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Prince’s powerful title track from the Welcome 2 America album paired with a previously unreleased live medley of “Dreamer / Welcome 2 America,” issued as a limited-edition gold 7" single. RELEASE / PUBLICATION DETAILS Artist: Prince Title: Welcome 2 America Date: July 28, 2021 Label: NPG Records / Legacy / The Prince Estate Format / Type: Vinyl, 7", Single, Limited Edition, Gold Country: France Catalogue: 19439874867 Side A Welcome 2 America (5:24) Side B Dreamer / Welcome 2 America (Live at The Forum, May 14, 2011) (6:12) THE STORY Released on July 28, 2021 as part of the Welcome 2 America album campaign, this limited gold 7" single features the studio version of the title track on the A-side and a powerful live medley recorded at The Forum in Los Angeles on the B-side. Limited to 7,500 copies worldwide. CONTEXT & NOTES This single highlights two versions of the socially conscious title track — the studio recording and a live performance from the Welcome 2 America Tour. The gold vinyl pressing and elegant packaging make it a highly collectible item from the 2021 reissue campaign. PERSONNEL Side A (Studio) Prince – vocals, guitar, keyboards Tal Wilkenfeld – bass Chris Coleman – drums Mr. Hayes – keyboards, percussion, co-producer Shelby J., Liv Warfield, Elisa Fiorillo – vocals Side B (Live) Prince – vocals, guitar New Power Generation members (Ida Nielsen, John Blackwell, Cassandra O’Neal, Renato Neto, etc.) PRODUCTION Produced, Arranged, Composed and Performed by Prince Side B recorded live at The Forum, Los Angeles – May 14, 2011 CHARTS Weekly Charts N/A (Limited Single Release) PACKAGING / ARTWORK HIGHLIGHTS Limited Edition Gold Vinyl (7,500 copies) Picture sleeve with Prince in top hat and heart graphic Elegant black and gold design SOURCES Official Prince Estate / Legacy release information, Discogs, and sleevographia2 All album artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

Sister Fate was the first single to be released from Sheila E.’s second album Romance 1600, released four weeks before the album. The single contained an edit (removing an instrumental coda), an extended version, and an instrumental version of the track. The 12" single included a previously-unreleased track, Save The People, which contained no input by Prince. The single was released in North America and Germany. The single did not enter the US Billboard Pop Chart, but reached number 36 on the Billboard Black Singles Chart. Prince appeared in the Sister Fate video promoting the single, although his appearance was taken directly from the Raspberry Beret video, and did not contain any new footage. COUNTRY VARIANTS Artist: Sheila E. Title: Sister Fate Label: Paisley Park / Warner Bros. Country: USA Catalogue: 9 28955-7 Date: 26 July 1985 Format: 7" Single Tracklist (12"): A — Sister Fate (Extended Version) (5:48) B — Save The People Cat : USA: 9 20359-0 A Tracklist (12" Promo): A — Sister Fate (Edit) (3:37) B — Sister Fate (Edit) (3:37) Cat : USA: PRO-A-2335 Tracklist (7"): A — Sister Fate (Edit) (3:37) B — Sister Fate (Instrumental) (3:37) Tracklist (7" Promo): A — Sister Fate (Edit) (3:37) B — Sister Fate (Edit) (3:37) Cat : USA: 7-28955 RELEASE HISTORY Released: 26 July 1985 Related album: Romance 1600 Label(s): Paisley Park / Warner Bros. Non‑Album track(s): • Sister Fate (Edit) (3:37) • Sister Fate (Extended Version) (5:48) • Sister Fate (Instrumental) (3:37) CHARTS & CERTIFICATIONS America USA: Billboard Bubbling Under The Hot 100 Singles Chart Entry Date: 3 Aug. 1985 Peak Position: 102 Weeks in Chart: 1 USA: Billboard Black Singles Chart Entry Date: 10 Aug. 1985 Peak Position: 36 Weeks in Chart: 11 SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Classic Rock Magazine (Louder) reports on the creation of Marc Bolan’s 1971 classic Get It On, its chart success, its musical inspirations, and the song’s direct influence on Prince — twice. The article includes Bolan’s own 1971 reflections on the track, session details from Trident Studios, and the song’s later