Released on October 26, 1993, I’m Ready was the second studio album by Tevin Campbell. Issued through Qwest Records and Warner Bros., the album ran for 49:10 and included four songs written and produced by Prince under the credit Paisley Park. Prince’s contributions were “The Halls Of Desire,” “Uncle Sam,” “Paris 1798430” and “Shhh.” Although Prince’s involvement represented only part of the finished album, the four recordings formed a distinctive group within the project and connected I’m Ready directly with Prince’s creative work of the early 1990s. RELEASE DETAILS Artist: Tevin Campbell Title: I’m Ready Release Date: October 26, 1993 Format: CD / Cassette Running Time: 49:10 Labels: Qwest Records / Warner Bros. Studios: Olympic Studios, London / Paisley Park Studios, Chanhassen, Minnesota PRINCE CONNECTION Prince wrote and produced four songs included on I’m Ready, using the pseudonym Paisley Park for the songwriting and production credits. The four Prince compositions were: The Halls Of Desire Uncle Sam Paris 1798430 Shhh Prince also performed the majority of the instrumental and background-vocal parts on the Prince-related recordings, with additional musicians contributing to individual tracks. The finished album therefore combined Tevin Campbell’s lead vocals with a substantial body of Prince-created material while also incorporating work by other writers and producers. SESSIONS & COMPILING At one stage Prince was considered as a possible producer for the entire album. Instead, Tevin Campbell and executive producer Quincy Jones also worked with other producers, including Babyface and Narada Michael Walden. Prince recorded seven songs during September 1992 for possible inclusion on Campbell’s album: The Halls Of Desire Uncle Sam Paris 1798430 Shhh Down The P Holly Don’t Care Four were ultimately retained for I’m Ready: The Halls Of Desire Uncle Sam Paris 1798430 Shhh The remaining three followed different paths. Holly Don’t Care was subsequently reworked by Mayte for Child Of The Sun. Down and The P remained unreleased. Shhh would later return to Prince’s own catalogue when Prince reclaimed the composition and released a Prince recording on The Gold Experience. THE FOUR PRINCE COMPOSITIONS THE HALLS OF DESIRE “The Halls Of Desire” runs for 4:36 and was written by Prince under the Paisley Park credit. The recording includes contributions from Michael B. on drums, Sonny T. on bass, Tommy Barbarella on keyboards, Kathleen Johnson on background vocals, Eric Leeds on saxophone and Kirk Johnson on percussion. William “DJ” Graves contributed scratching. UNCLE SAM “Uncle Sam” runs for 3:57. Prince wrote the song under the Paisley Park credit, while the rap was written by Paula Sherield. Kathleen Johnson contributed background vocals, and Kirk Johnson supplied additional production. PARIS 1798430 “Paris 1798430” runs for 3:37. Alongside Prince, the recording features additional horn contributions associated with Michael B. Nelson, Kathy Jensen, Dave Jensen, Brian Gallagher and Steve Strand. The track also incorporates sampled material connected with Eric Leeds and sampled string arrangements by Clare Fischer. CONTEXT AND NOTES I’m Ready represents one of Prince’s substantial outside production and songwriting projects from the early 1990s. Although plans apparently existed for Prince to take a much larger production role, the finished album ultimately combined Prince’s material with work from several other producers. The four Prince compositions nevertheless formed a clearly identifiable strand within the finished record, reinforced through Prince’s Paisley Park production credit and extensive instrumental involvement. “Shhh” is especially notable in retrospect because Prince subsequently reclaimed the composition and released a Prince version on The Gold Experience. The album’s commercial performance was considerable, reaching No. 18 on the Billboard Top Pop Albums chart and No. 3 on the Billboard R&B Albums chart, before receiving double-platinum certification in the United States. SHHH “Shhh” runs for 4:55. Michael B. contributed drums, Sonny T. bass and Tommy Barbarella keyboards, with Kathleen Johnson supplying background vocals. The recording also incorporates sampled string arrangements by Clare Fischer. The song became especially significant within the Prince catalogue when Prince later recorded and released a version on The Gold Experience. PRINCE-RELATED PERSONNEL Tevin Campbell – Lead vocals Prince – All instruments and background vocals except where noted; producer as Paisley Park Michael B. – Drums on “The Halls Of Desire” and “Shhh” Sonny T. – Bass guitar on “The Halls Of Desire” and “Shhh” Tommy Barbarella – Keyboards on “The Halls Of Desire” and “Shhh” Kathleen Johnson – Background vocals on “The Halls Of Desire,” “Uncle Sam” and “Shhh” Eric Leeds – Saxophone on “The Halls Of Desire”; sampled contribution on “Paris 1798430” Atlanta Bliss – Trumpet credit associated with the sessions Kirk Johnson – Percussion on “The Halls Of Desire”; additional production on “Uncle Sam” William “DJ” Graves – Scratching on “The Halls Of Desire” and possible uncredited contribution to “Paris 1798430” Michael B. Nelson – Trombone on “Paris 1798430” Kathy Jensen – Baritone saxophone on “Paris 1798430” Dave Jensen – Trumpet on “Paris 1798430” Brian Gallagher – Tenor saxophone on “Paris 1798430” Steve Strand – Trumpet on “Paris 1798430” Clare Fischer – Sampled string arrangements on “Paris 1798430” and “Shhh” PRODUCTION Prince produced the four Prince compositions under the name Paisley Park. Kirk Johnson supplied additional production on “Uncle Sam.” Steve Noonan worked as engineer on “The Halls Of Desire,” “Uncle Sam” and “Paris 1798430” at Paisley Park Studios, and on “Shhh” at Olympic Studios in London. Eric Anest engineered “The Halls Of Desire,” “Uncle Sam” and “Paris 1798430” at Paisley Park Studios. Tom Garneau engineered “The Halls Of Desire” and “Paris 1798430” at Paisley Park Studios. Ray Hannfeldt engineered “The Halls Of Desire” and contributed additional recording to “Shhh.” Michael Brauer was mix engineer at Quad Studios in New York City. CHARTS & CERTIFICATIONS I’m Ready entered the U.S. charts on November 13, 1993. SINGLES Six singles were released from the album. Among the releases directly connected with Prince’s contributions were: Shhh – Promotional release I’m Ready – Australian edition backed with “Shhh” and “Tell Me What You Want Me To Do” The Halls Of Desire – Backed with “I’m Ready” and “Always In My Heart” Don’t Say Goodbye Girl – Included “The Halls Of Desire” Chart Peak Position Weeks Billboard Top Pop Albums No. 18 49 Billboard R&B Albums No. 3 58 The album subsequently received a series of RIAA certifications: Date Certification January 12, 1994 Gold – 500,000 February 10, 1994 Platinum – 1 million September 8, 1994 2× Platinum – 2 million TRACKLIST No. Track Prince Connection 1 Can We Talk 2 Don’t Say Goodbye Girl 3 Interlude 4 The Halls Of Desire – 4:36 Written and produced by Prince as Paisley Park 5 I’m Ready 6 What Do I Say 7 Uncle Sam – 3:57 Written and produced by Prince as Paisley Park; rap by Paula Sherield 8 Interlude 9 Paris 1798430 – 3:37 Written and produced by Prince as Paisley Park 10 Always In My Heart 11 Interlude 12 Shhh – 4:55 Written and produced by Prince as Paisley Park 13 Brown Eyed Girl 14 Infant Child CASSETTE TRACKLIST SIDE ONE SIDE TWO Can We Talk Uncle Sam Don’t Say Goodbye Girl Interlude Interlude Paris 1798430 The Halls Of Desire Always In My Heart I’m Ready