“When You Were Mine” was released as a promotional 12" single in the US only on October 8, 1980 — the exact same day as the Dirty Mind album — to help in the promotion. RELEASE DETAILS Artist: Prince Label: Warner Bros. Records Format: 12" Vinyl Promo Country: USA (Promo Only) Released: October 8, 1980 Genre: Funk, New Wave, Pop Rock A-Side: A1. When You Were Mine – 3:42 A2. Gotta Broken Heart Again – 2:12 Written by: Prince Produced by: Prince Arranged by: Prince B-Side: Uptown – 5:29 Written by: Prince Produced by: Prince Arranged by: Prince TRACK LIST US 12" Promo Single (PRO-A-916) Side 1 A1. When You Were Mine – 3:42 A2. Gotta Broken Heart Again – 2:12 Side 2 B. Uptown – 5:29 CHART PERFORMANCE Not eligible for commercial charts (promotional release only). PERSONNEL Prince – lead and backing vocals, Oberheim OB-X, ARP Omni, electric guitar, bass guitar, drums Production Prince – producer, arranger, composer, performer THE STORY Released on October 8, 1980 simultaneously with the Dirty Mind album, this promotional 12" single served as club and radio promotion for the project (following the same strategy as the “Head” promo). The record features three album tracks and came without a picture sleeve. “When You Were Mine” later became better known through Cyndi Lauper’s popular 1983 cover version. CONTEXT & NOTES This was a typical Warner Bros. album promotion tactic for Prince at the time — using 12" promos with multiple album cuts to generate interest in clubs and among DJs. The track stands out for its jangle-pop/power-pop energy and distinctive organ sound within the Dirty Mind era’s raw, minimalist production. RELATED MATERIAL Album: Dirty Mind (1980) Previous Single: Prince (1980) Head – 7" PH / 12" Promo US Next Single: Dirty Mind (1980) SOURCES Prince Vault • Discogs • 45cat • Sleevographia2 • Warner Bros. Records • Wikipedia. COPYRIGHT NOTICE All single artwork, photographs, logos, 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.

Dirty Mind is Prince's third studio album and one of the most important releases of his early career. Released on October 8, 1980, the album marked a dramatic shift away from the smoother R&B sound of For You and Prince, introducing a stripped-down blend of funk, punk, new wave and provocative lyricism. The album's minimalist approach, controversial themes and unconventional production style helped establish Prince as one of the most daring artists of the 1980s Stickered sleeve promotional LP - USA - BSK 3478 Entirely written, produced and arranged by Prince, Dirty Mind became a defining artistic statement, setting the stage for the creative explosion that would follow with Controversy, 1999 and Purple Rain. Described as a groundbreaking eight-track collection, Dirty Mind fused raw funk grooves with punk aggression, synthesizer-driven new wave textures and sexually charged subject matter. Stickered sleeve promotional LP - USA - BSK 3478 Songs such as Head, Sister, Uptown and the title track challenged social and musical conventions, while Prince's increasingly bold image and lyrical content pushed boundaries rarely explored in mainstream popular music at the time. The album's now-iconic cover photograph, featuring Prince wearing bikini briefs, a trench coat and leg warmers, immediately signalled a new artistic direction. What initially shocked audiences would later be recognised as one of the most influential recordings of the decade. Stickered sleeve promotional LP - USA - BSK 3478 RECORDING AND PRODUCTION Recording took place primarily during May and June 1980. Prince recorded much of the album using a TEAC 4-track recorder at his home studio in Wayzata, Minnesota, creating an intentionally sparse and direct sound. Additional overdubs and production work were completed at Hollywood Sound Recorders in Los Angeles. Stickered sleeve promotional LP - USA - BSK 3478 The album's minimalist production became one of its defining characteristics. By stripping arrangements down to their essentials, Prince created a sound that combined funk, punk and new wave influences while maintaining an unmistakably personal musical identity. Prince performed the majority of the instrumentation himself, handling vocals, guitars, bass, drums and synthesizers. Additional contributions were provided by Dr. Fink and Lisa Coleman. MUSICAL STYLE Dirty Mind represented a radical departure from Prince's earlier work. The album combined: • Funk • New Wave • Punk • R&B • Synth-pop influences The result was a distinctive punk-funk aesthetic that would become highly influential throughout the decade. Its raw sound, stripped-back arrangements and provocative subject matter helped redefine expectations of what a mainstream R&B artist could create. RELEASE HISTORY Released worldwide on October 8, 1980 through Warner Bros. Records. The album was issued on LP, cassette and later compact disc, with all formats maintaining the same eight-track running order. Several reissues followed, including a remastered CD edition released in 2022. Cassette album - USA - M5 3478 CHARTS & CERTIFICATIONS AMERICA Country Chart Peak PositionUSA Billboard 200 45 USA Top R&B Albums 7 EUROPE Country Chart Peak PositionUK UK Albums Chart 7 Netherlands Albums Chart 18 Germany Albums Chart 34 PERSONNEL Prince • Lead vocals • Backing vocals • Guitar • Bass • Drums • Keyboards • Synthesizers Dr. Fink • Keyboards Lisa Coleman • Backing vocals PRODUCTION Written by Prince Produced by Prince Arranged by Prince Recorded at: • Prince's Home Studio, Wayzata, Minnesota • Hollywood Sound Recorders, Los Angeles, California CHARTS & CERTIFICATIONS AMERICA Country Chart Peak Position USA Billboard 200 45 USA Top R&B Albums 7 EUROPE Country Chart Peak Position UK UK Albums Chart 7 Netherlands Albums Chart 18 Germany Albums Chart 34 PACIFIC Country Chart Peak Position Australia Albums Chart 22 New Zealand Albums Chart 29 CERTIFICATIONS Country Certification USA Gold Canada Gold RELEASE VARIANTS TABLE Format Country Catalogue Number LP USA BSK 3478 LP UK K 56855 Cassette USA M5 3478 Cassette UK K 456855 CD Reissue