RELEASE DETAILS Artist: The Steeles Label: Elektra Records / Nonesuch Date: June 8, 1993 Catalogue: US: 9 61290-2 / GER: 7559-61290-2 Format: CD Country: United States (primary) THE STORY Heaven Help Us All is the debut studio album by the Minneapolis-based gospel group The Steeles (comprised of siblings Fred, JD, Jearlyn, Jevetta, and Billy Steele). The album blends contemporary gospel with soulful R&B elements and features the Prince-penned track “Well Done,” a powerful, uplifting song credited solely to Prince (though originally co-written with David Z. Rivkin and Levi Seacer, Jr.). Prince also contributed uncredited instrumentation across the project, adding his signature touch to the group’s rich vocal harmonies. CONTEXT & NOTES Recorded primarily at Paisley Park Studios and Metro Studios in Minnesota, the album was produced by Ricky Peterson with Prince serving as arranger on select tracks. “Well Done” was submitted in a re-recorded version by Prince, but the group ultimately used their preferred original take while retaining the sole Prince credit. The project reflects Prince’s continued support for local gospel talent during a highly creative period. Despite critical interest, the album did not chart and produced no singles. TRACK LIST Disc 1 Heart In My Hand Tide Keeps Lifting Me Never Get Over You Well Done (3:36) I Don’t Wanna Be Without U Heaven Help Us All It’ll Be Alright Oh What A Gift Those Were The Days Big God SOURCES Prince Vault, Discogs 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.

“Be A Part Of The New Power Generation!” — The official 1990 Paisley Park promotional catalogue introducing Prince’s new collective. RELEASE DETAILS Artist: New Power Generation Label: Paisley Park Records Date: 1992 Catalogue: Internal promotional item (no retail catalogue number) Format: 8-page full-colour promotional booklet Country: United States THE STORY This rare 8-page promotional booklet was issued in circ 1992 to formally introduce the New Power Generation to fans and industry. It served as both a manifesto and a recruitment tool for Prince’s new band and the expanded Paisley Park family. Full of bold slogans, philosophy, and artist profiles, it captures the excitement and revolutionary spirit surrounding the launch of the NPG era. CONTEXT & NOTES Printed during the transition from The Revolution to the New Power Generation, this booklet is one of the earliest official NPG documents. It promotes the collective’s vision of music, joy, and change while showcasing key Paisley Park artists. The item was likely distributed to fan clubs, industry contacts, and at events. CONTENT HIGHLIGHTS Front Cover Large white Love Symbol on dark background Iconic slogan: “BE A PART OF THE NEW POWER GENERATION!” Interior Pages Include: MAKIN’ LOVE AND MUSIC NEW POWER WE STAND PARDON US 4 CARIN’, WE DIDN’T KNOW IT WAS AGAINST THE RULES! Key Text Excerpts: “Prince and The New Power Generation — one of the most dynamic and tight-knit bands of the 20th century.” “In Chanhassen, Minnesota lies the mythical land of Paisley… Listen, and hear the voice of tomorrow. Listen, and find the pulse of life inside your own soul.” Artist Profiles Featured: Mavis Staples Rosie Gaines George Clinton Eric Leeds Carmen Electra Paisley Park Studios & Records (exterior photos) Back Section: Merchandise order form Subscription information for Controversy magazine and Prince Hotline 1993 Prince Convention details in Minneapolis PACKAGING HIGHLIGHTS 8-page full-colour booklet High-quality glossy paper Striking graphic design with purple, pink, and black colour scheme WHAT THE SLEEVE SHOWS The booklet opens with the powerful white Love Symbol on a dark background and the rallying call “BE A PART OF THE NEW POWER GENERATION!” Interior pages mix philosophical text, band imagery, artist spotlights, and Paisley Park facility photos, creating an immersive introduction to the NPG universe. 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. No ownership of the original material is claimed or implied. “WE ARE THE NEW POWER GENERATION WE WANT 2 CHANGE THE WORLD THE ONLY THING THAT’S IN OUR WAY IS U!”