reintroduction to new audiences. Classic Rock Magazine (via LouderSound) published a new feature on 13 July 2026 exploring the story behind Marc Bolan’s 1971 T. Rex classic Get It On, the band’s only major US hit and one of the defining singles of the glam‑rock era. The article contrasts Bolan’s earlier single Hot Love — half of which is simply the repeated “La, la, la” refrain — with the sophistication and vivid imagery of Get It On, released on 2 July 1971. Bolan drew inspiration from Chuck Berry’s Little Queenie, even echoing the ad‑libbed line “...and meanwhile, I’m still thinking” as the track fades out. Recorded at Trident Studios in London and produced by Tony Visconti, the session featured notable contributors: Rick Wakeman performing piano glissandos for £9, Ian McDonald (King Crimson) layering four saxophone tracks, and Mark Volman and Howard Kaylan (The Turtles) providing backing vocals. The single became the sound of summer 1971, spending four weeks at No.1 in the UK and reaching No.10 in the USA, where it was retitled Bang A Gong (Get It On) due to an existing song with the same name. The feature notes how the 1985 cover by The Power Station reintroduced Bolan’s song to a new generation, though Bolan himself never lived to see it, having passed in 1977 at age 29. His legacy, the article argues, is secured by the golden run of early‑70s singles — with Get It On standing as one of his most accomplished works. Crucially for Prince fans, LouderSound highlights that Get It On served as a template for Prince’s 1991 hit Cream, not only melodically but lyrically: Bolan’s “you’re dirty‑sweet and you’re my girl” mirrors Prince’s “you’re filthy‑cute and baby you know it.” The article adds that Prince repeated the homage again on Peach, underscoring Bolan’s lasting influence on him. The feature closes with Bolan’s own 1971 comment to Record Mirror: “I honestly believe Get It On was one of the best things I’ve ever done. The only kind of criticism I’m going to accept about it is that if someone can say, ‘Well, that’s out of tune or the guitar work is crap.’ OK, but I know it isn’t.” for more about Marc Bolan see our website Glam Slam Boogie

The Most Beautiful Boy In The World is a single by Mayte released in 1994 as part of a plan to release different versions of The Most Beautiful Girl In The World by different artists. Like If I Love U 2night, The Most Beautiful Boy In The World was released more than a year prior to her album Child Of The Sun, and therefore no forthcoming album was listed on the single’s artwork. The A‑side was the same version later released on Child Of The Sun. In retrospect, The Most Beautiful Boy In The World can be considered the album’s first single as it was more widely available than the If I Love U 2night single in 1994. The B‑side, ¿Quieres Ser El Más Bello De Este Mundo?, is a Spanish version of the song with the same backing tracks and is not available elsewhere. The single did not enter the charts. COUNTRY VARIANTS Artist: Mayte Title: The Most Beautiful Boy In The World Label: NPG Records Country: Europe / USA Catalogue: USA: 0060465NPG / EUR: 0060469NPG Date: July 22, 1994 Format: CD / Cassette Single Tracklist (CD): Catalogue: USA: 0060465NPG 1 — The Most Beautiful Boy In The World (English Version) (4:30) 2 — ¿Quieres Ser El Más Bello De Este Mundo? (4:30) Tracklist (Cassette): Catalogue: EUR: 0060469NPG A1 — The Most Beautiful Boy In The World (English Version) (4:30) A2 — ¿Quieres Ser El Más Bello De Este Mundo? (4:30) B1 — The Most Beautiful Boy In The World (English Version) (4:30) B2 — ¿Quieres Ser El Más Bello De Este Mundo? (4:30) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied

U Got The Look is the third single to be released from Prince’s ninth album Sign O’ The Times. It was released three and a half months after the album and received a worldwide release. The B‑side, Housequake, was also taken from Sign O’ The Times. The 12" single contained an extended version of the title track and a remix of Housequake. The single reached number 2 on the US Billboard Pop Chart and remained on the chart for 25 weeks. It reached number 11 on the Billboard Black Chart. The single was re‑released as part of the Sign O’ The Times Singles Collection in 2020. COUNTRY VARIANTS Artist: Prince Title: U Got The Look Label: Paisley Park / Warner Bros. Country: USA Catalogue: US: 0‑20727 / PRO‑A‑2771 Date: July 21, 1987 Format: 12" Single Tracklist (12"): Catalogue: US: 0‑20727 A1 — U Got The Look (Long Look) (6:45) A2 — U Got The Look (Single Cut) (3:46) B1 — Housequake (Album Cut) (4:38) B2 — Housequake (7 Minutes MoQuake) (7:15) Tracklist (12" Promo): Catalogue: US: PRO‑A‑2771 A — U Got The Look (Long Look) (6:45) B — U Got The Look (Long Look) (6:45) Notes: Music video filmed in Paris, France; directed by David Hogan; choreographed by Cat Glover. Included in the film Sign “☮” The Times. Features Sheena Easton and Sheila E. Prince credited as Camille for additional vocals. RECORDING Recorded December 21, 1986 at Sunset Sound, Hollywood. STYLE & THEMES Pop rock, funk, electro‑funk, new wave, R&B. TRACK‑BY‑TRACK NOTES • U Got The Look — Album opener on disc two; features Sheena Easton and Sheila E.; Camille vocal credit. • Housequake — Minneapolis funk track; included on Sign O’ The Times. RELEASE HISTORY • July 21, 1987 — US 12" release of U Got The Look b/w Housequake • July 14, 1987 — US 7" single release • 2020 — Re‑released as part of Sign O’ The Times Singles Collection CHARTS & CERTIFICATIONS America USA: Billboard Hot 100 — Entry Date: August 29, 1987 — Peak Position: 2 — Weeks: 25 USA: Billboard Hot Black Singles — Entry Date: August 1, 1987 — Peak Position: 11 — Weeks: 14 PERSONNEL Prince — vocals, Fairlight CMI, Prophet VS, electric guitar, Publison IM90 Infernal Machine Sheila E. — Linn LM‑1, cymbals, hi‑hat, cowbells, timbales Sheena Easton — vocals SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied

Batdance was the first single released from Prince’s eleventh album Batman (the motion picture soundtrack to the 1989 Tim Burton movie Batman). The B‑side, 200 Balloons, was previously unreleased and not included on the album. Batdance was a last‑minute replacement for a brooding track titled Dance With The Devil, which Prince felt was too dark. Although Dance With The Devil remains unreleased, some of its lyrics appear in the album’s liner notes. TRACK‑BY‑TRACK NOTES • Batdance (The Batmix) — Remix focusing on the chaotic rock section, with electronic distortion and samples. • Batdance (Vicki Vale Mix) — Extended middle section featuring Bruce Wayne/Vicki Vale dialogue. • 200 Balloons — Musical foundation for Batdance; rejected from the film. The track is an amalgam of many musical ideas Prince was exploring at the time. Elements from at least seven songs were incorporated into Batdance: 200 Balloons, We Got The Power, House In Order, Rave Unto The Joy Fantastic, The Future, and Electric Chair. The song also contains extensive dialogue samples from the film, making it one of Prince’s earliest experiments with sampling. Critics noted the track’s chaotic structure and heavy use of samples. Jerry Smith (Music Week) praised its “delicious funky groove,” while Mike Soutar (Smash Hits) described it as “very odd indeed,” highlighting its collage of film dialogue, laughter, and guitar stabs. The music video was filmed on May 27 and May 28, 1989 in Culver City, California. Directed by Albert Magnoli and choreographed by Barry Lather, it featured dancers dressed as multiple Batmen, Jokers, and Vicki Vales. Prince appeared as “Gemini,” a dual‑sided character representing Batman (good) and Joker (evil). The video earned Prince nominations at the 1990 Soul Train Music Awards and the 1990 MTV Video Music Awards. The B‑side 200 Balloons served as the musical blueprint for the main portion of Batdance. It was rejected for the film by Tim Burton and replaced with Trust. Full lyrics from 200 Balloons later appeared in The Batmix. RELEASE HISTORY • July 21, 1989 — Release of the maxi‑single (12"/CD) containing Batdance (The Batmix) / Batdance (Vicki Vale Mix) / 200 Balloons • August 11, 1989 — RIAA platinum certification (1 million units shipped) CHARTS & CERTIFICATIONS America USA: Billboard Hot 100 — Entry Date: June 17, 1989 — Peak Position: 1 — Weeks: 18 USA: Billboard Hot Black Singles — Entry Date: June 17, 1989 — Peak Position: 1 — Weeks: 15 USA: Billboard Hot Dance Music – Club Play — Entry Date: July 22, 1989 — Peak Position: 1 — Weeks: 9 Europe Belgium: Ultratop Flanders — Entry Date: July 1, 1989 — Peak Position: 5 — Weeks: 11 France: Nielsen & Ipsos Top 50 — Entry Date: July 22, 1989 — Peak Position: 5 — Weeks: 19 Germany: MusikWoche Top 100 Singles — Entry Date: June 26, 1989 — Peak Position: 10 — Weeks: 19 Ireland: IRMA Singles Chart — Entry Date: June 15, 1989 — Peak Position: 2 — Weeks: 11 The Netherlands: Mega Top 50 — Entry Date: June 9, 1989 — Peak Position: 4 — Weeks: 12 The Netherlands: Nederlandse Top 40 — Entry Date: June 24, 1989 — Peak Position: 4 — Weeks: 9 UK: Gallup Singles Chart — Entry Date: June 24, 1989 — Peak Position: 2 — Weeks: 12 COUNTRY VARIANTS Format: Maxi‑Single Tracklist (12"): Catalogue: US: 0‑21257 A — Batdance (The Batmix) (7:15) B1 — Batdance (Vicki Vale Mix) (5:55) B2 — 200 Balloons (5:05) Tracklist (12" Promo): Catalogue: US: PRO‑A‑3702 A1 — Batdance (The Batmix) (7:15) A2 — Batdance (The Batmix Radio Edit) (4:09) B1 — Batdance (Vicki Vale Mix) (5:55) B2 — Batdance (Vicki Vale Mix Radio Edit) (4:13) Tracklist (Cassette Maxi): Catalogue: US: 4‑21257 A — Batdance (The Batmix) (7:15) B1 — Batdance (Vicki Vale Mix) (5:55) B2 — 200 Balloons (5:05) Tracklist (CD Maxi): Catalogue: US: 9‑21257‑2 1 — Batdance (The Batmix) (7:15) 2 — Batdance (Vicki Vale Mix) (5:55) 3 — 200 Balloons (5:05) Tracklist (7" Promo): Catalogue: US: 7‑22924 A — Batdance (The Batmix Edit) (4:09) B — Batdance (Vicki Vale Mix Edit) (4:13) SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

On July 19, 1999, at the Yahoo! Internet Life Online Music Awards held at Studio 54, MGM Grand Hotel, New York, NY, Prince (O(+>) won Best Internet‑Only Single for The War. He also introduced Public Enemy, who performed two songs. The War is a live track released as a standalone download and single by The New Power Generation. It first appeared as a RealAudio download on Love4OneAnother.com on July 21 1998, before being sent on cassette in August 1998 to customers who had previously ordered Crystal Ball — although the mailing list was inconsistent, with some receiving it without ordering Crystal Ball, and others not receiving it at all. A promo CD single was later sold through 1‑800‑NEW‑FUNK and online. The track was recorded live at Paisley Park Studios, Chanhassen, Minnesota, on 20 June 1998 (a.m.) during a concert titled “The One.” The performance lasted 45 minutes, making it the longest released track by Prince or any related act. Even the edited version runs 26:00. A brief synth motif from Utopia appears during the performance — although Utopia was recorded earlier, it was released six months later. COUNTRY VARIANTS Artist: The New Power Generation Title: The War Label: NPG Records Country: USA Date: July 19, 1999 Format: Digital Single Awarded Best Internet‑Only Single at the 1999 Yahoo! Internet Life Awards. RECORDING Recorded live at Paisley Park Studios, Chanhassen, Minnesota, on 20 June 1998 (a.m.) during the concert “The One.” The full performance lasted 45 minutes; the released edit runs 26 minutes. STYLE & THEMES A long‑form, improvisational, politically charged performance blending spoken passages, extended instrumental sections, and atmospheric synth motifs. Themes include social commentary, spiritual conflict, and resistance — characteristic of late‑1990s NPG output. TRACK‑BY‑TRACK NOTES • The War — Longest released Prince‑related track; live performance; 26‑minute edit. • RELEASE HISTORY • 21 July 1998 — RealAudio download on Love4OneAnother.com • August 1998 — Cassette mailed to selected Crystal Ball customers • 1998 — Promo CD sold via 1‑800‑NEW‑FUNK • July 19, 1999 — Wins Best Internet‑Only Single at Yahoo! Internet Life Awards PERSONNEL O(+>- lead vocals, "guitar solos, various