Europe 7599-27408-2 CD Reissue (2022) Worldwide 603497839704 TRACKLIST TABLE (ALL FORMATS) Format Tracklisting LP / CD / Cassette SIDE ONE • Dirty Mind (4:14) • When You Were Mine (3:47) • Do It All Night (3:42) • Gotta Broken Heart Again (2:16) SIDE TWO • Uptown (5:32) • Head (4:44) • Sister (1:31) • Partyup (4:24) Format Catalogue Number(s) Features Vinyl LP BSK 3478 (USA) K 56855 (UK) • 33⅓ RPM stereo pressing • Black-and-white cover photograph • Lyric inner sleeve • Promotional sticker on selected pressings Cassette M5 3478 (USA) K 456855 (UK) • Standard cassette shell • Fold-out J-card Compact Disc 7599-27408-2 • Mid-1980s CD reissue • Lyric booklet and album artwork 2022 CD Reissue 603497839704 • Remastered audio • Updated packaging • Expanded booklet and artwork presentation SINGLES RELEASED Single Release Uptown September 1980 Dirty Mind November 26, 1980 Do It All Night UK Exclusive Head Promo Only When You Were Mine Promo Only Gotta Stop (Messin' About) June 1981 SINGLE NOTES Uptown • Released in the USA, Japan, Netherlands and New Zealand • Reached No. 5 on the US R&B chart • Issued in multiple 7-inch and 12-inch formats Dirty Mind • Commercial US release • B-side: When We're Dancing Close And Slow • Reached No. 5 on the US Disco Top 100 Do It All Night • UK-exclusive commercial single Head • Promotional release only When You Were Mine • Promotional release only Gotta Stop (Messin' About) • Stand-alone UK release from the Dirty Mind era • Issued in multiple 7-inch and 12-inch configurations Longbox CD - USA - 3478-2 (no cutout for sleeve) NOTES • Prince's third studio album. • First release to fully embrace the punk-funk style that would define much of his early 1980s work. • Recorded largely using a TEAC 4-track recorder. • One of the earliest major-label albums to successfully blend funk and new wave aesthetics. • The album cover became one of Prince's most iconic images. • Explicit songs such as Head and Sister generated significant controversy upon release. • When You Were Mine later became one of Prince's most frequently covered compositions. • The album reached the Top 10 in the United Kingdom. • Certified Gold in both the United States and Canada. • Frequently cited as one of the most influential albums of Prince's career. • Its stripped-down sound directly influenced Controversy, 1999 and the broader Minneapolis Sound movement. 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.

This enthusiastic Daily Telegraph review captures Prince during his celebrated Apollo Hammersmith residency. Reviewing a performance from the One Nite Alone tour, Lynskey Hanley praises Prince's musicianship, the strength of the New Power Generation and the spiritual, funk-driven atmosphere that characterised the concert. Publication: The Daily Telegraph Date: October 5, 2002 Country: United Kingdom Published during Prince's three-night residency at London's Apollo Hammersmith, the review opens with Prince addressing the audience directly and setting the tone for an evening that mixed performance, spirituality and musical exploration. The writer notes that devoted followers of Prince had predicted a concert heavily influenced by The Rainbow Children, and those expectations proved correct. Much of the performance drew material from the album, which the review describes as a blend of jazz-inflected musicianship, gospel-inspired themes and spiritual exploration. Throughout the evening Prince was backed by the New Power Generation, whose contributions are highlighted repeatedly. The review praises the group's precision and versatility, noting the seamless movement between funk, soul, jazz and rock influences. Particular attention is given to the way Prince used the band as an extension of his own musical vision. The concert reportedly lasted close to three hours and relied far less on choreography and spectacle than many of Prince's earlier arena productions. Instead, the emphasis was placed on performance, improvisation and musicianship. The reviewer suggests that this approach allowed Prince to demonstrate the qualities that had always distinguished him as an artist. Several moments are singled out for praise. The review highlights the concert's mix of energetic funk workouts and more reflective material, while also noting Prince's enduring connection with his audience. References are made to classic songs woven into the performance alongside newer compositions from The Rainbow Children. The article concludes by describing Prince as a performer still capable of commanding a stage through talent and personality alone. Rather than depending on visual extravagance, the concert is presented as a celebration of music and musicianship from one of pop's most accomplished artists. CONTEXT AND NOTES The review was published during Prince's three-night Apollo Hammersmith residency of October 3-5, 2002. Although the article appears to describe the previous evening's performance, it does not explicitly identify which of the three concerts was attended by the reviewer. At the time, Prince was touring in support of The Rainbow Children, an album that marked a shift toward more jazz-oriented arrangements and spiritual subject matter. The One Nite Alone concerts were notable for their emphasis on extended performances, improvisation and live musicianship rather than elaborate stage production. The review reflects the growing recognition that Prince's appeal in the early 2000s rested as much on his abilities as a musician and bandleader as on his long-established reputation as a pop superstar. FEATURE HIGHLIGHTS Event: Prince live at the Apollo Hammersmith Era: 2002 The Rainbow Children / One Nite Alone era Tone: Enthusiastic and appreciative Photography: Live performance photograph of Prince with guitar WHAT THE CLIPPING SHOWS • Review of Prince's Apollo Hammersmith performance • Extensive praise for the New Power Generation • Strong emphasis on material from The Rainbow Children • Recognition of Prince's musicianship and live performance skills 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.

