Monday, June 30, 2014


Peter Gabriel went through the wilderness and found real world redemption through the alluring aboriginal  accomplishment of this soul searching soundtrack.  When Martin Scorcese decided to make a film version of  Nikos Kazantzakis' novel 'The Last Temptation Of Christ', the controversy surrounding the enterprise prompted Universal to get the movie released as soon as possible.  Gabriel was excited about the project; but felt rushed:    “This was one of the most important records for me – an opportunity as a writer to try to do a different sort of job than I usually do. The brief for 'The Last Temptation Of Christ' was to create something that had references to that time and that part of the world, but that had its own character and was to be timeless in a way...After we finished mixing the film, there were some unfinished ideas that needed developing and I took some extra time to complete the record. There are several pieces that were not able to be included in the film and I felt the record should be able to stand as a separate body of work. I chose the film’s working title – 'Passion'.”

Gabriel was able to utilize the resources of WOMAD, the World of Music, Arts, and Dance organization he co-founded to extend his musical reach and find an eclectic panopoly of instrumentation from around the globe, bringing world music to the mainstream, and introducing artists such as  Nusrat Fateh Ali Khan, Baaba Maal, Youssou N'Dour, and L. Shankar.  Almost a year after the release of 'The Last Temptation Of Christ', Real World Records put out 'Passion: Music for The Last Temptation of Christ'.  The soundtrack went gold in the US, where it charted at number sixty.  It also went to fifty-nine in the Netherlands, thirty-four in Sweden, thirty in Germany, and twenty-nine in the UK.  The soundtrack was nominated for a Golden Globe Award for Best Original Motion Picture Score in 1988 and won a Grammy for Best New Age Album in 1990.  The album cover was a painting by Julian Grater called “Study for Self Image”.  'Passion - Sources' was also released in 1989, described by Gabriel as  "a selection of some of the traditional music, sources of inspiration, and location recordings."

full album:

Side One
"The Feeling Begins" – 4:00
"Gethsemane" – 1:26
"Of These, Hope" – 3:55
"Lazarus Raised" – 1:26
"Of These, Hope – Reprise" – 2:44          
"In Doubt" – 1:33
"A Different Drum" – 4:40
Side Two  19:41
"Zaar" – 4:53
"Troubled" – 2:55
"Open" – 3:27
"Before Night Falls" – 2:18
"With This Love" – 3:40
Side Three
"Sandstorm" – 3:02
"Stigmata" – 2:28
"Passion" – 7:39
"With This Love (Choir)" – 3:20
Side Four
"Wall of Breath" – 2:29
"The Promise of Shadows" – 2:13
"Disturbed" – 3:35
"It Is Accomplished" – 2:55
"Bread and Wine" – 2:21

Sunday, June 29, 2014


Robert Fripp originally conceived of his solo debut as part of a trilogy of albums released simultaneously with Daryl Hall and Peter Gabriel.  Fripp had collaborated with Brian Eno on two albums ('(No Pussyfooting)' and 'Evening Star') before the breakup of King Crimson in 1974 and played a secondary role on Eno's first two albums ('Here Come the Warm Jets' and 'Another Green World') before taking a hiatus from the music business.  He would return to play guitar on Peter Gabriel's solo debut 'Peter Gabriel (car)' in 1977 under the pseudonym 'Dusty Rhodes':   "When I withdrew from the music business to official retirement in 1974, I had no intention of returning at all. I thought it unlikely. But when I went to America in February 1977, to join Peter Gabriel, I was in a sense putting my elbow in the water and finding out whether this was a world in which I could receive an appropriate education ... It was a very demoralizing and a depressing experience.  I found it difficult to work with the producer [Bob Ezrin]. I liked him as a man, but I couldn't express myself fully in the circumstances. Neither could Peter. It wasn't Robert Fripp on that album. It wasn't until the end of July 1977 - when I went off to do '"Heroes"' with Bowie in Berlin - that Fripp was able to be Fripp. There were no limitation on Fripp in that experience ... As I became more busy, producing Darryl Hall and Peter Gabriel, it occurred to me - probably around the Spring of 1978 - that I was in no way officially retired." 

