Chaos and Disorder is Prince’s eighteenth studio album and the second (and final) album of new material released under his symbol name while under contract with Warner Bros. Often regarded as a contractual obligation album, it was released in July 1996. RELEASE DETAILS Artist: Prince (as ) Label: Warner Bros. Records Catalogue: 9362-46314-2 Format: CD Country: Worldwide Released: July 9, 1996 Length: 39:09 THE STORY A high-energy, band-oriented album featuring a mix of rock, funk, and soul. Many tracks were recorded between 1993 and 1996, with the New Power Generation heavily involved. It includes the single “Dinner With Delores” and closes with the solo Prince track “Had U.” CONTEXT & NOTES Prince described the album as a contractual release to fulfill his Warner Bros. obligations. It was the last original album he delivered to the label before moving on to Emancipation. The project was assembled quickly in 1996 alongside The Vault... Old Friends 4 Sale. (Note: Original vinyl release did not occur until the 2019 reissue.) TRACK LISTING (1996 Original CD) Chaos And Disorder — 4:18 I Like It There — 3:15 Dinner With Delores — 2:45 The Same December — 3:23 Right The Wrong — 4:38 Zannalee — 2:43 I Rock, Therefore I Am — 6:14 Into The Light — 2:46 I Will — 3:35 Dig U Better Dead — 4:00 Had U — 1:25 Total Length: 39:09 PERSONNEL Musicians Prince (as ) — all vocals and instruments (except where noted) ADDITIONAL MUSICIANS AND BACKGROUND Michael B. — drums (tracks 1–6, 8–9) Sonny T. — bass guitar (tracks 1–6, 8–9) Mr. Hayes (Morris Hayes) — keyboards (tracks 1, 4–6, 8–9) Tommy Barbarella — keyboards (tracks 1, 4–6, 8–9) Rosie Gaines — background vocals (tracks 1, 7–10) NPG Hornz (Michael B. Nelson, Kathy Jensen, Dave Jensen, Brian Gallagher, Steve Strand) — horns (tracks 5, 7) Scrap D. & Steppa Ranks — rap (track 7) Mayte, Ophélie Winter — additional vocals (various) Production Prince (as ) — production, arrangement, mixing, engineering Various engineers including César Sogbe, Dave Friedlander, Ray Hahnfeldt, Steve Durkee Mastering: Steve Durkee, Kirk Johnson, Stephen Marcussen Art Direction & Photos: Parke PACKAGING HIGHLIGHTS Standard jewel case CD Liner notes explicitly state it as the final original material for Warner Bros. Minimalist design with “contractual obligation” tone CHARTS America USA: Billboard 200 | 27 Jul. 1996 | 26 | 4 weeks Europe Austria: Alben TOP 100 | 21 Jul. 1996 | 17 | 9 weeks Belgium: Albums Flanders | 20 Jul. 1996 | 24 | 5 weeks Belgium: Ultratop 200 Wallonia | 27 Jul. 1996 | 47 | 2 weeks Finland: Top 50 Albums | Week 29/1996 | 31 | 2 weeks France: Top 50 Albums | 13 Jul. 1996 | 25 | 1 week Germany: MusikWoche Top 100 Albums | 22 Jul. 1996 | 42 | 8 weeks The Netherlands: Album Top 100 | 20 Jul. 1996 | 8 | 8 weeks Norway: VG-Lista Topp 40 Albums | Week 29/1996 | 15 | 4 weeks Sweden: GLF Top 60 Albums | 12 Jul. 1996 | 32 | 2 weeks Switzerland: Alben TOP 100 | 14 Jul. 1996 | 21 | 9 weeks UK: UK Albums Chart | 20 Jul. 1996 | 14 | 4 weeks While Prince insisted that the album "was done very quickly", and that they were "seeing how fast and hard we could thrash it out", more than a third of it dates back to sessions for The Gold Experience and Come. It also marked the return of Rosie Gaines, who sang on five songs, and Michael B. and Sonny T., in what were to be their last sessions as regular New Power Generation members. A re-appraisal of the album after Prince's death lauded it as "a rocker with moments of some of Prince's finest guitar playing." Another described it as a "tightly-focused, grunge-oriented rock-funk collection" where "the grit and punch of the musicianship is what gives the album its overall raw edge". The Village Voice critic Robert Christgau wrote in his review that, "anybody expecting a kissoff or a throwaway radically underestimates his irrepressible musicality. Apropos of nothing, here's a guitar album for your earhole, enhanced by a fresh if not shocking array of voices and trick sounds and cluttered now and then by horns." At the time of its release, Prince told the Los Angeles Times: "I was bitter before, but now I've washed my face. I can just move on. I'm free." Warner Bros. contract "We've come to a point where we feel that if he's happier somewhere else, we don't have any beef with him." — Bob Merlis, senior vice president of publicity at Warner Bros. After Chaos and Disorder it was 18 years before Prince released another album on Warner Bros., 2014's Plectrumelectrum, under a deal which gave back Prince control of his masters, the absence of which on his original contract had been a source of considerable acrimony. SOURCES Album liner notes, Discogs, 45cat, Official Charts, Wikipedia, Prince Vault. COPYRIGHT NOTICE All album 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.