Released in the United States on October 5, 1999, "The Greatest Romance Ever Sold" was the first and only commercially available single issued from Rave Un2 The Joy Fantastic, Prince's twenty-third studio album. CD single (Cardboard) - USA - 0782213749-2 Issued through NPG Records and Arista Records, the single arrived approximately five weeks before the parent album and served as the public introduction to Prince's new label partnership with Arista. The release was supported by numerous remixes targeting radio, R&B and dance audiences, including contributions from Jason Nevins and The Neptunes. "The Greatest Romance Ever Sold" was issued in a variety of configurations across the United States, United Kingdom and Europe, ranging from a simple two-track CD single to expanded remix collections, maxi-CDs, cassettes and promotional releases. The original recording was taken from Rave Un2 The Joy Fantastic. Several exclusive remix versions were commissioned for the single campaign, including remixes by Jason Nevins and The Neptunes. The Adam & Eve Remix featured Eve and entirely reworked the original recording around new rap performances and sampled elements from the album version. The Neptunes remixes featured Q-Tip, while several Jason Nevins mixes targeted club and dance audiences. STYLE & THEMES The original version combined Prince's late-1990s blend of R&B, funk and pop. The remix campaign expanded the song into multiple contemporary styles including hip-hop, dance, club and crossover radio formats, reflecting the commercial remix strategies of the era. TRACK-BY-TRACK NOTES • The Greatest Romance Ever Sold (Radio Edit) (4:26) — Primary commercial single version. Double 12" - USA - 07822-13750-1 • The Greatest Romance Ever Sold (Adam & Eve Remix) (4:30) — Re-recorded version featuring Eve. • The Greatest Romance Ever Sold (Neptunes Remix Edit) (3:42) — Remix featuring Q-Tip. • The Greatest Romance Ever Sold (Neptunes Extended Remix) (5:08) — Extended remix featuring Q-Tip. • The Greatest Romance Ever Sold (Jason Nevins Remix Edit) (3:36) — Commercial radio remix. • The Greatest Romance Ever Sold (Jason Nevins Extended Remix) (6:41) — Extended dance version. • The Greatest Romance Ever Sold (Jason Nevins Dub) (5:49) — Club-oriented dub mix. • The Greatest Romance Ever Sold (Jason Nevins Instrumental) (6:47) — Instrumental remix. • The Greatest Romance Ever Sold (Jason Nevins Romance Beats) (6:03) — Percussion-focused remix. RELEASE HISTORY The single was initially released in the United States on October 5, 1999 as a two-track CD single. Additional configurations followed, including a UK CD release on November 15, 1999 and American maxi-single editions on November 23, 1999. The release was heavily supported by remixes and promotional configurations but achieved only moderate commercial success compared to many of Prince's earlier singles. CHARTS & CERTIFICATIONS AMERICA Chart Peak Weeks Billboard Hot 100 63 13 Billboard Hot 100 Single Sales 19 21 Billboard Hot R&B Singles & Tracks 23 20 Billboard Hot R&B Singles Airplay 33 16 Billboard Hot R&B Single Sales 15 27 Billboard Hot Dance Music / Maxi-Singles Sales 6 16 EUROPE Chart Peak Weeks Germany MusikWoche Top 100 79 7 Dutch Mega Top 50 71 3 Dutch Top 40 Tipparade 21 4 UK Singles Chart 65 1 CD single - USA - 07822-13750-2 Prince — writer, producer, performer Eve — featured performer (Adam & Eve Remix) Q-Tip — featured performer (Neptunes Remixes) Jason Nevins — remixer The Neptunes — remixers PRODUCTION Label: NPG Records / Arista Records Related Album: Rave Un2 The Joy Fantastic NOTES • "The Greatest Romance Ever Sold" was the first and only commercially released single from Rave Un2 The Joy Fantastic. • The release marked Prince's first major commercial single campaign following his partnership with Arista Records. • The single was issued in the USA, UK and several European territories. • The Adam & Eve Remix featured rapper Eve and was largely rebuilt around new vocal performances. • Lyrics from the Adam & Eve Remix would later be reused on "Silicon". • The Neptunes remixes featured guest appearances by Q-Tip. • Jason Nevins supplied a range of dance-oriented remixes, dubs and instrumental versions. • The accompanying music video was not completed until approximately two months after the single's initial release. • The delayed promotional campaign may have contributed to its relatively modest chart performance. • The release reached No. 63 on the Billboard Hot 100. • Stronger results were achieved on sales and dance-oriented charts, including No. 6 on Billboard Hot Dance Music / Maxi-Singles Sales. • Despite extensive remix promotion, the single only reached No. 65 in the UK and achieved limited European chart success. • The US two-track CD single served as the principal launch format and is considered the main release, with all other configurations treated as variants. RELEASE VARIANTS TABLE Artist Title Country Catalogue Date Format Prince The Greatest Romance Ever Sold USA 13749-2 October 5, 1999 CD Single (Main Release) Prince The Greatest Romance Ever Sold USA 07822 13749-4 October 1999 Cassette Single Prince The Greatest Romance Ever Sold UK 74321-70664-2 November 15, 1999 CD Single Prince The Greatest Romance Ever Sold Germany 74321-74500-2 1999 CD Single Prince The Greatest Romance Ever Sold UK 74321-72704-2 1999 Maxi CD Prince The Greatest Romance Ever Sold USA 13750-2 November 23, 1999 Maxi CD Prince The Greatest Romance Ever Sold USA / Germany 13750-1 / 74321-72704-1 November 1999 2×12" Maxi Single Prince The Greatest Romance Ever Sold Spain 74321715002 1999 CD Promo Prince The Greatest Romance Ever Sold USA ARPCD-3776 1999 CD Promo Prince The Greatest Romance Ever Sold UK 95-00 1999 CD Promo Prince The Greatest Romance Ever Sold USA ARDP-3764 1999 12" Promo Prince The Greatest Romance Ever Sold USA ARDP-3783 1999 12" Promo Prince The Greatest Romance Ever Sold UK GREAT1 1999 12" Promo Prince The Greatest Romance Ever Sold USA ARDP-3750 1999 2×12" Promo TRACKLIST TABLE (MAIN RELEASE ONLY) Format Catalogue Tracklisting CD Single US: 13749-2 1. The Greatest Romance Ever Sold (Radio Edit) (4:26) 2. The Greatest Romance Ever Sold (Adam & Eve Remix) (4:30) SOURCES Prince Vault, Discogs, sleevographia2. All single 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.