This 12" single was released as part of the continued promotion for the hugely successful Diamonds and Pearls album, highlighting Prince and the New Power Generation’s socially conscious side with a powerful mid-tempo funk track that addressed materialism and inequality. Artist: Prince and the New Power Generation Label: Paisley Park / Warner Bros. Date: March 16, 1992 Catalogue: W 0091 T / 9362-40417-0 Format: 12" Single Country: Germany / Europe Written by: Prince Produced by: Prince and the New Power Generation TRACK LIST Germany/Europe 12" Single (W 0091 T) Side A Money Don’t Matter 2 Night (LP Version) (4:48) Side B Push (LP Version) (5:56) Call The Law (Non-LP Track) (4:19) LINKED RELEASES / VARIANTS Album version on Diamonds and Pearls (1991) Various international 7", cassette, and CD maxi-singles PERSONNEL Produced, arranged, composed and performed by Prince and The New Power Generation THE STORY “Money Don’t Matter 2 Night” was issued as a later single from Diamonds and Pearls in early 1992. The song’s thoughtful lyrics about the emptiness of materialism, delivered over a smooth, mid-tempo groove with strong live band energy, showcased the maturing sound of Prince and the New Power Generation. This European 12" edition paired the album version with “Push” and the non-album track “Call The Law,” providing fans with additional material from the Diamonds and Pearls sessions. CONTEXT & NOTES The striking black-and-white cover image captures Prince in a dramatic pose, continuing the stylish visual campaign for the album. This pressing was part of the European rollout and included standard Paisley Park label design with full credits. The single helped sustain the massive commercial momentum of Diamonds and Pearls across Europe. CHART PERFORMANCE Germany MusikWoche Top 100 Singles – #21 (peaked October 7, 1991) RELATED MATERIAL Prince and the New Power Generation (1991) Diamonds and Pearls (Album) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault, Discogs, sleevographia2. All single artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The January 1992 cover of Black Beat Magazine features Prince in a dynamic pose with his yellow guitar, headlining “Ultra Exclusive! PRINCE Invites Black Beat To Paisley Park!” alongside “The Royal Rocker And His Ladies DIAMONDS & PEARLS!” Publication: Black Beat Date: January 1992 Country: United States Location: New York Section: Front Cover THE STORY This exclusive cover story captures Prince during the height of his Diamonds and Pearls era, inviting Black Beat to his legendary Paisley Park. The vibrant cover showcases Prince performing with two female dancers/models, emphasizing his flashy stage presence and the glamorous entourage surrounding him. CONTEXT AND NOTES 1991–1992 marked one of Prince’s biggest commercial comebacks with the album Diamonds and Pearls and the New Power Generation. This Black Beat cover reflects the strong connection Prince maintained with Black media outlets while promoting his high-energy funk/hip-hop influenced sound and flamboyant visual style. FEATURE HIGHLIGHTS Event: Exclusive Paisley Park cover story Era: 1992 (Diamonds and Pearls era) Tone: Energetic, glamorous, celebratory Photography: Bold, colourful studio/performance shot Prince opens Paisley Park doors, just a man doing his thang! Behind more than a decade of pomp and circumstance is a man simply trying to do his thang – Prince invites Black Beat magazine to Paisley Park for an exclusive visit and interview, featured in the January 1, 1992 issue. The invitation came through a publicist. which was fairly odd in itself, considering that the only real need Prince ever had for one was to say, in various ways, the word no. Nevertheless, here one was on the phone from New York, inviting me to Paisley Park, Prince’s corporate Disneyland in Minneapolis. the idea was that I’d fly into town. watch Prince rehearse for his fall U.S. tour—designed to promote his Diamonds And Pearls LP—and interview members of his band the New Power Generation. And maybe, just maybe Prince, in a fit of infinite generosity, would say hello. My answer was as peculiar as the proposition itself: no. It wasn’t like l wasn’t interested. Since his debut in 1978 with his For You album, I’d written volumes on Prince for various publications. Heck, in 1984. The year of his triumphant Purple Rain. I wrote a paperback book on the man. It was just that, for most of his career, Prince has been manipulatively indifferent with the press, particularly the Black press. The brothers in the ‘hood were buying Prince records long before white audiences even knew who he was, or cared, for that matter (Detroit has been a big town for Prince since his days of bikinis and knee-high boots, and ain’t nothin’ but some brothers there), yet The Kid has made a habit of largely ignoring the publications these people read. The Black press never had a problem with him not doing interviews: we had a problem with him telling us no and then seeing his mug on the cover of Rolling Stone under the heading, “Prince Talks.”