RIP Prince

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RIP Prince

Postby Deb » Fri Apr 22, 2016 3:26 am

Image Now Playing: If That's What It Takes (Live) ~ http://youtu.be/8g2TrEdi5ZQ
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Re: RIP Prince

Postby StoneCold » Fri Apr 22, 2016 4:04 am

So what's up with 2016?

All these famous artists dropping like flies.
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Re: RIP Prince

Postby scarab » Fri Apr 22, 2016 4:14 am

Very sad
He definitely was our hometown hero.
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Re: RIP Prince

Postby Fact Finder » Fri Apr 22, 2016 4:18 am

Heard this on my headphones while on my walk today. I knew Prince had to divert his plane the other night and go to a hospital with the flu. Must have been a bad flu pneumonia combo. RIP Prince. Way to early. :cry:
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Re: RIP Prince

Postby YoungJRNYfan » Fri Apr 22, 2016 4:19 am

:cry:
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Re: RIP Prince

Postby tater1977 » Fri Apr 22, 2016 4:39 am

RIP Prince. :(
Perry's good natured bonhomie & the world’s most charmin smile,knocked fans off their feet. Sportin a black tux,gigs came alive as he swished around the stage thrillin audiences w/ charisma that instantly burnt the oxygen right out of the venue.TR.com
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Re: RIP Prince

Postby Fact Finder » Fri Apr 22, 2016 4:45 am

Only $5 Million more and I'll be a Greedy One Percenter.
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Re: RIP Prince

Postby verslibre » Fri Apr 22, 2016 4:59 am

RIP. :(
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Re: RIP Prince

Postby Triple S » Fri Apr 22, 2016 10:14 am

This really sucks :( . RIP
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Re: RIP Prince

Postby ztyxlynne » Fri Apr 22, 2016 1:34 pm

God Speed Prince.

I never bought any if his music. But when I saw him playing guitar during George Harrison,s rock hall induction with Jeff Lynne and Tom Petty singing. Wow he blew me away! He could play! Very underrated guitarist.
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Re: RIP Prince

Postby StoneCold » Fri Apr 22, 2016 2:29 pm

What are the odds?

Prince - Sometimes It Snows In April
https://www.youtube.com/watch?v=zlZONgpmw58


Here's the George Harrison memorial mentioned above:

Tom Petty, Prince etc / WMGGW
https://www.youtube.com/watch?v=6SFNW5F8K9Y
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Re: RIP Prince

Postby Fact Finder » Fri Apr 22, 2016 11:56 pm

Prince was treated for a drug overdose 6 days before his death ... multiple sources tell TMZ.

We broke the story ... Prince's private jet made an emergency landing in Moline, Illinois last Friday, hours after he performed in Atlanta. At the time his reps said he was battling the flu ... something we questioned because his plane was only 48 minutes from home before the unscheduled landing.

Multiple sources in Moline tell us, Prince was rushed to a hospital and doctors gave him a "save shot" ... typically administered to counteract the effects of an opiate.

Our sources further say doctors advised Prince to stay in the hospital for 24 hours. His people demanded a private room, and when they were told that wasn't possible ... Prince and co. decided to bail. The singer was released 3 hours after arriving and flew home.

We're told when Prince left he "was not doing well."

We know authorities in Minnesota are trying to get the hospital records from Moline to help determine cause of death.
We have made more than a dozen attempts to reach Prince's reps for comment, but they went radio silent.


Read more: http://www.tmz.com/#ixzz46YzyFRaw
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Re: RIP Prince

Postby AR » Sat Apr 23, 2016 4:32 am

Prince was good, but everyone is going overboard now about how he changed music. Not to my ears. Sad though. R.I.P.
AR is just a longtime net troll who is bored with trolling just Journey most of the time so he's looking for other places to troll and get reactions.

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Re: RIP Prince

Postby JBlake » Sat Apr 23, 2016 6:44 am

One of the first things that came to mind when learning about the passing of Prince was the fact that Vanity had passed away just a few months prior. Wondering if her passing had some type of negative impact on Prince for him to become careless, reckless in how he was conducting some things in his own life. Vanity and Prince were both 57 years old and passed away only a few months apart from one another. And the fact is they were very involved in music and whatnot for years. Basically it is a well known fact that Prince named her Vanity because he believed that she was a female version of him. They were really tight in the past. Not sure how they were up until her death though. All this just strikes me odd.

Obviously this type of news is going to be more frequent since so many musicians are using and abusing drugs/substance more and more.
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Re: RIP Prince

Postby Fact Finder » Sun Apr 24, 2016 9:42 am

EXCLUSIVE: Prince's former drug dealer tells how the legend spent $40,000 at a time on six-month supplies of Dilaudid pills and Fentanyl patches - highly addictive opioid pain killers - for 25 years

http://www.dailymail.co.uk/news/article ... ction.html
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Re: RIP Prince

Postby tater1977 » Wed Apr 27, 2016 12:16 pm

Why Prince Asked for Journey's Blessing Before Releasing 'Purple Rain'

4/26/2016 by Gary Graff

http://www.billboard.com/articles/news/ ... interviews

Songwriter Jonathan Cain & guitarist Neal Schon recall Prince reaching out about similarities to their song "Faithfully": "I just thought it seriously showed the kind of caring, classy guy Prince was," Cain tells Billboard.