After '"Heroes"' in 1977, Fripp was invited to play guitar on Daryl Hall's solo debut 'Sacred Songs'
and was promoted to producer right away.  The final album was not well received by RCA, who didn't want the art rock experimentalism to interfere with the pop appeal of Hall and Oates.  Fripp fumes:   "It terrified the record company.  Terrified them. Their official description of the record was 'strange.' They simply refused to release it. The record scared off the company and his manager.  It was a beautiful working experience, though. It contains some excellent music, some of the best work Hall's ever done. Certainly some of the most honest and personally revealing. I think the people around him were disturbed by what he'd done. One of the things that has become evident is that Darryl doesn't have the freedom he thought he had." 

When it came time to record his own solo debut, Fripp ran into more complications with record companies.  Although Hall was excited to contribute vocals to 'Exposure', RCA would not cooperate with the project and most of the tracks had to be redone.  Also, Chrysalis refused to let Debbie Harry take part in the sessions.  Peter Hamill was brought in to work on the new recordings.  Fripp says:  "[Hamill] came into the studio dressed in a rather svelte and smooth fashion, took off his nice cloths and got into a smelly dressing-gown, poured himself liberal dose from the bottle of cognac he'd brought with him, and went in there and started delivering the goods. Great man. Very nice an. He said that when he began singing he wanted to be the vocal equivalent of Hendrix. Conceptually, he was right on the beam. And he delivers, I think...The kind of decision that prevented Blondie from appearing on my album represents a value system I'm not prepared to work with. It's a value judgement which belongs to an old world. It's not a world 'm any longer involved in."

At the same time, Fripp was producing Gabriel's second album 'Peter Gabriel (scratch)', which he had come to conceive as cut from the same cloth as 'Sacred Songs' and 'Exposure'.  Fripp attempted to explain:    "'Exposure' deals with tweaking the vocabulary of, for want of a better word, 'rock' music. It investigates the vocabulary and, hopefully, expands the possibilities of expression and introduces a more sophisticated emotional dynamic than one would normally find within 'rock.'... What I was trying to do in the original trilogy was to investigate the 'pop song' as a means of expression. I think it's an incredibly good way of putting forward ideas. I think it's a supreme discipline to know that you have three- to four minutes to get together all your lost emotions and find words of one syllable or less to put forward all you ideas. It's a discipline of form that I don't think is cheap or shoddy...It's all interlocking.  As Eno would say, in a complex system one can never accurately forecast al the possible outcomes. So one takes a decision and rides on the dynamics generated by that. I would express that in the phrase, 'riding the dynamic of disaster.'... One very concise way of expressing that would be to say - since everything fucks up, you might as well learn to bodge it...And this bodging, which is the universal hazard, is a creative ongoing process. It's the active hand that does the bodging and the mind which tries to find an order within it. They're not separate elements. Hey go on simultaneously. And having made a simple decision to make a record, everything proceeds from there. What I do is make the record and ten discover what I'm doing. The assumption being that there's a part of me that knows what I'm doing and my mind has to discover it. There's an innate order, you know. People aren't turkeys. If you listen to yourself, you might find out what you're saying...It continues to surprise me, in the sense that it's so good I'm familiar now with the more superficial nuances. But more than that, it continues to surprise me that it works so completely. As a whole it's so good. So good...I think probably, in terms of the genre, it's conceivably the best record in the past five years, perhaps longer. I don't think of it as a 'progressive' rock album. I think in a sense it rises above ALL categories. In a sense it's a compendium, none of the components are in themselves innovatory, but nothing is dated." 

'Exposure' would chart at number seventy-nine in the US, 'Sacred Songs' would go to number fifty-eight when it was begrudgingly released in 1980 after fans and critics wrote to RCA.   'Peter Gabriel (scratch)', hit number forty-five in the US and number ten in the UK.