· It was as if the Black press didn’t matter. According. to Prince’s camp. the consensus was that the musician didn’t think Black journalists “got it”—that we didn’t understand the music or the vibe. Fact is, perhaps we got too much. For instance, ain’t no Black music critic worth his word processor going for that stuff about Prince being from a mixed family-the kind of muck white writers gobbled up whole; we know Black folks come in all shades. Besides, I thought, why should I fly to Minneapolis and hope that Prince graces me with a nod when I could shoot the breeze attitude-free with someone like Eddie LeVert, Luther Vandross or the Jacksons (most of ‘em, anyway)? I declined. What ultimately turned me around was the mere idea of taking in yet another Prince performance. I never tire of watching him do his thing onstage. I figured that spectacle alone was worth the three hour flight from L.A. to Minneapolis, whether Prince spoke or not. I accepted the invitation. Considering that The New Power Generation is Prince’s Blackest band since he headed up garage bands in Minneapolis with Andre Cymone, Diamonds And Pearls is a subtle album. There isn’t much rock and roll, and aside from the rhythm rituals “Jughead,” “Gett Off” and “Push,” there isn’t a lot of all-out funk, either. There is, however, an abundance of melodic material, all of it held together with juicy musical undercurrents. There’s the folky “Walk Don’t Walk”, a song about doing things your way as opposed to what an unfair society dictates. There’s “Money Don’t Matter 2 Night” and “Strollin’,” both so easy-going that they’d sound quite normal coming out of the radio sandwiched. between songs of Anita Baker and Luther Vandross, while songs like the power pop of “Cream” and the majestic title track both adequately demonstrate why Prince remains one of the most inventive, musically agile artists in pop music. * * * I walked into Minneapolis’ Hotel Sofitel and ran into a publicist for the musician who went right to work. “Prince wants to meet you,” he said, as if I were the inside man in a spy ring. “But he’s in the middle of rehearsals as we speak, so we’ll have to leave right now.” In the cab on the way to Paisley Park, the PR man took a look at my tape recorder and told me I could have left it at the hotel; Prince wouldn’t be speaking into it, and besides, this wouldn’t be an interview, anyway, but at best a chat. I was told not to pry. “Just go with the flow,” he advised. Gee, Guy-mind if I breathe? When you walk into Paisley Park you feel as if you’ve entered Oz. There are offices, but execs are dressed casually. In the wardrobe department, a group hovered over designs and fabric. There are studios-MC Hammer was in one of them, putting the finishing touches on his new album-and on the dark soundstage with the PRIVATE SESSION sign on the door is Prince and the New Power Generation. I’m seated not more than 15 feet from the stage, yet Prince, running through some random guitar riffs during rehearsal down time, doesn’t look my way once. Finally, he takes off his guitar, jumps off the stage and starts striding my way. He’s smiling. The publicist tries to make an introduction, but Prince interrupts him. “Oh I know this guy,” he says, extending a firm handshake. “I read your stuff, man.” The first thing you notice about Prince is how good he smells. Really. He walks around, shrouded in a fragrance that is tantalizing and exotic. Didn’t smell familiar. Let’s just say it wasn’t Brut. Much has been made about his dimunitive size, but in person Prince’s presence is imposing. The guy oozes charisma. It was two in the afternoon, yet Prince is resplendent in his idea of jeans and sneakers: form-fitting fushia-colored pants, matching boots and a silk shirt in his color of the moment, canary yellow. WHAT THE CLIPPING SHOWS Prince in a white embellished outfit playing a bright yellow guitar Two stylish female dancers/models flanking him Eye-catching headlines including “Ultra Exclusive! PRINCE Invites Black Beat To Paisley Park!” and “DIAMONDS & PEARLS!” Additional teasers for other artists and features RELATED MATERIAL This Black Beat cover complements other 1990s Prince magazine features in the scrapbook. For other relevant posts, see the tags at the foot of the page. He turned to a visiting Warner Brothers record executive and said, “Did you tell him what I told you?” The exec looked sheepishly puzzled, as if he was about to be reprimanded. “Did you tell him I’m not the strange guy he thinks I am?” Prince laughed. The exec laughed. From there, Prince proceeded to be the perfect, albeit somewhat distant host. He joked about the sound (“If it’s too loud for you, we can turn it down”). When I told him I’d originally thought his trademark custom guitar was built more for looks than sound, he logged the comment away in his head. When he picked up the instrument