We've been hearing plenty of "Purple Rain" in the days since Prince's shocking death, from onstage tribute performances to last-minute screenings of the 1984 film by the same name around the world. But it turns out "Purple Rain" the song might not have happened without a little cooperation from the members of Journey.

Singer/songwriter Jonathan Cain tells Billboard that he was notified in early 1984 that Prince wanted to speak with him. Curious, Cain went to Columbia Records' offices in Los Angeles and took a call from Prince, who told Cain, "I want to play something for you, and I want you to check it out. The chord changes are close to 'Faithfully'" -- a top 20 single from Journey's 1983 album Frontiers -- "and I don't want you to sue me." After listening, Cain says, "I thought it was an amazing tune, and I told him, 'Man, I'm just super-flattered that you even called. It shows you're that classy of a guy. Good luck with the song. I know it's gonna be a hit.'

"And it was 'Purple Rain.'"

The two songs definitely share more than just similar chords, including the wordless outer vocals and the tone of the guitar solos. "Prince felt, I guess, it was obvious enough that he was worried we were going to sue him," Journey guitarist Neal Schon recalls. "I think he called our office asking about it and we all talked about it and everybody said, 'Nah, it's the highest form of flattery. Let it go.'" But Cain never had a moment's second thought about even asking for a co-writing credit on the anthem. "No, no, that'll just bring bad juju on you, and you don't want to do that," Cain says. "I just thought it seriously showed the kind of caring, classy guy Prince was. He wanted to check in with Jonathan Cain and make sure I wasn't going to say, 'That sounds like "Faithfully."' There's so many other things that have come down the pike that were more of a rip-off, that have stolen Journey songs. There was a One Direction song I was upset about and I just let it roll. But that particular phone call [from Prince] was amazing."

There were perks for playing ball too. "He got me these amazing seats at the Purple Rain [Tour] show when he played the Cow Palace in San Francisco, and I thought it was ridiculous how cool it was," Cain says.

"Faithfully" was the second single from Frontiers, peaking at No. 12 on the Billboard Hot 100. The song was a late addition to the album, after producers Mike Stone and Kevin Elson asked for another power ballad for the set. "The next day, [Cain] brings in this song that just came to him in the middle of the night and wrote down all the lyrics and had the basic song put together," remembers Schon, who nevertheless had trouble coming up with a solo. "I didn't know what to do on it so I said 'I'll just sit this one out,' and everybody went, 'No, no, just play, play whatever comes to your mind,'" the guitarist says. "So I wrote out my own little chart and I went out, and I believe we played the song twice and that was it. There were no vocals on it yet. Steve [Perry] came in the next day and kicked everybody out of the studio 'cause he wanted to sing it by himself."

The Journey members subsequently learned that the similarities between the "Purple Rain" and "Faithfully" guitar solos were not coincidental either. "There's a guy that Jonathan and I both know in Minneapolis who worked with Prince in the last few years," Schon says, "and he told Jon to tell me that Prince was talking about my guitar playing, how it really moved him and how he liked my playing. It was just so cool."

"How much he loved Neal Schon is crazy," Cain adds. "He studied Neal for so many years, learned his licks and made them his own. You can hear it on ('Purple Rain') for real."
Perry's good natured bonhomie & the world’s most charmin smile,knocked fans off their feet. Sportin a black tux,gigs came alive as he swished around the stage thrillin audiences w/ charisma that instantly burnt the oxygen right out of the venue.TR.com
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Re: RIP Prince

Postby brandonx76 » Wed Apr 27, 2016 3:31 pm

Great article on Journey and Prince connection...what a trip!
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Re: RIP Prince

Postby JBlake » Thu Apr 28, 2016 5:59 am

Interesting story about the Purple Rain/Faithfully issue. Actually I never heard a similarity between the songs but I guess Prince did.

I hope that the book Prince was working on is published. Lots of great stories are supposedly to be told in that book by Prince. I'm looking forward to it's release. I was a huge Prince fan back in the day (late 80's and early 90's). I sort of dropped off though about the time he changed his name to being formerly known as Prince.
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Re: RIP Prince

Postby MotherCitay » Wed May 11, 2016 4:11 am

.

Prince's albums discography consists of thirty-nine studio albums, five soundtrack albums, four live albums, five compilation albums, seventeen video albums, and twelve extended plays. Seven Grammy awards and one Academy award.

3 months ago I was searching YouTube for any Prince concert .... zilch!

