Times"
"Play in the Sunshine"
"Housequake"
"The Ballad of Dorothy Parker"
"It"
"Starfish and Coffee"
"Hot Thing"
"Peach"
"Forever in My Life"
"U Got the Look" (med Sheena Easton)
"If I Was Your Girlfriend"
"Strange Relationship"
"It's Gonna Be a Beautiful Night"
"Alphabet St."
"Anna Stesia"
"I Wish U Heaven"
"The Future"
"Electric Chair"
"Partyman"
"Vicki Waiting"
"Trust"
"Lemon Crush"
"Batdance"
"New Power Generation"
"The Question of U"
"Elephants and Flowers"
"Joy in Repetition"
"Thieves in the Temple"
"Cream"
"Willing and Able"
"Gett Off"
"My Name is Prince"
"Sexy MF"
"Damn U"
"7"
"Money Don't Matter 2 Night"
"Papa"
"Solo"
"Bob George"
"Pink Cashmere"
"Nasty Girl"
"Erotic City"
"How Come U Don't Call Me Anymore?"
"Girl"
"Irresistible Bitch"
"Scarlet Pussy"
"She's Always in My Hair"
"17 Days"
"Another Lonely Christmas"
"4 the Tears in Your Eyes"
"Power Fantastic"
Princelåtar skrivna till andra eller inspelade/samplade av andra:
Stevie Nicks "Stand Back"
Kenny Rogers "You're My Love"
Chaka Khan "I Feel For You"
Sheila E. "The Glamorous life"
The Time "The Bird"
The Time "Jungle love"
Sheena Easton "Sugar walls"
Sheila E. "The Belle Of St Mark"
Bangles "Manic Monday"
Sheila E. "A Love Bizarre"
Art Of Noise featuring Tom Jones "Kiss"
Sinead O'Connor "Nothing Compares 2 U"
Kid Creole & The Coconuts "The Sex Of It"
MC Hammer "Pray" (samplade "When Doves Cry")
The Time "Jerk Out"
Tevin Campbell "Round and Round"
Martika "Love... Thy Will Be Done"
Martika "Martika's Kitchen "
Monie Love "Born 2 B.R.E.E.D."
Monie Love "In A Word Or 2 / The Power"
New Power Generation "Get Wild"
MoKenStef "He's Mine" (samplade "Do Me Baby")
New Power Generation "The Good "
New Power Generation "Get Wild"
Ginuwine "When Doves Cry "
Alicia Keys "How Come You Don't Call Me Anymore"
Jay-Z featuring Beyonce Knowles "03 Bonnie & Clyde"(samplade "If I Was Your Girlfriend")
Inaya Day "Nasty Girl"
Robyn "Jack U Off"
"Apollonia 6 "Sex Shooter"
"Sheila E "Sister Fate"
"Sheila E "Koo Koo"
"The Family "The Screams Of Passion"
"The Family "High Fashion"
"Patti Labelle "Yo Mister"
"Madhouse "6"
"Mazarati "100 MPH"
"Mavis Staples "Melody Cool"
"The Time "Get It Up"
"The Time "Cool"
"The Time "777-9311"
"The Time "The Walk"
"The Time "Ice Cream Castles"
"Vanity 6 "Nasty Girl"
Snook samplade också någon Princelåt till något de körde live förr
Senast redigerat av T11 den 2014-11-05 klockan 14:06.
Lady Cab Driver och New Position. Vilka låtar! Han har gjort många bra. Parade är mitt favoritalbum. Experiment med ljudbild parat med riktigt bra låtar.
Prince är lika begåvad som han är kort, det trodde jag vi redan fastställt. Och han är tamefan inte lång!
"I actually got to visit his room at sunset sound while he was away and all his stuff was set up. He was working on what was to be the "sign of the times" album. Not alot of gear. An obxa or sx. LM-1/linndrum. A dx-7/ensoniq mirage. His wierd guitar....boss pedal board, roland guitar synth, GR-700, a JC-120 Amp. Yamaha drum kit. A box of percussion stuff, a upright piano. A bench press/weights etc. U87 on the vocal. Talent."
