A major 1998 cover story and in-depth interview with Prince (The Artist) by Robert Crampton for The Times Magazine, portraying him as a complex, ever-evolving musical genius during a reflective period at Paisley Park. Publication: The Times Magazine Date: July 18, 1998 Country: United Kingdom Section / Pages: Cover Story + Multi-page Interview Title: The Changeling (Robert Crampton’s portrait of the artist) THE STORY The striking cover shows Prince wearing an elaborate tall hat and patterned outfit, holding a guitar outlined in blue and pink. Inside features dramatic portraits (including one in black with dramatic pose) and a lengthy, candid interview discussing his life, spirituality, music business battles, family, and creative philosophy. The piece is titled “Born Again” in the interior. CONTEXT AND NOTES Published in 1998, this extensive feature came after Prince’s name change, the end of his Warner Bros. contract, and during his independent phase. It offers rare insight into his thoughts on fame, religion, the music industry, and personal growth. The interview was conducted at Paisley Park and remains one of the more substantial British press pieces from this era. FEATURE HIGHLIGHTS Event: Major Profile & Interview with The Artist Era: 1998 (Post-Emancipation / Newpower Soul period) Tone: Inquisitive, respectful, and intrigued by Prince’s complexity Photography: Stylish, artistic portraits by Steven Parke (dramatic lighting, creative styling) Visual Motifs: Cosmic/dark background on cover, bold typography, high-fashion editorial style WHAT THE CLIPPING SHOWS Full front cover with Prince in tall hat and “The Changeling” headline Interior spreads with multiple striking portraits of Prince Extensive interview text with pull-quotes and personal reflections Details about his life at Paisley Park and views on music as a “curse” and spiritual force RELATED MATERIAL New Power Generation (June 30, 1998) Newpower Soul – Studio Album Prince (January 29 / March 3 1998) Crystal Ball - Album The New Power Generation (November 9, 1998) Come On - Single UK/Europe 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 Toronto Sun article, published on Friday, July 16, 1999, appears in the Showbiz section (page 69) under the headline “Giving Public Enemy a Bad Rap.” Written by Errol Nazareth, the piece critiques Sean “Puffy” Combs’ remix of Public Enemy’s No. 1 track, while exploring the broader state of late‑1990s hip‑hop and its commercial trends. Publication: The Toronto Sun (Toronto, Ontario, Canada) Date: July 16 1999 Country: Canada Section / Pages: Showbiz / Page 69 Title: Giving Public Enemy a Bad Rap FEATURE HIGHLIGHTS Critique: Nazareth laments Puffy’s PE 2000 remix, calling it opportunistic and over‑commercialized. Context: The article contrasts Puffy’s mainstream approach with Public Enemy’s politically charged legacy, noting how hip‑hop’s focus had shifted toward glossy production and celebrity branding. Quotes: Chuck D mentions dining with Prince in Paris and hints at a possible collaboration between Public Enemy and The Artist Formerly Known As Prince. Upcoming Events: Public Enemy were set to perform at the Yahoo! Internet Music Awards on July 19 in New York, followed by the Digital Club Festival (July 20–23). Other Artists Mentioned: EPMD, Gang Starr, Naughty by Nature, The RZA, Eightball & M.J.G., and DJ Revolution. CONTEXT AND NOTES This column captures a transitional moment in hip‑hop — the tension between socially conscious rap and the rise of glossy, crossover production. It reflects the late‑1990s media debate over authenticity versus commercial success, with Public Enemy positioned as the genre’s moral compass amid Puffy’s pop‑rap dominance. Source: The Toronto Sun, Showbiz Section, Toronto, Ontario, Canada, July 16 1999. All newspaper scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Daily News entertainment column, published on Wednesday, July 21, 1999, highlights The Artist We Still Call Prince performing at the Yahoo Internet Life Music Awards held at Studio 54 in New York. The piece describes Prince’s electrifying stage presence and the enthusiastic reaction from fans, including Foxy Brown, who attended the event. Publication: Daily News (New York, New York, USA) Date: July 21 1999 Country: United States Section / Pages: Entertainment Column Title: Cyber‑Sexy:  The Artist We Still Call Prince FEATURE HIGHLIGHTS Event: Yahoo Internet Life Music Awards, Studio 54, New York City. Performance: Prince delivered a high‑energy set that captivated the