Prince launches a concentrated run of UK and European dates in March 1995, performing across England, Scotland, the Netherlands, Belgium and Ireland. The tour features the stripped‑down NPG lineup of the mid‑90s, with a focus on musicianship, groove, and the evolving sound of the Gold era. TOUR DATES • Mar 3 1995 — London, England — Wembley Arena • Mar 4 1995 — London, England — Wembley Arena • Mar 5 1995 — London, England — Wembley Arena • Mar 7 1995 — London, England — Wembley Arena • Mar 8 1995 — London, England — Wembley Arena • Mar 10 1995 — Manchester, England — G‑Mex Centre • Mar 11 1995 — Manchester, England — G‑Mex Centre • Mar 13 1995 — Glasgow, Scotland — SECC • Mar 14 1995 — Glasgow, Scotland — SECC • Mar 16 1995 — Sheffield, England — Sheffield Arena • Mar 17 1995 — Sheffield, England — Sheffield Arena • Mar 18 1995 — Birmingham, England — National Exhibition Centre • Mar 19 1995 — Birmingham, England — National Exhibition Centre • Mar 21 1995 — London, England — Wembley Arena • Mar 22 1995 — London, England — Wembley Arena • Mar 24 1995 — Den Bosch, Netherlands — Brabanthallen • Mar 25 1995 — Den Bosch, Netherlands — Brabanthallen • Mar 27 1995 — Ghent, Belgium — Flanders Expo • Mar 29 1995 — Dublin, Ireland — The Point Theatre • Mar 30 1995 — Dublin, Ireland — The Point Theatre BAND LINEUP Prince — Vox, Guitar, Piano Michael B. — Drums Sonny T. — Bass Tommy Barbarella — Keyboards Morris Hayes — Keyboards Mayte — Dance OTHER TOUR PERSONNEL Therese Stoulil — Paisley Park Enterprises Juli Knapp‑Winge — Paisley Park Enterprises Deborah Wang — Paisley Park Enterprises Michelle Scwartzbauer — Paisley Park Enterprises Lisa Hoey — Paisley Park Enterprises Charly Bender — Paisley Park Enterprises Michael Kane — Tour Accountant (Provident Financial Management) Lisa Urranaga — Tour Accountant (Provident Financial Management) Donna Dietz — Travel Agency (Air Apparent) Gia Donati — Travel Agency (Air Apparent) Rob Light — Tour Bookings (Creative Artist Agency) Jerry Edelstein — Legal Representation (Edelstein & Laird) Mitchell Schneider — Media / PR USA Amanda Cagen — Media / PR USA Chris Poole — Media / PR Europe TOURBOOK & RETAIL Steve Parke — Tour book interactive art & design Michael Van Huffel — Additional tour design & artwork Debbie McGuan — Art samples Duane Nelson — Paisley Park Retail Bruce Huisinga — Paisley Park Retail Sony Signatures Team — Merchandising Marijo English — Merchandising PROMOTERS United Kingdom — Barry Clayman Concerts The Netherlands — Mojo Concerts Belgium — Make It Happen Ireland — Aiken Promotions PRODUCTION CREW Geoff Perren — Production Manager Ian Jeffrey — Tour Manager Gary Douglas — Stage Manager Charles Nygaard — Staff Coordinator Arthur Aaron — Prince’s Security Charles Mauldin — Prince’s Security Tracy Jacobs — Prince’s Security Aaron Freeman — Prince’s Security Thomas Duggan — Band Security Byron Wynn — Venue Security Wendy Nelson — Prince’s Valet Mary Gill — Mayte’s Assistant Cary Cox — Prince’s Chef Jerry Mooney — Nutritionist Bonnie May — Catering Graham Morrison — Catering Heidi Varah — Catering Olivier Bouchard — Catering Helen Charles — Catering Kim Berry — Prince’s Hair Stylist Jennifer Emmons — Hair & Make‑Up Donna Gregory — Hair & Make‑Up Sherry Hart‑Nolan — Hair & Make‑Up LeAnne Doescher — Wardrobe Karen Karnowski — Wardrobe Stuart White — Keyboard Technician Craig Anderson — Keyboard Technician / Gimmicks James “McGoo” McGregor — Drum Technician / Props Mark Pfafflin — Drum Programmer Mark Newman — Guitar Technician Doug Short — Bass Technician Justin Collie — Lighting Designer / Operator Kurt McLaughlin — Rigger Dennis Jones — Rigger John Kersley — Arrow Rigging Derick Dick — Arrow Rigging Bob Richardson — Head Carpenter Jerry