10+
Cool
Japp!
Utöver Prince vanliga FB-sida (som antagligen någon annan sköter) så hittade jag idag en helt makalös grupp som heter The Influence Of Prince där man bl.a. finner klipp som man inte hittar någon annanstans. Då har jag ändå varit ett fan i snart 35 år
Fann t.ex. där ett klipp där Prince spelar både gitarr och synth samtidigt, jepp sug på den!
Nytt:
"Funknroll"
Oops, det stod följande på youtube-klippet. Så kanske bäst att jag raderar länken.
"This video is unlisted. Be considerate and think twice before sharing."
Senast redigerat av T11 den 2014-11-17 klockan 17:55.
I något som börjar på i och slutar med vault kan ni bl.a. få höra en brilliant 17-18-åring som söker sitt sound. Asfett!
Mitt i all jolmig julmusik på stan idag dök plötsligt 'Another Lonely Christmas' upp. Echo-dränkta låten <3
*suverän*
Prince - Full Concert - 01/30/82 - Capitol Theatre
Innan '1999', innan 'Purple Rain', ett prodigy strax innan knoppbristningen
https://youtu.be/uAYQUbh8HHA
Prince - Full Concert
Recorded Live: 1/30/1982 - Capitol Theatre (Passaic, NJ)
More Prince at Music Vault: http://www.musicvault.com
Subscribe to Music Vault: http://goo.gl/DUzpUF
Setlist:
0:00:00 - The Second Coming
0:02:00 - Uptown
0:04:50 - Why You Wanna Treat Me So Bad?
0:12:24 - I Wanna Be Your Lover
0:29:14 - Dirty Mind
0:35:42 - Do Me, Baby
0:45:45 - Controversy
0:53:01 - Let's Work
1:00:55 - Encore Applause
1:02:55 - Jack U Off
1:07:42 - Applause
<3 x100This quote is hidden because you are ignoring this member.Prince - Full Concert - 01/30/82 - Capitol Theatre
Innan '1999', innan 'Purple Rain', ett prodigy strax innan knoppbristningen
https://youtu.be/uAYQUbh8HHA
Prince - Full Concert
Recorded Live: 1/30/1982 - Capitol Theatre (Passaic, NJ)
More Prince at Music Vault: http://www.musicvault.com
Subscribe to Music Vault: http://goo.gl/DUzpUF
Setlist:
0:00:00 - The Second Coming
0:02:00 - Uptown
0:04:50 - Why You Wanna Treat Me So Bad?
0:12:24 - I Wanna Be Your Lover
0:29:14 - Dirty Mind
0:35:42 - Do Me, Baby
0:45:45 - Controversy
0:53:01 - Let's Work
1:00:55 - Encore Applause
1:02:55 - Jack U Off
1:07:42 - Applause
I dessa Oscarsdagar kan d va lägligt att påminna om att det var ca 30 år sen:
https://youtu.be/hk3xZxguRCg
Shit vad nyfiken man blir på 'The Vault', det stora kassaskåpet på Paisley Park som lär innehålla tusentals outgivna Prince-låtar...och uppenbarligen även filmer.
http://www.bbc.com/news/magazine-31962180
Kolla speciellt in den första videon (går inte att direktlänka till).
Susan Rogers ger verkligen ett förtroendeingivande intryck, hon har den där skärpan i blicken.
Låten Moonbeam Levels som hon bl.a. snackar om hittar man en utkastsversion av här.
Håller med henne, den skulle man gärna velat höra i ett ordentligt Prince-arr
OBS! Imorgon kl 9.30 så sänder BBC4 en 30 minuters dokumentär om just The Vault:
http://www.bbc.co.uk/programmes/b05j92m0
Ja framförallt som man hörde talas om att han skulle ha tusentals låtar undanstoppade redan på 90talet.
Jo precis, redan på 80-talet t.o.m.
"Prince once described his creativity as a curse, explaining: "If I didn't make music, I'd die." He records something almost every day."
Hade jag vatt en virtous på å spela så hade min högsta dröm varit att vara en utav hans bandmedlemmar.