Interlude What Do I Say Shhh Brown Eyed Girl Infant Child 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 on October 27, 1982, 1999 receives a detailed and decidedly mixed assessment from Jon Bream in this November 28 Minneapolis Tribune review. Bream praises Prince’s synthesiser work, rhythms, instrumental hooks and musical versatility, but argues that the sprawling double album is less successful lyrically and emotionally. Even with those reservations, the review identifies several standout moments, including “1999,” “Little Red Corvette,” “Delirious,” “Free” and “D.M.S.R.” Publication: Minneapolis Tribune Publication Date: November 28, 1982 Album Release Date: October 27, 1982 Country: United States Writer: Jon Bream Album: 1999 Label: Warner Bros. THE REVIEW Published under the headline “Prince’s new album motivates body, muddles brain,” Jon Bream begins by looking back at Prince’s two previous albums, Dirty Mind and Controversy. Bream says it took time for the brilliance of 1980’s Dirty Mind and 1981’s Controversy to become apparent to him. With 1999, however, Bream says three listens had already revealed a record working on several levels. The review immediately acknowledges the physical impact of the album. Bream describes Prince’s one-man recording approach as producing a “rapturous dance record”, but argues that the album’s length presents a challenge. With eleven extended songs spread across four sides, Bream suggests that listeners would need considerable stamina to maintain the same level of enthusiasm throughout. MUSICAL STRENGTHS Bream reserves some of the review’s strongest praise for Prince’s musicianship and production. Prince’s synthesiser work is described as clever, while the rhythms are characterised as irresistible. Bream also praises the variety of instrumental hooks running through the record. The review places Prince among the most inventive young composers in popular music and highlights the conviction and flexibility of Prince’s singing. For Bream, these musical qualities are among the strongest arguments in favour of 1999, even when the lyrical material proves less convincing. LYRICAL AND EMOTIONAL RESERVATIONS The review’s main criticism concerns Prince’s lyrics. Bream writes that Prince’s musical inspiration appears fully active in the recording studio, but argues that the lyrical and emotional side of the work is less focused. The reviewer characterises much of Prince’s subject matter as revolving around sexuality and relationships while suggesting that some of the material lacks sufficient emotional connection. Bream also believes that visual presentation could sometimes distract from the effectiveness of Prince’s music, suggesting that Prince could be more effective by relying on the music rather than elaborate image-making. 1999 Despite the broader criticism, Bream identifies genuine highlights. The title track “1999” is praised as an effective party record, even with its nuclear-holocaust theme. Bream notes that the song was already achieving success on the Black charts and in discos and argues that it deserved exposure to a wider audience. The song provides one of the clearest examples in the review of Prince successfully combining an immediate dance sound with a more unusual lyrical idea. LITTLE RED CORVETTE “Little Red Corvette” also receives a favourable assessment. Bream highlights the song’s attractive qualities and identifies it as another of the album’s strongest moments. The track is contrasted with some of the more lyrically troublesome material on the album, demonstrating the considerable variation Bream hears across the double set. DELIRIOUS “Delirious” is described as possessing an infectious gospel-style bounce. Its energy helps make it another of Bream’s preferred tracks from the album. FREE Bream describes “Free” as an arresting and overwrought ballad concerned with love and freedom. Although the description is not entirely uncritical, the song is nevertheless highlighted as one of the recordings that stands apart within the broader album. D.M.S.R. The review singles out “D.M.S.R.” as the strongest groove on the album. Bream expands the initials as: “dance, music, sex, romance” and positions the track as one of the clearest examples of Prince’s ability to create music designed around rhythm and physical movement. CONTEXT AND NOTES The review appeared approximately one month after the October 27, 1982 release of 1999. Rather than offering unqualified praise, Jon Bream divides his assessment between admiration for Prince’s musical abilities and reservations about the record’s length, lyrics and emotional focus. The headline neatly summarises the overall verdict: 1999 is presented as music capable of strongly engaging the body while proving less convincing intellectually or emotionally. A large black-and-white performance photograph accompanies the review, captioned simply “Prince.” The page also contains reviews of other records, but Prince and 1999 occupy the dominant position. FEATURE HIGHLIGHTS Event: Contemporary review of 1999 Album Release Date: October 27, 1982 Publication Date: November 28, 1982 Writer: Jon Bream Album: 1999 Label: Warner Bros. Tone: Mixed, strongly appreciative of the music but critical of aspects of the lyrics and emotional content Photography: Large black-and-white performance photograph accompanying the review WHAT THE CLIPPING SHOWS • Jon Bream reviewing Prince’s 1999 • Comparison with Dirty Mind and Controversy • Praise for Prince’s synthesiser work, rhythms and instrumental hooks • Recognition of Prince as a highly inventive young composer • Reservations about the eleven-song double album’s length • Criticism of aspects of Prince’s lyrical and emotional approach • “1999” singled out as a strong party record • Positive attention given to “Little Red Corvette” • “Delirious” praised for its infectious character • “Free” identified as a notable ballad • “D.M.S.R.” described as the album’s strongest groove 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 on October 27, 1982, Prince’s 1999 receives a highly enthusiastic four-star assessment from music editor Laurie Niemetus in The Louisville Times. Under the provocative headline “It’s message music: The message is S-E-X,” the review examines Prince’s continuing fascination with sexuality while praising the musical growth, arrangements and production of an album regarded as stronger than its predecessors. The same page also reviews The Time’s What Time Is It? and announces that Prince and The Time would perform together at Louisville Gardens on December 5. Publication: The Louisville Times Publication Date: November 20, 1982 Album Release Date: October 27, 1982 Country: United States Reviewer: Laurie Niemetus Album: 1999 Label: Warner Bros. Rating: ★★★★ THE REVIEW The article opens by joking that a warning about sexual content would not seem out of place on Prince’s album covers. Laurie Niemetus argues that sexuality is deeply embedded within American culture and presents Prince as an artist particularly capable of exploring the subject through music. The reviewer describes Prince as capable of finding different meanings within sex: communication, self-knowledge, liberation and enjoyment. At the same time, the article argues that Prince’s work is not exclusively celebratory. Relationships can also contain pain and confusion, and Niemetus finds those contrasting ideas throughout 1999. MUSICAL DEVELOPMENT Although the headline concentrates on sexuality, the review makes clear that Niemetus believes Prince has developed considerably as a musician. The article praises Prince’s voice, noting that the falsetto familiar from Dirty Mind and Controversy remains present but is now used with greater effect alongside Prince’s normal register. Niemetus also finds greater range and depth in Prince’s vocal performance. The arrangements receive particularly strong praise. Compared with Dirty Mind, the new album is described as possessing a “lusher” sound. The reviewer singles out the gospel influence heard on “Free” and the prominently sustained synthesiser sound running through “Automatic.” 