You Burn Me Up I'm a Cigarette

New York, New York

North Star

Water Music I / Here Comes the Flood

Here Comes The Flood - Peter Gabriel & Robert... by ShanonLeger

Water Music II


full album:

Exposure [Bonus CD] from Robert Fripp on Myspace.

1. "Preface"   Robert Fripp 1:16
2. "You Burn Me Up I'm a Cigarette"   Daryl Hall, Robert Fripp 2:24
3. "Breathless"   Robert Fripp 4:43
4. "Disengage II"   Daryl Hall, Joanna Walton, Robert Fripp 2:44
5. "North Star"   Daryl Hall, Joanna Walton, Robert Fripp 3:12
6. "Chicago"   Daryl Hall, Joanna Walton, Robert Fripp 2:18
7. "New York City, New York"   Daryl Hall, Joanna Walton, Robert Fripp 2:18
8. "Mary"   Daryl Hall, Joanna Walton, Robert Fripp 2:09
9. "Exposure"   Peter Gabriel, Robert Fripp 4:26
10. "Hååden Two"   Robert Fripp 1:57
11. "Urban Landscape"   Robert Fripp 2:35
12. "I May Not Have Had Enough of Me but I've Had Enough of You"   Joanna Walton, Robert Fripp 3:38
13. "First Inaugural Address to the I.A.C.E. Sherborne House"   J. G. Bennett 0:07
14. "Water Music I"   Robert Fripp, J. G. Bennett 1:19
15. "Here Comes the Flood"   Peter Gabriel 3:54
16. "Water Music II"   Robert Fripp 3:55
17. "Postscript"   Robert Fripp 0:40

Saturday, June 28, 2014

happy sad

Tim Buckley reached the pinnacle of his powers with the adventurous acoustic ambivalence and evocative experimental jazz of this dramatic dream letter.  After two albums ('Jeff Buckley' and 'Goodbye and Hello') with songwriting partner Larry Beckett, Buckley was moving toward a more personal lyrical perspective.  He would reveal:  "Larry and I were writing differently at the time and if you write together, you’re usually good enough to know when you can’t. What I was doing on 'Happy Sad' was a lot more musical. The overall lyric expression is pretty hot to this day but I’m not the giant of the lyric that he is. For people to write together, it takes a lot of understanding because you’re not just writing a song, you’re writing an album. A song is just part of it, you know. Even though they cut the music up into different bands on the record, still, each song has got be part of the whole. I keep real good track of what I’ve done before and try to add on a new dimension, which wreaks havoc with business because they have to sell something over and over again if it clicks. But I know to this day I could never write another “Goodbye and Hello” because why say it twice? Followups are never as good as the original song ...  It flowed. After doing 'Goodbye and Hello', Beckett wanted to get even rawer than I did so that’s why I did the album by myself. At that time and still today, I do believe that things cannot be changed in the world by hammering into people’s minds that some things are right and some things are wrong. You can’t pound in a point of view or a lifestyle. It has to be done by example, and doing songs on one-to-one relationships because you’re talking about rudimentary things that we all live on. I don’t regret doing the political trip; I just regret that the American people haven’t been told anything. And now, the paranoia is becoming real; it’s real great for a lot of us to know that what we were fearing in those days was right."  

'Happy Sad'  was produced by Jerry Yester and Zal Yanovsky at Elektra Sound Recorders in Los Angeles with production supervisor Jac Holzman and engineer Bruce Botnick and featured Tim Buckley on guitar, vocals, and twelve string guitar;  Lee Underwood on guitar and keyboards;  John Miller on acoustic bass;  Carter C.C. Collins on congas and conduction;  and David Friedman on percussion, marimba, and vibraphone.  Buckley said:  “I really loved doing that album, I’ll tell ya. It was really a break-out period of time for me musically. Yeah, ‘Love from Room 109 at the Islander’, ‘Buzzin’ Fly’, ‘Sing a Song for You’, ‘Dream Letter’… I was writing, I’ll tell ya that. We had a ball doing that. ‘Love from Room 109 at the Islander’ was recorded in a hotel overlooking the Pacific Ocean, and it was quite simple. I arranged it for harp and vibes and I couldn’t find a harp player in a studio that could cut it… I didn’t know about Alice Coltrane at the time, she hadn’t come on the scene. She was playing somewhere in Michigan but I hadn’t heard her. And after I recorded it, I saw her on the Today show, and I said 'damn!'… because I wanted that thing that the ocean gave...The trick of writing is to make it sound like it’s all happening for the first time — that’s what it’s all about, so that you feel it’s everybody’s idea. It took a long time for me to write that album, and then to teach the people in the band, but they were all great people so it was really a labour of love, the way it should be.”