Zambardino — Carpenter Bill Brown — Carpenter / Ground Rigger Chuck Majeske — Pyro Technician Jim DePaulis — Props Rod Price — Audio Technician Trey Klein — Audio Technician Mick Staplehurst — Audio Technician Bob Lopez — Audio Technician Duncan Hoare — Audio Technician John Miese — Audio Technician Sean Sullivan — Audio Technician Kathy Beer — Lighting Crew Chief Julian Winter — Light Technician Gary Rees — Light Technician Blaine Drakup — Light Technician Roger Nelson — Light Technician Craig Tinetti — Video Operator Matthew Lewns — Video Operator Andrew Joyes — Video Operator Dave Durner — Video Operator Gogan Halm — Video Operator John Clarke — Video Operator Jim Rubino — Video Wallpaper Nicole Nodland — Photographer Randee St. Nicholas — Photographer TOUR SUPPORT COMPANIES Production — Paisley Park Enterprises Business Management — Provident Financial Management Booking Agent — Creative Artists Agency Attorneys — Edelstein & Laird Lighting — Light & Sound Design Video — Creative Technology Ltd. Sound (USA) — Eighth Day Sound Sound (UK) — Brittania Row Rigging — Arrow Camtrack Ltd. Power — Show Power Travel (USA) — Air Apparent Travel (UK) — Trinifold Travel Trucking — Trans AM Buses — Wharfdale Freight (USA) — Rock It Cargo Freight (UK) — Rock It Cargo Catering — Eat To The Beat Merchandise — Sony Signatures Passes — Perri Entertainment Publicist — Poole Edwards Set — Serrurier Inc. Tour Book Printing — Hill Shorter Ltd Itineraries — Smart Art

A.C. is the third and final solo album by André Cymone (who had left Prince’s band in 1981), and was released on 16 August 1985. The album included one song written and produced by Prince, The Dance Electric, which was Prince’s first and only contribution to André Cymone’s solo studio recordings. Prince reportedly gave him the song after Cymone’s mother asked him for a composition, although Cymone has denied this claim. Track Listing All songs written by André Cymone, except where indicated. Side one • The Dance Electric • Lipstick Lover • Pretty Wild Girl • Book Of Love Side two • Satisfaction • Sweet Sensuality • Vacation • Neon Pussycat 2011 UK CD — Big Break Records (CDBBR 0073) Label: Big Break Records – CDBBR 0073 Format: CD, Album, Reissue, Remastered Country: UK Released: 2011 The Dance Electric — 5:44 Lipstick Lover — 3:23 Pretty Wild Girl — 5:14 Book Of Love — 4:38 Satisfaction — 5:40 Sweet Sensuality — 3:52 Vacation — 5:01 Neon Pussycat — 5:41 Bonus Tracks Fallin' Fallin' — 4:03 Red Light — 4:57 The Dance Electric (Single Version) — 4:11 Lipstick Lover (12" Club Version) — 7:24 Satisfaction (12" Club Version) — 5:50 2013 US Expanded Edition — Funkytowngrooves / Columbia (FTG 325 / 886919356427) Label: Funkytowngrooves – FTG 325, Columbia – 886919356427 Format: CD, Album, Reissue / CD, Compilation / All Media, Remastered, Expanded Edition Country: US Released: 2013 CD 1 1‑1. The Dance Electric — 5:44 1‑2. Lipstick Lover — 3:21 1‑3. Pretty Wild Girl — 5:14 1‑4. Book Of Love — 4:38 1‑5. Satisfaction — 5:40 1‑6. Sweet Sensuality — 3:52 1‑7. Vacation — 5:01 1‑8. Neon Pussycat — 5:40 1‑9. On Your Back — 4:16 1‑10. Telephone — 4:13 1‑11. Checking You Out — 4:30 1‑12. Vacation (André Cymone Mix) — 6:10 1‑13. Satisfaction (Instrumental) — 6:26 1‑14. Anything (Instrumental) — 1:21 1‑15. Let Me Kiss The Bride (Instrumental) — 6:57 1‑16. Vacation (Instrumental) — 6:10 CD 2 2‑1. Fallin' Fallin' (Single Version) — 4:10 2‑2. Fallin' Fallin' (Instrumental) — 4:03 2‑3. Red Light (Single Version) — 4:56 2‑4. The Dance Electric (Single Version) — 4:09 2‑5. The Dance Electric (Long Version) — 5:36 2‑6. The Dance Electric (Extended Version) — 10:21 2‑7. Lipstick Lover (Single Remix) — 3:19 2‑8. Lipstick Lover (Radio Version) — 5:33 2‑9. Lipstick