The Red Shoes was the seventh studio album by Kate Bush. The album included one track featuring musical input from Prince, Why Should I Love You?, although the song was written solely by Kate Bush with no writing contribution from Prince. The album also featured contributions from Eric Clapton, Jeff Beck and Nigel Kennedy. Why Should I Love You? additionally included performances by Lenny Henry, who contributed vocals and spoken performances. Why Should I Love You? was recorded between sessions at Abbey Road Studios in London and Larrabee Sound Studios in North Hollywood, California. Kate Bush's recordings were made at Abbey Road Studios, while Prince's contributions were recorded separately at Larrabee Sound Studios. The album was recorded at Abbey Road Studios (Studio One), London, England, and Paisley Park Studios, Chanhassen, Minnesota, USA. Personnel on Why Should I Love You? included Kate Bush on vocals and keyboards, Prince on guitar, keyboards, bass guitar and background vocals, Lenny Henry on background vocals, alongside numerous additional musicians and vocalists. The album was remastered in 2010/2011 by Kate Bush and James Guthrie for a 2011 reissue. It was remastered again by Doug Sax, James Guthrie and Joel Plante for the 2018 reissue. STYLE & THEMES The Red Shoes combines art rock, pop and sophisticated studio production, continuing the musical approach that defined Kate Bush's later catalogue. The album is notable within Prince-related discography due to the inclusion of Why Should I Love You?, a unique collaboration that combined Kate Bush's songwriting with newly recorded musical contributions by Prince. TRACK-BY-TRACK NOTES • Rubberband Girl — Lead single from the album. • And So Is Love — Album track later issued as a single. • Eat The Music — Single release from the project. • Moments Of Pleasure — Album highlight. • The Song Of Solomon — Studio recording from the original album. • Lily — Included on all principal editions. • The Red Shoes — Title track. • Top Of The City — Album track. • Constellation Of The Heart — Featured on all editions. • Big Stripey Lie — Included on original and reissue editions. • Why Should I Love You? — Collaboration featuring musical contributions from Prince and vocals by Lenny Henry. • You're The One — Closing track. RELEASE HISTORY The album was originally released on October 5, 1993 through Columbia Records. A remastered edition was released on May 16, 2011 through Kate Bush's Fish People label. The album was remastered again and reissued on November 16, 2018 with no additional tracks added. CHARTS & CERTIFICATIONS AMERICA Country Chart Peak USA Billboard Top Pop Albums #28 EUROPE Country Chart Peak UK Gallup Album Chart #2 France Top Albums #14 Germany Offizielle Top 100 #18 Netherlands Dutch Album Top 100 #23 CERTIFICATIONS Country Certification UK Platinum Canada Gold PERSONNEL Kate Bush — lead vocals, keyboards, producer Prince — guitar, keyboards, bass guitar, background vocals Lenny Henry — background vocals Stuart Elliott — drums Nigel Hitchcock — saxophone Neil Sidwell — trombone Paul Spong — trumpet Steve Sidwell — trumpet, flugelhorn Stoyanka Boneva — background vocals Yanka Rupkina — background vocals Eva Georgieva — background vocals NOTES • Includes the Prince collaboration Why Should I Love You?. • Prince contributed guitar, keyboards, bass guitar and background vocals. • The song was written solely by Kate Bush. • Prince's parts were recorded at Larrabee Sound Studios in North Hollywood, California. • Original album reached #2 in the UK and #28 in the USA. • Certified Platinum in the UK and Gold in Canada. RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Kate Bush The Red Shoes Columbia Records Worldwide — October 5, 1993 CD / LP / MC Kate Bush The Red Shoes (Remastered Edition) Fish People Worldwide — May 16, 2011 CD Kate Bush The Red Shoes (Remastered Edition) Fish People Worldwide — November 16, 2018 CD / LP TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting CD — Rubberband Girl • And So Is Love • Eat The Music • Moments Of Pleasure • The Song Of Solomon • Lily • The Red Shoes • Top Of The City • Constellation Of The Heart • Big Stripey Lie • Why Should I Love You? • You're The One LP — Side One: Rubberband Girl • And So Is Love • Eat The Music • Moments Of Pleasure • The Song Of Solomon • Lily Side Two: The Red Shoes • Top Of The City • Constellation Of The Heart • Big Stripey Lie • Why Should I Love You? • You're The One 2LP (2018 Remaster) — LP1 Side One: Rubberband Girl • And So Is Love • Eat The Music LP1 Side Two: Moments Of Pleasure • The Song Of Solomon • Lily LP2 Side One: The Red Shoes • Top Of The City • Constellation Of The Heart LP2 Side Two: Big Stripey Lie • Why Should I Love You? • You're The One SOURCES Prince Vault, Discogs, sleevographia2. All single 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.

Love Symbol Album is the fourteenth full-length studio album by Prince and the second and final album credited to Prince And The New Power Generation. Released in October 1992, twelve months after Diamonds And Pearls, it would be the last Prince studio album credited to a band until One Nite Alone... Live! in 2002. 2xLP - Germany - 9362-45037-1 Because the album's title is represented by the unpronounceable Love Symbol, it is often referred to as Symbol or Love Symbol. The name Love Symbol appeared on the top seal of the original jewel case CD release and on the Peach single, which included My Name Is Prince as a B-side. The symbol itself later became Prince's name in 1993, and he subsequently released six albums under that name between 1995 and 1999. The album's cover photograph was taken from the 7 video. Early CD editions featured the Love Symbol embossed in gold directly into the jewel case, an unusual packaging concept for a CD release. 2xLP - Germany - 9362-45037-1 RECORDING Recording took place primarily at Paisley Park Studios, Chanhassen, Minnesota, USA. Most of the album's sixteen songs were written and recorded between September 1991 and March 1992. Unlike its predecessor Diamonds And Pearls, the album contained very little previously recorded material. The Flow was the only track based on an earlier recording, being a re-recording of a song originally recorded in September 1990. Blue Light was recorded in May 1991, making it the earliest recording included on the album. CD album - Germany - 9362-45037-2 WE 852 Embossed Symbol Eye Wanna Melt With U was the final track recorded, completed in May 1992. The final album sequence included two segues featuring actress Kirstie Alley portraying reporter Vanessa Bartholomew. Earlier configurations contained additional segues that provided more extensive narrative connections, but these were removed before release in favour of including Eye Wanna Melt With U. The album retained much of the same lineup as Diamonds And Pearls. Rosie Gaines had departed, while Mayte was CD album - Germany - 9362-45037-2 WE 852 Embossed Symbol Brit Awards Hype introduced as a featured vocalist. William "Diamond J." Graves contributed scratching, while several tracks featured the New Power Generation and the NPG Hornz. While eight tracks were largely solo performances by Prince, the remaining recordings featured Michael B., Sonny T., Tommy Barbarella, Levi Seacer Jr., Tony M., Damon Dickson, Kirk Johnson and the NPG Hornz. STYLE & THEMES Love Symbol Album combines solo Prince recordings with full-band performances by the New Power Generation, expanding the musical approach introduced on Diamonds And Pearls. CD, Album, Limited Edition, Digipak Paisley Park – 9 45121-2, Paisley Park – 2-45121, Paisley Park – 9 45123-2 The album was constructed around a loose storyline linked together by the Vanessa Bartholomew segues. This concept later provided the basis for the Act I stage production, the Act I television programme, the 3 Chains O' Gold home video and the Three Chains Of Gold comic-book adaptation. The project also marked an important transition