Men; satan i gatan vilken press det hade inneburit!!
Kollar man noga på konserterna så ser man att han har en j-a massa dolda koder som hela gänget måste hänga med på hela tiden!! Nästan ingen låt lämnas förutbestämt hur många takter lr ackord den ska innehålla. Helt ofattbart! O då har man som utomstående lekman kanske bara snappat upp en bråkdel.
Jag gillar dock det där, som alla som varit i hans crew kan intyga, att han mitt i natten kan ringa -'Du, jag har en ny låt på gång' och då är det bara att åka in till studion no matter what
Här är hela dokumentären:
https://soundcloud.com/vincent-vega-...-vault/s-o8nh3
Tjena!
Jag är ny på forumet och detta är i princip den första tråd som jag gått in och läst. Mycket kul läsning med alla roliga anekdoter.
Den första Prince-skiva som jag köpte var Dirty Mind och jag blev väldigt förvånad över hur "osnygg" produktionen var. Eftersom jag på den tiden var en riktig instrumentnörd så hade jag lite svårt att acceptera soundet, men nu tycker jag det är hur bra som helst.
Jag tycker att det känns som att Princes sätt att komponera (detta är ju ändå en kompositionstråd) förändrades mycket efter. De tidiga albumen verkade fokusera mer på låtarna och de senare mer på produktionen och atmosfären (t.ex. The future(Batman), Sign of the Times). Jag gillar båda stilarna, men favoritskivan förblir Prince - Prince.
R.I.P. Du mest begåvade av alla
"Sometimes it snows in April
Sometimes I feel so bad, so bad
Sometimes I wish life was never ending,
and all good things, they say, never last"
Min favorit-Prince är "Around the World in a Day" och "Sign o the Times". Titellåten på den senare är en av de bästa låtar jag vet.
Jäkla galning/geni. Det var för tidigt. Mycket för tidigt.
'Beautiful Ones' - så otroligt vacker....för att sen bli så otroligt dramatisk mot slutet<3This quote is hidden because you are ignoring this member.
"Around the World in a Day" - är nog hans modigaste album i den bemärkelsen att alla förväntade sig en "Purple Rain 2" och istället väljer han att utmana lyssnarna att gå ännu längre ut på isen - fast på en helt annan is dessutom. 'Pop Life' är nog min favorit från det albumet.This quote is hidden because you are ignoring this member.
"Sign o the Times" - intellektuellt hans mest geniala platta. Den är så sjukt mångfacetterad och på så många nivåer. Helt vansinnigt att EN person kan besitta så många dimensioner.
http://youtu.be/0HHGdxyKEsE
Gitarrsolot!
Speciellt om man dessutom räknar in Computer Blue och Darling Nikki. De tre låtarna har inget mellanrum och är tillsammans kanske det starkaste paketet Prince levererade. Hittar inget bättre ord än paket.. (Ge oss posten tillbaka!) Första 12 sekunderna och de sista 12 på The Beautiful Ones är ju extra snygga, men hey dissonans-synt och allt möjligt annat är helt fantastiska i den låten.This quote is hidden because you are ignoring this member.
Take Me With U går inte av för hackor heller!
http://www.99musik.se/showthread.php...=1#post2436912
Tål att upprepas - en av de största "musikanterna" IMHO - som totalt behärskade så många vitt skilda stilar och genrer!
Denna tråd handlar visserligen om Prince, men det du beskriver var standardförfarande för Zappa och hans Mothers (som IMHO dessutom hade betydligt mer komplext material att hantera än Prince band). Därmed inget ont sagt om prinsens och hans musikers kapacitet.This quote is hidden because you are ignoring this member.
This quote is hidden because you are ignoring this member.
http://www.svtplay.se/video/8012296/...tion-avsnitt-1
Idag när jag lyssnade på P1s "krönika" om prince grät jag. Prince låtar har betytt extremt mycket för mig.
"Var dig själv, våga göra det DU vill, sjung, spela, larva dig, klä dig i ngt DU tycker är fint". Sammanfattar Prince bra <3
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