audience, reaffirming his reputation as one of pop’s most charismatic live performers. Guests: Foxy Brown and other celebrities were noted among the crowd. Tone: The article’s “Cyber‑Sexy” headline reflects Prince’s late‑1990s embrace of digital culture and his pioneering use of the internet for music distribution. ADDITIONAL ENTERTAINMENT NOTES The same column includes brief celebrity updates: Treach (of Naughty By Nature)  planning official nuptials in Morristown, NJ. Steven Spielberg filming a home movie at a Hamptons beach party featuring Melissa Etheridge,  Jimmy Buffet, and Meg Ryan. Kevin Spacey hosting a champagne‑stocked boat party in New York Harbor. Calista Flockhart, Paul Rudd, and  Sarah Jessica Parker spotted at Palm Steak House. Bill Bradley and Len Riggio raising funds for The Rainforest Alliance. Roberto Benigni seen socializing at Shine nightclub. Source: Daily News, New York, New York, July 21 1999. All newspaper scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Vanity 6 is the first and only album by Vanity 6, a group put together and effectively run by Prince, and was released on 11 August 1982. The album was produced by Prince under the pseudonym The Starr Company, with production credit also (erroneously) shared with Vanity 6. Seven of the eight songs were written or co‑written by Prince, but credit was given to the band members. “He’s So Dull” was written and produced by Dez Dickerson. A follow‑up to the album was planned to coincide with the Purple Rain movie, but when Vanity decided she did not want to participate in the movie, Prince replaced her with Apollonia and changed the group’s name to Apollonia 6; the tracks planned for the follow‑up were subsequently included on Apollonia 6. Track Listing All songs written by Prince (credited to Vanity 6) except where noted. Side 1 • Nasty Girl — 5:10 • Wet Dream — 4:12 • Drive Me Wild — 2:31 • He’s So Dull — 2:32 (Written by Dez Dickerson) Side 2 (labeled Side 6) • If A Girl Answers (Don’t Hang Up) — 5:34 (Written by Prince and Terry Lewis) • Make‑Up — 2:40 • Bite The Beat — 3:12 (Music co‑written by Jesse Johnson) • 3 x 2 = 6 — 5:24 All songs credited to Vanity 6 where noted on the release. Album Details Released: August 11, 1982 Recorded: March–April 1982 (some tracks recorded Summer 1981) Studios: Kiowa Trail Home Studio, Chanhassen, MN; Sunset Sound, Hollywood, CA Genre: R&B; funk rock Length: 30:59 Labels: Warner Bros. Producer: Prince (as The Starr ★ Company) COUNTRY VARIANTS — Cassette, Album, Dolby B‑Type Warner Bros. Records – 9 23716-4; Warner Bros. Records – 4-23716 US 1982 A1 Nasty Girl Lead Vocals – Vanity A2 Wet Dream Lead Vocals – Vanity A3 Drive Me Wild Lead Vocals – Susan A4 He's So Dull Lead Vocals – Vanity B1 If A Girl Answers (Don't Hang Up) Lead Vocals [Co-Lead Vocal] – Brenda, Vanity B2 Make-Up Lead Vocals – Susan B3 Bite The Beat Lead Vocals – Brenda B4 3 x 2 = 6 Lead Vocals – Vanity Vocals; lead vocals on “Nasty Girl”, “Wet Dream”, “He’s So Dull”, “3 x 2 = 6”; co‑lead on “If A Girl Answers (Don’t Hang Up)” 1988 CD Release • Nasty Girl — 5:10 • Wet Dream — 4:12 • Drive Me Wild — 2:31 • He’s So Dull — 2:32 • If A Girl Answers (Don’t Hang Up) — 5:34 • Make‑Up — 2:40 • Bite The Beat — 3:12 • 3 x 2 = 6 — 5:24 Bonus tracks (reissue) • [Bonus track 1] — [Time] • [Bonus track 2] — [Time] Personnel (Full Track‑Specific Credits) Vanity Brenda Bennett Vocals; lead vocals on “Bite The Beat”; co‑lead on “If A Girl Answers (Don’t Hang Up)” Susan Moonsie Vocals; lead vocals on “Drive Me Wild” and “Make‑Up” Prince All instruments except where noted (credited as The Time); production as The Starr Company Dez Dickerson Drums on “He’s So Dull” and “3 x 2 = 6”; guitar on “He’s So Dull”; writer/producer on “He’s So Dull” Terry Lewis Bass on “If A Girl Answers (Don’t Hang Up)”; co‑writer on that track Jesse Johnson Guitar, bass guitar and keyboards on “Bite The Beat”; co‑writer (music) on “Bite The Beat” Technical Prince — producer (credited to The Starr Company and Vanity 6) Dez Dickerson — producer on “He’s So Dull” Allen Beaulieu — photography [Other technical credits not supplied] Charts Chart (1982) — Peak Position US Billboard 200 — 45 US Billboard Black LPs — 6 Certifications Institution — Country — Certification — Date RIAA — USA — Gold (500,000) — 1 Aug. 1985 Singles from Vanity 6 He’s So Dull — Released June 16, 1982 Nasty Girl — Released September 24, 1982 Drive Me Wild — Released December 2, 1982 Bite The Beat — Released February 10, 198 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.