1999 The title track receives particular attention. Niemetus describes “1999” as a party song set against the threat of nuclear destruction, capturing the contrast between an apocalyptic theme and celebratory music. The review notes that the song was already successful on Black music charts and in discos and argues that it deserved a wider audience. D.M.S.R. “D.M.S.R.” is another important track within the review. The initials are identified as: Dance, Music, Sex, Romance The song is characterised as one of the album’s strongest dance-oriented moments and an effective example of the themes running throughout 1999. FREE “Free” is highlighted as Prince’s patriotic anthem. The reviewer notes its concern with appreciating freedom and describes it as one of the pieces demonstrating greater ambition within Prince’s writing and arrangements. INTERNATIONAL LOVER The review describes “International Lover” as one of the album’s most effective pieces. Niemetus praises the track without dwelling heavily on its lyrical details, identifying it as another strong component of 1999. THE ALBUM’S LENGTH Not every aspect of 1999 receives unqualified approval. Niemetus notes that the album contains numerous lengthy performances and argues that the songs appear designed almost as much to wear the listener out as to satisfy. The review suggests that Prince’s approach can become excessive, although the overall assessment remains strongly positive. THE TIME – WHAT TIME IS IT? The same page contains a separate review of The Time’s album What Time Is It?, awarded: ★★★ The article identifies The Time as another Minneapolis group and explicitly notes Prince’s role in helping the band secure a Warner Bros. recording contract. Frontperson Morris Day is discussed as sharing Prince’s enthusiasm for music and performance while delivering a different message. Where Prince’s material revolves heavily around sex, The Time’s dominant idea is described as “cool.” Songs discussed include: “Wild And Loose” “The Walk” “Gigolos Get Lonely Too” Niemetus regards the album as better defined than The Time’s debut, though the reviewer believes it still lacks artistic intent comparable with the group’s entertaining performances. LOUISVILLE CONCERT The caption beneath photographs of Prince and Morris Day provides an additional important piece of information: “Prince (left) and Morris Day, of the Time, will perform at Louisville Gardens on Dec. 5.” The clipping therefore connects both album reviews with a forthcoming joint appearance involving Prince and The Time. CONTEXT AND NOTES Published on November 20, 1982, the review appeared several weeks after the October 27 release of 1999. Unlike the considerably more mixed Jon Bream review published in Minneapolis later that month, Laurie Niemetus gives 1999 the page’s highest rating and concentrates strongly on Prince’s musical progression. Although sexuality supplies the deliberately provocative headline and much of the discussion, the review ultimately gives equal importance to Prince’s development as a singer, arranger and recording artist. The accompanying photographs show Prince and Morris Day, with the caption promoting their forthcoming Louisville Gardens appearance. FEATURE HIGHLIGHTS Event: Contemporary review of 1999 Album Release Date: October 27, 1982 Publication Date: November 20, 1982 Reviewer: Laurie Niemetus Album: 1999 Label: Warner Bros. Rating: ★★★★ Additional Review: The Time – What Time Is It? ★★★ Concert Mention: Prince and The Time at Louisville Gardens, December 5 WHAT THE CLIPPING SHOWS • Four-star review of Prince’s 1999 • Headline “It’s Message Music: The Message Is S-E-X” • Discussion of sexuality as a central element of Prince’s songwriting • Praise for Prince’s increased vocal range and depth • The arrangements described as lusher than those on Dirty Mind • Specific discussion of “1999,” “D.M.S.R.,” “Free,” “Automatic” and “International Lover” • Some criticism of the length and intensity of the album • Three-star review of The Time’s What Time Is It? • Discussion of Prince’s connection with The Time • Prince and Morris Day advertised for a December 5 appearance at Louisville Gardens 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 October 27, 1985, Prince staged a special one-off performance at the Théâtre de Verdure in Nice, France. The concert took place during a day off from filming Under The Cherry Moon and had a specific additional purpose: filming a promotional video for “America”. The event was announced by local radio station Radio de la Côte approximately a week beforehand. A total of 2,000 free tickets were made available to local fans on October 22, and the performance was sold out. Members of The Revolution were brought in for the occasion along with saxophonists Eric Leeds and Eddie M. EVENT Date: October 27, 1985 Venue: Théâtre de VerdureCity: Nice Country: France Event: One-Off Performance Advertised Start Time: 19:00 Running Time: 55 minutes Attendance: 2,000 – Sold Out Ticket Price: Free FILMING The concert was used as the setting for filming material connected with “America”. Two separate performances of “America” were played and filmed. “Paisley Park” was also filmed during the performance. Additional interview footage was shot after the concert on the same day and was subsequently used by MTV. BAND Prince – vocals, keyboards, guitar, bass, drumsWendy Melvoin – guitarLisa Coleman – keyboardsBobby Z. – drumsBrown Mark – bassDr. Fink – keyboardsEric Leeds – saxophone GUEST Eddie M. – saxophone SOUNDCHECK / REHEARSAL A pre-show soundcheck and rehearsal included: • Pop Life• Temptation• Paisley Park• ♥ or $• Go• An Honest Man PERFORMANCE The 55-minute performance began with two takes of “America”, both incorporating “Spanish Key”. These were followed by “Paisley Park”. The remainder of the performance drew on Prince's recent and earlier material, including “Let's Go Crazy”, “Delirious”, “Little Red Corvette” and “Purple Rain”. “Delirious” also incorporated an interpolation of “Automatic”. SETLIST # Song Details 1 America Take 1; includes “Spanish Key” 2 America Take 2; includes “Spanish Key” 3 Paisley Park 4 Let's Go Crazy 5 Delirious Includes “Automatic” 6 Little Red Corvette 7 Purple Rain NOTES • The performance took place during a day off from filming Under The Cherry Moon. • One of the principal purposes of the event was to film a promotional video for “America”. • Both performances of “America” were filmed. • “Paisley Park” was also filmed. • The Revolution's musicians, together with Eric Leeds and guest Eddie M., were flown in for the performance. • The event was announced on Radio de la Côte approximately a week beforehand. • The 2,000 free tickets were distributed to local fans on October 22, 1985. • Interview footage was filmed following the concert and subsequently appeared on MTV. • No support act is listed. 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.