The Love Symbol Album (commonly known as the Symbol Album) is Prince’s fourteenth studio album and the second to feature his backing band The New Power Generation. Released in October 1992, it was conceived as a conceptual “fantasy rock soap opera” with a narrative involving an Egyptian princess, a rock star, and the sacred 3 Chains o’ Gold. RELEASE DETAILS Artist: Prince and The New Power Generation Label: Paisley Park / Warner Bros. Records Date: October 13, 1992 Catalogue: 9 45037-1 Format: 2×LP (Double Vinyl) Country: United States (worldwide release) THE STORY The album blends R&B, funk, pop, rock, soul, and hip hop. It tells the story of an Egyptian Princess (Mayte Garcia) who falls in love with a rock star (Prince) and entrusts him with the sacred 3 Chains o’ Gold after escaping assassins. The official title is the unpronounceable Love Symbol #2, which Prince later adopted as his stage name. CONTEXT & NOTES Following the success of Diamonds and Pearls, Prince delivered this ambitious conceptual project. Early configurations included more spoken segues (some featuring Kirstie Alley), many of which were cut to fit “I Wanna Melt with U.” The album reached the top 10 in multiple countries and produced several charting singles. TRACK LISTING (1992 Original 2LP Vinyl) Side A A1 My Name Is Prince — 6:37 A2 Sexy M.F. — 5:25 A3 Love 2 The 9's — 5:45 Side B B1 The Morning Papers — 3:57 B2 The Max — 4:30 B3 Blue Light — 4:38 B4 I Wanna Melt With You — 3:50 B5 Sweet Baby — 4:01 Side C C1 The Continental — 5:31 C2 Damn U — 4:25 C3 Arrogance — 1:35 C4 The Flow — 2:26 Side D D1 7 — 5:13 D2 And God Created Woman — 3:18 D3 3 Chains O' Gold — 6:03 D4 The Sacrifice Of Victor — 5:40 PERSONNEL Musicians Prince – lead vocals, rap, spoken vocals, backing vocals, electric & acoustic guitar, electric sitar, bass guitar, synthesizers, piano, drums, programming, percussion, claps, tambourine, finger cymbals Tony M. – rap, spoken vocals, backing vocals Tommy Barbarella – synthesizers, Hammond organ Michael B. – drums Damon Dickson – backing vocals, percussion Kirk Johnson – backing vocals, percussion Levi Seacer Jr. – lead vocals, electric guitar Sonny T. – bass guitar Mayte – lead vocals, spoken vocals, backing vocals ADDITIONAL MUSICIANS Brian Gallagher – tenor saxophone DJ Graves – scratching Dave Jensen, Steve Strand – trumpet Kathy Jensen – baritone saxophone Michael B. Nelson – trombone Airiq Anest – programming Kirstie Alley – spoken vocals Michael Koppelman – bass guitar, synthesizers Eric Leeds – saxophone Carmen Electra – rap String orchestra Fred Steele, J D Steele, Jearlyn Steele, Jevetta Steele – backing vocals Production Prince and The New Power Generation – producers, arrangers Various engineers including Keith Cohen, Steve Noonan, Michael Koppelman Brian Gardner – mastering Clare Fischer – string arrangements PACKAGING HIGHLIGHTS Iconic cover featuring the unpronounceable Love Symbol Early pressings with embossed gold symbol on jewel case Gatefold sleeve with lyrics and credits CHARTS America Country: Chart | Entry Date | Peak Position USA: Billboard 200 | - | Top 10 USA: Billboard R&B Albums | - | Strong charting SINGLES RELEASED “Sexy MF” “My Name Is Prince” “7” “Damn U” “The Morning Papers” An early configuration of the album contained as many as eight segues, as well as an introduction setting the scene of Prince's self-proclaimed "rock opera". These helped to provide a narrative thread to the songs which when taken together explained the album's conceptual storyline: An Egyptian Princess (played by Mayte Garcia, in her debut on a Prince album) falls in love with a rock star (Prince) and entrusts him with a sacred religious artifact known as the Three Chains of Turin (colloquially referred to by Prince as the 3 Chains o' Gold) after escaping from seven assassins who had murdered her Father in cold blood in an attempt to obtain the priceless relic, as referenced in "7". In a last-minute attempt to add an additional song: "I Wanna Melt with U", which contains several sampled elements also present in "7" (and which was originally considered as a non-album B-side for the "7" maxi single), Prince had to cut many of the segues in order for its inclusion and to fit within album length constraints. The few that remain are somewhat confusing without the connective tissue these excised segues had helped provide. The unreleased segues have long been available amongst fans in the years since, and it is likely that any future Super Deluxe Edition release of the album by the Paisley Park Estate will see them reinstated. On the released album, the segues featuring Kirstie Alley as reporter Vanessa Bartholomew are mostly kept intact. In these, she scrambles to salvage some sense of an interview with the elusive rock star (Prince) but fails at the first hurdle when he promptly hangs-up after she informs him he is being recorded. In a later segue, Prince toys with Vanessa and her line of increasingly intrusive questioning by being purposefully vague and responding with nonsensical answers for his own amusement. A few lines in which Vanessa inquires about the Three Chains of Turin was edited from the final sequence provided for mastering and release. In 1994, Prince released 3 Chains o' Gold, a direct-to-video film that featured songs from the album and a similar storyline.

