Category Archives: When Doves Cry

Welcome 2 the Dawn: Grading the Purple Rain Deluxe Edition against My Own Expectations

Prince_PurpleRain_LP_SetUp.indd

Hard as it is to believe, it’s been over three years since NPG Records and Warner Bros. announced the new, expanded Purple Rain remaster–the first, one would expect, of several such projects in the years to come. One of the first pieces I wrote for my own blog, Dystopian Dance Party, was a list of demands humble requests for bonus tracks I wanted to see included in the package: a post I was able to revive here on Andresmusictalk the second time the reissue was announced, last fall. Now, six months later, we finally have a track list, and the two configurations of the album–Deluxe and “Deluxe Expanded”–are available for preorder, to be released on June 23. So, I thought, in the spirit of reissues, why not recycle this three-year-old content once again–you know, for old time’s sake? Let’s take a look at my predictions from April 2014, and see whether or not I really had my finger on the pulse of Paisley Park:

14. Dez Dickerson’s “Modernaire”

13. Vanity 6’s Version of “Sex Shooter

12. Prince’s Versions of Songs from the Time’s Ice Cream Castle

Well, I can’t say I started strong. For better or worse, the new Purple Rain contains nothing but music by Prince and the Revolution: no side projects or protégé material, even the stuff that appeared in the movie. Really, though, I can’t say I’m surprised; and as much as I love the Time and Vanity 6, I wouldn’t want something of theirs to make the cut over a proper Prince track from the Vault. Let’s save these for the expanded reissues of Ice Cream Castle and Apollonia 6 (those are coming, right?).

11. “Extraloveable”

Now this one I am actually a little disappointed by, though again not surprised–both because of the reasons I noted in my original article (it was already released, albeit in bowldlerized/Andy Allo-ized form; it’s mad rapey), and because it’s more of a transitional track between 1999 and Purple Rain: there’s still a chance that it will come out with the inevitable 1999 reissue. I still want to hear it without that awful tape chew in the circulating recordings, but now just isn’t the time.

10. “All Day, All Night”/The Dance Electric”

All right, now we’re cooking! I’m giving myself this one because I hedged my bets, and we are in fact getting Prince’s version of André Cymone’s “The Dance Electric”; and who knows, maybe there are plans in the future to release the 1984 birthday concert where “All Day, All Night” was initially recorded. Would I have liked to have gotten both? Of course; frankly, I’d have loved for this thing to be eight discs long. But if we only had to get one, as a studio track, “Dance Electric” is the logical choice.

9. “When Doves Cry” with Bass

The first real missed opportunity–though more for historical than for musical significance. We all know (assuming Susan Rogers told the truth, and/or Prince didn’t destroy it) that the bass line for “When Doves Cry” exists somewhere in the Vault. So, especially with a full third disc on the “Deluxe Expanded” edition devoted to alternate single mixes, would it have killed them to let us hear it? It’s frustrating, because I totally get the geeky completionist impulse behind that much-derided disc of alternate edits–but if NPG is going to cater to geeky completionists, why not go whole hog?

8. The Complete August 3, 1983 First Avenue Concert

Word on the street is, I was actually kind of right on this. You might recall that an earlier announcement of the set promised “two incredible albums of previously unreleased Prince music and two complete concert films,” but the final product contains only one DVD; based on rumors (and a leaked clip of the performance in previously-unseen high fidelity), it seems the Revolution’s live debut is still in the pipeline, but wasn’t ready in time for the June release date. A little disappointing, but whatever; as long as we get it eventually, I’m happy.

7. Prince and the Revolution: Live

Now here’s the concert we actually are getting in June: the Revolution’s March 1985 date in Syracuse, New York, previously released on VHS as Prince and the Revolution: Live. There’s been some complaints in the fan community about this–it isn’t the best Purple Rain show, it’s already out there, etc. Personally, though, I’m happy to have it cleaned up for a proper digital release; I, for one, haven’t seen it, because who wants to watch a VHS in 2017? Frankly, I barely want to watch DVDs in 2017, but I still look forward to experiencing this show in glorious SD.

6. “Electric Intercourse”

Another point for me–and as an added bonus, we can already hear it! When I wrote my original post, I thought “Electric Intercourse” was a long shot–this was back when it was widely assumed that the song’s “studio version” was just the 1983 First Avenue performance dressed up with a few overdubs. Turns out that it’s actually an entirely different recording, and…well, to be honest, I found it slightly disappointing. But even below-average material from Purple Rain-era Prince is decidedly above-average compared to the output of mere mortals, and I can’t overstate the thrill of finally being able to hear the song.

5. The Extended Version of “Computer Blue”

Really, I’m not even going to pat my back for this one: the extended cut of “Computer Blue” (a.k.a. the “Hallway Speech” version) was a shoo-in for any Purple Rain reissue worth its salt; if it hadn’t made the track list, there would be riots outside Paisley Park even as we speak. But I’m still glad to have it, if only because now a whole new audience can hear the whole, brilliant psychodrama. Hearing this for the first time was one of those moments that transformed me from a reasonably normal person into a hardcore Prince fan: it’s thrilling to think how many others are about to get the same opportunity.

4. “We Can Fuck” (“We Can Funk”)

Now this, on the other hand, is a genuine surprise; and, to be honest, I’m pretty skeptical that the owner of the world’s most famous swear jar would have approved of this song–one that even a pre-Jehovah’s Witness Prince saw fit to censor for 1990’s Graffiti Bridge–being released in its unexpurgated form. Not that I’m complaining, of course: I’ve been dying to hear a nice-sounding, complete take of “We Can Fuck” basically since I became aware of its existence. And if Prince, wherever he is, has a problem with it, I’ll gladly toss a few bucks in his ghostly swear jar for the privilege.