Extraordinary was issued as a promo‑only single on 10 August 1999, serving as the first advance track from Prince’s 22nd full‑length album The Vault... Old Friends 4 Sale. The disc was sent to US radio stations two weeks before the album’s release and was not made commercially available. No artwork accompanied the promo. Although limited to radio promotion, the track still charted, reaching number 23 on the Billboard Adult R&B Airplay chart and number 4 on the Billboard Bubbling Under R&B/Hip‑Hop Songs chart. COUNTRY VARIANTS Artist: Prince Title: Extraordinary Label: Paisley Park / Warner Bros. Country: USA Catalogue: PRO‑CD‑9933‑R Date: 10 August, 1999 Format: CD Promo CHARTS & CERTIFICATIONS America USA: Billboard Adult R&B Airplay Entry Date: 11 Sept. 1999 Peak Position: 23 Weeks in Chart: 7 USA: Billboard Bubbling Under R&B/Hip‑Hop Songs Entry Date: 11 Sept. 1999 Peak Position: 4 Weeks in Chart: 6 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.

Here It Is is the debut solo album by gospel/pop singer Jevetta Steele (who also sings with The Steeles), and was released in France in May 1991. The album contained And How and Skip 2 My U My Darling (containing writing and musical input by Prince), as well as Calling You (which had been included in the movie Bagdad Cafe and later gained more attention when George Michael included it on his bestselling Five Live EP). Prince’s contributions were recorded at distinct times. And How was recorded by Prince in March 1986, but Jevetta Steele’s version was a re‑recording from February 1990. Skip 2 My U My Darling was recorded in December 1990. Hold Me was first recorded by Prince in December 1990 and was originally considered for Diamonds And Pearls but rejected because of its similarities with the title track. It was offered to Anita Baker but not used. Jevetta Steele recorded her vocal overdubs in 1991. Open Book was recorded in January 1991, intended for Martika’s album Martika’s Kitchen before Jevetta Steele recorded vocals before Summer 1993. With This Tear, recorded in November 1991, was intended for Jevetta Steele, although it is unclear whether it was meant for a reissue of this album or a separate project. Shortly after the initial recording by Prince, however, the song was offered to Celine Dion for inclusion on her self‑titled album, released later in 1992. The album was later revamped and released worldwide in 1993. Both of Prince’s songs were removed but replaced by two alternate tracks with Prince input: Hold Me and Open Book. The reasons for the switch are unknown. The 1993 international release was accompanied by a promotional release, Hold Me. The album did not enter the charts. Personnel Jevetta Steele Lead vocals, background vocals Michael B. Drums on Hold Me Sonny T. Bass guitar on Hold Me Levi Seacer, Jr. Guitar on Hold Me; all instruments except where noted on Open Book; keyboards, guitar and drum programming on Skip 2 My U My Darling Tommy Barbarella Keyboards on Hold Me Kathleen Johnson Backing vocals on Hold Me Kirk Johnson Backing vocals on Hold Me; percussion and background vocals on Open Book Prince Background vocals on And How (uncredited) and Open Book Walter Chancellor Jr. Background vocals and possibly saxophone on Open Book Fred Steele Background vocals on And How, Skip 2 My U My Darling, and Open Book JD Steele Background vocals on And How, Skip 2 My U My Darling, and Open Book Jearlyn Steele Background vocals on And How, Skip 2 My U My Darling, and Open Book Billy Steele Background vocals, organ, rap on Skip 2 My U My Darling Ricky Peterson All instruments except where noted on And How; keyboards on Skip 2 My U My Darling St. Paul Peterson All instruments except where noted on And How; bass guitar and guitar on Skip 2 My U My Darling Track Listing 1991 French release Side one • Say A Little Prayer For You • Baby, Are You? • And How — Prince, David Z. Rivkin, Levi Seacer, Jr. — 4:22 • You’re