keys, electraps and percussion" Kirk Johnson - drums Rhonda Smith - bass guitar Mr. Hayes - keyboards and programming Mike Scott - wah-wah guitar Marva King - background vocals SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Early Life & Formation Cat Glover (real name Kathleen Glover) entered Prince’s world in early 1987, during the period leading up to the Sign O’ The Times tour. Prince discovered her through dance circles in Los Angeles, impressed by her athletic, street‑infused choreography and her ability to blend dance, rap, and visual performance. By February 1987, she was rehearsing with Prince’s new post‑Revolution band, becoming a central part of his evolving stage identity. Rise to Fame & Sign O’ The Times Era Cat became a breakout star during the Sign O’ The Times Tour, which began on May 8 1987. Her role combined dance, rap‑style vocal interjections, and on‑stage interplay with Prince, giving the show a modern, urban edge. She appeared prominently in the Sign O’ The Times concert film, shot on July 20 1987 and July 21 1987, where her choreography and charisma became defining elements of the production. Her “Cat!” vocal tag and high‑energy movement became instantly recognizable to fans. Prince Connection & Creative Evolution Cat’s partnership with Prince deepened during the Lovesexy period. She became one of the visual anchors of the Lovesexy Tour, which began on June 15 1988, performing complex choreography, spoken‑word segments, and stylized movement that matched the tour’s spiritual and theatrical tone. Prince often built staging around her presence, using her as a counterpoint to his own performance — a dancer, vocalist, and character within the show’s narrative. Her influence extended into music videos, live broadcasts, and promotional appearances throughout 1988. Influence & Legacy Cat Glover became one of Prince’s most iconic dancers, leaving a lasting imprint on his late‑1980s visual identity. Her legacy includes: • Defining the dance aesthetic of the Sign O’ The Times and Lovesexy eras • Introducing hip‑hop‑infused choreography into Prince’s stage shows • Providing vocal interplay and spoken‑word elements that shaped live arrangements • Becoming a central figure in the Sign O’ The Times film, one of Prince’s most acclaimed works • Helping transition Prince’s stage presence from the Revolution’s theatrical rock toward a more modern, street‑dance‑driven style Her work influenced later Prince dancers and choreographers, establishing a blueprint for movement within the Minneapolis sound. Why Cat Glover Matters Cat Glover represents the moment Prince fully embraced dance as a core part of his live storytelling. Her athleticism, charisma, and modern choreography helped redefine Prince’s stage shows in 1987 and 1988, giving them a fresh, contemporary energy. She became a symbol of Prince’s late‑80s reinvention — a performer who could match his intensity, expand his visual language, and help shape two of his greatest tours. SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

The Lovesexy band was assembled by Prince in early 1988 as he prepared to tour behind the Lovesexy album, released on May 10 1988 in the United States. Prince built the group around musicians who had already worked with him through the Parade, Sign O’ The Times, and Black Album periods, expanding the lineup to create a large, theatrical, gospel‑funk ensemble capable of delivering the album’s spiritual and celebratory themes on stage. Rise to Fame & Lovesexy Tour Era The Lovesexy Tour began on June 15 1988 in Paris and ran through February 5 1989, becoming one of Prince’s most acclaimed live productions. The band featured a powerful rhythm section, multiple keyboardists, horns, dancers, and vocalists, allowing Prince to blend funk, pop, gospel, jazz, and rock seamlessly. Key members included Sheila E. (drums, percussion), Dr. Fink (keyboards), Eric Leeds (saxophone, flute), Miko Weaver (guitar), Levi Seacer Jr. (bass), Bonnie Boyer (vocals, keyboards), Cat Glover (vocals, dance), and Atlanta Bliss (trumpet). This