to take to the stage, he looked at me and teased, “It looks good—it’s a shame it don’t sound like nothin’.” Rehearsal continued on schedule, with Prince and his band ripping through new songs like “Daddy Pop” and old favorites like “Let’s Work,” and a rendition of “Nothing Compares 2 U,” his composition made famous by Sinead O’Connor. What’s remarkable is Prince’s driving sense of commitment to his work. He’s jammed “Purple Rain” more times than even I have cared to hear it, yet in rehearsal he serviced it as if it were a brand new song. It was also interesting to see that all those seemingly “spontaneous” moments in any Prince performance are anything but; virtually every little onstage gesture, his playing to the audience—it’s all rehearsed to the tee. Another sign of a true showman.After running through his set for about an hour complete with lighting and smoke, the band adjourned and toweled down while making small talk. Prince has disappeared. An interview was out of the question after all, I told the publicist. “Hey, I was surprised,” he countered. “You got more time with him than most people do." I was scheduled to leave for L.A. in the morning; the PR man said that after dinner we could spend some hang time downtown at Glam Slam, Prince’s club. The music would be good, he said; “Wednesday is funk night at the club. Prince might even be there.” He was. He and the Warners exec sat upstairs under the watchful eye of a bodyguard in the VIP area overlooking the crowded dance floor below. Prince gauged reaction to the then-unreleased steamy video for “Violet The Organ Grinder,” which played on video monitors throughout the club. They loved it, of course. I hadn’t heard the track before either; I went over and asked Prince what it was. “None of your business,” he replied. He chased the line with a smile, but there was no denying the edge on it. “You can have a copy of it, if you don’t write something crazy about it.” This was the Prince I was ready for at the rehearsal, but got Sir Lancelot instead. This Prince, however, obviously had some points to make. The Warner exec got visibly nervous all over again, poor guy. “Let me ask you something?” Prince continued. “Why is it your stuff always has a strange slant on it when it comes to me?” “That’s not true,” I replied, surprised that this guy was even paying attention to what is written about him. “Oh yeah, man. Your stuff seems to have a strange vibe on it when it comes to me.” I told him I was one of his biggest fans, though I admitted that my biggest crime was in periodically writing that he should get back to the kind of stuff he built a foundation on, like his landmark 1999 album. This incensed him. “That’s why I stay here in Minneapolis and do my work, and block out you critics. Let me tell you something: 1999 amounts to me being in the third grade musically. That’s where I was then, and I had to grow musically from where I was before it to make it. I had to push aside 1999 to get where I am now. It’s called growth. You wanna hear stuff like 1999 again, then listen to 1999. I’m someplace else now.” The conversation limped uncomfortably on about music, but it was clear that Prince had heard enough. He became indifferent, asked why I wasn’t out on the dance floor, and then excused himself to sit alone, a table away. I’d apparently worn out my welcome. Nevertheless, I didn’t really realize what a showman Prince was until I’d met him. Forget the stage; I’m talking image-building. The guy spent years orchestrating this aura of mystery and drama, when in reality he’s just a cat trying to do his thing. Perhaps he doesn’t grant interviews because he feels his music alone exposes him far more than anyone should ‘have to endure. If what I considered my personal growth as an artist were constantly slammed by people who didn’t always understand it, maybe I’d be a bit gun-shy, too. I decided I liked this guy. In any case, before heading back to the hotel, I went over to Prince and thanked him for having me down. He didn’t have to do it, I told him, and I appreciated the hospitality. I then reminded him of the hypnosis-inducing .vamp he found earlier in rehearsal during “Gett Off” and how that moment alone was worth the price of admission. He seemed pleased. “Man,” he said, easing a smile, “that’s what I’m down here doing everyday. For me, that’s what it’s all about.” I can believe it. Black Beat January 1, 1992 Steven Ivory