'Happy Sad' became Buckley's biggest selling album, going to number eighty-one on the US album chart.

"Strange Feelin'" – 7:40

"Sing a Song for You" – 2:39

'Happy Sad'  
full album:

All tracks written by Tim Buckley.

Side One
"Strange Feelin'" – 7:40
"Buzzin' Fly" – 6:04
"Love from Room 109 at the Islander (On Pacific Coast Highway)" – 10:49
Side Two
"Dream Letter" – 5:12
"Gypsy Woman" – 12:19
"Sing a Song for You" – 2:39

Friday, June 27, 2014

cosmic thing

The B-52's followed their bliss had a comeback as big as a whale rocking through the wilderness with this wild cosmic party.  The group had struggled with the recording of their 'Mesopotamia' EP in 1982 but bounced back with 'Whammy' in 1983.  Just one month after they finished 'Bouncing off the Satellites' in 1985, guitarist Ricky Wilson died suddenly from AIDS related health complications.  None of the other members of the band were aware of his illness and were hit hard by his passing.  In the aftermath, they were unable to promote the album and went their separate ways, agreeing that without Ricky they would not be able to continue.  

Keith Strickland had started out as the band's drummer; but gradually took on other instruments for later albums.  During the hiatus, he began writing songs and brought them to the rest of the group.  They decided to try and write and record together again.  Strickland remembers:     "I always had that sense of freedom with instruments. I was never that inhibited with picking up an instrument. I played in bands when I was in high school and we would always jam. They were very much jam bands, although that wasn’t a term in those days. We would have these very long jam sessions. We had this house together and people would come in, bring a guitar and play. I was jamming with lots of different people, and I would pick up the bass or the guitar or some percussion instrument, and just play. And I learned how to listen. We all realised at the same time that there was almost a psychic kind of thing happening, where you would almost know what the other person was going to do. And it was free-form yet there was this flow to it. You could just sense it. I felt like in those days, that’s when I really learned to listen to other players, which allowed me to be comfortable with just picking up an instrument and playing it. Everybody has something unique and individual to offer, and it’s really about being yourself and being comfortable with who that is, and not seeing your limitations as limitations. Just seeing it as ‘it’s just what I do.’ And if it comes natural, just do what’s natural! "

'Cosmic Thing'  was recorded with producers  Nile Rodgers and Don Was (each producing half of the album) and featured Fred Schneider on percussion, vocals, and background vocals;  Cindy Wilson on vocals;  Kate Pierson on keyboards, vocals, and backing vocals;  and Keith Strickland on guitar, keyboards, vocals, and backing vocals;   with horns by Carl Beatty, Chris Cioe, Bob Funk, Arno Hecht, and Paul Literal;  Leroy Clouden, Charley Drayton, Sonny Emory, and Steve Ferrone on drums;  Richard Hilton, Tommy Mandel. and Philippe Saisse on keyboards;  Nile Rodgers on guitar;  and Sara Lee on bass, keyboards, and background vocals.   The centerpiece of the album was the infectious hit single 'Love Shack' which became a number one smash in Australia, New Zealand, and on the US modern rock tracks chart.  