ensemble supported Prince through the full Lovesexy set, including extended medleys, spiritual interludes, and re‑imagined versions of earlier hits. Prince Connection & Creative Evolution The Lovesexy band represented Prince’s shift toward a more theatrical, spiritually themed stage presentation. The group’s size and versatility allowed him to perform complex arrangements from Lovesexy, Sign O’ The Times, Parade, and earlier albums with new energy and detail. Prince relied heavily on Sheila E.’s rhythmic leadership, Eric Leeds’s horn arrangements, and the tight interplay between Miko Weaver and Levi Seacer Jr. The band also supported Prince during the Dortmund broadcast on September 9 1988, one of the most famous live documents of the era. Influence & Legacy The Lovesexy band became one of Prince’s most respected live ensembles, known for its precision, musical depth, and theatricality. Its legacy includes: • Establishing Sheila E. as Prince’s on‑stage rhythmic counterpart • Showcasing Eric Leeds and Atlanta Bliss as the core of Prince’s late‑80s horn sound • Introducing Cat Glover’s dance‑vocal presence, central to the tour’s visual identity • Demonstrating Prince’s ability to merge gospel, funk, and pop into a unified live experience • Providing the foundation for the transition into the Nude Tour and the early New Power Generation era Why The Lovesexy Band Matters The Lovesexy band represents Prince at his most theatrical and spiritually expressive. It delivered one of his most complex and uplifting tours, blending musicianship, choreography, and narrative into a single experience. The ensemble’s precision and versatility helped Prince redefine his live sound at the end of the 1980s, setting the stage for the evolution that followed in the 1990s. SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Early Life & Formation The Sign O’ The Times band was assembled by Prince in early 1987 after the breakup of The Revolution in October 1986. Prince built a new lineup around musicians who could deliver the stripped‑down, funk‑rock, jazz‑infused sound of the Sign O’ The Times album, released on March 30 1987. This new ensemble emphasized live musicianship, improvisation, and a more mature, European‑leaning aesthetic compared to the theatrical Revolution era. Key members included Sheila E. (drums, percussion), Dr. Fink (keyboards), Miko Weaver (guitar), Levi Seacer Jr. (bass), Eric Leeds (saxophone, flute), Atlanta Bliss (trumpet), Cat Glover (vocals, dance), and Bonnie Boyer (vocals, keyboards). Rise to Fame & Sign O’ The Times Tour Era The Sign O’ The Times Tour began on May 8 1987 in Stockholm and ran through June 26 1987, presenting a leaner, more musically focused Prince. The band delivered tight funk grooves, extended jazz‑fusion passages, and re‑imagined versions of Prince’s earlier songs. Sheila E. led the rhythm section with explosive precision, while Eric Leeds and Atlanta Bliss formed the horn backbone of Prince’s late‑80s sound. Cat Glover added choreography and vocal interplay, giving the show a modern, street‑dance energy. This lineup also performed in the Sign O’ The Times concert film, shot on July 20 1987 and July 21 1987 at Paisley Park, with additional footage from the tour. The film became one of Prince’s most acclaimed live documents. Prince Connection & Creative Evolution The Sign O’ The Times band marked a major turning point in Prince’s musical direction. After dissolving The Revolution, Prince embraced a more adult, jazz‑infused, minimalist sound that relied heavily on live musicianship. Sheila E.’s leadership on drums shaped the band’s rhythmic identity, while Eric Leeds and Atlanta Bliss expanded Prince’s horn arrangements into a more sophisticated territory. Miko Weaver’s guitar work brought a fluid, improvisational quality to the performances, and Levi Seacer Jr. anchored the band with a deep, modern funk bass tone. This ensemble laid the groundwork for the transition into the Lovesexy era in 1988, with several members continuing into the next tour. Influence & Legacy The Sign O’ The