b/w “Whispering Dandelions” — A key 1992 release featuring multiple Prince-remixed versions and two Prince-written productions. RELEASE DETAILS Artist: Ingrid Chavez Label: Paisley Park / Warner Bros. Records Date: March 5, 1992 Catalogue: 0-40270 (12"), 940 270-2 (CD), 4-19082 (Cassette), WPCP-4849 (Japan CD) Format: 12" Single, CD Single, Cassette Single, Promo Country: United States / Japan THE STORY Hippy Blood was the second and final commercial single from Ingrid Chavez’s self-titled debut album. While the album version contains no Prince involvement, the single is significant for featuring multiple remixes by Prince, along with “Whispering Dandelions,” a track co-written, produced, and performed by Prince. The Japanese edition expands into a full EP with exclusive remixes of “Elephant Box,” another Prince co-write. CONTEXT & NOTES This release highlights Prince’s behind-the-scenes work during the early 1990s, contributing remixes and original productions to Chavez’s project. The single did not chart but remains a sought-after collector’s item due to the exclusive Prince material. TRACK LIST 12" Single (0-40270) A1. Hippy Blood (Keep Pumpin’ It Mix) — 6:35 A2. Hippy Blood (Club Mix) A3. Hippy Blood (Happy Hippy Mix) A4. Hippy Blood (Funky House Edit) — 6:00 B1. Hippy Blood (Commune Mix) B2. Hippy Blood (Free Spirit Mix) B3. Whispering Dandelions (Album Version) — 1:59 B4. Hippy Blood (Freedom’s Beating Heart Mix) CD Single (940 270-2) Hippy Blood (Free Spirit Edit) Hippy Blood (Keep Pumpin’ It Mix) — 6:35 Hippy Blood (Commune Mix) Hippy Blood (Album Version) Whispering Dandelions (Album Version) — 1:59 Hippy Blood (Funky House Edit) — 6:00 Hippy Blood (Club Mix) Hippy Blood (Happy Hippy Mix) Hippy Blood (Freedom’s Beating Heart Mix) Japan CD EP (WPCP-4849) Hippy Blood (Keep Pumpin’ It Mix) — 6:35 Hippy Blood (Club Mix) Hippy Blood (Happy Hippy Mix) Hippy Blood (Funky House Edit) — 6:00 Hippy Blood (Commune Mix) Hippy Blood (Free Spirit Edit) Hippy Blood (Freedom’s Beating Heart Mix) Elephant Box (Elephant House Mix) — 6:36 Elephant Box (Bee Bop Mix) — 6:13 Elephant Box (Full Pass Mix) — 6:15 Elephant Box (The Solo) — 6:28 12" Promo (PRO-A-5155) A1. Hippy Blood (Free Spirit Mix) A2. Hippy Blood (Happy Hippy Mix) A3. Hippy Blood (Commune Mix) A4. Hippy Blood (Free Spirit Edit) B1. Hippy Blood (Keep Pumpin’ It Mix) — 6:35 B2. Hippy Blood (Commune Instrumental) B3. Hippy Blood (Free Spirit Dub) B4. Hippy Blood (Latin Light Edit) CD Promo (PRO-CD-5155) Hippy Blood (Album Edit) Hippy Blood (Free Spirit Edit) Hippy Blood (Keep Pumpin’ It Edit) — 4:37 Hippy Blood (Latin Light Edit) Cassette Single (4-19082) A. Hippy Blood (Album Edit) B. Whispering Dandelions — 1:59 All Variants 12" Single (0-40270) CD Single (940 270-2) 12" Promo (PRO-A-5155) CD Promo (PRO-CD-5155) Cassette Single (4-19082) Japan CD EP (WPCP-4849) CHART PERFORMANCE Did not chart PERSONNEL Ingrid Chavez – vocals Prince – remixes, writer/producer/performer on “Whispering Dandelions” and “Elephant Box” PACKAGING HIGHLIGHTS Striking torn-paper design with Deborah Allen-style portrait (wait, Ingrid Chavez portrait) Bold typography and vibrant color scheme WHAT THE SLEEVE SHOWS Front cover features a dramatic portrait of Ingrid Chavez against a purple and red background with torn-paper effects and bold title lettering. RELATED MATERIAL Ingrid Chavez – Ingrid Chavez (Album, 1991) Prince – Various productions and remixes for associated artists (early 1990s) SOURCES Prince Vault, Discogs, Wikipedia COPYRIGHT NOTICE All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A colourful 1993 “Special” book dedicated entirely to Prince, featuring a vibrant torn-paper collage cover and detailed sections on his career, with official publication by Grandreams Limited. PUBLICATION Publication: Prince Special (Book) Date: 1993 Country: United Kingdom Section / Pages: Front Cover + Copyright Page + Contents + Interior Photo Page Title: PRINCE SPECIAL THE STORY This fan-oriented publication opens with a striking cover using a torn-paper design that juxtaposes two classic Prince portraits — one with a leopard-print guitar strap and another close-up with dramatic eye makeup. Inside, it includes a formal copyright page from Grandreams Limited, a full contents listing covering topics from “Prince: Year By Year” to “Prince In Private,” and glossy live performance photography. CONTEXT AND NOTES Released in 1993 by Grandreams Limited (London), this book captures Prince at the height of his early-90s popularity during the The Hits era and major touring. It serves as a comprehensive visual and biographical tribute aimed at fans, with sections on his stage presence, film work, personal life, and collectibles. FEATURE HIGHLIGHTS Event: Dedicated Prince Special Book Era: 1993 Tone: Colourful, celebratory, fan-focused Photography: Collage-style cover + high-quality live and portrait shots Visual Motifs: Bright polka dots and swirls, torn-paper effect, purple typography WHAT THE CLIPPING SHOWS Full front cover with “PRINCE” and “SPECIAL” in bold purple lettering Copyright and publishing information page (© 1993 Grandreams Limited) Contents page listing all sections Interior live performance photo of Prince singing in a light jacket RELATED MATERIAL Prince (January/February 1993) “In the Land of Paisley” – Creem Magazine (US) Prince (June 1993) “My Name Is God!” – VOX Magazine (UK) Prince (1993) MF Music Festival 93 Cover – Capital FM (UK) 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.