Gonna Love Me • Here It Is Side two • Calling You • In This Man’s World • Good Foot • Skip 2 My U My Darling — Prince, Jevetta Steele, Levi Seacer, Jr. — 4:23 • Where Do We Go From Here? • Love Will Follow 1993 Worldwide release Side one • All In Time • Hold Me — Prince — 4:37 • Where Do We Go From Here? • Good Foot • Calling You Side two • Love Is A Losing Game • Here It Is • Baby, Are You? • If You Want My Lovin' • Open Book — Martika, Levi Seacer, Jr., Prince — 5:09 1993 Japanese release Side one • All In Time • Hold Me — Prince — 4:37 • Where Do We Go From Here? • Good Foot • Calling You Side two • Love Is A Losing Game • Here It Is • Baby, Are You? • If You Want My Lovin' • Open Book — Martika, Levi Seacer, Jr., Prince — 5:09 • Say A Little Prayer For You • Love Will Follow Technical Ricky Peterson — producer and mixing engineer (album), arranger on And How Tommy LiPuma — producer (album), executive producer Prince — producer on Hold Me and Open Book (as Paisley Park), arranger on Skip 2 My U My Darling Levi Seacer, Jr. — arranger on Skip 2 My U My Darling Tom Tucker — mixing engineer 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.

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.

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.

Bedtime Story was issued in the USA on 12 August 1985 as the second single from Sheila E.’s album Romance 1600, arriving two weeks ahead of the album’s release. The B‑side, Dear Michaelangelo, also taken from the album, appears here in a slightly shortened fade‑out edit, although this is not identified on the label. Prince wrote, produced and performed the majority of both tracks, but his involvement was not credited. COUNTRY VARIANTS Artist: Sheila E. Title: Bedtime Story Label: Paisley Park / Warner Bros. Country: USA Catalogue: 9 28786-7 Date: August 12, 1985 Format: 7" Single Tracklist (7"): A — Bedtime Story (3:45) B — Dear Michaelangelo (Edit version, but not titled as such) (4:38) Tracklist (7" Promo): A — Bedtime Story (3:45) B — Bedtime Story (3:45) Cat #: USA: 7-28786 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.

1‑800 New Funk is a compilation of music largely written and produced by Prince, recorded by other Paisley Park Records / NPG Records artists. Some tracks had been released previously, but most were previously‑unreleased and did not subsequently appear on other releases, although the booklet showed images that may have been intended as album covers for each artist. Other than George Clinton’s contribution Hollywood, all songs contained either writing or other musical input from Prince, and the album included a new track by Prince (as ), Love Sign, credited as a duet by “Nona Gaye and ”, with Nona Gaye listed as the main artist due to Prince’s disputes with Warner Bros. about releasing his music independently. Prince supported the album with a video and TV performance of Love Sign, and the album was advertised with a full‑page Billboard magazine advertisement mimicking Warner Bros.’ advertisement for Come (released three days later). Side one • MPLS — Written by Prince (credited to Sonny T.) — 4:26 • Hollywood — George Clinton • Love Sign — Written by O(+>— 4:31 • If ♥ U 2night — Written by O(+> — 4:19 • Color — Written by O(+> — 4:20 Album Details Released: 12 July 1994 (Early signing session) / 12 August 1994 (Worldwide release) Recorded: Studios: Paisley Park Studios, Chanhassen, MN, USA; Record Plant, Los Angeles, CA, USA Side two • 2gether — Written by Prince (credited to the New Power Generation) — 5:07 • Standing At The Altar — Written by O(+> — 3:54 • You Will Be Moved — Written by Prince — 4:11 • 17 — Written by O(+>, Eric Leeds, Michael Bland, Sonny Thompson & Levi Seacer, Jr. — 5:23 • A Woman’s Gotta Have It — Written by Bobby Womack, Linda Womack & Darryl Carter — 4:30 • MPLS Reprise — Written by Prince (credited to Sonny T.) — 0:48 1994 CD Release • MPLS — 4:26 • Hollywood • Love Sign — 4:31 • If ♥ U 2night — 4:19 • Color — 4:20 • 2gether — 5:07 • Standing At The Altar — 3:54 • You Will Be Moved — 4:11 • 17 — 5:23 • A Woman’s Gotta Have It — 4:30 • MPLS Reprise — 0:48 Bonus tracks (Japan Edition) • Standing At The Altar (Extended Version) — 5:59 • The Most Beautiful Girl In The World (Sax Mix) — 4:29 • The Most Beautiful Boy In The World — 4:34 Personnel (Full Track‑Specific Credits) Sonny T. Co‑lead vocals & bass on MPLS and MPLS Reprise; bass & background vocals on 2gether; bass on 17 and A Woman’s Gotta Have It Jana Anderson Co‑lead vocals on MPLS and MPLS Reprise Prince (as ) All other instruments on MPLS, MPLS Reprise, 2gether, The Most Beautiful Girl In The World (Sax Mix), The Most Beautiful Boy In The World; all vocals & instruments on Love Sign; background vocals on If ♥ U 2night, Color, Standing At The Altar; keyboards on 17 Morris Hayes Keyboards, background vocals on MPLS & MPLS Reprise; keyboards on 2gether & Standing At The Altar Billy Franze Guitar (unconfirmed) on MPLS & MPLS Reprise; guitar on If ♥ U 2night & You Will Be Moved The Steeles (Jevetta, Fred, JD, Jearlyn) Background vocals on MPLS, You Will Be Moved, MPLS Reprise; vocals on Color Nona Gaye Co‑lead vocals on Love Sign; lead vocals on A Woman’s Gotta Have It Paul Peterson Bass on Love Sign & You Will Be Moved Ricky Peterson Keyboards on Love Sign, A Woman’s Gotta Have It, The Most Beautiful Girl In The World (Sax Mix), The Most Beautiful Boy In The World; all instruments on If ♥ U 2night; organ & keyboards on You Will Be Moved New Power Generation “Featuring…” (unidentified musicians) on Love Sign, Color, Standing At The Altar, A Woman’s Gotta Have It Mayte Lead & background vocals on If ♥ U 2night & The Most Beautiful Boy In The World Kathleen Bradford Background vocals on If ♥ U 2night Statik Drum programming on If ♥ U 2night Kirk Johnson Unidentified instruments on Color; background vocals on 2gether; percussion on You Will Be Moved Tony M. Lead vocals on 2gether Michael B. Drums on 2gether & 17 Levi Seacer, Jr. Guitar on 2gether, Standing At The Altar, You Will Be Moved, 17 Damon Dickson Background vocals on 2gether Tommy Barbarella Piano on 2gether Horn section (uncredited) Michael B. Nelson, Kathy Jensen, Dave Jensen, Brian Gallagher, Steve Strand — horns on 2gether Margie Cox Lead & background vocals on Standing At The Altar Jackie Robinson Bass on Standing At The Altar Eric Leeds Saxophone on Standing At The Altar & 17 Rosie Gaines / Greg Sain Background vocals on Standing At The Altar Mavis Staples Vocals on You Will Be Moved David Barry / Pops Staples Guitar & backing vocals on You Will Be Moved Ken Holmen Saxophone on A Woman’s Gotta Have It James Behringer Additional guitar on The Most Beautiful Girl In The World (Sax Mix) & The Most Beautiful Boy In The World Technical • Ray Hahnfeldt — recording & mixing • Chronic Freeze — recording & mixing • Razor Boy — editor • Ricky Peterson — producer • Brian Poer — recording • Femi Jiya — recording • Heidi Hanschu — recording • Tom Tucker — mixing & recording • Tom Garneau — recording • Kirk Johnson — producer on Color • Steve Durkee — recording • Morris Hayes — co‑producer • Greg Sain — co‑producer • Steve Noonan — recording & mixing • Michael Koppelman — recording • Simon Harris — extended version engineering • Dave Kent — recording • Fred Harrington — recording • Juli Knapp‑Winge — project manager • Lizz Luce — art direction / design • J C Munson — art direction / design • Nicole Nodland — photography • Debbie McGuan — design • Scott Morgan — photo • Jeff Katz — photo • John Ragel — photo • Richard Litt — photo Charts USA Billboard R&B Albums Chart — No. 45 (9 weeks) Singles from 1‑800 New Funk 2gether — Released 1993 MPLS — Limited release If ♥ U 2night — Limited release (1994) / Re‑released Europe (1995) Love Sign — Promo only Standing At The Altar — Commercial single 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.