Released in the UK on October 30, 1989, Gimme Your Love was a duet by Aretha Franklin and James Brown and the third and final single associated with Franklin's Through The Storm album. The original album recording was written by Narada Michael Walden and Jeffrey Cohen and did not involve Prince. His connection came specifically through the single campaign, when he contributed a remix of the track. Those remixes subsequently appeared in several edits and configurations across the different single formats. The Prince-related versions therefore occupy an unusual place in his catalogue: he was neither the featured artist nor writer of the original song, but his remix work became an important part of the single's release history. UK CD Single Arista – 662 727 RECORDING The original album version of Gimme Your Love contained no Prince involvement. Prince subsequently remixed the recording for the single release, resulting in several distinct versions: • Gimme Your Love (Edit Purple Mix) – 4:49 • Gimme Your Love (Extended Remix) – 10:43 • Gimme Your Love (Part One) (Purple Mix) – 5:51 • Gimme Your Love (Part Two) (Purple Mix) – 3:07 The Prince-related mixes were not included on an album at the time of their original release. They were subsequently incorporated into the 2014 Expanded Edition of Through The Storm. UK CD Single Arista – 662 727 STYLE & THEMES The single brought together the contrasting vocal styles of Aretha Franklin and James Brown, while Prince's contribution was centred on reworking the existing recording for the singles market. The various Purple Mix editions allowed his remix to be presented both as a complete extended version and as shorter edits suited to individual formats. TRACK-BY-TRACK NOTES GIMME YOUR LOVE • Edit Purple Mix (4:49) – Edited presentation of Prince's Purple Mix. • Extended Remix (10:43) – Full extended remix. • Part One (Purple Mix) (5:51) – First section of the Purple Mix. • Part Two (Purple Mix) (3:07) – Second section of the Purple Mix. Other configurations of the single included the album or single version alongside He's The Boy, Think (1989) and promotional interview material. RELEASE HISTORY The UK single was released on October 30, 1989 through Arista Records. Multiple configurations were subsequently available across 7", 12", CD and promotional formats, with the Prince remixes distributed differently according to edition and territory. The Prince-related remix material was eventually incorporated into the 2014 Expanded Edition of Through The Storm. CHARTS Country Chart Entry Date Peak Weeks USA Billboard Black Singles October 14, 1989 48 8 UK Gallup Singles Chart November 5, 1989 79 2 PERSONNEL Aretha Franklin – vocals James Brown – vocals Prince – remix Narada Michael Walden – songwriter Jeffrey Cohen – songwriter PRODUCTION Artist: Aretha Franklin & James Brown Title: Gimme Your Love Label: Arista Records UK Release Date: October 30, 1989 Related Album: Through The Storm Prince Contribution: Remix RELATED RELEASES • Aretha Franklin (1989) – Through The Storm Album • Aretha Franklin (2014) – Through The Storm: Expanded Edition NOTES • Released in the UK on October 30, 1989. • Credited jointly to Aretha Franklin and James Brown. • The song was issued as the third and final single from Through The Storm. • The original album recording contained no input from Prince. • Prince's involvement relates specifically to remixing the song for its single release. • Several edits and configurations of the Prince remix were issued. • The Extended Remix runs for 10:43. • The Purple Mix was also divided into Part One and Part Two. • The Prince-related versions were non-album tracks at the time of their original release. • The remixes were subsequently included on the 2014 Expanded Edition of Through The Storm. • The single reached No. 48 on Billboard's Black Singles chart and remained there for eight weeks. • In Britain, the single reached No. 79 on the Gallup Singles Chart and remained on the chart for two weeks. • The release did not enter the US Billboard Pop Chart RELEASE VARIANTS TABLE UK VARIANTS Country Format Catalogue Number Notes UK 7" 112 727 Gimme Your Love / He's The Boy UK 7" 112 728 Part One / Part Two Purple Mix UK 7" Promo 112 727DJ Edit Purple Mix / Edit Original Mix UK 12" 612 727 Parts One & Two Purple Mix / Album Version / He's The Boy INTERNATIONAL VARIANTS Country Format Catalogue Number Notes Germany 7" 112682 Gimme Your Love / He's The Boy Germany 12" 612 682 Extended Remix / Single Version / He's The Boy Germany 12" Promo 612 709 Extended Remix on both sides Germany 5" CD 662 682 Extended Remix / Single Version / He's The Boy Japan 3" CD A10D-139 Gimme Your Love / Think New Zealand 7" AS1-9884 Gimme Your Love / Think (1989) USA 12" ADI-9885 Extended Remix / Album Version / Think (1989) USA 12" Promo ADP-9906 Interviews / Single Edit / Extended Remix USA Promo CD ASCD9906 Interviews / Single Edit / Extended Remix TRACKLIST TABLE (PRINCE-RELATED FORMATS) Format Catalogue Number Tracklisting UK 7" 112 728 Side One • Gimme Your Love (Part One) (Purple Mix) – 5:51 Side Two • Gimme Your Love (Part Two) (Purple Mix) – 3:07 UK 7" Promo 112 727DJ Side One • Gimme Your Love (Edit Purple Mix) – 4:49 Side Two • Gimme Your Love (Edit Original Mix) UK 12" 612 727 Side One • Gimme Your Love (Parts One & Two) (Purple Mix) – 10:43 Side Two • Gimme Your Love (Album Version) • He's The Boy Germany 12" 612 682 Side One • Gimme Your Love (Extended Remix) – 10:43 Side Two • Gimme Your Love (Single Version) • He's The Boy USA 12" ADI-9885 Side One • Gimme Your Love (Extended Remix) – 10:43 Side Two • Gimme Your Love (Album Version) • Think (1989) SPECIAL PRESSINGS & VARIANTS Variant Notes Purple Mix Prince remix configuration Edit Purple Mix 4:49 edit Extended Remix 10:43 version Part One Purple Mix 5:51 Part Two Purple Mix 3:07 Promotional Editions Includes interview and remix configurations SOURCES Prince Vault, Sleevographia2, Discogs. 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. No ownership of the original material is claimed or implied.