Diamonds and Pearls is Prince’s thirteenth studio album and the first to officially credit his new backing band, The New Power Generation. Released in October 1991, it marked a vibrant return to form with a mix of funky, danceable tracks and soulful ballads. RELEASE DETAILS Artist: Prince and The New Power Generation Label: Paisley Park / Warner Bros. Records Date: October 1, 1991 Catalogue: 9 25379-1 Format: LP Country: United States (worldwide release) THE STORY Diamonds and Pearls blends funk, new jack swing, pop, and R&B with upbeat energy and romantic themes. The album introduced the New Power Generation lineup and features Prince’s signature grooves alongside strong vocal performances. Standout tracks include the funky “Gett Off,” the sensual “Cream,” and the title track ballad “Diamonds and Pearls.” CONTEXT & NOTES Following the mixed reception of Graffiti Bridge, Prince delivered a more accessible and dance-oriented album that helped re-establish his commercial presence. It reached #3 on the Billboard 200 and produced multiple hit singles, becoming one of his most successful releases of the 1990s. A1 Thunder — 5:45 A2 Daddy Pop — 5:16 A3 Diamonds And Pearls — 4:43 B1 Cream — 4:12 B2 Strollin' — 3:46 B3 Willing And Able — 4:59 B4 Gett Off — 4:31 C1 Walk Don't Walk — 3:06 C2 Jughead — 4:56 C3 Money Don't Matter 2 Night — 4:48 C4 Push — 5:56 D1 Insatiable — 6:37 D2 Live 4 Love (Last Words From The Cockpit) — 6:58 PERSONNEL Musicians Prince — lead and backing vocals, guitars, bass, keyboards, drums, programming Rosie Gaines — co-lead vocals, keyboards, backing vocals Tommy Barbarella — keyboards Levi Seacer, Jr. — bass, guitar Sonny T. — bass Michael B. — drums Damon Dickson, Kirk Johnson — percussion, backing vocals Tony M. — rap Elisa Fiorillo — additional vocals Additional contributions from the New Power Generation Production Prince — producer, arranger Various engineers at Paisley Park Studios Bernie Grundman — mastering CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard 200 | October 19, 1991 | 3 | -USA: Billboard Black LPs | - | 1 | - SINGLES RELEASED “Gett Off” “Cream” “Insatiable” “Diamonds and Pearls” “Money Don’t Matter 2 Night” “Thunder” (UK) Diamonds and Pearls was released in the United States on October 1, 1991, and internationally two days later. It peaked at number three on the Billboard 200, number two on the UK Albums Chart, and number one on the Billboard Top R&B Albums and Australia's ARIA Albums Chart. It also peaked in the top 10 across several charts in Europe and New Zealand. The album gathered two top 5 singles: the title track, which peaked at number three on the Billboard Hot 100, and his career-final Hot 100 number-one single, "Cream". "Gett Off" and "Money Don't Matter 2 Night" both hit the top 40 on the Hot 100, peaking at 21 and 23, respectively. Diamonds and Pearls was reissued in remastered, deluxe and super deluxe versions on October 27, 2023. The super deluxe version contains a 2023 remaster of the album, 15 remastered versions of all the singles mixes and edits, 33 previously unreleased studio recordings, an unreleased live concert album of the official dress rehearsal of the Diamonds and Pearls Tour recorded at Glam Slam on January 11, 1992. The final disc, a Blu-ray, includes the Glam Slam performance; footage from a Special Olympics concert recorded on July 20, 1991, and the soundcheck the day before; and a restored version of the Diamonds and Pearls Video Collection. A limited edition 7" vinyl set of the singles from Diamonds and Pearls included the new single "Alice Through The Looking Glass." SOURCES Wikipedia, Billboard, Sleevographia. COPYRIGHT NOTICE All album 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.

Lovesexy is Prince’s tenth studio album, released in May 1988. A spiritually charged, psychedelic pop and funk masterpiece, it was recorded quickly as a direct response to the scrapped Black Album, blending positivity, sensuality, and faith. RELEASE DETAILS Artist: Prince Label: Paisley Park / Warner Bros. Records Date: May 10, 1988 Catalogue: 9 25720-1 Format: LP Country: United States (worldwide release) THE STORY Lovesexy is a vibrant, optimistic album exploring themes of spirituality, love, and personal growth. Recorded in just seven weeks at Paisley Park Studios, it features Prince playing most instruments himself with select contributions from his band. The album is structured as one continuous musical journey, mixing upbeat funk, pop, and soul with introspective and sexually playful lyrics. CONTEXT & NOTES Following the controversial decision to pull The Black Album, Prince delivered Lovesexy as a more positive and spiritually uplifting counterpoint. Though it was his first album since 1981 not to reach the Top 10 in the US, it was a major success in Europe and remains a fan favorite for its joyful, redemptive tone and creative risk-taking. TRACK LIST Side One Eye No (5:47) Alphabet St. (5:38) Glam Slam (5:04) Anna Stesia (4:56) Side Two Dance On (3:44) Lovesexy (5:48) When 2 R in Love (4:01) I Wish U Heaven (2:43) Positivity (7:15) PERSONNEL Musicians Prince — lead and backing vocals, guitars, bass, keyboards, drums, percussion, programming Sheila E. — drums, percussion, backing vocals Boni Boyer — keyboards, backing vocals Dr. Fink — keyboards Miko Weaver — guitar Levi Seacer, Jr. — bass Eric Leeds — saxophone Atlanta Bliss — trumpet Ingrid Chavez — spoken word Cat Glover — rap, backing vocals Additional musicians on horns and percussion Production Prince — producer, arranger Susan Rogers, Peggy McCreary — engineers Bernie Grundman — mastering PACKAGING HIGHLIGHTS Nude photograph of Prince on the front cover Gatefold sleeve with lyrics Minimalist yet provocative design WHAT THE SLEEVE SHOWS The front cover features a now-iconic photograph of a nude Prince sitting among flowers. The back cover displays the full track listing in an elegant, handwritten style against a dark background. CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard 200 | May 28, 1988 | 11 | - USA: Billboard Black LPs | - | 5 | - SINGLES RELEASED “Alphabet St.” “Glam Slam” “I Wish U Heaven” The opening track, “Eye No” (stylized with an abstract eye symbol featuring simple lines, a black pupil, white iris, black outer border, and five eyebrows), was recorded with the full band: Miko Weaver on guitar, Levi Seacer Jr. on bass, Doctor Fink and Boni Boyer on keyboards, Eric Leeds on saxophone, Atlanta Bliss on trumpet, and Sheila E. on drums. Sheila E. also plays drums on several other tracks and provides backup vocals along with Boyer. Leeds and Bliss contribute horns on most songs, while Ingrid Chavez delivers the intro to “Eye No.” The album is meant to be experienced as a continuous sequence; LP pressings split it into two side-long tracks with no visual markers for individual songs. Early CD copies of Lovesexy present the entire album as a single track, though later editions divide it into nine. It’s also the first Prince album to replace the pronoun “I” with the stylized eye symbol—Romanized as “eye”—in song titles and liner notes, a concept fully embraced later in 1992’s Love Symbol Album. SOURCES Wikipedia, Billboard, Sleevographia. COPYRIGHT NOTICE All album 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.