Since his death there has been a flood of uploads.

And I am L-O-V-I-N-G it .... till Web Sheriff gets there. :evil:
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Re: RIP Prince

Postby MotherCitay » Wed May 25, 2016 7:43 pm

http://noisey.vice.com/blog/the-man-who ... wen-husney

The Man Who Discovered Prince

Interview by Kim Taylor Bennett

Last month I talked to Prince’s first manager, Owen Husney. He was the man that discovered Prince when he was just a teenager living in a basement in Minneapolis, the man who brokered Prince’s first record deal, and who helped him assemble the players in his band. Husney was there during the lengthy recording of Prince’s debut album For You, standing behind him when the headstrong 18-year-old told the label he wanted to be the sole producer, despite his lack of experience. Prince played everything on For You—including finger cymbals—and last month the album finally had its vinyl reissue, which is the reason I called. I wanted to find out how Husney first came across the diminutive, driven teen, and how For You finally came to fruition—all of which takes on a fresh and painful poignancy in the wake of Prince’s sudden passing. Four weeks after my conversation with Husney, Prince was gone. It may not have been the album that brought him wide acclaim and international adoration (that came a year later with his eponymous follow-up), but nevertheless, it was a bold, silky-smooth collection straight out the gates, but its birth was anything but easy.

By the time Owen Husney met Prince Rogers Nelson in the mid-70s, he was well placed to steer the young prodigy’s career. In the 60s Husney played guitar (and managed) garage rock band The High Spirits, who scored a hit covering old blues tune “(Turn on Your) Love Light”—the success of which afforded them notoriety and a tour of the US.

“We had the groupies, we had the small bus, we didn't have billions, but, you know, it was a pretty crazy life,” he explains. “And it was during the 60s, so there was a lot of awareness of coming into being, shall we say, and we took advantage.” You can take from that that The High Spirits partied pretty hard. After the band, Husney cut his teeth in the industry by wearing many hats—he spent time as a music booker, but he also set up his own art company, creating print ads for bands; he went on tour with Sonny and Cher, and even provided catering services backstage at a Minneapolis venue where everyone from Janis to Stevie to The Stones to The Who rolled through.

“By the time I was managing Prince, I’d heard all of the arguments between the artists and the managers while folding baloney in the backroom, getting their food ready,” laughs Husney. “I was privy to a lot of these discussions, and I was able to see how a manager-artist relationship sort of worked.”

In 1976 Husney received a call from his friend Chris Moon, who owned a small studio in the city. Moon sold Prince thusly: "I’ve got the next greatest thing." At the time Husney was busy and blasé—he’d heard that one a million times before—but when he finally heard Prince’s demos, his interest was piqued. The songs were flabby 10-minute workouts, but the musicianship was instantly impressive. “Boy, if I can get my hands on this,” thought Husney. We’ll let him take it from here…

Owen Husney: So I asked Chris Moon, “Who was in the group?” and he said, “It's one kid, he just turned 18, he's playing every instrument, and he's singing everything. I co-wrote a few lines with him, but basically he's doing all the writing.” I was like, “OK, give me his phone number right now. Period. We're done.” [Laughs.] So I called. He was staying with his sister in New York and they were trying to get a record deal on these demos. They really would not have gotten a record deal.

Noisey: Because the demos were too long and not focused?
Yeah. For sure. Both these kids had worked very hard putting the demos together, but they weren't commercial quality. Usually when people are extremely talented like Prince, they tend to do long songs because they want to show everybody they can do everything. At any rate, I got on the phone and he was very shy, his sentences were very short and halting, but I could tell just through the phone that he was special. My only pitch to him was, “Come on back, I've just heard this demo and I can tell you right now, I believe in you. But you're gonna have to have somebody that's gonna protect you. I've been through the business, and it can eat you alive." He was completely untested, but I believed in him.

So what was the next step?
He was still living with his best friend at the time, André Cymone, in André’s mother's basement [Cymone ended up as Prince’s bassist for Pre-Revolution]. This was the beginning of the fall of ’76 and he still wasn't sure whether he should trust me or not, but I just started doing things. When he first came back from New York after my phone call, he came to my house where I had a piano and several guitars. The minute he walked in the door, I looked at him, and I knew intrinsically that he was the real deal.

What did he look like? What were your first impressions?
He was wearing jeans with an ironed crease down the middle of them. [Laughs.] Some kind of brown boots. It was very well put together, even though they were not classy clothes, because he couldn’t afford it. He was getting stuff right away when I met him, understanding things, and he had these great eyes that were really magnificent, and they were, I don't want to say truly almond-shaped, but they were just beautiful eyes. He had real dark eyebrows. He was not a very tall guy, as you know. Then he had a huge afro. But he was very reserved. He probably played guitar at my house, maybe played the piano just a little bit, but mainly he wanted to talk. We were sizing each other up. I could see he was a very bright young man. There was no bullshit: he had the emotional maturity of a 40-year-old CEO of a company, and even though he did not understand the business side of it, I could see he had a focus. You know Little Richard?