Released in the UK on October 30, 1995, I Want U was the first single connected with Rosie Gaines' solo album Closer Than Close. The UK issue followed the song's earlier US release on May 9, 1995. Issued through Motown, the single appeared across several configurations and became particularly notable for the large number of alternate mixes created around the song. The 1995 campaign encompassed commercial CD and 12" editions alongside promotional pressings, with different combinations of mixes appearing across territories and formats. The release also has a direct Prince connection. Prince co-wrote I Want U, although the supplied information states that Prince did not perform as a musician on the recording. CD Maxi single - Germany - 860 387-2 RECORDING The supplied information identifies Prince as a co-writer of I Want U, but does not credit Prince as a performer. The single campaign substantially expanded the original recording through numerous remixes, including the Purple Version, Earth Mama Version, Weekend Mix, M&M Anthem Mix, Whistles In Heaven Mix and Notice The House Mix. CD Maxi single - Germany - 860 387-2 STYLE & THEMES The extensive remix programme placed I Want U within several different dance-oriented settings. Rather than presenting a single definitive treatment across every format, the release campaign offered numerous reinterpretations, edits, instrumentals and extended versions. This approach continued beyond the original 1995 campaign, with additional mixes and reissues appearing in 2000, 2005 and 2009. CD single (Cardboard) - Germany - 860 386-2 TRACK-BY-TRACK NOTES • I Want U (Purple Version) (3:36) – Principal version appearing across several of the original 1995 editions. • I Want U (Earth Mama Version) (6:34) – Extended alternate treatment included on the European CD and UK 12". • I Want U (Earth Mama Version Edit) (4:37) – Shortened version included on the US CD. • I Want U (Earth Mama Version Instrumental) (5:01) – Instrumental variation issued on the US CD and UK promotional vinyl. • I Want U (M&M Anthem Mix) (7:26) – Extended mix appearing on the UK CD and 12". • I Want U (Weekend Mix) (9:35) – One of the longest mixes issued during the original campaign. • I Want U (Whistles In Heaven Mix) (5:46) – Promotional mix appearing on CD and vinyl configurations. • I Want U (Notice The House Mix) (5:42) – Promotional house mix. • I Want U (Bonus Vocal Mix) (6:41) – Vocal mix distributed through promotional versions. 12" - UK - 860 485-1 RELEASE HISTORY I Want U was initially released in the United States on May 9, 1995. The UK release followed on October 30, 1995. The single preceded Closer Than Close and was issued worldwide in a variety of configurations. Several remixes were distributed across the original CD, 12" and promotional releases. The campaign continued well beyond 1995. The single was revisited in 2000 with further remix editions, while selections from the earlier material were subsequently issued digitally during 2005. Further mixes appeared on I Want U – The Mixes, Vol. 2 in 2009. CHARTS Country Chart Entry Date Peak Weeks USA Billboard Hot R&B Singles June 10, 1995 90 5 USA Billboard Hot Dance Music – Club Play July 22, 1995 28 8 UK UK Singles Chart November 5, 1995 70 1 12" - UK - 860 485-1 The single did not enter the US Billboard Hot 100. CERTIFICATIONS The single received no certifications in the territories included in the supplied information. AWARDS No awards are recorded in the supplied information. PERSONNEL Rosie Gaines – performer Prince – co-writer PRODUCTION Artist: Rosie Gaines Title: I Want U Label: Motown US Release Date: May 9, 1995 UK Release Date: October 30, 1995 Related Album: Closer Than Close Formats: CD / 12" / Promotional CD / Promotional 12" 12" - UK - 860 485-1 NOTES • Released in the UK on October 30, 1995. • The original US release took place on May 9, 1995. • I Want U was the first single associated with Closer Than Close. • Prince was a co-writer of the song. • Prince did not perform as a musician on the recording according to the supplied source. • The single was issued in numerous remix configurations. • The 1995 campaign included commercial CD and 12" editions alongside promotional releases. • The European CD catalogue number was 860 386-2. • The US CD catalogue number was 422860323-2. • The UK CD catalogue number was 860 485-2. • The UK 12" catalogue number was 860 485-1. 12" - UK - 860 485-1 • European promotional CD catalogue number was 860 447-2. • UK promotional 12" editions included Rosie 1, Rosie 2 and Rosie 3. • US promotional vinyl included catalogue numbers RGM 1, RG 009 and 374631262-1. • The single did not reach the Billboard Hot 100. • It reached No. 90 on Billboard's Hot R&B Singles chart. • It reached No. 28 on Billboard's Hot Dance Music – Club Play chart. • The UK release reached No. 70 and remained on the chart for one week. • Additional remixes appeared during 2000. • Earlier and later versions were subsequently made available digitally in 2005. • I Want U – The Mixes, Vol. 2 followed in 2009 with further versions. RELATED RELEASES • Rosie Gaines – Closer Than Close Album • Rosie Gaines (1994) – Don't Say Goodbye Girl • Rosie Gaines (1996) – House Of Brick (Brick House) RELEASE VARIANTS TABLE UK VARIANTS Country Year Format Catalogue Number UK 1995 CD Single 860 485-2 UK 1995 12" Single 860 485-1 UK 1995 Promotional 12" Rosie 1 UK 1995 Promotional 12" Rosie 2 UK 1995 Promotional 12" Rosie 3 INTERNATIONAL VARIANTS Territory Year Format Catalogue Number Europe 1995 CD Single 860 386-2 Europe 1995 Promotional CD 860 447-2 USA 1995 CD Single 422860323-2 USA 1995 Promotional 12" RGM 1 USA 1995 Promotional 12" RG 009 USA 1995 Promotional 12" 374631262-1 TRACKLIST TABLE (ALL FORMATS) Format Catalogue Number Tracklisting Europe CD 860 386-2 1. I Want U (Purple Version) – 3:36 2. I Want U (Earth Mama Version) – 6:34 USA CD 422860323-2 1. I Want U (Purple Version) – 3:36 2. I Want U (Earth Mama Version) – 6:34 3. I Want U (Earth Mama Version Edit) – 4:37 4. I Want U (Earth Mama Version Instrumental) – 5:01 UK CD 860 485-2 1. I Want U (Purple Version) – 3:36 2. I Want U (M&M Anthem Mix) – 7:26 3. I Want U (Earth Mama Version) – 6:34 4. I Want U (Weekend Mix) – 9:35 UK 12" 860 485-1 Side One • I Want U (Purple Version) – 3:36 • I Want U (Earth Mama Version) – 6:34 Side Two • I Want U (M&M Anthem Mix) – 7:26 • I Want U (Weekend Mix) – 9:35 Europe Promo CD 860 447-2 1. I Want U (Whistles In Heaven Mix) – 5:46 2. I Want U (Notice The House Mix) – 5:42 3. I Want U (Anthem Mix) – 7:26 4. I Want U (Bonus Vocal Mix) – 6:41 UK Promo 12" Rosie 1 Side One • Purple Version – 3:36 • Earth Mama Version Edit – 4:37 Side Two • Earth Mama Version – 6:34 • Earth Mama Version Instrumental – 5:01 UK Promo 12" Rosie 3 Side One • Weekend Mix – 9:35 Side Two • M&M Anthem Mix Instrumental – 7:24 LATER REISSUES & REMIXES Year Release Format / Notes 2000 I Want U UK 12" remix reissue 2000 I Want U UK promotional remix 12" 2005 I Want U – Remix Digital reissue of 1995 mixes 2005 I Want U 2000 – Remix Digital release of 2000 remixes 2005 I Want U – The Mixes Digital compilation 2009 I Want U – The Mixes, Vol. 2 Digital collection of additional mixes TAGS Rosie Gaines, Prince, Prince Related Artists, I Want U, Closer Than Close, Motown, Rosie Gaines Singles, 1995 SOURCES Prince Vault, The Vault: The Definitive Guide to the Musical World of Prince, Discogs, iTunes, Billboard, Ssleevographia2. 