Sign o' the Times is Prince’s ninth studio album and his first official double album as a solo artist. Released in March 1987, it is widely regarded as one of his greatest masterpieces, showcasing an eclectic mix of funk, rock, R&B, psychedelia, and avant-pop. RELEASE DETAILS Artist: Prince Label: Paisley Park / Warner Bros. Records Date: March 31, 1987 Catalogue: 9 25577-1 Format: 2LP Country: United States (worldwide release) THE STORY Sign o' the Times is a bold, expansive double album that captures Prince at the peak of his creative powers. Drawing from the abandoned projects Dream Factory, Camille, and Crystal Ball, the album explores a wide range of styles — from skeletal electro-funk and psychedelic pop to emotional ballads and socially conscious tracks. It features Prince’s signature Linn drum machine sounds, Fairlight CMI synthesizer, and pitch-shifted “Camille” vocals on several songs. CONTEXT & NOTES Following the disbandment of The Revolution, Prince delivered a highly experimental and personal work. Despite minimal initial promotion, the album was a major critical and commercial success, reaching the Top 10 on the Billboard 200 and spawning multiple hit singles. It is frequently cited as one of the greatest albums of the 1980s and of Prince’s entire career. TRACK LIST (Original 2LP) Side One Sign o' the Times (5:02) Play in the Sunshine (5:05) Housequake (4:38) The Ballad of Dorothy Parker (4:04) Side Two It (5:10) Starfish and Coffee (2:51) Slow Love (4:18) Hot Thing (5:39) Forever in My Life (3:38) Side Three U Got the Look (3:58) If I Was Your Girlfriend (4:54) Strange Relationship (4:04) I Could Never Take the Place of Your Man (6:31) Side Four The Cross (4:46) It’s Gonna Be a Beautiful Night (8:59) Adore (6:29) PERSONNEL Musicians Prince — lead and backing vocals, guitars, bass, keyboards, drums, percussion, programming Wendy Melvoin — guitar, backing vocals Lisa Coleman — keyboards, backing vocals Dr. Fink — keyboards BrownMark — bass Bobby Z. — drums Sheila E. — percussion, vocals Eric Leeds — saxophone Atlanta Bliss — trumpet Susannah Melvoin, Jill Jones — backing vocals Additional musicians on strings and horns Production Prince — producer, arranger Susan Rogers, Peggy McCreary, David Tickle — engineers Bernie Grundman — mastering PACKAGING HIGHLIGHTS Surreal, cluttered cover artwork Gatefold sleeve with lyrics Blue heart-shaped balloon sticker on front WHAT THE SLEEVE SHOWS The front cover is a surreal, densely packed scene featuring a large light-blue heart-shaped balloon with the album title, a drum kit mounted on a car, various objects, plants, and Prince partially visible in the foreground. A pink promotional sticker is placed in the top left corner. The back cover shows a golden, ornate, illuminated sign listing all the tracks and production credits in an elegant, theatrical style. CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard 200 | April 18, 1987 | 6 | - USA: Billboard Black LPs | - | 4 | - SINGLES RELEASED “Sign o' the Times” “If I Was Your Girlfriend” “U Got the Look” “I Could Never Take the Place of Your Man” Rolling Stone called Sign o’ the Times “the most expansive R&B record” of the 1980s, and it really does cover a huge range of styles. Stephen Thomas Erlewine noted Prince’s mix of bare-bones electro-funk, smooth soul, psychedelic pop, and hard rock, with touches of gospel, blues, and folk. Ben Greenman described it as everything from spooky political R&B to skeletal funk and tender, folk-like soul. Touré saw it mainly as a deep dive into soul, while Paul Grimstad considered it avant-pop. Yuzima Philip pointed out how Prince’s drum machine work delivered authentic rock made with computers. Jon Bream called it a perfect balance of all the sounds Prince had explored—funk, pop, rock, and ballads—and it even dabbles in hip hop, which was just breaking into the mainstream. Nelson George noted Prince’s awareness of hip hop’s growing influence. Thematically, Hanif Abdurraqib described the album as political—not in offering solutions, but in expressing survival, joy, love, and imagination even as the world feels like it’s on the brink. SOURCES Discogs, 45cat, Official Charts, Wikipedia, Prince Vault, Sleevographia. COPYRIGHT NOTICE All album 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.