Yeah for sure.
I've seen pictures of Little Richard when he was in a band before he was Little Richard. They're all sitting around, one of them is looking off right, one's looking off left, one's looking down, and then there's a very young Little Richard, and his eyes are laser focused on that camera. You can see the burning; you can see there's something else. That was the feeling I had about Prince. There was a focus, there was a brilliance of intelligence. He understood concepts. And this guy was just out of North Minneapolis—he'd just graduated high school practically. Most kids that age are driving cars a 150 miles an hour, doing stupid things, and testing their testosterone. He was not like that. From hearing the demo and meeting him in person, I knew I had to move quickly and get him signed to a contract.

Somebody tried to get him away from me and gave him a golden guitar [as a sweetener]. Actually I never knew if that was BS or not but we were about to sign the contract, and there was maybe 12 inches of snow, the wind is howling, and he comes over with another guy. He opens up this case, and there's this golden guitar, and he says, "Well, somebody else wants to sign me and he gave me this golden guitar." And I just looked at him and I said, "You know what, I'm not here about a fucking golden guitar. You go to that person and you have him sign you, I'm done with you, you can leave now." I watched him walk out my door into the snow. I felt like the love of my life had just walked out on me—that I’d just thrown her out. But I knew I had to sit tight. I couldn't eat, it was over a weekend, and I was just like, "Oh, where is she? Where is she? Why doesn't she call?" I was sick to my stomach and probably by Monday or Tuesday I get a call, and Prince says, “Alright, let's go. Let's go do this.”

Did you meet his parents? What was their situation?
He had moved out. He had a stepfather that I don't think he liked and I don't think the stepfather was particularly nice to him, although I don't have the details. So he ran away from home and moved in with André in the basement. And André's mother was a pillar of the black community. She was at the YMC or YWCA, directing activities and programs. She was a taskmaster. She was like, “Is your homework done? Are you doing this? Did you get this done?” André and Prince lived in the basement and in order to have dates over, they drew a line with paint down the middle of the and Prince was not allowed to come into André's part, and André was not allowed to go into Prince's part. They put up a curtain. [Laughs.]

Ha! So old school. So once you wooed Prince, the next stage is you brought in an attorney, and producer David Z [Etta James, Neneh Cherry, Billy Idol] as well as musicians to build out the band…
We needed to get those songs shortened, then we needed money. So the attorney knew a couple of people, and I put together a presentation kit and we went and pitched—one was a doctor, the other was an attorney, and we raised $50,000 from them. And from there we were able to buy Prince any instrument he needed. We got him out of the basement and into a little apartment in South Minneapolis.

Your ad agency was successful at the time. Did you have any apprehensions about leaving it behind?
I believed in Prince enough to walk out of my ad agency—doing millions of dollars worth of business—and just put my life into him. I really loved him as a human being. People say, "Well, wasn't he strange?" Well, yeah, we're all strange. I've never met an artist who wasn't strange. And so the fact that he was a little aloof and quiet—not around me, but around everybody else—never bothered me. I was happy he was that way. If he had been, “Hey, come on over, let's smoke a joint and have some fun,” I wouldn’t have managed him! [Laughs.] So eventually we signed Prince to a contract, the demo tape was put together.

An interesting story about the demo tape: there's a song that's on the first album called "Baby" and he wanted an orchestra. The only orchestra I knew in town at that point was a radio station orchestra, so I brought them in. When I came down to the studio to see how things were going on, Prince was fit to be tied, and these guys were like 90 years old, all of them, and they couldn't quite get it. [Laughs.] Prince worked with them and worked with them—I don't know how much he knew about writing music at that point, but he worked with them to the point where they rewrote and charted exactly the way he wanted it. Here's this 18-year-old kid working with these pretty cool players, orchestra guys, and he rewrote those parts and got 'em to do it.

So now you have the demos up to par, you pulled together a press kit, and then you started shopping him around?
Yeah I called Warner Brothers—I’d done some work for them in my ad agency before—so I called back Russ Thyret [the label CEO] and said, “I'm gonna make up that favor to you, listen, Columbia Records is flying us out. Would you like to hear this young genius I have? Would you like to hear him while I'm out here on Columbia's dime?” And he was like, “Yeah, absolutely!” So now I had an appointment at Warner Brothers to play and then I called Columbia, and I said, “Hey, Warner Brothers is flying us out and while we're here on their dime, would you like to hear the demo of this young genius from Minneapolis?” Then I called A&M Records, and I said, “Listen, I'm out here making presentations to Columbia and to Warners, would you like to hear this?” But I always knew that I was gonna go to Warners. They were just the top artist-friendly label of that era. The other labels seemed cold. So I lied my way into appointments at all of the labels.