Times band is widely regarded as one of Prince’s greatest live ensembles. Its legacy includes: • Delivering the sound of Prince’s critically acclaimed Sign O’ The Times album on stage • Establishing the horn pairing of Eric Leeds and Atlanta Bliss as central to Prince’s late‑80s identity • Showcasing Sheila E. as Prince’s most dynamic live drummer • Introducing Cat Glover’s dance‑vocal presence, later expanded in the Lovesexy era • Creating the foundation for Prince’s jazz‑funk direction in the late 1980s The band’s performances, especially in the Sign O’ The Times film, remain essential viewing for fans and musicians. Why The Sign O’ The Times Band Matters The Sign O’ The Times band represents Prince at a moment of reinvention and artistic maturity. It delivered a raw, powerful, musically rich live experience that blended funk, rock, jazz, gospel, and electronic elements. The ensemble’s precision and versatility helped Prince redefine his sound after The Revolution, setting the stage for the Lovesexy and NPG eras that followed. SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Early Life & Formation (1989–1990) The New Power Generation first emerged in late 1989 as Prince began shifting away from the classic Revolution era and the Lovesexy band. The earliest NPG lineup formed during rehearsals for the Nude Tour, which began on June 2 1990. This initial version included Michael Bland (drums), Levi Seacer Jr. (guitar), Sonny T. (bass), Tommy Barbarella (keyboards), and Rosie Gaines (vocals, keyboards). Prince envisioned NPG as a tighter, funk‑driven, modern ensemble capable of supporting his new direction toward hip‑hop‑infused Minneapolis sound. Rise to Fame & Diamonds and Pearls Era (1991–1992) The band became fully defined during the Diamonds and Pearls period, released on October 1 1991. This era introduced Tony M., whose rap vocals helped Prince integrate New Jack Swing and early hip‑hop elements into his music. The NPG sound blended funk, pop, gospel, rap, and polished R&B, creating one of Prince’s most commercially successful phases. The band toured extensively, beginning with the Diamonds and Pearls Tour on April 13 1992, showcasing a large, energetic lineup with dancers, horns, and vocalists. Symbol Era & The Gold Experience (1993–1995) During Prince’s name change to the Love Symbol on June 7 1993, NPG became his primary creative engine. This era saw the band evolve into a more sophisticated, electronic, and live‑band hybrid sound. Key members included Sonny T., Michael Bland, Tommy Barbarella, Morris Hayes, and Mayte. The NPG supported Prince through the Act I Tour (beginning March 8 1993) and Act II Tour (beginning July 26 1993). Their work culminated in The Gold Experience, released on September 12 1995, with NPG providing the backbone of Prince’s mid‑90s sound. Emancipation & Expanded NPG Era (1996–1998) After Prince’s emancipation from Warner Bros. on December 31 1995, NPG became even more central. The Emancipation album, released on November 19 1996, featured a large NPG lineup with strong R&B, gospel, and live instrumentation. The Love 4 One Another Charities Tour began on January 7 1997, showcasing the band’s versatility. This era also included the New Power Soul album, released on June 30 1998, credited directly to The New Power Generation, marking their identity as a standalone act. Late NPG & Final Classic Lineup (1999–2000) By 1999, the NPG lineup shifted again, with Morris Hayes becoming musical director. The band supported Prince through the Rave Un2 the Year 2000 concert on December 17 1999, blending funk, rock, and electronic elements. This period marked the end of the classic NPG era, as Prince transitioned into smaller, more fluid ensembles in the early 2000s. Influence & Legacy The New Power Generation became Prince’s longest‑running band, lasting more than a decade and shaping some of his most iconic eras. Their legacy includes: • Integrating hip‑hop and New Jack Swing into Prince’s sound • Creating the polished R&B of Diamonds and Pearls • Supporting Prince through his name change