Jazz-funk reflections shaped at Paisley Park and beyond. RELEASE DETAILS Artist: Eric Leeds Label: Paisley Park / Warner Bros. Records Date: February 16, 1993 Catalogue: 9 45199-2 (US CD) Format: CD Album / Cassette Country: United States / Europe / Japan THE STORY Things Left Unsaid is the second solo album by saxophonist Eric Leeds, best known for his work with Prince and the New Power Generation. Released on Paisley Park Records in 1993, the album delivers a sophisticated blend of jazz, funk, and atmospheric world textures, showcasing Leeds’ expressive saxophone and expansive compositional style. CONTEXT & NOTES The track “Aguadilla” carries a co-writing credit to Prince, as it incorporates musical elements from his unreleased composition “Desire.” Most of the album was recorded at Paisley Park Studios, Skyline Studios, and Centerfield Recording. It reflects the exploratory, cosmopolitan side of the early-’90s Paisley Park aesthetic. TRACK LIST Isla Mujeres — 6:04 Two Sisters — 7:24 Things Left Unsaid — 6:57 Aguadilla — 5:36 (Co-written by Prince) Woman In Chains — 5:44 Times Gift — 4:07 Yaoundé — 5:44 Soldiers Things — 4:30 Commuting — 5:42 All Variants CD Editions US: Paisley Park 9 45199-2 Europe: Paisley Park / Warner Bros. 9362-45199-2 Japan: Paisley Park WPCP-5238 Cassette Editions US: Paisley Park 9 45199-4 / 4-45199 US Promo Cassette: Paisley Park 4-45199 PACKAGING HIGHLIGHTS Standard jewel case with booklet Atmospheric artwork reflecting the album’s moody, cosmopolitan tone WHAT THE SLEEVE SHOWS Front cover features evocative, atmospheric imagery consistent with early ’90s Paisley Park jazz releases, emphasizing mood and sophistication. RELATED MATERIAL Eric Leeds – Times Squared (1991) Prince – Various unreleased compositions from the late 1980s/early 1990s SOURCES Prince Vault, Discogs, Wikipedia 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. No ownership of the original material is claimed or implied.

Prince’s dance-floor protégée steps into the spotlight with a high-energy, NPG-driven debut crafted almost entirely by Prince and the New Power Generation. RELEASE DETAILS Artist: Carmen Electra Label: Paisley Park / Warner Bros. Records Date: February 9, 1993 Catalogue: 9 45020-2 Format: CD Album / Cassette Country: United States THE STORY Carmen Electra is the self-titled debut (and only) studio album by model, singer, and dancer Carmen Electra. Produced and largely written by Prince with heavy involvement from the New Power Generation, the album delivers a playful mix of hip-hop, funk, dance, and Minneapolis sound grooves designed to showcase Electra’s bold persona. CONTEXT & NOTES Originally titled On Top, the project was delayed from a planned July 1992 release. Several tracks originated from earlier Prince sessions (1988–1989). The album spawned four singles, including “Go Go Dancer” and “Fantasia Erotica.” Despite strong production, it received limited promotion and did not chart. TRACK LIST Go Go Dancer — 4:45 Good Judy Girlfriend — 1:59 Go On (Witcha Bad Self) — 4:09 Step To The Mic — 3:16 S.T. — 4:03 Fantasia Erotica — 4:36 Everybody Get On Up — 4:01 Segue — 0:29 Fun — 3:42 Just A Little Lovin’ — 4:02 Segue — 0:46 All That — 4:29 Segue — 0:12 This Is My House — 3:28 PACKAGING HIGHLIGHTS Standard jewel case with 8-page booklet Striking photography featuring Carmen Electra WHAT THE SLEEVE SHOWS Front cover shows Carmen Electra in a dramatic pose with bold “carmen electra” typography and a large “C” graphic overlay. RELATED MATERIAL Carmen Electra – Go Go Dancer (Single, 1992) Carmen Electra – Fantasia Erotica (Single, 1992) Carmen Electra – Everybody Get On Up (Single, 1993) Prince and The New Power Generation – Diamonds And Pearls (1991) Prince and The New Power Generation – [Love Symbol] (1992) SOURCES Prince Vault, Discogs, Wikipedia 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. No ownership of the original material is claimed or implied. ARTIST: Carmen Electra ARTIST CATEGORY: Prince Associated Artists / NPG Projects ARTIST ITEM: Carmen Electra (Album) ARTIST ATTACHMENT: Paisley Park / Warner Bros. ARTIST YEAR: 1993 ALBUM: Carmen Electra (1993)

A major cover story in Creem magazine featuring Prince prominently on the front with the iconic Love Symbol drawn on his palm, accompanied by an in-depth feature exploring his Paisley Park world, image, and music during the early 1993 period. Publication Publication: Creem Magazine Date: January/February 1993 (Vol. 2, No. 2) Country: United States Section / Pages: Front Cover + Interior Feature (at least one full page) Title: PRINCE In the Land of Paisley / Prince and the New Power Generation The Story The striking cover photograph shows Prince in a black leather jacket with ornate gold embroidery, holding his palm up to the camera to display the Love Symbol (♡︎ with cross and arrow). Inside, the feature includes additional portraits of Prince in a red-and-black plaid shirt, close-ups, and text discussing his Paisley Park compound, fashion, music, and persona. The article blends admiration with detailed observations about Prince’s creative environment and public image. Context and Notes This cover story appeared early in 1993, during a highly creative phase for Prince following the release of The Hits/The B-Sides and while preparing for major touring. The “Land of Paisley” title plays on his famous Paisley Park studio and aesthetic, capturing the mystique that surrounded him at the time. Creem’s rock-oriented coverage highlights his influence across the alternative and mainstream scenes. Feature Highlights Event: Cover Story + Feature Article Era: Early 1993 / Pre-Act I Tour Tone: Visual, immersive, rock-magazine style Photography: Iconic palm-with-Love-Symbol cover shot + candid/intimate interior portraits Visual Motifs: Leather, embroidery, Love Symbol, Paisley Park imagery What the Clipping Shows Full front cover with Prince dominating the layout, bold red Creem logo, and vertical “PRINCE” text Interior feature page with additional Prince photos (plaid shirt pose) and article text discussing his environment and work Related Material Prince (June 1993) “My Name Is God!” – VOX Magazine (UK) Prince (October 1993) Prince Talks! – Satellite Times (UK) Prince (Aug 31–Sep 1, 1993) Bercy Paris – Coca-Cola European Tour Advert 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.