Strickland admits:  "We didn’t know we had really written “Love Shack” after we had written it! Actually we had kinda shelved it. When we started looking for producers, we had lined up Nile Rodgers and Don Was, when we met with Don we played him the demos of our songs and he said ‘These are great but do you have anything else?’ We said we had this one track, but it was not finished. We had several versions on the unfinished demo and he goes ‘Are you kidding me? This is great!’ But we had not really found the chorus to the song. He immediately wanted to start working on that, so he just said ‘Repeat this one part,’ which was “The love shack is a little old place where…” – y’know. We played it only once in the demo but as soon as we repeated it it all fell into place. After we recorded though, I knew, I think we all knew that we had hit upon something. It just had a vibe to it. And you know when there’s a vibe but you can’t really put your finger on what it is? You don’t know why it’s working but it really is, and you just get this feeling about it. And it just that that knowable knowing. Like, ‘My goodness, there’s something here.’"

The video for 'Love Shack' helped to make the song a hit.  Pierson reveals:     "We knew [RuPaul] from Atlanta when he was in a band called Wee Wee Pole. So we knew him before he was the icon he is today; he was always an icon though. We asked him to be in the video, which took place near where Keith and I were living at the time, in Plattekill near Woodstock, New York. Our friends, ceramic artists Phillip Maberry and Scott Walker, told us that we had to do the video at their place because they lived in the Love Shack. The director went upstate to look at it because he wasn’t convinced that we could film it anywhere outside of New York City. When he saw it, he was bowled over. We got a busload of all our friends and went up there and it turned into a party. Actually, RuPaul started the whole dance line. All of a sudden he organized everyone, clapped his hands, and said, ‘Y’all line up and everybody dance!’ It turned into a party within a video, a real party. The video really captured that because we really were having fun."

Schneider says:     "Actually, if you listen to it, a country band could do “Love Shack.” That album—to be honest, people wouldn’t play “Love Shack” at first. The radio wouldn’t touch it, except college radio. That’s why we always… When college radio wants something, we’re there for them. And independent radio. While the band did sound-check, I went with the A&R person to radio stations to beg them to play it. Once it started taking off, the other radio stations started playing it. Then it snowballed. It went to number one all over the country. But it didn’t do it at once. We were behind Paula Abdul and Milli Vanilli [on the charts]."

'Cosmic Thing' went to number thirty-eight in Sweden, eight in the UK, four in the US, and number one in Australia and New Zealand.  

'Love Shack' was certified gold and peaked at number three on the US pop chart.

'Roam' was another gold number three hit on the US pop chart.

'Channel Z'

'Deadbeat Club'

'Cosmic Thing' 
full album:

"Cosmic Thing"  – 4:50
"Dry County"  – 4:54
"Deadbeat Club"  – 4:45
"Love Shack"  – 5:21
"Junebug"  – 5:04
"Roam"  – 4:54
"Bushfire"  – 4:58
"Channel Z"  – 4:49
"Topaz"  – 4:20
"Follow Your Bliss"  – 4:08

Thursday, June 26, 2014

a hard day's night

The Beatles exploited (and parodied) Beatlemania with the twofold triumph of their first film and their first album of original material.  With their music breaking sales and chart records in the US, their management struck a deal with United Artists for a movie vehicle to capitalize on the craze.  The film was directed by Richard Lester, produced by Walter Shenson, and written by Alun Owen; and featured the band happily avoiding hoards of fans and fighting boredom as they await a television performance.  When producer Walter Shenson decided to change the title from 'Beatlemania!' to 'A Hard Day's Night', he told Lennon that he would have to write a new title song.  Lennon delivered the song the very next day.  The opening guitar chord has been a subject of debate among fans for years.  George would reveal:   "It is F with a G on top (on the 12-string), but you’ll have to ask Paul about the bass note to get the proper story."

The title came from Ringo.  He would explain:   "We went to do a job, and we'd worked all day and we happened to work all night. I came up still thinking it was day I suppose, and I said, 'It's been a hard day...' and I looked around and saw it was dark so I said, '...night!' So we came to 'A Hard Day's Night.'"