These days I teach [the business of music] at UCLA and I teach my students how to lie—as long as people don't get hurt. "Hey, I saw your girlfriend with another guy down there at that bar!" That's malicious lying. But when people don't get hurt and you can get somebody positioned—hey, have fun!

Savvy teachings. So you had three labels interested, but Warners was the one. The deal you ended up brokering was pretty lucrative I hear.
I knew that even though I wanted to go to Warner Brothers I needed to make this a very rich deal for Prince, because he needed a lot of support. I needed a bidding war. And then eventually I would go with Warner Brothers. [Laughs.] I think that we're beyond the statute where they can sue me for saying this. The only label that we presented to that didn’t get it was RSO Records who had the Bee-Gees. I still have their rejection letter: “We think your artist is talented, but we don't think there's much of a future there, so we're passing.” I thought if I could get a bidding war together I could get a shitload of money and I could get three albums to develop Prince, which they won't do today. We got three albums firm and I'm 99 percent sure on this: it was the largest record deal for an unproven artist in history at that point.

How much did you sign for?
I think the whole deal was well over a million dollars. They wanted to take part of his publishing at the time, but I really didn't understand publishing. I just kept saying: I'm not prepared to have that discussion, because I didn't know what the hell it was and I wanted to run out of the meeting and get a book and read up on it. I knew if I said, “What is publishing?” they would have gotten another manager in there immediately. Finally they caved and the reason Prince owns all his publishing was because I didn't know what it was! [Laughs.]

Notoriously Prince fought to produce his debut album despite his inexperience, but that was quite the battle.
They wanted Maurice White [founder of Earth, Wind & Fire] to produce and they threw out a couple of other names of people, maybe Norman Whitfield [The Temptations, Marvin Gaye]. I'll tell you what was really interesting about Prince—and he was not malicious about this at all—but he had already studied all of these artists, like Maurice and Norman and whoever else. He knew about them, and he didn’t want their imprint on his sound—he wanted to develop his own sound and I agreed with him. He even wrote me a little note that said, “Owen, I'm very respectful of these artists and these producers, but I can pick their music apart and I can tell it's not the imprint that I want to have on my sound.”

So now I gotta tell the chairman of Warner Brothers that no one is producing this unheard-of artist who's never made album: he's gonna produce himself. I went in and fought. They agreed to organize a test where they’d fly Prince out from Minneapolis and have him record all the instruments himself. But I told Prince, “Hey, you've got some free studio time, go make a song.” We flew out and Prince lays down a drum track just perfectly, comes back, lays down the bass guitar. Now there's a bunch of people standing around the studio, and he has no idea but they were the top producers of the era: Lenny Waronker, Russ Titelman, Eddie Templeman, plus a couple of Warner Brothers figures there. They were blown away. So the test worked.

I walked out into the hallway and they said, “Look, he obviously knows how to make a record, and it might cost us a throwaway album, but he'll get there.” There's not a label in this day and age that would do that. They wouldn't even take that kind of a chance. Prince probably wouldn't have succeeded now simply because of the constraints they’d have put on him. So we’d accomplished some greatness: the biggest record deal in history at that time for a new artist, we had that new artist be his own producer, and convinced the record label that he was gonna play all the instruments.

So the plan was to keep the whole production in Minneapolis and record with the engineer Tommy Vicari [Michael Jackson, Whitney, Justin Timberlake]. But then Vicari couldn’t do it in the studio for various reasons, and you didn’t want to make Prince go to LA. In the end you compromised and planned to lay down the record in Sausalito, across the bay from San Francisco, but that cogs didn’t exactly run smoothly in that situation either…
Right. About one week into the recording in Sausalito, Prince comes home and he says to me, “I can't work with the engineer.” I said, “Come on. I just got Warner Brothers to give us everything we wanted, and now I gotta get rid of their engineer?! They'll stop the project! It's all over!” He says, “Well, you gotta fire him. I'm gonna do it for you.”

Why didn't he like him?
He’s an incredible engineer, he's won Grammys, he's a top-notch guy. It doesn't mean he was bad, it just meant—he's not on my wavelength. Here's an interesting thing about Prince: he has the uncanny intellect and ability to absorb whatever’s going on in the room. It's very, very special and I think it's one of his great attributes. Two weeks in that studio with Tommy Vicari and he got it, “OK, I know how to do this.” [Laughs]. So, then I had to tell Warner Brothers.

And did they freak out?
Oh, they were freaking out. At one time Warners got nervous, because I wasn't calling them and letting them know how things were going, that the President of Warner Brothers, and the VP of Promotion, Russ Thyret and Lenny Waronker flew up. They wanted to hear what was going on. Prince is recording the first song called "So Blue," on For You, and there was no bass in it. Lenny says, “This could be great when you get a bass on there.” And Prince looks up and says, "There will be no bass. Get out. Get out of my studio." He just kicked the President and the VP of Promotion—the guy who's got to get his record played, you know. [Laughs.] Just threw them out of the studio! And so I go out into the hallway, and my voice is cracking and they looked at me, and they said, "We get it. Let him go. Let him roll."