Monie Love’s Prince-powered hip-hop empowerment anthem — the second single from In a Word or 2. RELEASE DETAILS Artist: Monie Love Label: Warner Bros. / Giant Records Date: February 11, 1993 (USA) Catalogue: 9 40641-2 (CD), 0-40641 (12"), 9 18691-4 (Cassette) Format: 12" Single, CD Single, Cassette Single, Promo Country: United States THE STORY Born 2 B.R.E.E.D. was the second single from Monie Love’s album In a Word or 2. Co-written, produced, and largely performed by Prince, the track blends hip-hop swagger with Prince’s signature funk production. Multiple remixes were created, showcasing the song’s dancefloor potential. CONTEXT & NOTES This release highlights Prince’s early 1990s involvement in hip-hop. The single performed strongly on the Dance charts, reaching No. 1 on Billboard’s Hot Dance Music – Club Play chart. It became one of Monie Love’s biggest hits in the UK, peaking at No. 18. TRACK LIST 12" Single (0-40641) A1. Born 2 B.R.E.E.D. (Hip Hop Mix) — 4:13 A2. Born 2 B.R.E.E.D. (Born 2 Funk 12" Mix) — 5:57 A3. Born 2 B.R.E.E.D. (Funkstrumental) — 5:55 B1. Born 2 B.R.E.E.D. (Silky Jazz Mix) — 7:53 B2. Born 2 B.R.E.E.D. (Jazzstrumental) — 3:00 B3. Born 2 B.R.E.E.D. (The Freedom Mix) — 3:57 CD Single (9 40641-2) Born 2 B.R.E.E.D. (Radio Mix) — 4:07 Born 2 B.R.E.E.D. (Paisley Park Version) — 3:53 Born 2 B.R.E.E.D. (Hip Hop Mix) — 4:13 Born 2 B.R.E.E.D. (Silky Jazz Mix) — 7:53 Born 2 B.R.E.E.D. (Born 2 Funk 12" Mix) — 5:57 Born 2 B.R.E.E.D. (The Freedom Mix) — 3:57 Cassette Single (9 18691-4) A. Born 2 B.R.E.E.D. (Radio Mix) — 4:07 B. Born 2 B.R.E.E.D. (Paisley Park Version) — 3:51 12" Promo (PRO-A-5801) A1. Born 2 B.R.E.E.D. (Paisley Park Version) — 3:53 A2. Born 2 B.R.E.E.D. (Radio Mix) — 4:07 A3. Born 2 B.R.E.E.D. (Hip Hop Mix) — 4:12 All Variants 12" Single (0-40641) CD Single (9 40641-2) Cassette Single (9 18691-4) 12" Promo (PRO-A-5801) CHART PERFORMANCE US Billboard Hot Dance Music – Club Play: No. 1 US Billboard Hot 100: No. 89 US Billboard R&B Chart: No. 56 UK Singles Chart: No. 18 PERSONNEL Monie Love – vocals Prince – writer, producer, instruments, backing vocals PACKAGING HIGHLIGHTS Vibrant pink and yellow swirl design Playful cover image of Monie Love WHAT THE SLEEVE SHOWS Front cover features Monie Love in an orange outfit against a swirling pink and yellow background with bold yellow title text. RELATED MATERIAL Monie Love – In a Word or 2 (Album, 1993) Prince – Various hip-hop productions from 1992–1993 SOURCES Prince Vault, Discogs, Wikipedia COPYRIGHT NOTICE All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

The June 24, 1988 edition of the St. Cloud Times reports on Prince’s upcoming European summer tour, noting the massive amount of equipment and stage production involved. Publication: St. Cloud Times Date: June 24, 1988 Country: United States Location: Saint Cloud, Minnesota Section: News / Entertainment THE STORY The article states that more than one cargo jet will be needed to haul 100 tons of stage and equipment for Prince’s summer tour in Europe. Spokesperson Bob Merlis confirmed the tour starts July 8 with four dates in Paris, followed by shows in Milan, Antwerp, London, Helsinki, Stockholm. CONTEXT AND NOTES This announcement was made ahead of Prince’s 1988 European tour, which followed the Lovesexy album and tour. The piece highlights the large-scale production Prince was known for at the time. FEATURE HIGHLIGHTS Event: Tour announcement Era: 1988 (Lovesexy era) Tone: Informative, anticipatory Photography: Text-based article (no photo in clipping) WHAT THE CLIPPING SHOWS Headline “Prince packs plenty for tour” Details on the scale of the European tour Mention of Bob Merlis as Warner Bros. publicity vice president Typical newspaper entertainment news layout RELATED MATERIAL June 24, 1990 The Independent “Nude” tour review For other relevant posts, see the tags at the foot of the page. SOURCES St. Cloud Times, June 24, 1988 All magazine scans, newspaper cuttings, scrapbook items, 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.