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.

CD single - Germany - 0061635NPG Released in the UK on October 31, 1995, If I Love U 2night was Mayte's first single directly associated with her work with Prince. The song had previously received a limited release through the New Power Generation Store in Minneapolis during spring/summer 1994, at which point it was not presented as part of a forthcoming album. The 1995 commercial release arrived shortly before Child Of The Sun and became the second and final commercial single associated with the album. The campaign expanded considerably upon the original limited edition, introducing new mixes and pairing the song with The Rhythm Of Your ♥. RELEASE DETAILS INFORMATION Artist Mayte Title If I Love U 2night UK Release Date October 30, 1995 Original Limited Release Spring/Summer 1994 Label NPG Records Main Formats CD / 12" / Cassette Related Releases 1-800 New Funk / Child Of The Sun UK Chart Peak No. 67 BACKGROUND & PRINCE CONNECTION The song became part of the wider collection of music written and produced by Prince for associated artists. Following its limited 1994 appearance, If I Love U 2night was included on 1-800 New Funk, the compilation devoted largely to Prince-related material performed by other artists. The track was subsequently reworked for Mayte's Child Of The Sun. The 1995 single campaign accompanied that later version and provided several additional mixes unavailable on the album itself. STYLE & VERSIONS A particularly interesting aspect of the release is the number of distinct presentations of If I Love U 2night. The 1995 editions encompassed the Album Version, Radio Edit and Spanish Version alongside the Lil' Cash Mix, Displacement Mix and Tweakin' Dub. The earlier 1994 release was different again, pairing If I Love U 2night with an early version of However Much U Want and a Spanish-language recording. Promotional 12" - UK - 0061630NPG-DJ Promotional 12" - UK - 0061630NPG-DJ TRACK-BY-TRACK NOTES TRACK DETAILS If I Love U 2night – Radio Edit 3:30 If I Love U 2night – Album Version 4:19 If I Love U 2night – Spanish Version 4:19 If I Love U 2night – Lil' Cash Mix 5:02 If I Love U 2night – Displacement Mix 6:05 If I Love U 2night – Tweakin' Dub 7:13 The Rhythm Of Your ♥ 3:16 However Much U Want 3:33 – early version on the 1994 limited release CD single - Germany - 0061635NPG RELEASE HISTORY The first edition appeared during spring/summer 1994 as a limited release through the New Power Generation Store in Minneapolis. Its artwork did not identify an associated forthcoming album. That edition included If I Love U 2night, an early version of However Much U Want and the Spanish Version of the A-side. The artwork from this limited release was subsequently reproduced in the 1-800 New Funk booklet. The song returned in 1995 as part of the campaign surrounding Child Of The Sun. The UK release followed on October 30, 1995, appearing on CD, 12" and cassette configurations with different track selections. CHART PERFORMANCE COUNTRY CHART PERFORMANCE UK UK Singles Chart Entry Date November 12, 1995 Peak Position No. 67 Weeks on Chart 1 CERTIFICATIONS & AWARDS CATEGORY STATUS Certifications None supplied Awards None supplied PRODUCTION DETAIL INFORMATION Artist Mayte Label NPG Records Initial Availability New Power Generation Store Initial Release Spring/Summer 1994 UK Commercial Release October 30, 1995 Related Compilation 1-800 New Funk Related Album Child Of The Sun CD single - Germany - 0061635NPG CD single - Germany - 0061635NPG CD single - Germany - 0061635NPG NOTES • The first edition was a limited release during spring/summer 1994. • The original edition was sold through the New Power Generation Store in Minneapolis. • No forthcoming album was identified on the artwork of that original release. • The 1994 edition included an early version of However Much U Want that differs from the later album version. • The artwork from the original release subsequently appeared in the booklet accompanying 1-800 New Funk. • The song was reworked and included on Child Of The Sun. Cassette single - Germany - 0061639NPG • The UK commercial release followed on October 30, 1995. • The Rhythm Of Your ♥ was used as a companion track on the 1995 release and was also taken from Child Of The Sun. • Several exclusive remixes appeared across the 1995 formats. • The single reached No. 67 in the UK and remained on the chart for one week. • The single was not issued as a 7" or digital release according to the supplied information. • The 1994 and 1995 editions used different artwork. RELATED RELEASES YEAR RELATED MATERIAL 1994 1-800 New Funk 1995 Child Of The Sun 1995 If I Love U 2night Music Video RELEASE VARIANTS TABLE 1994 LIMITED EDITION TERRITORY / FORMAT DETAILS USA – CD Limited New Power Generation Store release Catalogue Number None Artwork Original 1994 NPG Store artwork 1995 COMMERCIAL & PROMOTIONAL EDITIONS TERRITORY / FORMAT CATALOGUE NUMBER UK / Germany – CD 0061635NPG UK / Germany – Remix CD 0061925NPG UK – Promo 12" 0061630NPG-DJ Germany – Cassette 0061925NPG TRACKLIST TABLE – 1994 LIMITED CD TRACK VERSION 1. If I Love U 2night Original release version 2. However Much U Want Early version, different from album 3. If I Love U 2night Spanish Version TRACKLIST TABLE – 1995 UK / GERMANY CD TRACK 1–2 TRACK 3–4 1. If I Love U 2night (Radio Edit) – 3:30 3. If I Love U 2night (Spanish Version) – 4:19 2. If I Love U 2night (Album Version) – 4:19 4. The Rhythm Of Your ♥ – 3:16 TRACKLIST TABLE – 1995 REMIX CD TRACK 1–2 TRACK 3–4 1. If I Love U 2night (Album Version) – 4:19 3. If I Love U 2night (Displacement Mix) – 6:05 2. If I Love U 2night (Lil' Cash Mix) – 5:02 4. If I Love U 2night (Tweakin' Dub) – 7:13 TRACKLIST TABLE – UK PROMO 12" SIDE A SIDE B A1. If I Love U 2night (Lil' Cash Mix) – 5:02 B1. If I Love U 2night (Tweakin' Dub) – 7:13 A2. If I Love U 2night (Album Version) – 4:19 B2. If I Love U 2night (Displacement Mix) – 6:05 TRACKLIST TABLE – CASSETTE SIDE A SIDE B If I Love U 2night (Radio Edit) – 3:30 The Rhythm Of Your ♥ – 3:16 SOURCES Discogs, 45 World, Wikipedia, BBC Official Chart, Sleevographia2. 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.