Lover (Club Version) — 7:30 2‑10. Lipstick Lover (Instrumental) — 3:19 2‑11. Satisfaction (Single Remix) — 3:51 2‑12. Satisfaction (Edited Version) — 4:15 2‑13. Satisfaction (12" Version) — 5:55 2‑14. Satisfaction (Dub Mix) — 3:54 2‑15. The Harder You Try (Satisfaction) (Instrumental) — 6:46 Released: 16 August 1985 (Original) Recorded: Studios: Flying Cloud Drive Warehouse, Eden Prairie, MN, USA; Ocean Way Recording, Hollywood, CA, USA; Sunset Sound, Hollywood, CA, USA Genre: Length: 39:13 (Original) / 65:38 (2011 reissue) / 156:50 Personnel (Full Track‑Specific Credits) André Cymone Vocals Prince All instruments (uncredited) Wendy Melvoin Background vocals Lisa Coleman Background vocals Technical Prince — producer André Cymone — producer, engineer Bobby Brooks — engineer David Ahlert — assistant engineer Susan Rogers — assistant engineer Wayne Edwards — executive producer Bernie Grundman — mastering Charts USA Billboard 200 — 121 USA Billboard Soul LPs — 28 Singles from A.C. "The Dance Electric" (1985) "Satisfaction" (1985) "Lipstick Lover" (1985) 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 Miami Herald review by Leonard Pitts Jr., published in August 1994, examines Prince’s album Come and its accompanying single Letitgo. The critic explores Prince’s creative transition following his “retirement” from Warner Bros., praising his brilliance while noting uneven moments across the record. Publication: The Miami Herald Date: August 17 1994 Country: United States Under the headline “When Prince Is Good, He’s Very, Very Good,” Pitts Jr. opens by recounting Prince’s announcement two years earlier that he was retiring from active recording, leaving Warner Bros. with a vault of hundreds of unreleased songs. The review explains that Come is the first album released under this unusual arrangement, following Prince’s shift to Bellmark Records and his success with The Most Beautiful Girl in the World. The critic describes Come as “startlingly good in spots,” though occasionally weighed down by filler. Tracks such as Letitgo, Loose, and Pheromone are dismissed as derivative, while Orgasm is called “a gimmick that was old 20 years ago.” Yet Pitts Jr. finds brilliance in Papa, Race, and Solo, highlighting their emotional depth and lyrical daring. He singles out the title track Come as the album’s standout — “a lusty boot‑knocker of a rocker punctuated with James Brown horn riffs and jazzy brass excursions.” The review concludes that, despite Prince’s eccentricities and shifting persona, his talent remains undeniable: “When Prince is good, he’s very, very good.” CONTEXT AND NOTES Released in August 1994, Come marked Prince’s final album for Warner Bros. before fully embracing his identity as “The Artist Formerly Known as Prince.” The record’s darker, sensual tone and experimental production reflected his frustration with label constraints and his desire for artistic freedom. This Miami Herald review captures the tension between Prince’s genius and unpredictability — a hallmark of his mid‑1990s output. Pitts Jr.’s balanced critique situates Come within the broader narrative of Prince’s career reinvention, acknowledging both its flaws and its flashes of brilliance. FEATURE HIGHLIGHTS Event: Release of Come album and Letitgo single Era: 1994 – Symbol Period / Post‑Warner Bros.  Transition Tone: Analytical, candid, and appreciative Photography: Black‑and‑white image of Prince’s Letitgo CD single, showing him in a dynamic pose with raised arms WHAT THE CLIPPING SHOWS Miami Herald review of Prince’s Come album and Letitgo single Critique of standout and weaker tracks Commentary on Prince’s evolving identity and artistic independence 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.