John recalled:   "I was going home in the car and Dick Lester suggested the title, 'Hard Day's Night' from something Ringo had said. I had used it in 'In His Own Write,' but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny... just said it. So Dick Lester said, 'We are going to use that title.' And the next morning I brought in the song... 'cuz there was a little competition between Paul and I as to who got the A-side-- who got the hits. If you notice, in the early days the majority of singles, in the movies and everything, were mine... in the early period I'm dominating the group. The only reason he sang on 'A Hard Day's Night' was because I couldn't reach the notes. (sings) 'When I'm home/ everything seems to be right/ when I'm home...' --which is what we'd do sometimes. One of us couldn't reach a note but he wanted a different sound, so he'd get the other to do the harmony ... Paul and I enjoyed writing the music for the film, but there were times when we honestly thought we'd never get time to write all the material. We managed to get a couple finished while we were in Paris, and three more completed in America soaking up sun on Miami Beach."

Paul says:   "The title was Ringo's. We'd almost finished making the film, and this fun bit arrived that we'd not known about before, which was naming the film. . So we were sitting around at Twickenham studios having a little brain-storming session... and we said, 'Well, there was something Ringo said the other day.' Ringo would do these little malapropisms, he would say things slightly wrong, like people do, but his were always wonderful, very lyrical... they were sort of magic even though he was just getting it wrong. And he said after a concert, 'Phew, it's been a hard day's night.' ... Most of the songs that John and I wrote together were kinda pulled out of thin air. That was the thing about John and me that I still marvel at... because we had been 16 year olds together. He'd come over to my house and we'd smoke Ty-Phoo tea in my dad's pipe. And because we'd done all that, by the time we got around to 'A Hard Day's Night,' we sort of expected that we sat down together to write a song and have a little bit of fun-- simply because we were used to doing it. That was how we did what we did ... These recent sessions in the studio have shown us one thing. It doesn't get any easier. Already we've got the 'knockers' saying that we can't get to number one again and that we must be running out of ideas. That's where the pressure comes in. The fans are marvellous, but some of the others make it clear they'd like it if we had a flop. We worry much more now and it seems that with every hit it gets that bit tougher. But we're pretty pleased with the material we've got out of it all... even if we finished one of the songs literally as we were getting ready to make a recording of it ... Normally John and I would go in the studio, sit down with the guys and say, 'Right, what are we going to do?' I'd say to John, 'Do you want to do that one of yours or shall we do this one of mine? Which shall we play 'em first?' We'd show it to the band over the course of twenty minutes, possibly half an hour. Ringo would stand around with a pair of drumsticks which he might tap on a seat or a packing case. John and I would sit with our two guitars. George would bring his guitar and see what chords we were doing and figure out what he could do. George Martin would sit down with us and then we would separate, go to each instrument and come out ready to fight. And within the next hour we would have done it-- we would have decided how we were going to play the song. If for some reason it needed to be mixed quickly we would go upstairs to the control room, but we often left it up to them and just went home. But as things went on, we might go up to the control room more often."

The soundtrack album was recorded at EMI Studios in London, and Pathé Marconi Studios in Paris with John Lennon on vocals, acoustic and electric (six and twelve-string) guitars, piano, harmonica, and tambourine;  Paul McCartney on vocals, acoustic and bass guitars, piano, and cowbell;  George Harrison on vocals, acoustic and electric (six and twelve-string) guitars, and claves;  and Ringo Starr on drums and percussions;  with producer George Martin on piano, and Norman Smith adding bongos on the title track.  The entirety of side one is from the movie, while the songs on side two contained songs written for but not included in the film.  

'A Hard Day's Night' was a massive success, delivering a wave of new Beatles music during the height of Beatlemania.  The movie was a hit with fans and critics alike, setting records in the UK and setting the standard for rock musicals.  The film was nominated for two Academy Awards: for Best Screenplay for Alun Owen, and Best Score Adaptation for George Martin.  The Beatles were nominated for four Grammys in 1964:   Record of the Year for "I Want to Hold Your Hand",  Best Contemporary Song and Best Performance by a Vocal Group (which they won) for "A Hard Day's Night", and Best New Artist, which they won.    The soundtrack album was released in the US on June 26, 1964 and in the UK on July 10.  It went to number one in Australia, Germany, the UK, and the US.    'Can't Buy Me Love' became the first single ever to simultaneously hit number one in the US and the UK.  'A Hard Day's Night' is the only album by the Beatles in which every song was written by John Lennon and Paul McCartney.