period in Prince's career, introducing the Love Symbol identity that would become central to his public image from 1993 onward. CD, Album, Limited Edition, Digipak Paisley Park – 9 45121-2, Paisley Park – 2-45121, Paisley Park – 9 45123-2 TRACK-BY-TRACK NOTES • My Name Is Prince — Album opener and one of the album's lead singles. Rap contributions were written and performed by Tony M. • Sexy M.F. — Released as a commercial single prior to the album and features the New Power Generation lineup alongside the NPG Hornz. • Love 2 The 9's — Features participation from the New Power Generation and vocals by Mayte. • The Morning Papers — Released as the album's final commercial single. • The Max — Features rap contributions from Tony M. and participation from members of the New Power Generation. • Segue — Introduces part of the album's narrative through the Vanessa Bartholomew character performed by Kirstie Alley. • Blue Light — Originally recorded in May 1991, making it the earliest track included on the album. • Eye Wanna Melt With U — The final song recorded for the album and added after additional segues were removed from earlier album configurations. • Sweet Baby — One of the tracks planned for release as a single in 1993 before being cancelled. • The Continental — Includes an uncredited rap contribution from Carmen Electra. • Damn U — Released as a commercial single in the United States and features string orchestration by Clare Fischer. • Arrogance — Written by Prince and Tony M. and forms part of the album's narrative sequence. • The Flow — Re-recorded from an earlier version originally recorded in September 1990. • 7 — Released as one of the album's most successful singles. • And God Created Woman — Features contributions from members of the New Power Generation and vocals by Mayte. • 3 Chains O' Gold — Features orchestration by Clare Fischer and later lent its title to the related home video project. • Segue — Continues the narrative storyline featuring Vanessa Bartholomew. • The Sacrifice Of Victor — Closing track of the album featuring additional vocal contributions and a sample of God Made Me Funky. RELEASE HISTORY The album was released in Europe on October 5, 1992 and in the United States on October 13, 1992. Issued through Paisley Park Records and Warner Bros. Records, the release followed Diamonds And Pearls by twelve months and became the second and final studio album credited to Prince And The New Power Generation. The album was released simultaneously on CD, cassette and double-vinyl formats. Initial CD editions featured a gold-embossed Love Symbol built directly into the jewel case packaging. Five commercially released singles were issued from the album: Sexy M.F., My Name Is Prince, 7, Damn U and The Morning Papers. Additional planned singles including Blue Light, Sweet Baby and Love 2 The 9's progressed to acetate stage but were ultimately cancelled. The album's storyline later expanded into the Act I television special, the Act I and Act II tours, the 3 Chains O' Gold home video and the Three Chains Of Gold comic-book adaptation. CHARTS & CERTIFICATIONS AMERICA Country Chart Peak Position Weeks USA Billboard 200 5 34 USA Billboard Top R&B Albums 8 35 USA Billboard 200 (Re-entry) 111 1 EUROPE Country Chart Peak Position Weeks Austria Alben Top 75 1 16 Germany Musikmarkt Top 100 Albums 5 20 Netherlands Nationale Top 100 6 16 Norway VG-Lista Top 40 Albums 10 3 Sweden Top 60 Albums 10 4 Switzerland Schweizer Hitparade 4 12 UK UK Albums Chart 1 21 PACIFIC Country Chart Peak Position Weeks Australia ARIA Top 50 Albums 1 15 New Zealand Top 40 Albums 4 14 CERTIFICATIONS Country Certification USA Platinum UK Silver UK Gold UK Platinum France Gold Australia Gold Australia Platinum AWARDS • No United States awards were recorded for the album. PERSONNEL Prince — vocals, instruments, producer, arranger Michael B. — drums Sonny T. — bass guitar Levi Seacer Jr. — guitar Tommy Barbarella — keyboards Tony M. — rap vocals Damon Dickson — background vocals and rap vocals Kirk Johnson — percussion, background vocals, programming Mayte — vocals William "Diamond J." Graves — scratching Michael B. Nelson — trombone Kathy Jensen — baritone saxophone Dave Jensen — trumpet Brian Gallagher — tenor saxophone Steve Strand — trumpet Kirstie Alley — Vanessa Bartholomew character Clare Fischer — orchestration Eric Leeds — saxophone Michael Koppelman — bass guitar and keyboards on Blue Light Carmen Electra — rap on The Continental PRODUCTION Produced by Prince And The New Power Generation Recorded by Prince And The New Power Generation Engineered by Michael Koppelman, Dave Friedlander, Steve Noonan, Ray Hahnfeld and Brian Poer Additional Production by Keith "K.C." Cohen and George Black Mixed by Keith "K.C." Cohen, Michael Koppelman, Tom Garneau, Bob Rosa and Steve Beltram Mastered by Brian Gardner at Bernie Grundman Mastering Art Direction by Jeff Gold and Greg Ross Creative Direction by Sotera Tschetter Photography by Jeff Katz Label: Paisley Park Records / Warner Bros. Records Recorded At: Paisley Park Studios, Chanhassen, Minnesota, USA; Larrabee Sound Studios, North Hollywood, California, USA RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Prince And The New Power Generation Love Symbol Album Paisley Park / Warner Bros. Europe WX 490 October 5, 1992 2LP Prince And The New Power Generation Love Symbol Album Paisley Park / Warner Bros. Europe WX 490C October 5, 1992 Cassette Prince And The New Power Generation Love Symbol Album Paisley Park / Warner Bros. Europe WX 490CD October 5, 1992 CD Prince And The New Power Generation Love Symbol Album Paisley Park / Warner Bros. USA 9 45037-1 October 13, 1992 2LP Prince And The New Power Generation Love Symbol Album Paisley Park / Warner Bros. USA 9 45037-4 October 13, 1992 Cassette Prince And The New Power Generation Love Symbol Album Paisley Park / Warner Bros. USA 9 45037-2 October 13, 1992 CD TRACKLIST TABLE Format Catalogue Tracklisting CD WX 490CD / 9 45037-2 My Name Is Prince • Sexy M.F. • Love 2 The 9's • The Morning Papers • The Max • Segue • Blue Light • Eye Wanna Melt With U • Sweet Baby • The Continental • Damn U • Arrogance • The Flow • 7 • And God Created Woman • 3 Chains O' Gold • Segue • The Sacrifice Of Victor 2LP WX 490 / 9 45037-1 LP1 Side One: My Name Is Prince • Sexy M.F. • Love 2 The 9's LP1 Side Two: The Morning Papers • The Max • Segue • Blue Light • Eye Wanna Melt With U • Sweet Baby LP2 Side One: The Continental • Damn U • Arrogance • The Flow LP2 Side Two: 7 • And God Created Woman • 3 Chains O' Gold • Segue • The Sacrifice Of Victor Cassette WX 490C / 9 45037-4 Same running order as above SINGLES RELEASED A-Side B-Side Release My Name Is Prince Sexy M.F. October 7, 1992 Sexy M.F. Strollin' July 27, 1992 7 Can't Stop This Feeling I Got November 23, 1992 Damn U 2 Whom It May Concern February 8, 1993 The Morning Papers Live 4 Love March 22, 1993 Peach Pope August 16, 1993 Pink Cashmere Soft And Wet (Live) June 14, 1993 PROMOTIONAL SINGLES Title Release The Continental 1993 (Promo Only) Sweet Baby 1993 (Promo Only) NOTES • Released twelve months after Diamonds And Pearls. • Second and final studio album credited to Prince And The New Power Generation. • The Love Symbol later became Prince's official name in 1993. • Initial CD editions featured a gold embossed Love Symbol jewel case. • The Flow was the only re-recorded earlier track on the album. • Blue Light was the earliest recording used, dating from May 1991. • Eye Wanna Melt With U was the final track recorded. • Rosie Gaines had departed before recording the album. • Mayte made some of her earliest appearances on a Prince project. • The album's narrative concept later expanded into Act I, Act II, 3 Chains O' Gold and Three Chains Of Gold. • Reached No. 1 in both the United Kingdom and Australia. • Certified Platinum by the RIAA on December 17, 1992. SOURCES Prince Vault, Discogs, sleevographia2. All single 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.