Groovy Potential first appeared on 14 August 2013 as a download from 3rdEyeTunes.com, becoming the third track issued through Prince’s own online store. A short 1:20 preview was streamed on 3rdEyeGirl’s YouTube channel shortly before release. Although later included on Hitnrun Phase Two, the track originally stood alone without an associated album. Recording dates are not fully documented, but basic tracking is believed to have taken place in early‑to‑mid 2012 at Paisley Park Studios in Chanhassen, Minnesota. Horn overdubs were added in late July 2012 at the same location. Michael B. Nelson described the horn arrangement as a “10‑horn setup,” recorded first with muted brass and woodwinds, followed by a second pass using their standard configuration. The drum part was sourced from an unidentified earlier session. In a 2021 interview, Michael B. recalled learning of his appearance on the track only when Prince handed him a copy of Hitnrun Phase Two, explaining that one of his drum tracks had been reused for Groovy Potential. Artist: Prince Title: Groovy Potential Date: 14 August, 201 Format: Digital Single RECORDING Early‑to‑mid 2012 — Paisley Park Studios, Chanhassen, MN, USA (assumed tracking) Late July 2012 — Paisley Park Studios, Chanhassen, MN, USA (horn overdubs) RELEASE HISTORY Released 14 August 2013 as a download from 3rdEyeTunes.com. Preview streamed minutes before release on 3rdEyeGirl’s YouTube channel. Later included on Hitnrun Phase Two. PERSONNEL Prince — all vocals and instruments Michael B. — drums (sampled from an earlier track) Michael B. Nelson — trombone, horn arrangement Steve Strand — trumpet Dave Jensen — trumpet Kenni Holmen — tenor sax, flute Kathy Jensen — baritone sax, clarinet Adrian Crutchfield — flute PRODUCTION Produced by Prince (credited to Prince and the New Power Generation) 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 Evening Standard review from August 1986 celebrates Prince’s triumphant return to London with a dazzling performance at Wembley Arena. The article captures the electric atmosphere of the show, describing Prince as a “royal rocker” whose charisma and musical brilliance left the audience in a frenzy. Publication: Evening Standard  (The London Standard) Date: August 13 1986 Country: United Kingdom The piece opens with vivid imagery of the crowd’s excitement — “wild crowds whipped into a frenzy, some throwing their clothes off” — as Prince delivered a high‑energy set that reaffirmed his status as pop royalty. It notes that his last London appearance had been five years earlier at the Lyceum, before his rise to global fame. The review details Prince’s uninhibited stage presence, describing him climbing atop speakers and performing Head with provocative flair. His setlist balanced sensuality and soulfulness, moving from the raw intensity of Head to the tenderness of Purple Rain, When Doves Cry, and the playful cabaret style of Delirious. Prince’s wardrobe is described as a kaleidoscope of flamboyant costumes — yellow suit, gangster waistcoat, spivvy leather jacket, and giant bell‑bottoms — each discarded mid‑performance to reveal his bare chest. The writer praises his vocal range, from deep baritone to squeaky alto, and commends his band for their tight funk and occasional jazz flourishes. The article concludes that Prince’s showmanship never overshadows his talent: “He is dynamic and exhilarating, exuding charisma and the love of performance… agile, moody and emotive, which all serves to make him pure entertainment.” CONTEXT AND NOTES This review documents Prince’s Parade‑era tour stop at Wembley Arena, part of his 1986 European Tour following the release of Under the Cherry Moon. The Evening Standard’s coverage