'A Hard Day's Night'
full album:

A Hard Day's Night 0:00
I Should've Known Better 2:51
If I Fell 6:06
Just To Dance With You 8:54
And I Love Her 11:09
Tell Me Why 14:08
Can't Buy Me Love 16:34
Anytime At All 19:07
I'll Cry Instead 21:38
Things We said Today 23:45
When I Get Home 26:52
You Can't Do That 29:31
I'll Be Back 32:32

'A Hard Day's Night'
full movie:

A Hard Day's Night 1964 full movie by ursula-strauss

Wednesday, June 25, 2014

purple rain

Prince and the Revolution took the world by storm with the funk rock experiments of this landmark soundtrack.  Prince had broken through with the pop sensibilities of his previous album '1999'; but with 'Purple Rain' he recorded with a band for the first time.  Included was a live performance from the First Avenue club in Minneapolis, Minnesota from a benefit concert for the Minnesota Dance Theater which introduced guitarist Wendy Melvoin to the band.   Other sessions were done at The Warehouse in St. Louis Park, Minnesota; the Record Plant in Los Angeles, California;  and Sunset Sound in Hollywood, California and featured Wendy Melvoin on guitar and vocals (1, 2, 4, 7, 8, 9);  Lisa Coleman on keyboards and vocals (1, 2, 4, 7, 8, 9);  Matt Fink on keyboards (1, 2, 7, 8, 9);  Brown Mark on bass (1, 2, 7, 8, 9);  Bobby Z. on drums and percussion (1, 2, 7, 8, 9);  Novi Novog on violin and viola (2, 8, 9);  Suzie Katayama and David Coleman on cello (2, 8, 9);  and Apollonia on co-lead vocals (2).  All other vocals and instruments were handled by Prince.  

He would reveal:    "My first album I did completely alone...The reason I don't use musicians a lot of the time had to do with the hours that I worked. I swear to God it's not out of boldness when I say this, but there's not a person around who can stay awake as long as I can. Music is what keeps me awake. There will be times when I've been working in the studio for twenty hours and I'll be falling asleep in the chair, but I'll still be able to tell the engineer what cut I want to make. I use engineers in shifts a lot of the time because when I start something, I like to go all the way through. There are very few musicians who will stay awake that long...[the rush I get from music] increases more and more. One of my friends worries that I'll short-circuit. We always say I'll make the final fade on a song one time and [Laughs, dropping his head in a dead slump]. It just gets more and more interesting every day. More than anything else, I try not to repeat myself. It's the hardest thing in the world to do -- there's only so many notes one human being can muster. I write a lot more than people think I do, and I try not to copy that...I think that's the problem with the music industry today. When a person does get a hit, they try to do it again the same way. I don't think I've ever done that. I write all the time and cut all the time. I want to show you the archives, where all my old stuff is. There's tons of music I've recorded there. I have the follow-up album to 1999. I could put it all together and play it for you, and you would go "Yeah!" And I could put it out, and it would probably sell what 1999 did. But I always try to do something different and conquer new ground...In people's minds, it all boils down to "Is Prince getting too big for his breeches?" I wish people would understand that I always thought I was bad. I wouldn't have got into the business if I didn't think I was bad ... I was horrible. To be perfectly honest, I was surrounded by my friends, but nevertheless, we had a difference of opinion in a lot of situations -- musically speaking, that is. A lot had to do with me not being quite sure exactly which direction I wanted to go in. Later on toward the Controversy period, I got a better grip on that. That's when we started to see more and more people participating in recording activities. Boom.  