Parade is Prince’s eighth studio album and the third and final album to credit The Revolution. Released as the soundtrack to the film Under the Cherry Moon, it marked a sophisticated, psychedelic, and European-influenced evolution from the rock-heavy sound of Purple Rain. RELEASE DETAILS Artist: Prince and The Revolution Label: Paisley Park / Warner Bros. Records Date: March 31, 1986 Catalogue: 9 25394-1 Format: LP Country: United States (worldwide release) THE STORY Parade blends psychedelic pop, funk, jazz, and baroque elements with a lighter, more orchestral touch than previous releases. The album moves away from guitar-driven rock toward elegant, European-inspired arrangements while retaining Prince’s signature funk and sensuality. It features the massive hit “Kiss” and the melancholic ballad “Sometimes It Snows in April.” CONTEXT & NOTES Following the massive success of Purple Rain, Prince deliberately chose a more artistic and less commercial direction. Though initially polarizing, Parade received strong critical acclaim and produced one of Prince’s signature #1 hits with “Kiss.” The album served as the soundtrack to his second feature film, Under the Cherry Moon. TRACK LIST Side One Christopher Tracy’s Parade (2:11) New Position (2:20) I Wonder U (1:39) Under the Cherry Moon (2:57) Girls & Boys (5:29) Life Can Be So Nice (3:13) Venus de Milo (1:55) Side Two Mountains (3:57) Do U Lie? (2:44) Kiss (3:37) Anotherloverholenyohead (4:00) Sometimes It Snows in April (6:48) PERSONNEL Musicians Prince — lead vocals, guitars, bass, keyboards, drums, percussion Wendy Melvoin — guitar, vocals Lisa Coleman — keyboards, vocals Dr. Fink — keyboards BrownMark — bass Bobby Z. — drums Sheila E. — percussion, vocals Eric Leeds — saxophone Atlanta Bliss — trumpet Additional string and horn players Production Prince — producer, arranger Susan Rogers, Peggy McCreary, David Tickle — engineers Bernie Grundman — mastering PACKAGING HIGHLIGHTS Surreal, colorful painted cover artwork Gatefold sleeve Elegant, artistic design. CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard 200 | April 19, 1986 | 3 | - USA: Billboard Black LPs | - | 2 | - SINGLES RELEASED “Kiss” “Mountains” “Anotherloverholenyohead” “Girls & Boys” (Europe) Parade was released on March 31, 1986, to acclaim from music critics, who viewed it as a creative comeback after the critical disappointment of Around the World in a Day. In a contemporary review for The New York Times, John Rockwell said that the album succeeds in part because of the more aggressive songs, "in which Prince chooses to play up the black side of his multifaceted musical sensibility." The Sunday Times found its musical scope "stunning", and the Detroit Free Press called the album "a confirmation of Prince's place as a superior melodist, arranger, and player, as well as a celebration of his creativity." Hi-Fi News & Record Review called songs such as "New Position" and "Girls and Boys" well-crafted funk and said that "when Prince opts to go completely daft, as he does on 'Do U Lie'... even then the result is somehow endearing and instantly likeable." Commercially, Parade charted at number 3 on the pop chart and at number 2 on the R&B chart, while selling 1 million copies in the United States. It also garnered him a new commercial audience in Europe and sold 2 million copies internationally. The album finished 25th in the voting for The Village Voice's annual Pazz & Jop critics poll. Christgau, the poll's creator, ranked it as the 33rd best album of the year on his own list. NME magazine named it their album of the year for 1986. In a retrospective review for AllMusic, Stephen Thomas Erlewine viewed Parade as a musically diverse near-masterpiece that is given depth by Prince's "weird religious and sexual metaphors". Simon Price later wrote in The Guardian that it was "the sound of Prince at his most effortless and assured. Cohesive and ice cream-cool, nobody would guess it was a soundtrack for a (sub-par) film. And it has 'Kiss' on it." In a less enthusiastic review for Entertainment Weekly, David Browne said the record's ornate ballads and inconsistent material made it more self-indulgent than Around the World in a Day. SOURCES Discogs, 45cat, Official Charts, Wikipedia, Prince Vault, Sleevographia, Warner Bros. archives. COPYRIGHT NOTICE All album 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.

Around the World in a Day is Prince’s seventh studio album and the third to credit The Revolution. Released in April 1985, it marked a deliberate shift away from the commercial pop-funk of Purple Rain toward a more psychedelic, experimental, and opulent sound. RELEASE DETAILS Artist: Prince and The Revolution Label: Paisley Park / Warner Bros. Records Date: April 22, 1985 Catalogue: 9 25286-1 Format: LP Country: United States (worldwide release) Following the massive success of Purple Rain, Prince chose a radically different direction for Around the World in a Day. The album features lush, psychedelic textures, Middle Eastern influences, and a more whimsical, spiritual tone. While still rooted in funk and pop, it leans heavily into experimentation with unconventional instruments and dense arrangements. CONTEXT & NOTES Released with minimal promotion at Prince’s request, the album was a commercial success despite its departure from the Purple Rain sound. It reached #1 on the Billboard 200 and produced several hits, most notably “Raspberry Beret.” The album’s colorful, psychedelic aesthetic was a clear evolution from the purple era. TRACK LIST Side One Around the World in a Day (3:28) Paisley Park (4:42) Condition of the Heart (6:48) Raspberry Beret (3:33) Tamborine (2:47) Side Two America (3:42) Pop Life (3:43) The Ladder (5:29) Temptation (8:18) PERSONNEL Musicians Prince — lead and backing vocals, guitars, bass, keyboards, percussion, programming Wendy Melvoin — guitar, backing vocals Lisa Coleman — keyboards, backing vocals Dr. Fink — keyboards Bobby Z. — drums, percussion BrownMark — bass David Coleman — cello, oud, darbuka Jonathan Melvoin, Susannah Melvoin — backing vocals Novi Novog — violin Sheila E. — drums on select tracks Additional musicians on strings and percussion Production Prince — producer, arranger Susan Rogers, David Leonard, Peggy McCreary — engineers Bernie Grundman — mastering Doug Henders — cover painting PACKAGING HIGHLIGHTS Surreal, hand-painted psychedelic cover artwork by Doug Henders Vibrant colors and intricate illustrations Gatefold sleeve with lyrics WHAT THE SLEEVE SHOWS The front cover is a vibrant, surreal painting featuring a colorful crowd of characters, a large “Paisley Park” hot air balloon, Prince in various guises, and a whimsical, dreamlike landscape under a bright blue sky. The back cover continues the same painting style, showing more figures by the water’s edge with a ladder, birds, and abstract elements, creating one continuous psychedelic scene when viewed together. CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard 200 | May 11, 1985 | 1 | - USA: Billboard Black LPs | - | 4 | - SINGLES RELEASED “Raspberry Beret” “Paisley Park” (Europe) “Pop Life” “America” Recording for Around the World in