reflects the peak of Prince’s mid‑1980s acclaim, when his blend of funk, pop, and theatricality captivated audiences worldwide. The article’s tone — exuberant yet admiring — mirrors the cultural perception of Prince as both musical innovator and provocative performer. It also highlights his evolution from the “purple pain” of earlier years to a more refined, confident artist commanding the stage with effortless magnetism. FEATURE HIGHLIGHTS Event: Prince live at Wembley Arena, London Era: 1986 – Parade / Under the Cherry Moon Tour Tone: Energetic, celebratory, and reverent Photography: Black‑and‑white image of Prince performing shirtless, microphone in hand, exuding intensity WHAT THE CLIPPING SHOWS Evening Standard review titled “Royal Rocker” by Spencer Bright Description of Prince’s flamboyant costumes and dynamic performance Praise for his vocal range, band musicianship, and electrifying stage presence 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 Guardian review by Adam Sweeting, published on August 14 1986, captures the ecstatic atmosphere of Prince’s Wembley Arena concert. The article portrays him as a “crowd prince of pop,” a performer whose genius, eccentricity, and charisma electrified audiences and reaffirmed his place at the pinnacle of modern music. Publication: The Guardian Date: August 14 1986 Country: United Kingdom Sweeting opens with a wry observation: “So what if he’s short, weird, and thinks he’s Mozart?” — a line that sets the tone for a review balancing admiration and awe. Prince, described as “beyond interviews,” commands the stage with precision and flair, transforming his Revolution band into a “superfunk treatment” of his new single Girls and Boys. The performance unfolds as a two‑hour spectacle of musical complexity and physical intensity. Prince’s choreography is compared to military precision, his movements eliciting screams and “flurries of clothing” from the crowd. The review praises his ability to push musicians beyond their limits, blending brass, synthesizers, and syncopated vocals with “mathematical accuracy.” Sweeting highlights the setlist’s range — from Around the World in a Day and Raspberry Beret to Kiss and Purple Rain — noting Prince’s fusion of funk, rock, and psychedelia. His stage persona is described as both playful and provocative: “Topless, he wrestled the microphone stand to the floor and pinned it lasciviously with a splayed leg.” The concert ends with an “enormous Purple Rain,” leaving the audience overwhelmed by the emotional and musical power of the performance. CONTEXT AND NOTES This review documents Prince’s Parade‑era tour stop at Wembley Arena, part of his 1986 European Tour following the release of Under the Cherry Moon. The Guardian’s coverage reflects the height of Prince’s mid‑1980s acclaim, when his blend of funk, pop, and theatricality captivated audiences worldwide. Sweeting’s writing situates Prince as both virtuoso and provocateur — a performer who merges technical mastery with sensual showmanship. The article’s tone, witty yet reverent, mirrors the cultural fascination with Prince’s ability to transcend genre and expectation. FEATURE HIGHLIGHTS Event: Prince live at Wembley Arena, London Era: 1986 – Parade / Under the Cherry Moon Tour Tone: Ecstatic, witty, and celebratory Photography: Black‑and‑white close‑up of Prince mid‑performance, microphone in hand, captioned “EVERYBODY’S little friend —  Prince charming” WHAT THE CLIPPING SHOWS Guardian review titled “Crowd Prince of Pop” by Adam Sweeting Description of Prince’s dynamic stage presence and musical precision Praise for his fusion of funk, rock, and pop in a two‑hour performance 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.