and Warner Bros. battles • Delivering the live power behind The Gold Experience and Emancipation • Becoming a standalone act with New Power Soul • Establishing musicians like Michael Bland, Sonny T., Morris Hayes, and Tommy Barbarella as Minneapolis legend Why The New Power Generation Matters The New Power Generation represents Prince’s evolution from the psychedelic Revolution era into a modern, genre‑blending powerhouse. They helped him reinvent his sound for the 1990s, navigate industry battles, and build a new musical identity. Across funk, R&B, hip‑hop, gospel, and electronic pop, NPG became the engine of Prince’s most diverse and ambitious work. SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

The Family was assembled by Prince in 1984 from the remaining members of The Time after that band split. Prince built the new group around St. Paul Peterson (vocals, keyboards), Susannah Melvoin (vocals), Jellybean Johnson (drums), Jerome Benton (percussion), and Eric Leeds (saxophone, flute). Prince met Eric Leeds through his tour manager Alan Leeds, Eric’s brother. Other musicians — including Jerry Hubbard and David Eiland — were approached but declined, leaving Prince to finalize the core lineup around these five members. The Family existed only from 1984 to 1985, but became one of Prince’s most important transitional projects, shaping the sound he would explore with The Revolution and later Madhouse. Rise to Fame & Paisley Park Era The Family recorded their sole album at Paisley Park in 1985. Although presented as a band project, most of the music was created by Prince alone in the studio, with Eric Leeds adding saxophone parts. St. Paul and Susannah later overdubbed their lead vocals. The album introduced Prince’s new blend of funk, jazz, orchestral pop, and minimalist grooves, and marked his first collaboration with Clare Fischer, whose orchestral arrangements became a defining element of Prince’s later work. The Family released two singles in 1985: • The Screams of Passion • High Fashion Their only live performance took place on August 13 1985 at First Avenue in Minneapolis. Prince Connection & Creative Evolution The Family was one of Prince’s most hands‑on creations. He wrote the songs, played nearly all instruments, and shaped the band’s image and sound. Key Prince connections include: • A bridge between The Time and the expanded Revolution lineup • The introduction of Eric Leeds, central to Prince’s jazz‑funk era • The beginning of Prince’s long partnership with Clare Fischer • Susannah Melvoin’s involvement deepening Prince’s ties to the Melvoin musical family A live version of the band was assembled with Miko Weaver (guitar), Allen Flowers (bass), Bill Carrothers and Jonathan Melvoin (keyboards), plus Wally Safford and Greg Brooks as dancers and backing vocalists. After the group dissolved, Jerome Benton, Eric Leeds, Miko Weaver, Wally Safford, and Greg Brooks joined the expanded Revolution in early 1986. Influence & Legacy Although short‑lived, The Family became one of Prince’s most influential side projects. Their legacy includes: • Introducing the jazz‑infused Minneapolis sound Prince later expanded with Madhouse • Establishing Clare Fischer’s orchestral arrangements as a recurring Prince hallmark • Launching St. Paul Peterson, who later formed fDeluxe, a modern continuation of The Family • Providing early showcases for Eric Leeds, whose saxophone shaped Prince’s late‑80s and early‑90s sound The Family’s 1985 album remains a cult favourite, known for its sleek production, orchestral depth, and the original version of “Nothing Compares 2 U.” Why The Family Matters The Family represents a key turning point in Prince’s mid‑80s evolution: • A fusion of funk, jazz, orchestral pop, and minimalist grooves • A testing ground for new collaborators • A bridge between The Time and The Revolution • A blueprint for Prince’s later jazz‑funk experiments Despite existing for barely a year, The Family left a lasting imprint on Prince’s musical universe. SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.