Bobby Z was the first one to join. He's my best friend. Though he's not such a spectacular drummer, he watches me like no other drummer would. Sometimes, a real great drummer, like Morris, will be more concerned with the lick he is doing as opposed to how I am going to break it down...Mark Brown's just the best bass player I know, period. I wouldn't have anybody else. If he didn't play with me, I,d eliminate bass from my music. Same goes for Matt [Fink, the keyboard player]. He's more or less a technician. He can read and write like a whiz, and is one of the fastest in the world. And Wendy makes me seem all right in the eyes of people Watching...She keeps a smile on her face. When I sneer, she smiles. It's not premeditated, she just does it. It's a good contrast. Lisa is like my sister. She'll play what the average person won't. She'll press two notes with one finger so the chord is a lot larger, things like that. She's more abstract.

I didn't write Purple Rain. Someone else did. And it was a story, a fictional story, and should be perceived that way. Violence is something that happens in everyday life, and we were only telling a story. I wish it was looked at that way, because I don't think anything we did was unnecessary. Sometimes, for the sake of humor, we may've gone overboard. And if that was the case, then I'm sorry, but it was not the intention...I was brought up in a black-and-white world and, yes, black and white, night and day, rich and poor. I listened to all kinds of music when I was young, and when I was younger, I always said that one day I would play all kinds of music and not be judged for the color of my skin but the quality of my work, and hopefully I will continue. There are a lot of people out there that understand this, 'cause they support me and my habits, and I support them and theirs...James Brown played a big influence in my style. When I was about 10 years old, my stepdad put me on stage with him, and I danced a little bit until the bodyguard took me off. The reason I liked James Brown so much is that, on my way out, I saw some of the finest dancing girls I ever seen in my life. And I think, in that respect, he influenced me by his control over his group. Another big influence was Joni Mitchell. She taught me a lot about color and sound, and to her, I'm very grateful.

Well, you know, it's like...I worked a long time under a lot of different people, and most of the time I was doing it their way. I mean, that was cool, but ya know, I figured if I worked hard enough and kept my head straight, one day I'd get to do this on my own...and that's what happened. So I feel like...if I don't try to hurt nobody...and like I say...keep my head on way usually is the best way...There is no difference [between making a hot movie and making a hot album]. There have been people who have tried to tell me contrary to that, but like you said before and like I said before, I strive for perfection, and sometimes I'm a little bull-headed in my ways. Hopefully, people understand that there's just a lot on my mind and I try to stay focused on one particular thing. And I try not to hurt nobody in the process. A movie is a little bit more complex, but to me it's just a larger version of an album. There are scenes and there are songs, and they all go together to make this painting, and...I'm the painter. Y'all is the paintees. (Mojo laughs.) Hopefully it's something that you can get into."

The album and the film were both huge successes.  The film and album were both number one at the same time.  The album went to number eight in Austria; seven in Switzerland and the UK; five in Germany; four in Norway;  three in Sweden; two in New Zealand; and number one in Australia, Canada, and the US. 'Purple Rain' has sold over twenty million copies worldwide and is the sixth biggest movie soundtrack of all time.  In the US, it spent twenty-four consecutive weeks at number one.  Prince won three Grammy Awards in  1985 for Best Rock Vocal Performance by a Duo or Group, Best Album of Original Score Written for a Motion Picture or TV Special, and for Best R&B Song for Chaka Khan's cover of "I Feel for You".  It was nominated for Album of the Year. 'Purple Rain'  also won an Oscar for Best Original Song Score that year.

"Let's Go Crazy"  

Prince - Let's Go Crazy (Purple Rain) (1984) by retrospective1

"Take Me with U" (with Apollonia Kotero)

"The Beautiful Ones"

"Computer Blue"

"Darling Nikki"  

"When Doves Cry"  

"I Would Die 4 U"  / "Baby I'm a Star"  

Prince and The Revolution - I Would Die 4 U... by thekids716

"Purple Rain"  

Prince - Purple Rain (1984) by retrospective1

movie trailer