3. “Possessed”

Not quite as exciting as “We Can Fuck,” but still welcome: “Possessed” is a jam, one of those bootleg tracks that totally blew my mind the first time I heard it. There’s been some speculation that the version included on the set is different from either of the takes currently in circulation, but I’m not even going to set my expectations that high; I’ll be satisfied with just a good copy of the one I’ve been listening to for 10 years. Anything more, I’ll consider to be a pleasant surprise.

2. “Erotic City (‘make love not war Erotic City come alive’)”

Another no-brainer–but then, you’d think keeping one of the most beloved 12″ singles in the history of the format accessible for purchase would have been a “no-brainer,” too. Yet here we are, in 2017, still awaiting the first official appearance of the extended (and far, far superior) “Erotic City” on CD and digital music services. If I sound bitter, it’s because I am; but at least Warner/NPG is finally making amends. 33 years late is still better than never.

1. Something We’ve Never Even Heard About

Now this is the one I’m most surprised, and pleased, to be wrong about. Unlike most of the other tracks on this list, I have no idea what “Katrina’s Paper Dolls” sounds like. I have no idea what “Love and Sex” sounds like (though I’ve heard good things). I did hear “Velvet Kitty Cat” when it leaked recently, and…meh, but I’ll take it. The fact that the curators of the new Purple Rain collection took care to select some songs that weren’t even in wide circulation among bootleg traders–and promoted them as such!–suggests that the future is pretty bright when it comes to music from Prince’s Vault. Of course, the deluxe Purple Rain isn’t perfect: “Wednesday” and “Traffic Jam” are missing, as are the 30-minute “I Would Die 4 U” and the longer edit of “17 Days.” But when I look at what we are getting, it’s hard for me to complain. Three years ago, I fully expected to be disappointed by whatever Warner Bros. came out with; now, I’m actually excited. Sometimes it’s good to be wrong.

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Filed under Andre Cymone, Apollonia, NPG Records, Prince, Prince & The Revolution, The Time, Vanity, Warner Bros., When Doves Cry

Prince: His Music & The Art Of Understanding

Prince art

One of the keys to my personal understand of Prince would be flexibility. Expansion of ones tastes and thoughts would seem to be vital in order to have the appropriate appreciation for the art of Prince Rogers Nelson. Having reviewed and done at least two blog posts about the man already? It feels like exactly the right time to acknowledge the fact my experiences with his music spans across four decades-give or take a year or five. So on the man’s 57th birthday? I am going to run down,decade by decade, just where my path growing up intersected with his purple life.

1980’s

There’s always a vague memory from a child’s point of view. But hearing “When Doves Cry” on my mom’s 45 RPM record of it,when it was brand new,was a very unusual musical experience for me. At the time? I didn’t know what I was hearing. On the beach near where we had a summer camp? The ground was littered with flat,slate like rocks with a red/indigo color that my mom referred to as “purple Prince rocks”. These rocks were collecting heavily in my room by the time I heard my next Prince song-a very choppy VHS recording my dad made me of the video to his song “I Could Never Take The Place Of Your Man”. This was Prince’s commercial prime-his public decade as an artist. I knew of him,but perhaps took him a little for granted.

1990’s

 When Prince elected to change his name (amid record company hassles) to an unpronounceable symbol in 1994? My first reaction was actually laughter and eye rolling. By that point? Most of the artists I deeply admired were involved in some very public scandal. I felt the media were unfairly projecting Prince as being insane. Naturally this attracted me to his music. First came The Hits/The B-Sides. After that,while revisiting the salad years of this back catalog up to that point? My first experience with new Prince music came via multi CD sets such as Emancipation and Crystal Ball. If the 80’s were Prince’s prime decade? Then the 90’s were the prime decade of my personal experience with his artistry.

2000’s

Becoming an adult was a happy time for me to be an admirer of Prince’s music. Mainly because he was calling himself Prince again. Of course another aspect of being an adult during the immediate post 9/11 years kept me from the latest news on the man. While Prince was at last a creative free agent? I was personally experiencing a great deal of difficulty managing life on my own. Issues I still face,to some degree, to this very day. Interestingly enough? Being able to delight in the exciting funkiness emerging from new Prince releases of the time such as Musicology,3121 and MPL Sound had me rooting for the man’s success as an example to myself: that an artist could be successfully and creatively free at the same time.

2010’s

It’s been an interesting six year journey with Prince by this point. One had has yet to be complete. This decade started off with me being very disappointed,annoyed and angry with Prince’s business choices. Not only was he electing to release little to no music. But his live shows never came close to reaching my area. Not to mention him turning his nose up at the internet. Which was at this point becoming an enormous aspect of my own creative expression on every level: literately,artistically and photographically. This has all changed within the last year or so. Prince has re-signed (on his terms) with Warner Bros. and released two new albums. With the promise of more. Also he’s released a single to raise awareness for the BlackLivesMatter initiative with his racially charged single in “Baltimore” as well.


One element that has been enormous in my understanding of Prince during the past decade and a half or so has been the enormous presence of third person perspective. Facebook friends such as Brandon Ousley,Henry Cooper and in particular Henrique Hopkins have been instrumental in providing often illuminating insights into the creative and personal character of the often elusive Minneapolis native. One element of Prince’s recent character I appreciate is his public advocacy of albums as a vital musical concept. Especially in the retro 50’s/post MP3 attitudes of single songs again being the main source for popular music. If Prince and my own life progress forward along a similar clip to this? I might at last achieve a full appreciation in my art of understanding of the artist and his motivations.

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Filed under 1980's, 1990s, 3121, 45 records, albums, BlackLivesMatter, CD's, Crystal Ball, Emancipation, Facebook, Funk, MPL Sound, Musicology, Prince, The Hits/B-Sides, When Doves Cry