This four-star Austin Daily Herald review examines Diamonds And Pearls as an important new stage in Prince's career, with particular attention given to the introduction of the New Power Generation. Reviewer Brett Erlandson praises the album's mixture of dance, funk, jazz, gospel and balladry, regarding it as Prince's most mainstream work since Purple Rain and predicting renewed commercial success. Publication: The Austin Daily Herald Date: October 22, 1991 Country: United States Published under the headline “Diamonds and Pearls: Prince features new style, band”, Brett Erlandson awards the album four stars out of a possible five. The review describes Diamonds And Pearls as Prince's thirteenth album since For You and immediately identifies the most important change as the arrival of the New Power Generation. According to Erlandson, the new band gives Prince a sound unlike that heard on his previous albums. The article also highlights another change in presentation: the hologram used on the CD cover. Erlandson describes this as an expensive undertaking and notes Prince's increasing accessibility to the media during this period. Musically, however, the reviewer finds Prince's familiar desire to explore new territory very much intact. One characteristic singled out across the album is the extensive use of bass, which Erlandson regards as giving the record an exciting additional dimension. The album opens with “Thunder”, described as a fast-paced dance track driven by a booming bass-drum sound. “Daddy Pop” continues that momentum before the title track, “Diamonds And Pearls”, slows the pace with what the reviewer regards as a strong ballad. The contemporary single “Cream” is described as possessing a classic Prince combination of lyric and beat. A MIXTURE OF STYLES The review emphasises the considerable stylistic variety across Diamonds And Pearls. “Strollin'” is characterised as a dramatic change of direction, with a slow jazz rhythm that evokes walking through downtown New Orleans. That jazz atmosphere continues into “Willing And Able”, where gospel-style backing vocals are highlighted. Prince then changes direction again with “Gett Off”, which the reviewer calls a “trademark bumper-and-grinder.” “Walk Don't Walk” is singled out for its unusual use of car-horn harmonies, while “Jughead” brings New Power Generation rapper Tony M. into the foreground. Erlandson notes the irony of Prince incorporating rap after previously criticising the style. “Money Don't Matter 2 Night” is described as bringing the record back into a comfortable groove, before “Push” returns the listener to the dance floor. The reviewer identifies “Insatiable” as the album's major ballad, placing it in the tradition of earlier Prince songs including “Purple Rain,” “Do Me, Baby” and “Scandalous.” Finally, “Live 4 Love” closes the album dramatically, bringing back the heavy bass sound that helped establish the record's character at the beginning. CONTEXT AND NOTES Erlandson identifies Diamonds And Pearls as Prince's first non-soundtrack album since Lovesexy in 1988. Although the reviewer has no difficulty recognising the record as Prince's work, Diamonds And Pearls is described as his most mainstream album since Purple Rain. Erlandson also notes that the album carried no parental advisory for explicit lyrics. The review closes by describing the record as another important crossroads in Prince's career. Its mixture of styles and strong potential singles leads Erlandson to predict that the album would return Prince to substantial commercial success. FEATURE HIGHLIGHTS Event: Review of Diamonds And Pearls Era: 1991 Diamonds And Pearls / New Power Generation era Rating: ★★★★ out of five Tone: Positive, analytical and commercially optimistic Photography: No photograph appears in the supplied clipping; the review is presented as a three-column text feature WHAT THE CLIPPING SHOWS • Four-star review of Diamonds And Pearls • The New Power Generation identified as a significant new element in Prince's sound • Discussion of the hologram CD cover • Reviews of “Thunder,” “Daddy Pop,” “Diamonds And Pearls,” “Cream,” “Strollin',” “Willing And Able,” “Gett Off,” “Walk Don't Walk,” “Jughead,” “Money Don't Matter 2 Night,” “Push,” “Insatiable” and “Live 4 Love” • Tony M.'s contribution to “Jughead” highlighted • Diamonds And Pearls described as Prince's most mainstream work since Purple Rain • Prediction of renewed commercial success 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.