Paisley Park’s Psychedelic Power Pop Gem — Featuring Prince’s “Neon Telephone” RELEASE DETAILS Date: May 24, 1988 Catalogue: 9 25717-1 (LP) / 9 25717-2 (CD) Format: LP, CD, Cassette Country: United States Label: Paisley Park Records / Warner Bros. THE STORY Vermillion was the only album released by Los Angeles band The Three O'Clock on Prince’s Paisley Park Records. Blending jangly psychedelic pop with 1980s production, the album captured the band’s signature sound while receiving Prince’s direct support. The standout track “Neon Telephone” was written by Prince (under the pseudonym Joey Coco) in 1985 and features Wendy & Lisa on background vocals. Prince also offered several other songs to the band, but only “Neon Telephone” made the final cut. CONTEXT & NOTES This release marked a notable collaboration between the Paisley Park camp and the Paisley Underground scene. The album was recorded at American Recording in Woodland Hills, California, and mixed at various studios. While it did not chart significantly, Vermillion remains a cult favourite among fans of 1980s psychedelic pop and Prince-related releases. TRACK LIST Side 1 Vermillion Love Explosion To Be Where You Are When She Becomes My Girl World On Fire Neon Telephone (3:56) – Written by Prince (as Joey Coco) Side 2 On Paper Ways Of Magic Time’s Going Slower Love Has No Heart Through The Sleepy Town PERSONNEL Michael Quercio – lead vocals, bass guitar Mike Mariano – keyboards Danny Benair – drums Jason Falkner – guitar Wendy Melvoin & Lisa Coleman – background vocals (on Neon Telephone) Production Ian Ritchie – producer Chris Sheldon – engineer Ken Perry – mastering PACKAGING HIGHLIGHTS Front cover: Classic 1980s band portrait of Michael Quercio and the band against a vibrant blue background Back cover: Full tracklist with artistic text layout Inner sleeve / insert: Detailed credits with gear illustrations and thank-yous (including special thanks to Prince) WHAT THE LABEL / SLEEVE SHOWS Striking blue cover photography with bold typography. Inner gatefold/insert features a detailed gear-and-clock design with full credits and thanks to Prince and the Paisley Park team. RELATED MATERIAL Neon Telephone (Single, July 1988) Lovesexy (Prince, 1988) Alphabet St. (Prince, April 1988) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault • Discogs • Paisley Park release documentation COPYRIGHT NOTICE All album artwork, 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. No ownership of the original material is claimed or implied. Inner Sleeve / Insert Detailed credits featuring a distinctive black-and-white silhouette photograph of three figures, including Prince wearing a hat, raising his arm. The design incorporates gear-and-clock motifs with full production notes and thank-yous (including special thanks to Prince). SINGLES The Three O'Clock - Paintbox (Special Edition 7") A: In Love In Too B: Lucifer Sam Label: Paintbox USA LSD-2 (1983) The Three O'Clock - Love Explosion (Promo Only 7") A: Love Explosion B: Love Explosion Label: Paisley Park USA 7-27864 (1988) The Three O'Clock - Love Explosion (7") A: Love Explosion B: Time's Going Slower Label: Paisley Park USA 7-27864 (1988) The Three O'Clock - Neon Telephone (7") A: Neon Telephone B: To Be Where You Are Label: Paisley Park USA 7-27733 (July 1988) The Three O'Clock - Neon Telephone (Promo Only 7") A: Neon Telephone B: Neon Telephone Label: Paisley Park USA 7-27733 (July 1988)