a Day began even before the sessions for Purple Rain. After six months on tour promoting that hit album, Prince returned to the studio. A demo by David Coleman, brother of Revolution member Lisa Coleman, served as early inspiration for what became the title track. The album embraced a rich, psychedelic vibe with unusual instruments and cryptic lyrics. Its sound and Doug Henders’ cover art drew many comparisons to the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, though Prince denied any Beatles influence. He explained the artwork came from wanting something more engaging than another photo of himself—something that could “materialize” in listeners’ homes when they played the record. While fine with the “psychedelic” label, he credited that era with delivering songs and colors, noting how Led Zeppelin could make each track feel different. Despite the muted promotion and its less commercial sound, the album still had two American top 10 hits, and went double platinum. Initial critical reception was mixed, but retrospective reviews are positive. According to Prince, George Clinton was a fan of the album. Greg Tate of Spin wrote, "Perhaps it's inevitable, given a career built as much on calculated mindfucking as mindblowing music, that Prince would choose to follow the best album of his career with the most bewildering, if not the worst." In a positive retrospective review for Pitchfork, Alan Light described the album as "a brave and deeply personal project, exploring sounds and ideas that were almost shocking coming from a pop icon at his peak." Simon Price wrote for The Guardian that the album "always sounds better than you think it will, when you revisit." SOURCES Discogs, 45cat, Official Charts, Wikipedia, Prince Vault. COPYRIGHT NOTICE All album 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.

Purple Rain is Prince’s sixth studio album and the soundtrack to the 1984 film of the same name. A groundbreaking fusion of rock, pop, R&B, and funk, it became his commercial and artistic peak, cementing his status as a global superstar. RELEASE DETAILS Artist: Prince and The Revolution Label: Warner Bros. Records Date: June 25, 1984 (US) / July 13, 1984 (UK) Catalogue: 25110 Format: LP Country: United States / United Kingdom (worldwide release) THE STORY Purple Rain is a dense, ambitious album that emphasizes full-band performances with layers of guitars, keyboards, synthesizers, and powerful live energy. It features some of Prince’s most iconic songs, including the groundbreaking “When Doves Cry,” the anthemic “Let’s Go Crazy,” and the epic title track. The album blends rock, funk, pop, and psychedelia while exploring themes of love, faith, sex, and redemption. CONTEXT & NOTES Released alongside the hugely successful film, Purple Rain spent 24 weeks at #1 on the Billboard 200 and sold over 25 million copies worldwide. It earned Prince two Grammys and an Oscar, and its explicit content (especially “Darling Nikki”) helped spark the Parental Advisory sticker movement. The album marked the full introduction of The Revolution and remains one of the most celebrated records of the 1980s. TRACK LIST Side One Let’s Go Crazy (7:37) Take Me with U (3:54) The Beautiful Ones (5:13) Computer Blue (3:59) Darling Nikki (4:14) Production Prince and The Revolution — producers, arrangers Engineering and mixing at various studios including The Warehouse, Sunset Sound, and Record Plant String arrangements by Lisa Coleman and Prince Side Two When Doves Cry (5:52) I Would Die 4 U (2:49) Baby I’m a Star (4:24) Purple Rain (8:41) PACKAGING HIGHLIGHTS Iconic front cover photo of Prince in a purple trench coat Dramatic back cover featuring Prince on a motorcycle with floral border design Gatefold sleeve with lyrics and film stills PERSONNEL Musicians Prince — lead vocals, guitars, keyboards, bass, drums, percussion The Revolution — band performances on multiple tracks Wendy Melvoin — guitar, vocals Lisa Coleman — keyboards, vocals Dr. Fink — keyboards BrownMark — bass Bobby Z. — drums Apollonia — co-lead vocals on “Take Me with U” SPECIAL INSERT / POSTER The album included a large, fold-out promotional poster featuring Prince and The Revolution in a surreal, brightly lit studio setting. Prince stands center in an ornate silver sequined suit and fedora, surrounded by band members (including Wendy & Lisa, Dr. Fink, BrownMark, and Bobby Z.). The backdrop includes a giant stylized painted face and geometric shapes. This composite image became one of the most iconic visual representations of The Revolution during the Purple Rain era. INNER SLEEVE / LYRIC SHEET The original inner sleeve featured lyrics printed over a water/ripple background, which many fans and critics found difficult to read. Due to complaints about legibility, Warner Bros. later replaced it with a clearer version featuring a purple rain/streaks design. Both versions are highly sought after by collectors today. COVER PHOTO LOCATION The iconic front cover photograph of Prince on the motorcycle was shot on the Warner Bros. Studios backlot in Burbank, California, specifically on the “Hennesy Street” / Tenement Alley set — a permanent exterior set designed to resemble a New York City street. This same location has been used in numerous films and remains part of the Warner Bros. Studio Tour. WHAT THE SLEEVE SHOWS The front cover features Prince seated on a black motorcycle in a dark, smoky, cinematic scene with dramatic lighting and purple tones. The back cover displays a beautiful floral border surrounding handwritten lyrics to the song “Purple Rain,” creating a romantic and artistic contrast to the intense front image. CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard 200 | July 14, 1984 | 1 (24 weeks) | 167+ SINGLES RELEASED “When Doves Cry” “Let’s Go Crazy” “Purple Rain” “I Would Die 4 U” “Take Me with U” Purple Rain was widely praised by critics when it came out. In 1984, Kurt Loder of Rolling Stone compared Prince to Jimi Hendrix, applauding his ability to blend “black and white styles” into something fresh and exciting. Loder described Prince’s rock & roll as every bit as genuine as his soul, and saw his boldness as refreshing in an era of safe, formulaic music production. By year’s end, the album ranked second in The Village Voice’s Pazz & Jop critics’ poll, though the paper’s chief critic Robert Christgau was more reserved, calling it quirky, dangerous, and unabashedly pop, but also tinged with despair—though he later deemed it “seriously gorgeous.” Prince and the Revolution earned Grammy Awards for Best Rock Vocal Performance by a Duo or Group and Best Score Soundtrack for Visual Media, along with a nomination for Album of the Year. Prince also won Best R&B Song for Chaka Khan’s cover of “I Feel for You,” and Purple Rain took home the Oscar for Best Original Song Score in 1985. Decades later, it still garners acclaim for its innovation, particularly the bass-less “When Doves Cry” and its seamless fusion of electronic sounds with organic, full-band performances. SOURCES Discogs, 45cat, Official Charts, Wikipedia, Prince Vault. COPYRIGHT NOTICE All album 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.