Wow. That's very understanding.
They were! That's why Warner Brothers had so many hits. If you look at Warner Brothers hits of the 70s, it's one after the next. So that was it, they never bothered us again. He spent a long, long, long time making that album, but he wanted it to be perfect, which, really, you don't want a perfect album, because perfect albums can be sterile; imperfections give it depth.

Let’s talk about some of the songs…
He did a song, an a capella song called "For You," it's like, 30 Prince voices overdubbed again and again and again, and it's just so cool and so right on and it’s the first song on the album. Most of his songs, "My Love Is Forever," "So Blue," "In Love," we had demoed before we got out there into the big time. Prince's focus, his brilliant creativity, I've seen it very rarely in this business where it's that complete. I actually think Michael Jackson's fairly unbelievably brilliant for what he was able to do and write and pull off and be in charge of what he’s done. Is Prince up there with John Lennon and Bob Dylan? Maybe, maybe not. If he's not, he's very close up in that realm. It’s a long-lasting career that has matured and he’s taken his audience on his trip, a journey over the years, and they've matured with you.

Do you have any stories about recording specific songs?
There's another song called "Baby" on the album that we also did as a demo. That's the one where I brought the orchestra in. Picture this: this kid just turned 18, he wrote the song about getting your girlfriend pregnant and now what are we gonna do? And the dilemma that you're faced with, and then, finally, at the end of the song, he says, “I hope our baby has eyes just like yours.” It's just so tender, and you know, Prince is a badass funk master, but there's a tenderness about a lot of stuff that he writes. If you listen to the lyrics, you get chills. "So Blue" is the same kind of thing. I think during that time, he got turned on to Joni Mitchell, and I think that's his homage to Joni.

But then he also had this rocky side to him.
Right. The first thing Prince told me after we got signed is he did not want to be pigeonholed as an R&B artist. Very few people had broken down the barriers before him. Marvin Gaye, Sly and the Family Stone had broken down the barriers between white and black radio, but he didn’t want to be pigeonholed. If you were a black artist in those days, you had to go to your black base, which is black radio stations, and you had to build it and then crossover. He didn't want to do that and that was exemplified on his second album when he had "I Wanna Be Your Lover," which broke through on top radio. He didn't want the walls. The walls repulsed him. He just wanted to make great music and he had the ability to do it.

Your wife at the time was doing Prince's hair during this period too right? A whole family affair.
Well, everybody moved, lock, stock, and barrel to Sausalito and to Los Angeles, and yeah, we just took care of Prince because he was very young. We just made sure he had breakfast, lunch, and dinner; that the sheets were clean, that his hair was taken care of. Britt would do that, even in the letter he wrote me, he talked about Britt doing his hair.

It's so, so wild when you think about him being a teenager.
It's so wild. I don't even know if he had his driver’s license by that point. Seriously. I've managed other bands that have been living in the same house for a year and doing gigs—that's one thing—but he had nothing. It was zero. There was nothing. He was living in a basement.

You currently teach at UCLA. What’s your advice to young artists?
[Sighs.] You got five hours? Firstly, Prince is an anomaly. Not everybody is as ballsy as him and can tell everybody to fuck off, get their way, and make it happen. I think the one thing that I want to tell a lot of musicians today is, work with other people, get songs together, get out there, get experience working with a lot of people—don't hole up and just think you're gonna do it yourself, or you don't want anybody to help you write. And look, you can take advantage of social media today. There was nothing like that in existence during Prince's time. There are ways to use that your advantage. I'll give you the advice that I give first day of class. Understand this: there are two words to show business. It's not show art, it's not show friends, it's show business. Get your fucking business side together, because you will get screwed.

Regarding the Warner Brothers deal, it was for three records, but then when he re-signed to them, that was the deal that he then ended up rebelling against, when he was writing "slave" on his cheek?
I can give you conjecture on that point, because I agree with Prince. Let's say you're an artist and you do these fabulous paintings. And you come to me and you say, “Owen, I need money, I want to quit my job and just paint.” And I agree that you're a great artist and you should do your paintings. And you say, “Can you loan me some money to do the paintings?” So I loan you 25,000 so you don't have to work for a couple of months and you can make your paintings and make them phenomenal. You do that, your paintings become kind of famous, you pay me back the money I leant you, but I own your paintings. That's how the business works. You sign to a record label, they give you all this money up front to make your album, they give you money to promote your stuff, and if you're successful, you pay them back. But once you've paid them back, they still own your shit. So I understand.