Make Love Not War is the third solo album by Dale Bozzio, released digitally on October 31, 2010 through Electrik Blue Records and Blue Pie Records. The 74:40 collection brings together rare and previously unreleased recordings, with much of the material dating from 1991. For the Prince Chronicle, its particular significance is Take Me To Your Leader (Prince Mix), a track co-written by Dale Bozzio and Prince. The album was issued exclusively in digital form, with no known physical CD edition. RECORDING Much of the material collected on Make Love Not War was recorded during 1991. Specific studio information is not supplied. Prince's precise musical contribution to Take Me To Your Leader is not identified in the supplied information. The released version is identified as the Prince Mix, with Prince's remix credit described in the source material as assumed rather than confirmed. The track also incorporates a sampled bass performance by Raymond Earl from I Got My Mind Made Up (You Can Get It Girl). STYLE & THEMES Make Love Not War functions partly as an archival collection, bringing together rare, alternate and previously unreleased Dale Bozzio recordings rather than presenting an entirely newly recorded 2010 project. Multiple versions of Simon Simon and The Motorcycle Song appear alongside previously unreleased material, while Take Me To Your Leader (Prince Mix) provides the album's direct connection to Prince. The collection also follows Bozzio's earlier Riot In English, which contained another Prince-related recording, So Strong. RELEASE HISTORY Make Love Not War was released digitally on October 31, 2010. No physical CD edition is known to have been released. A digital booklet accompanied the project. The album produced no singles, although Simon Simon had previously been released in connection with Bozzio's earlier solo album Riot In English. The album did not chart. PERSONNEL Dale Bozzio — lead vocals Prince — contribution to Take Me To Your Leader not specified Raymond Earl — sampled bass guitar on Take Me To Your Leader PRODUCTION Produced by: No production credit supplied Remixed by Prince — Take Me To Your Leader (Prince Mix), attribution listed as assumed Design by Worm Carnivale, LLC Design by Douglas Glenn Brown Cover Photography by Dale Bozzio Label: Electrik Blue Records / Blue Pie Records Catalogue Number: Barcode: Release Date: October 31, 2010 Format: Digital Album Length: 74:40 Recorded At: Studio information not supplied RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Dale Bozzio Make Love Not War Electrik Blue Records / Blue Pie Records — — October 31, 2010 Digital Album TRACKLIST TABLE DIGITAL DIGITAL EDITION • Simon Simon (7" Mix) • Simon Simon (12" Mix) • Simon Simon (Simon Says Edit) • Last Century • My Friends • Until The End • Crazy • Talk Talk • The Motorcycle Song • Let's Get Personal • Hide N Seek • The Motorcycle Song (Instrumental) • Take Me To Your Leader (Prince Mix) • Mr. Slick • Make Love, Not War • The Motorcycle Song (Alternate Take) NOTES • Released digitally on October 31, 2010. • No physical CD edition is known. • Running time: 74:40. • Much of the collection consists of rare and previously unreleased material primarily recorded in 1991. • Take Me To Your Leader was co-written by Dale Bozzio and Prince. • The album identifies the version as Take Me To Your Leader (Prince Mix). • Prince's specific musical contribution to the recording is not identified. • No production credits are supplied for the album. • A digital booklet was made available for the release. • The album produced no new singles. 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 Kansas City Star article from September 6 1991 reports on Prince’s decision to release his new Gett Off video directly to home video, following the success of Madonna’s Justify My Love. The piece highlights Prince’s innovative approach to distribution and his continued experimentation with visual formats tied to his upcoming Diamonds and Pearls album. Publication: The Kansas City Star Date: September 6, 1991 Country: United States Written by Scott Hettrick, the article explains that Prince’s thirty‑minute video, titled Nothing Can Stop … Prince and the  New Power Generation ‘Gett Off’, would be released through Warner Reprise Video at $14.98. The project includes several new songs not featured on Diamonds and Pearls, filmed at both Prince’s home and Paisley Park Studios. The report situates Prince’s release within a growing trend of direct‑to‑video music projects, noting Madonna’s precedent and Warner’s simultaneous release of other artist profiles. The article also mentions that the Gett Off video would feature exclusive performances and carry a Parental Advisory label due to its provocative content. CONTEXT AND NOTES By 1991, Prince was redefining multimedia artistry, merging music, film, and performance into cohesive visual experiences. The Gett Off Maxi Video marked a turning point in how artists used home video to reach audiences beyond television censorship. The Kansas City Star coverage underscores Prince’s role as a pioneer in music marketing, blending sensual imagery with creative independence. His direct‑to‑video release strategy mirrored his broader artistic philosophy — control over both sound and vision. FEATURE HIGHLIGHTS Event: Announcement of Prince’s Gett Off Maxi Video release Era: 1991 – Diamonds and Pearls  New Power Generation Era Tone: Informative, industry‑focused, and forward‑looking Photography: Black‑and‑white portrait of Prince accompanying the article WHAT THE CLIPPING SHOWS Kansas City Star feature announcing Prince’s direct‑to‑video release Details of the Gett Off project and its exclusive tracks Context linking Prince’s innovation to broader entertainment trends SOURCES Prince Vault, Sleevographia2, Discogs. 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. No ownership of the original material is claimed or implied.