Controversy is Prince’s fourth studio album, released in October 1981. A bold, socially conscious, and sexually charged record, it further refined his unique blend of funk, rock, and new wave while tackling themes of religion, sex, politics, and identity RELEASE DETAILS Artist: Prince Label: Warner Bros. Records Date: October 14, 1981 (USA) / November 13, 1981 (UK) Catalogue: BSK 3601 Format: LP Country: United States (international releases followed) THE STORY Controversy continues Prince’s rapid artistic evolution, blending explicit sexuality with social commentary. The album features Prince’s signature one-man-band approach with select contributions from early band members. Standout tracks include the title song, the sensual ballad “Do Me, Baby,” and the funk-rocker “Let’s Work.” CONTEXT & NOTES Released just one year after Dirty Mind, Controversy solidified Prince’s reputation as a provocative and boundary-pushing artist. The album’s newspaper-themed cover and lyrics addressing God, sex, and politics created significant buzz and controversy. It marked another step toward the massive success that would arrive with 1999 and Purple Rain. TRACK LIST Side One Controversy (7:14) Sexuality (4:20) Do Me, Baby (7:43) Private Joy (4:37) Side Two Ronnie, Talk to Russia (1:51) Let’s Work (3:52) Annie Christian (4:21) Jack U Off (3:08) PERSONNEL Musicians Prince — all vocals and instruments (except where noted) Dr. Fink — keyboards on “Jack U Off” Lisa Coleman — background vocals on “Controversy,” “Ronnie, Talk to Russia,” and “Jack U Off”; keyboards on “Jack U Off” Bobby Z. — drums on “Jack U Off” Production Prince — producer, arranger Mic Guzauski, Bob Mockler, Ross Pallone — engineers Peggy McCreary — engineer (uncredited) Bernie Grundman — mastering (A&M Studios) Allen Beaulieu — photography Special Thanks "Special thanks to God and U." PACKAGING HIGHLIGHTS Iconic cover featuring Prince in a purple suit against a newspaper background Bold magenta “PRINCE” logo Newspaper headline collage design WHAT THE SLEEVE SHOWS The front cover shows a confident Prince in a lavender suit with a black bow tie, staring intensely at the viewer. The background is designed as overlapping newspaper headlines addressing controversy, religion, sex, and politics — perfectly reflecting the album’s themes. CHARTS America Country: Chart | Entry Date | Peak Position | Weeks in Chart USA: Billboard Top LP’s & Tapes | 7 Nov. 1981 | 21 | 32 USA: Billboard Soul LPs | 7 Nov. 1981 | 3 | 35 USA: The Billboard 200 | 14 May 2016 | 55 (R) | 2 SINGLES RELEASED “Controversy” (b/w “When You Were Mine”) “Sexuality” (Germany, Australia, Japan only) “Let’s Work” (b/w “Ronnie, Talk to Russia”) “Do Me, Baby” (b/w “Private Joy”) In a contemporary review for Rolling Stone, music critic Stephen Holden wrote that "Prince's first three records were so erotically self-absorbed that they suggested the reveries of a licentious young libertine. On Controversy, that libertine proclaims unfettered sexuality as the fundamental condition of a new, more loving society than the bellicose, overtechnologized America of Ronald Reagan." He went on to say, "Despite all the contradictions and hyperbole in Prince's playboy philosophy, I still find his message refreshingly relevant." Robert Christgau was less enthusiastic in a generally favorable review for The Village Voice, in which he wrote that its "socially conscious songs are catchy enough, but they spring from the mind of a rather confused young fellow, and while his politics get better when he sticks to his favorite subject, which is s-e-x, nothing here is as far-out and on-the-money as 'Head' or 'Sister' or the magnificent 'When You Were Mine.'"[ According to Blender's Keith Harris, Controversy is "Prince's first attempt to get you to love him for his mind, not just his body", as it "refines the propulsive funk of previous albums and adds treatises on religion, work, nuclear war and Abscam." Stephen Thomas Erlewine of AllMusic remarked that it "continues in the same vein of new wave-tinged funk on Dirty Mind, emphasizing Prince's fascination with synthesizers and synthesizing disparate pop music genres". Controversy was voted the eighth best album of the year in the 1981 Pazz & Jop, an annual critics' poll run by The Village Voice. SOURCES Wikipedia, Prince Vault, Discogs, Warner Bros. archives. COPYRIGHT NOTICE All album 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.