Prince likes to control things—that's no secret—and I agree with him. It would be abhorrent to have creativity like he has and have somebody own it. So he wanted out from that point, but he had to change 30 or 40 years of the way the business was run to do that. Also I think that he wanted to come out with an album when he felt like it, and Warner Brothers, they were calling me at that time—and I was not managing him—but they were calling me, “Well, what are we gonna do? And I said, “Look, if you try to stop Prince's creativity, you're gonna lose him.” They felt he was coming out with too many albums and would dilute his audience. And Prince is a machine of quality. He's a machine of the real. He doesn't throw shit out there. It’s good, well thought out stuff. And it might be a little bit too much, and you do have a tendency to dilute your audience. But if you put limits on him, and put him in chains so to speak, he'll want out.

There's a law called termination reversion and I know that he's gotten a lot of the songs back. He wanted to just own his music, and then license it to record labels for distribution. He didn't want them owning his shit. I understand that, I really do.

What is your most treasured piece of Prince memorabilia?
It's probably a letter that he wrote to me. I don't want to go into it, but it was a great letter, and in it, he professed his love for me, and what he wanted to do. It was probably right around the time we were breaking up. I didn't want to carry on, I felt I had done my job: to take somebody who had never been in a studio, practically, and make all this happen. There was a point when I just didn't want to do it anymore, and so I told him I was out. And he wrote me a long letter. At the time, I thought, “God, now he's just turned into this ugly prima donna.” I realized retrospectively now that he really needed that kind of support. And he really needed these things to be done [for him] so he could put himself 150 percent into the music. I don't have a whole ton of stuff, but what I have is pretty uniquely interesting. And that letter will never go anywhere. It will probably be with me until I die.
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Re: RIP Prince

Postby Fact Finder » Fri Jun 03, 2016 2:45 am

Musician Prince dies 

41m

Tests show musician Prince died of opioid overdose, law enforcement source says - AP


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Re: RIP Prince

Postby MotherCitay » Tue Jun 07, 2016 6:40 am

ztyxlynne wrote: But when I saw him playing guitar during George Harrison,s rock hall induction with Jeff Lynne and Tom Petty singing. Wow he blew me away! He could play! Very underrated guitarist.


The Day Prince’s Guitar Wept the Loudest

On March 15, 2004, George Harrison was after death enlisted into the Rock and Roll Hall of Fame. As a major aspect of the service, a top pick band performed “While My Guitar Gently Weeps,” Mr. Harrison’s best-known Beatles tune. The gathering included Tom Petty and two different individuals from the Heartbreakers, and in addition Jeff Lynne, Steve Winwood, Dhani Harrison (George’s child) and Prince, himself an inductee that year. Marc Mann, a guitarist with Mr. Lynne’s band, played Eric Clapton’s paramount solo from the collection rendition of the tune. Be that as it may, Prince, who basically remained oblivious for the vast majority of the execution, blazed the stage to the ground at the melody’s end.

His three-minute guitar solo is a Prince development, an opportunity to see him outside of the purple-tinted (for once, he is wearing red) connection of his own careful studio create. This was Prince the Lead Guitarist — those slashes obvious on melodies like “Why You Wanna Treat Me So Bad?,” “Hot seat” and “When Doves Cry” were without given extent to meander.

Furthermore, when he hurled his instrument into the air at the very end of the tune, it never seemed to land; it was practically as though Mr. Harrison had gotten it himself in midair to flag, “No more of that.”

A few individuals who were in front of an audience or at the service that night reviewed Prince’s contribution and execution. These are altered extracts from the conversations.

JOEL GALLEN (maker and chief of the Rock and Roll Hall of Fame function) My fantasy right from the begin was, suppose I can get everyone up in front of an audience toward the end of the night to do “While My Guitar Gently Weeps,” and Prince turns out and does the guitar performances. I composed essentially an individual letter to Prince, consideration of his legal advisor.
I got a call from one of Prince’s folks, a week or two later, saying that Prince was in L.A. what’s more, he needed to have a meeting with me. He said, “You know, I got your letter, I loved the thought, I’m going to listen to the melody a couple times, and I’ll hit you up.”
Two or after three weeks his security fellow called me once more, and said, “Sovereign might want to meet with you once more.” He said he certainly needs to do the tune, he’s unquestionably going to do it. Both in the underlying meeting and the second meeting, he did speak a great deal about what we’re going to do with the music, who’s setting off to possess the music — he was concerned like, on the off chance that he does this current, who’s heading off to claim the execution? He needed to ensure that his execution was not abused without his insight.

TOM PETTY (imparted lead vocals to Jeff Lynne on “While My Guitar Gently Weeps”) Olivia Harrison [George’s widow] inquired as to whether I would go along and accept George. I was told, “Well, Prince is going to play as well,” and I resembled, “Stunning, that is incredible.”
See, we got Prince here willing to play lead guitar. Why would it be a good idea for us to give him an eight-bar solo? Over a performance that — the Beatles solo, everybody knows it by heart and would be frustrated on the off chance that you didn’t play that specific solo there. What’s more, Prince was an awesome devotee of George’s, and the Beatles by and large, however I think he especially respected George. I think George would have enjoyed it a great deal.