A thoughtful dual-album review in the St. Cloud Times (September 30, 2014) celebrating Prince’s prolific creativity with the simultaneous release of his solo album Art Official Age and PlectrumElectrum by his band 3rdEyeGirl, praising his ability to deliver two distinct, high-quality projects on the same day. THE STORY WHAT THE CLIPPING SHOWS Publication: St. Cloud Times Date: September 30, 2014 Country: United States Section: Music Review / Album ReleaseThe review examines Prince’s dual release strategy, highlighting Art Official Age as a vintage-style funk and soul set with strong solo vision, and PlectrumElectrum as a power-funk rock album driven by his all-female band 3rdEyeGirl (Donna Grantis, Hannah Ford Welton, Ida Nielsen). It notes the albums’ differing energies yet shared creative spark, with standout tracks and Prince’s signature refusal to be predictable. Bold headline “True to his nature, Prince plays two” with album artwork for Art Official Age and PlectrumElectrum. Detailed review text by Brian Mansfield, including analysis of styles, specific songs, and Prince’s artistic approach. Classic newspaper music review layout. CONTEXT AND NOTES FEATURE HIGHLIGHTS Released simultaneously on September 30, 2014, these two albums marked Prince’s return to major-label distribution via Warner Bros. and showcased his restless creativity — one project introspective and funk-driven, the other rocking and band-oriented. The review captures the excitement and occasional chaos of Prince’s prolific output during this period. Event: Dual album review & release coverage Era: 2014 (Prince’s late-career resurgence) Tone: Appreciative, analytical, celebratory Photography: Album artwork for both releases RELATED MATERIAL: For other related posts, see the tags at the foot of the page. 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 Star Tribune front‑page feature from September 7 1999 captures the excitement surrounding Prince’s outdoor performance at the Mill City Music Festival in Minneapolis. The article, titled “Packed Streets in ‘Thrill City’,” describes the massive crowds that filled the Warehouse District to witness the hometown icon’s rare open‑air concert. Publication: Star Tribune Date: September 7, 1999 Country: United States Written by Star Tribune staff writer Jon Bream, the piece paints a vivid picture of Minneapolis transformed into “Thrill City” as fans perched on trees, fire escapes, and trucks to catch a glimpse of Prince performing on the Northwest Airlines Stage. The article quotes attendees describing the electric atmosphere, the packed streets, and the sense of celebration that surrounded the event. Prince’s appearance was the highlight of the three‑day festival, drawing thousands to the city’s Warehouse District. The accompanying photograph shows him mid‑performance, guitar in hand, bathed in stage light and smoke — a moment many fans called “the chance of a lifetime” to see him outdoors. CONTEXT AND NOTES By 1999, Prince had entered a new creative phase following his Rave Un2 the Joy Fantastic sessions, and his live shows were increasingly rare in his hometown. The Mill City Music Festival performance symbolized his enduring connection to Minneapolis, where his career began decades earlier. The Star Tribune coverage reflects both civic pride and cultural nostalgia, documenting how Prince continued to unite generations of fans through his music and presence. FEATURE HIGHLIGHTS Event: Prince’s outdoor performance at the Mill City Music Festival Era: 1999 – Rave Un2 the Joy Fantastic / Post‑Symbol Era Tone: Energetic, celebratory, and hometown‑focused Photography: Black‑and‑white stage shot of Prince performing under lights before a cheering crowd WHAT THE CLIPPING SHOWS Star Tribune front‑page coverage of Prince’s Minneapolis concert Description of the crowded Warehouse District and fan reactions Photo of Prince performing on the Northwest Airlines Stage All newspaper 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 Akron Beacon Journal review from September 30 1995, written by Tom Moon of Knight‑Ridder Newspapers, examines Prince’s album The Gold Experience as a creative resurgence. The critic praises its mix of computerized production and emotional depth, calling it Prince’s most accessible and dramatic work in years. Publication: Akron Beacon Journal Date: September 30, 1995 Country: United States Moon opens with a playful nod to Prince’s identity shift — “What’s‑his‑name adds more drama to his latest album” — and explores how The Gold Experience reclaims the vitality of Purple Rain while pushing into new sonic territory. The review describes the record as “naughty” and “sexy,” yet spiritually charged, balancing sensuality with introspection. Tracks such as Shhh, The Most Beautiful Girl in the World, and Billy Jack Bitch are cited as examples of Prince’s renewed focus and creative control. Moon notes that after years of uneven experimentation, Prince’s use of digital layering and tight funk rhythms results in a cohesive, compelling sound. The critic concludes that while The Gold Experience may not be Prince’s ultimate masterpiece, it stands as his loosest and most confident release in years. CONTEXT AND NOTES By 1995, Prince — then performing under his unpronounceable symbol — was redefining his artistry amid disputes with Warner Brothers. The Gold Experience represented both rebellion and reconciliation, blending high‑energy funk with introspective themes of identity and freedom. The Akron Beacon Journal review captures the cultural moment when Prince’s transformation from pop superstar to avant‑garde icon reached its peak, affirming his continued relevance in the mid‑1990s music landscape. FEATURE HIGHLIGHTS Event: Review of The Gold Experience album Era: 1995 – Symbol Era / Warner Brothers Transition Tone: Analytical, admiring, and reflective Photography: Black‑and‑white portrait of Prince accompanying the review WHAT THE CLIPPING SHOWS Full‑page review of The Gold Experience by Tom Moon Discussion of Prince’s evolving sound and identity Comparison to Purple Rain and commentary on his renewed creativity SOURCES Prince Vault, Sleevographia2, Discogs. 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. No ownership of the original material is claimed or implied.