A sleek, minimalist one-page advertisement announcing the upcoming release of Prince’s new album Come, featuring a striking black-and-white photo of the artist in front of the historic gates of the Gótico building in Barcelona. PUBLICATION Publication: Magazine / Press Advert Date: August 15, 1994 Country: United States Section / Pages: Full-page advertisement Title: The New Album from Prince is Come THE STORY This elegant advert promotes Prince’s album Come with a powerful black-and-white image of him standing before the ornate gates of the Gótico building in Barcelona. The typography cleverly spells out “Prince 1958–1993” and “Come,” symbolizing the retirement of his birth name. The text announces the album’s arrival and teases the video for “3 Chains O’ Gold.” CONTEXT AND NOTES Released in August 1994, this advert marked one of the final major projects issued under the name “Prince” before the full transition to O(+>. Come served as a symbolic farewell to his previous identity while bridging into the new Symbol era. The Barcelona location adds an air of European mystique to the campaign. FEATURE HIGHLIGHTS Event: Promotional Advertisement for Come album Era: Mid-1990s / Symbol Era Transition Tone: Mysterious, elegant, symbolic Photography: Atmospheric black-and-white location shot at the Gótico building gates, Barcelona Audience: Prince fans and mainstream music press WHAT THE CLIPPING SHOWS A clean, minimalist full-page ad with a centered black-and-white photograph of Prince in a military-style outfit standing before the ornate iron gates. The words “Prince,” “1958,” “1993,” and “Come” are elegantly arranged around the image, with the tagline “the new album from Prince is come” and a note about the upcoming “3 Chains O’ Gold” video. RELATED MATERIAL Prince O(+> (August 12, 1994) 1-800-NEW-FUNK – Call Now! Advert (US) Prince O(+> (August 1994) ♫ Breaks the Silence – Vibe Magazine (US) Prince O(+> (July 1994) “I am normal!” – Q Magazine (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.

This concise Los Angeles Times review assesses Prince's self-titled album Prince, awarding the record two stars. The writer praises Prince's ability to create hook-filled music and singles out the freshness of the funk-oriented sound. Publication: The Los Angeles Times Date: December 16, 1979 Country: United States Listed at No. 29 in the newspaper's reviews, the piece examines Prince's self-titled Warner Bros. album, catalogue number BSK 3366. The reviewer credits Prince with knowing how to construct music filled with enticing lyrical ideas and strong hooks. The article focuses on the youthful nature of the material and draws particular attention to Prince's distinctive high-register vocal delivery, comparing its pitch with that of Michael Jackson. Despite its brevity, the review is positive about the musical qualities of the record. The writer presents the album as an appealing choice for listeners seeking something fresh within funk, suggesting that Prince's approach offered a distinctive variation on the style. The review awards Prince a two-star rating, providing a compact contemporary assessment of the album during its original release period CONTEXT AND NOTES The clipping concentrates exclusively on the musical character of Prince. Rather than discussing Prince's background or career, the review focuses on the construction of the music, lyrical hooks, vocal register and funk foundation. Its short format provides an interesting snapshot of how Prince's second Warner Bros. album was being assessed by the American press in late 1979. FEATURE HIGHLIGHTS Event: Review of the album Prince Era: 1979 Prince album era Tone: Concise and generally positive Photography: No photograph included in the supplied clipping WHAT THE CLIPPING SHOWS • Two-star review of Prince • Warner Bros. catalogue number BSK 3366 • Praise for the album's lyrical ideas and hooks • Reference to Prince's unusually high-register vocals • Recommendation for listeners seeking a fresh approach to funk 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.