This substantial Brainerd Daily Dispatch feature focuses on Wendy Melvoin and Lisa Coleman as they establish a musical identity beyond their years working with Prince and The Revolution. Written by Larry McShane, the article looks back at their contributions to Prince’s records and films while examining the creation of their debut album Wendy and Lisa, the ending of The Revolution and their determination to be recognised on their own terms. Publication: The Brainerd Daily Dispatch Date: October 22, 1987 Country: United States Published under the headline “Prince’s ex-mates seek own identity”, Larry McShane’s Associated Press feature begins by acknowledging the considerable visibility Wendy Melvoin and Lisa Coleman had already achieved through their association with Prince. The article notes appearances in two movies, performances on three million-selling albums, and a Rolling Stone cover, yet explains that Melvoin and Coleman were still conscious that many listeners primarily knew them through Prince. Melvoin describes the challenge of changing that perception, saying there remained many people they had yet to reach and that they needed to introduce themselves to those audiences in their own right. The feature identifies their debut album, Wendy and Lisa, as an important break from the period spent working within Prince’s musical organisation. Coleman’s association with Prince’s recordings is traced back to Dirty Mind in 1978, while Melvoin is described as joining in time for the Purple Rain film and soundtrack. Their subsequent work alongside Prince included Around The World In A Day and Parade, as well as an appearance in Under The Cherry Moon, before The Revolution went its separate ways. The article also highlights their creative contribution to Prince’s recordings. “Sometimes It Snows In April” and “Mountains” from Parade are identified as songs co-written by Prince, Melvoin and Coleman. McShane describes this as the first time Prince had recorded someone else’s music and placed it on a release carrying the Rolling Stone cover star’s name. THE REVOLUTION AND MOVING FORWARD Melvoin explains that although their association with The Revolution mattered to them, their own musical approach was not simply an attempt to recreate the band's sound. The article describes Melvoin and Coleman as long-time friends who had known one another since childhood. After the ending of The Revolution, they entered the studio within two weeks and began work on their own album without initially having a record contract. Coleman explains that self-financing the sessions gave them the freedom to enter the studio and begin the project themselves. Former Revolution drummer Bobby Z joined them as co-producer. Melvoin and Coleman themselves played a wide range of instruments on the recording, from synthesisers through to drums. The feature identifies “Waterfall” as the first single, describing Melvoin singing over a prominent guitar line. Another track, “White”, is described as a jazz-fusion instrumental closing the first side of the album. According to Melvoin, once the project was completed there was little room left for lyrics because the record had developed primarily from feeling and atmosphere rather than a predetermined formula. Much of the album is described as being concerned with relationships. Melvoin jokes that relationships were something the pair understood considerably better than nuclear physics. PRINCE CONNECTION The article does not present Wendy and Lisa’s departure as an attempt to reject their past with Prince. Instead, their years with Prince are described as formative experiences that they expected to remember fondly. Their period working with Prince is compared to college years, with Melvoin referencing Zen and the Art of Motorcycle Maintenance while explaining that they were now attempting to find their own place and assemble the different elements of what they had learned. The concluding comments carry a playful connection back to their former band. Once they had gathered enough experience and material, Melvoin jokes, they could “make the Revolution better” and get everyone back together to “blow the world up.” CONTEXT AND NOTES Published in 1987, the feature captures Wendy Melvoin and Lisa Coleman during the establishment of their post-Revolution career while preserving considerable contemporary detail about their work with Prince. For a Prince Chronicle, the article is particularly useful because it documents the transition from The Revolution from the perspective of two musicians who had played central roles in Prince’s mid-1980s recordings and films. The large accompanying photograph is captioned “WENDY MELVOIN and LISA COLEMAN – They wonder if people know them.” FEATURE HIGHLIGHTS Event: Wendy Melvoin and Lisa Coleman discuss establishing their own musical identity Era: 1987 post-Revolution period Tone: Reflective, independent and career-focused Photography: Large black-and-white promotional photograph accompanying the feature WHAT THE CLIPPING SHOWS • Wendy Melvoin and Lisa Coleman discussing life and music after The Revolution • References to Dirty Mind, Purple Rain, Around The World In A Day and Parade • “Sometimes It Snows In April” and “Mountains” identified as collaborative compositions • Discussion of the ending of The Revolution and the rapid start of the Wendy and Lisa album sessions • Bobby Z joining the project as co-producer • Discussion of “Waterfall” and the instrumental “White” • Melvoin and Coleman describing their years with Prince as their formative “college years” 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.

This Lancashire Evening Telegraph feature reports on the third annual GQ Men of the Year Awards in New York, where Prince presented the television comedian award to Chris Rock. Although the article's main subject is Sting receiving the music/solo artist honour, Prince receives distinctive coverage for both the award presentation and the unusual outfit worn to the ceremony. Publication: Lancashire Evening Telegraph Date: October 22, 1998 Event Date: October 21, 1998 Country: United Kingdom Published under the headline “Mrs Sting sees hubby named top man”, the article reports on the third annual GQ Men of the Year Awards held at Radio City Music Hall in New York. The principal story concerns Sting, who received the magazine's music/solo artist prize and attended the ceremony with Trudie Styler. For the Prince Chronicle, however, the significant section concerns Chris Rock, who received the television comedian award. The newspaper specifically states that Chris Rock: “received it from the Artist Formerly Known as Prince” placing Prince directly within the ceremony as an award presenter. The article also describes Prince's appearance at the event in some detail, referring to the outfit as his latest and perhaps most unusual-looking incarnation. The newspaper lists a flat cap, scarf, baggy grey overcoat and walking stick as elements of the appearance. This description connects directly with the separate Evening Argus photograph published on the same date, which concentrated almost entirely on Prince's clothing at the ceremony. The wider article notes several other well-known attendees, including Madonna, Whitney Houston, Muhammad Ali and Tony Bennett. A large photograph accompanying the story concentrates on Sting and the other attendees rather than Prince, making the written reference to Prince particularly important for documenting the appearance. CONTEXT AND NOTES This clipping provides additional information about the same GQ Men of the Year Awards appearance documented by the Evening Argus on October 22, 1998. While the Evening Argus concentrated on Prince's clothing, the Lancashire Evening Telegraph adds an important event detail: Prince presented Chris Rock with the television comedian award. Taken together, the two contemporary newspaper clippings provide a fuller record of Prince's participation in the ceremony rather than simply documenting his attendance. FEATURE HIGHLIGHTS Event: Third annual GQ Men of the Year Awards Event Date: October 21, 1998 Publication Date: October 22, 1998 Venue: Radio City Music Hall, New York Prince's Role: Presented Chris Rock with the television comedian award Tone: Light-hearted, celebrity and awards coverage WHAT THE CLIPPING SHOWS • Prince attending the third annual GQ Men of the Year Awards • Prince presenting Chris Rock with the television comedian award • Prince's outfit described as including a flat cap, scarf, baggy grey overcoat and walking stick • Sting receiving the music/solo artist prize • Trudie Styler accompanying Sting • Madonna, Whitney Houston, Muhammad Ali and Tony Bennett named among other attendees 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.