A music section clipping from the Minneapolis Star Tribune reports the arrest of former The Time guitarist Jesse Johnson after a concert in Cincinnati, while also noting that Prince & The Revolution’s Around the World in a Day had reached No. 1 on the Billboard pop chart that week. PUBLICATION Publication: Star Tribune Date: May 26, 1985 Country: USA Section / Pages: Music / Page 78 Title: (Music section header) THE STORY The article details the arrest of Minneapolis rock ‘n’ soul singer Jesse Johnson on May 10 following his performance at Cincinnati Gardens. He was charged with inciting to violence (a felony) after encouraging the audience to come forward and dance onstage. The piece discusses broader crackdowns on concert behavior following past incidents. In the same column, it is reported that Prince & The Revolution’s new album Around the World in a Day reached No. 1 on Billboard’s pop chart that week. CONTEXT AND NOTES This clipping captures a moment in the Purple Rain era when Prince’s influence was at its peak. While Around the World in a Day was dominating the charts, members of his extended Minneapolis family (like Jesse Johnson, formerly of The Time) were also in the spotlight. The article reflects the heightened scrutiny on live performances in the mid-1980s. FEATURE HIGHLIGHTS Event: Jesse Johnson arrest coverage + Prince album chart news Era: Purple Rain / Around the World in a Day era (1985) Tone: Local music news with a mix of controversy and celebration Photography: None directly tied to the Prince story (page features other images) Audience: Minneapolis readers / Prince fans WHAT THE CLIPPING SHOWS A typical 1985 newspaper music page featuring local and national news. The left column focuses on Jesse Johnson’s legal troubles, while the right column celebrates Prince & The Revolution’s chart success with Around the World in a Day. It highlights the interconnected Minneapolis music scene during Prince’s commercial peak. COPYRIGHT NOTICE All magazine scans, photographs 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.

A commentary piece from the Minneapolis Star Tribune reviews the fifth annual Minnesota Music Awards, noting the event’s overall success despite Prince’s absence, while praising the production and media coverage. PUBLICATION Publication: Star Tribune Date: May 26, 1985 Country: USA Section / Pages: Awards / Page 77 Title: Minnesota Music Awards score well, mostly, even without Prince THE STORY Staff writer Jon Bream gives the fifth annual Minnesota Music Awards a B+ grade. He highlights improvements in production, pacing, and technical aspects under first-time director Jack Reuler. The piece notes strong media coverage (including MTV) but criticizes the choice of entertainers and the heavy use of taped background music instead of live performances. It specifically mentions the lack of a “showstopper” on the level of Prince’s previous appearances at the awards. CONTEXT AND NOTES This article appears the day after Prince & The Revolution’s Around the World in a Day hit No. 1 on the Billboard charts. Prince had dominated the previous two Minnesota Music Awards ceremonies with memorable performances, so his absence was notable. The piece reflects the high expectations for Prince-related acts in the local music scene during the peak of the Purple Rain era. FEATURE HIGHLIGHTS Event: 5th Annual Minnesota Music Awards Era: Purple Rain / Around the World in a Day era (1985) Tone: Positive but slightly critical local commentary Photography: Black & white photo of Jimmy (Jam) Harris and Melanie Rosales at the ceremony (by David Brewster) Audience: Minnesota music industry and Prince fans WHAT THE CLIPPING SHOWS A full commentary column discussing the local music awards ceremony. The large headline emphasizes that the event succeeded even without Prince. A prominent photo shows Jimmy Jam and Melanie Rosales. The article underscores Prince’s outsized influence on the Twin Cities music scene at the time. RELATED MATERIAL Around the World in a Day chart success (Page 78 clipping) Prince & The Revolution live performances at prior Minnesota Music Awards COPYRIGHT NOTICE All magazine scans, photographs 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 soulful guitarist, singer, and multi-instrumentalist who brought fiery playing and rich vocals to Prince’s New Power Generation during the late 1990s and early 2000s. Kat Dyson (born Katherine Dyson) is an American guitarist, vocalist, songwriter, and producer. Known for her expressive guitar work and powerful, gospel-influenced voice, she became a standout member of Prince’s band during a highly creative period. PRINCE CONNECTION Prince recruited Kat Dyson in 1996–1997. She performed with the New Power Generation during the Emancipation (1996), Newpower Soul (1998), and Rave Un2 the Joy Fantastic (1999) eras. She was one of the few female guitarists to hold a prominent role in Prince’s bands. Kat contributed guitar, backing vocals, and occasional lead vocals, and was particularly noted for her soulful style and strong stage presence. KEY RELEASES WITH PRINCE Emancipation (1996) Newpower Soul (1998) The Vault: Old Friends 4 Sale (1999) Rave Un2 the Joy Fantastic (1999) Various live recordings from the 1997–2001 period STAGE WORK & LATER CAREER Kat was a key member of the band during Prince’s highly energetic late-’90s tours. After leaving the NPG, she continued her career as a session musician, solo artist, and collaborator with other artists (including Chaka Khan and others). She has remained active in the Minneapolis music scene and occasionally participates in Prince tribute projects. WHY THEY MATTER TO THE PRINCE UNIVERSE Kat Dyson was one of Prince’s most notable female guitarists and a strong musical presence during the post-Emancipation era. She helped bring a soulful, rock-tinged edge to the NPG and represented Prince’s continued support for talented women instrumentalists in his bands. SOURCES Prince Vault, Discogs, interviews with Kat Dyson, Prince.org discussions. COPYRIGHT NOTICE All images, photographs, and artwork referenced or displayed remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.