In this substantial review, Connie Johnson examines Prince's self-titled second album and highlights the remarkable degree of creative control behind the record. Prince is praised as a songwriter, producer, arranger, multi-instrumentalist and vocalist whose mixture of funk, rock, pop and balladry makes the album difficult to place within any single musical category. Publication: The Los Angeles Times Date: February 17, 1980 Country: United States Under the headline “Prince: A Regal Pop Mixture”, Connie Johnson reviews Prince's self-titled Warner Bros. album, catalogue number BSK 3366. The review immediately focuses on Prince's remarkable level of involvement in the recording. Prince is credited with writing, producing and arranging the music, playing the instruments and performing all the vocals. Johnson describes Prince as a do-it-all artist whose unconventional approach is supported by strong musical instincts. The writer draws a comparison with Stevie Wonder, noting similarities in Prince's independent approach to creating music. The album's combination of funk and rock is described as accessible without sounding overly calculated for commercial purposes. Prince's songwriting receives particular attention. Johnson praises his ability to build songs around memorable hooks, while noting the high vocal register used across the album. “I Wanna Be Your Lover” is singled out as the record's strongest immediate attention-grabber. The review also demonstrates that the album is not confined to the upbeat material represented by that single. “When We're Dancing Close And Slow” and “With You” are highlighted as effective ballads, with the writer describing them as possessing a dreamy, almost classical quality. The range of material leads Johnson to conclude that Prince's music cannot easily be confined to one musical category. Prince's instrumental abilities are another important part of the review. While horns are absent from the album, the extensive combination of drums, guitars, pianos and multitracked synthesisers is described as creating the effect of a much larger musical ensemble. Johnson closes by acknowledging the temptation to compare Prince with other artists, but ultimately rejects that approach. The review concludes that Prince possesses too much originality to fit comfortably into an established mould. CONTEXT AND NOTES The clipping provides a detailed contemporary assessment of Prince's second Warner Bros. album and concentrates strongly on his creative independence. Unlike the shorter December 1979 review, this piece examines the breadth of Prince's music in greater depth. It recognises both the immediate appeal of “I Wanna Be Your Lover” and the contrasting qualities of the album's quieter material. The accompanying black-and-white promotional photograph occupies approximately half of the clipping. Its caption reinforces one of the review's central points by noting Prince's responsibility for writing and arranging the music and playing the instruments on the album. FEATURE HIGHLIGHTS Event: Review of Prince's self-titled album Era: 1980 Prince album era Tone: Positive, analytical and appreciative Photography: Large black-and-white promotional portrait accompanying the album review WHAT THE CLIPPING SHOWS • Connie Johnson's review titled “Prince: A Regal Pop Mixture” • Discussion of Prince as writer, producer, arranger, musician and vocalist • “I Wanna Be Your Lover” identified as the album's strongest immediate attention-grabber • Praise for the ballads “When We're Dancing Close And Slow” and “With You” • Recognition of Prince's ability to combine funk and rock without fitting neatly into a single categor 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.

Sounds Music Paper (UK) published a full-page ad promoting the debut release of the non-album track “Gotta Stop (Messin' About),” which also featured promotion for the album Dirty Mind. RELEASE DETAILS Artist: Prince Label: Warner Bros. Records Format: 7" / 12" Vinyl Single Country: United Kingdom Released: June 12, 1981 Genre: Funk, Rock, New Wave A-Side: “Gotta Stop (Messin' About)” Written by: Prince Produced by: Prince B-Side: “Uptown” Written by: Prince Produced by: Prince Sounds Music Paper (UK) - June 20, 1981 This release marked one of the earliest examples of Prince issuing non-album tracks as singles/B-sides. Despite heavy promotion coinciding with his first UK gigs, it did not chart. The song later appeared on The Hits/The B-Sides and Prince 4Ever. A warning sticker was added to some copies due to the suggestive content. PERSONNEL Prince – lead and backing vocals, electric guitars, Oberheim OB-X, bass guitar, drums, handclaps Production Produced by Prince LINKED RELEASES UK 7" Single – Warner Bros. – K 17819 (with Uptown) UK 7" Single – Warner Bros. – LV 47 / K 26180 (with I Wanna Be Your Lover) INTERNATIONAL VARIANTS UK 12" Single with “Head” as additional track Later US release as B-side to “Let’s Work” 12" Single "Prince's British debut on Tuesday night was received with