This short Evening Argus picture feature reports on Prince's appearance at the third annual GQ Men of the Year Awards in New York. The clipping focuses entirely on his unusual choice of clothing for the occasion, while also noting that Sting received the music/solo artist award at the ceremony. Publication: Evening Argus Date: October 22, 1998 Country: United Kingdom Published beneath the headline “Prince of the bizarre”, the brief newspaper item reports on Prince's appearance at the third annual GQ Men of the Year Awards in New York the previous night. The article describes the outfit worn for the occasion, noting a flat cap, scarf and baggy grey overcoat, together with a walking stick. The clipping is dominated by a large black-and-white photograph from the event. The visible caption reads “DISGUISE: The Artist Formerly Known as Prince”, reinforcing the article's concentration on the unconventional appearance rather than on music or a performance. Although Prince supplies the visual focus of the clipping, the article also reports that Sting won the music/solo artist prize at the ceremony at Radio City Music Hall. Sting was accompanied by actress Trudie Styler. The piece is extremely brief, functioning primarily as a celebrity photograph with accompanying information about the awards event. CONTEXT AND NOTES Because the article was published on October 22, 1998 and explicitly describes the awards ceremony as taking place “last night”, the event itself dates to October 21, 1998. Following the Chronicle format used for event-specific clippings, the event date therefore appears first in the title, while the newspaper's publication date is included at the end. No additional musical or career information is supplied in the clipping, so the entry remains focused on the GQ awards appearance and the details actually presented by the newspaper. FEATURE HIGHLIGHTS Event: Third annual GQ Men of the Year Awards Event Date: October 21, 1998 Era: 1998 Prince period Tone: Light-hearted and image-focused Photography: Large black-and-white event photograph accompanying the short article WHAT THE CLIPPING SHOWS • Prince attending the third annual GQ Men of the Year Awards in New York • Outfit described as a flat cap, scarf and baggy grey overcoat, accompanied by a walking stick • Photograph captioned “DISGUISE: The Artist Formerly Known as Prince” • Sting identified as winner of the music/solo artist award • Ceremony held at Radio City Music Hall 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.

This promotional CD single was the second radio-focused release from Prince O(+>’s 1999 album Rave Un2 The Joy Fantastic, highlighting two different edits of the powerful title track. Artist: Prince O(+> Label: Arista / NPG Records Date: Early 2000 Catalogue: ARPCD-3830 Format: Promo CD Single (Standard Jewel Case) Country: USA A-Side: “Man'O'War” (Radio Edit Without Guitar Solo) (3:56) Written by: Prince Produced by: Prince Man'O'War (Radio Edit Without Guitar Solo) (3:56) Man'O'War (Radio Edit With Guitar Solo) (3:59) Man'O'War (Call Out Research Hook) (0:10) PERSONNEL Prince O(+> – vocals, all instruments, production Kirk A. Johnson – additional percussion NPG Orchestra – strings THE STORY “Man'O'War” was released as the second promotional single from Prince O(+>’s 23rd studio album Rave Un2 The Joy Fantastic. It followed the album’s lead single and showcased his rock-oriented side with dramatic production and powerful guitar work. Two different radio edits were created — one with and one without the guitar solo — along with a short call-out hook for radio stations. CONTEXT & NOTES Housed in a standard jewel case with ethereal blue artwork featuring the Love Symbol. This USA promo was used to push the track at radio. It reached #22 on the Billboard Bubbling Under R&B/Hip-Hop Songs chart despite its promotional status. CHART PERFORMANCE Billboard Bubbling Under R&B/Hip-Hop Songs – #22 RELATED MATERIAL Prince O(+> (1999) Rave Un2 The Joy Fantastic (Album) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault, Discogs, sleevographia2. All single 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.

Breakfast Can Wait was released as a standalone digital single on 3 September 2013. Although later included on Art Official Age (2014), the track originally appeared months earlier as an individual download on 3rdEyeGirl.com on 5 February 2013. When it resurfaced on 3rdEyeTunes.com on 17 August 2013, the accompanying artwork — featuring comedian Dave Chappelle dressed as Prince and serving pancakes, taken from a 2004 Chappelle’s Show sketch — generated widespread media attention and highlighted Prince’s playful sense of humor. This surge of publicity likely influenced the decision to issue the track as an official single. A remix EP titled The Breakfast Experience followed on 24 October 2013 on iTunes, with an Amazon release the next day and availability on 3rdEyeTunes.com beginning 5 November 2013. Although Breakfast Can Wait later became retroactively recognized as the first single from Art Official Age, it is believed that the album was not yet conceived at the time of the single’s initial release. Released digitally on 3 September 2013 as a standalone single. The Breakfast Experience remix EP followed on 24 October 2013 (iTunes) and 25 October 2013 (Amazon), with a further release on 5 November 2013 via 3rdEyeTunes.com. A UK CD promo (12") with no catalog number contained the original track. Artist: Prince Title: Breakfast Can Wait Country: Digital Date: 3 September 2013 Format: Digital Single CHARTS & CERTIFICATIONS iTunes Charts USA — Entry: 26 Oct. 2013 — Peak: 57 — Weeks: 5 (days) France — Entry: 25 Oct. 2013 — Peak: 45 — Weeks: 3 (days) Spain — Entry: 26 Oct. 2013 — Peak: 100 — Weeks: 2 (days) Italy — Entry: 25 Oct. 2013 — Peak: 61 — Weeks: 4 (days) America USA: Billboard Adult R&B Songs — Entry: 28 Dec. 2013 — Peak: 26 — Weeks: 8 USA: Billboard Hot R&B/Hip‑Hop Singles Sales — Entry: 9 Nov. 2013 — Peak: 1 (2 weeks) — Weeks: 4 USA: Billboard Bubbling Under R&B/Hip‑Hop Songs — Entry: 21 Sept. 2013 — Peak: 9 — Weeks: 1 USA: Billboard R&B/Hip‑Hop Digital Song Sales — Entry: 21 Sept. 2013 — Peak: 27 — Weeks: 1 Europe Belgium (Ultratop Urban Flanders) — Entry: 14 Sep. 2013 — Peak: 38 — Weeks: 7 Belgium (Ultratop Ultratip Flanders) — Entry: 5 Oct. 2013 — Peak: 80 — Weeks: 2 The Breakfast Experience — EP Track Version Name Length Breakfast Can Wait Breakfast Can Wait 3:55 Breakfast Can Wait (Grits ‘N’ Gravy) Grits ‘N’ Gravy 3:29 Breakfast Can Wait (Espresso) Espresso 3:33 Breakfast Can Wait (Honey) Honey 3:38 Breakfast Can Wait (Buttermilk) Buttermilk 2:47 CD Promo — “Breakfast Can Wait” (UK, no catalog number) Version Track Length UK CD Promo Breakfast Can Wait 3:55 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.