CRAIG INCIARDI (Curator at the Rock and Roll Hall of Fame Museum) I’ve seen each actuation execution from ’92 to the present, so that resemble 24 appears. On an absolutely musical level, a specialized level similarly as musicianship, that execution appears like the most noteworthy one.

GALLEN We get to the practice the night prior to the show at the Waldorf Astoria. Sovereign’s practice was quite — he practiced his huge 10-, 12-minute variety that opened the appear. He was having a wide range of sound issues, I recollect that he had his own particular screen design that his camp had procured, and I think Prince terminated him amid the practice since he couldn’t get the sound right. After that he did a reversal to his lodging, and I said, “You’re going to return at 10 o’clock today evening time, that is the point at which we’re going to practice the finale,” and he says, “I’ll see.” [Laughs.] He didn’t give me any insurances, he just said, “I’ll see.”
The Petty practice was soon thereafter. Also, at the time I’d requested that he return, there was Prince; he’d appeared in favor of the stage with his guitar. He makes proper acquaintance with Tom and Jeff and the band. When we get to the center solo, where Prince should do it, Jeff Lynne’s guitar player just begins playing the performance. Note for note, as Clapton. Also, Prince just stops and gives him a chance to do it and plays the beat, strums along. Furthermore, we get to the enormous end solo, and Prince again ventures forward to go into the performance, and this person begins playing that performance as well! Sovereign doesn’t say anything, just begins strumming, plays a couple leads here and there, yet generally, nothing vital.

STEVE FERRONE (drummer for Tom Petty and the Heartbreakers, who played at the 2004 service) I had no clue that Prince would have been there. Steve Winwood said, “Hey, Prince is over yonder.” And I said, “I figure he’s playing with us?”
So I said to Winwood, “I’m going to go over and make proper acquaintance with him.” I meandered over the stage and I went up to him and I said, “Hello there, Prince, it’s pleasant to meet you — Steve Ferrone.” And he said, “Goodness, I know who you are!” Maybe in light of the fact that I’d played on Chaka Khan’s “I Feel for You,” which is a melody that he composed. I backpedaled over and I sat down behind the drum unit, and Winwood resembled: “What’s he like? What’d he say?”
At that point I was staying there, and I heard some person playing a guitar riff from a tune that I composed with Average White Band. Furthermore, I looked over and Prince was taking a gander at me and playing that melody. What’s more, I thought, “Better believe it, you really do know who I am!”

GALLEN They complete, and I go up to Jeff and Tom, and I kind of group up with these folks, and I’m similar to: “This can’t be going on. I don’t know in case we’re going to get another practice with him. [Prince]. Be that as it may, this person can’t be playing the performances all through the tune.” So I converse with Prince about it, I kind of draw him aside and had a private discussion with him, and he resembled: “Look, let this person do what he does, and I’ll simply venture in toward the end. For the end solo, overlook the center solo.” And he goes, “Don’t stress over it.” And then he clears out. They never practiced it, truly. Never truly demonstrated to us what he was going to do, and he exited, essentially letting me know, the maker of the appear, not to stress. Furthermore, the rest is history. It got to be a standout amongst the most fulfilling musical crossroads in my history of watching and delivering unrecorded music.

INCIARDI You hear this kind of music and finger-tapping, kind of like what you’d hear Eddie Van Halen do. He goes through all these distinctive kind of guitar procedures that are kind of astounding. You hear what sounds like somebody positioning a shotgun. There’s all these strumming power harmonies that outrageously associated. At that point he plays his variant of the Eric Clapton solo. He brings out Eric’s performance in extremely kind of truncated design. As he finishes the tune, he plays this thriving thing that kind of winds up sounding a tiny bit like Spinal Tap, however positively.
Unimportant You see me gesturing at him, to say, “Go on, go on.” I recollect that I inclined out at him at one point and gave him a “This is going extraordinary!” sort of look. He simply consumed it. You could feel the power of “something huge’s going down here.”

FERRONE Tom kind of headed toward him and said, “Simply cut free and don’t feel kind of repressed to duplicate anything that we have, recently play your thing, simply have a decent time.” It was one serious guitar solo, and one serious show he really put on for the band. When he fell once again into the group of onlookers, everyone in the band went nuts, similar to, “Gracious my God, he’s tumbling off the stage!” And then that entire thing with the guitar going uncertain. I didn’t see who got it. I just saw it go up, and I was bewildered that it didn’t return once more. Everyone ponders where that guitar went, and I gotta let you know, I was on the stage, and I ponder where it went, as well.

GALLEN regardless I feel like individuals don’t understand what an astonishing guitar player he was. As a stone guitar player, he can run toe to toe with anyone.
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