delight by an elite crowd Richard Williams-The Time "A dazzling display, deliciously dirty daning and danceable Betty Page-Sounds "Lewdness cleansed by art has been one assessment of Prince Formication and filth filtered by funk and humour is more apt... "Prince, of course, almost literally tends to ram down one's throat Geoff Brown-Melody Maker NME Music Paper (UK) May 30, 1981 THE STORY “Gotta Stop (Messin' About)” is a keyboard-driven non-album track recorded around the Dirty Mind era. It was released in the UK as a follow-up single, with two different 7" versions and a 12" edition featuring the Dirty Mind track “Head”.CONTEXT & NOTES This was one of the first times Prince released non-album material as a single/B-side — a practice that would become signature in his career. Despite promotion tied to his first UK performances, the single was not a commercial success. It later appeared on The Hits/The B-Sides and Prince 4Ever. RELATED MATERIAL Album: Dirty Mind (1980) Prince (November - 26 - 1980) Dirty Mind / When We’re Dancing Close And Slow – Single 7" US Prince (October 1980) Head / Uptown – Single 7" PH / 12" US Prince (November 1980) Uptown / Crazy You – Single 7" JP Prince (September 10 1980) Uptown / Crazy You – Single 7" US SOURCES Prince Vault Discogs 45cat 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. TRACK LIST UK 7" Single (K 17819) A. Gotta Stop (Messin' About) B. Uptown UK 12" Single (K 17819 / FWB 0484) A. Gotta Stop (Messin’ About) – 2:54 B1. Uptown – 5:30 B2. Head – 4:38 CHART PERFORMANCE United Kingdom: Did not chart (reached #130 on Record Business chart)

A local report in the Minneapolis Star and Tribune announcing that Prince’s feature film Purple Rain will premiere in Los Angeles (not Minneapolis) on July 25 or 27, while recapping his recent 25th birthday concert at First Avenue and the chart success of the single “When Doves Cry.” Publication: Minneapolis Star and Tribune Date: Sunday, June 17, 1984 Country: United States Section / Pages: Entertainment / In the Wings Title: In the wings (Purple Rain premiere details) THE STORY The article reports that Purple Rain, starring Prince and largely filmed in the Twin Cities (including First Avenue), will have its premiere at Mann’s Chinese Theater in Hollywood. It references Prince’s recent private birthday concert at First Avenue, the chart-climbing single “When Doves Cry” from the soundtrack, and notes the involvement of the newly named band The Revolution. A large photo of Prince performing at the birthday show accompanies the piece. CONTEXT AND NOTES Published just weeks before the July 1984 release of both the Purple Rain album and film, this hometown coverage reflects local pride mixed with slight disappointment that the premiere would not be in Minneapolis. The birthday concert at First Avenue served as an early showcase for new material, building massive anticipation for what would become Prince’s breakthrough global phenomenon. FEATURE HIGHLIGHTS Event: Purple Rain film premiere announcement + birthday concert recap Era: Purple Rain era (1984) Tone: Informative and locally focused Photography: Large black & white photo of Prince performing (captioned “Prince at his birthday party/concert”) Visual Motifs: Typical 1980s newspaper entertainment column with prominent image RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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.

This special commercial limited edition double 12" pack was released to boost sales during the massive success of the Purple Rain era, pairing the full-length single with a bonus 12" of 1999 Artist: Prince Label: Warner Bros. Date: June 22, 1984 Catalogue: W9286T + SAM 199 Format: Double 12" Single (Limited Edition Commercial Pack) Country: UK Written by: Prince Produced by: Prince TRACK LIST UK Double 12" Limited Edition Commercial Pack (W9286T + SAM 199) Disc 1 – Side A When Doves Cry (Full Length Version) Disc 1 – Side B 17 Days Disc 2 (SAM 199) – Side A 1999 Disc 2 (SAM 199) – Side B D.M.S.R. PERSONNEL Prince – vocals, all instruments, production (on When Doves Cry) Prince and the Revolution – on 17 Days THE STORY “When Doves Cry” was the lead single from the Purple Rain album and film. Released five weeks before the album, it became Prince’s first US No. 1 single and a global smash. This UK double 12" pack was a clever commercial release that bundled the full-length version and “17 Days” with a bonus 12" containing “1999” and “D.M.S.R.” to drive additional sales. CONTEXT & NOTES The main sleeve features Prince’s iconic close-up portrait with round sunglasses. The two 12"s were cellophaned together with a hype sticker promoting the free bonus disc. Double packs like this were a popular marketing tactic in the 1980s to increase sales volume. CHART PERFORMANCE UK Top 40 – #4 (peaked June 30, 1984) US Billboard Hot 100 – #1 (5 weeks) US Billboard Black Singles – #1 US Billboard Dance/Disco Top 80 – #1 RELATED MATERIAL Prince (1984) Purple Rain (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.