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.

This Oregonian article from August 1994 reviews Vibe magazine’s cover story on Prince, exploring his decision to change his name to an unpronounceable symbol. The piece examines the artistic, personal, and business motivations behind the transformation, while reflecting on the public’s confusion and fascination with his evolving identity. Publication: The Oregonian Date: August 15 1994 Country: United States Under the headline “Vibe Magazine Tries to Shed Light on the Unpronounceable Man,” the article discusses Vibe’s August issue featuring Prince — or “The Artist Formerly Known as Prince” — on its cover. Writer Alan Light, described as one of Prince’s few trusted confidants among music journalists, attempts to explain the reasoning behind the name change and its implications for his career. Prince compares his decision to Muhammad Ali’s renunciation of the name Cassius Clay, saying, “It’s fun to draw a line in the sand and say, ‘Things change here.’ You find out quickly who respects you and who disrespects you.” The piece suggests that the change was both symbolic and strategic, freeing Prince from contractual constraints with Warner Bros. and allowing him to release new material independently. The article notes that Prince’s upcoming album Come was due out in September 1994, with the single Let It Go described as “an irresistibly relaxed bit of funk/swing.” It also mentions that Prince had extensive unreleased recordings in his vaults, hinting at future releases under his new identity. While acknowledging the practicality of the name change, the writer critiques the public confusion surrounding the glyph, arguing that language remains a spoken construct: “We can’t call him by his new name. If he won’t play by the rules, why should we?” The piece closes with a mix of admiration and exasperation, calling him “the pretentious twit formerly known as Prince.” CONTEXT AND NOTES By 1994, Prince’s name change had become one of the most discussed events in pop culture. It symbolized his rebellion against record‑label control and his insistence on artistic autonomy. The Vibe cover marked one of his first major interviews since adopting the symbol, offering rare insight into his mindset during a period of creative reinvention. The Oregonian article captures the tension between Prince’s genius and eccentricity — a theme that defined his mid‑1990s output and public persona. It also reflects the broader media struggle to reconcile his artistic independence with the practicalities of fame and communication. FEATURE HIGHLIGHTS Event: Vibe magazine’s August 1994 cover story on Prince’s name change Era: 1994 – Symbol Period / Post‑Warner Bros. Transition Tone: Analytical, witty, and slightly sardonic Photography: Black‑and‑white image of Prince on Vibe’s cover, wearing textured clothing with intense gaze and cropped hair WHAT THE CLIPPING SHOWS Vibe magazine cover featuring Prince and headline “Breaks the Silence” Discussion of Prince’s name change and its artistic/business motivations Mention of upcoming album Come and single Let It Go 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 Tennessean review from August 1994 assesses Come, the final album Prince recorded before adopting his symbolic moniker. The piece praises its boldness and emotional range, describing it as a restless, hard‑edged work that reaffirms Prince’s mastery as songwriter, performer, and producer. Publication: The Tennessean Date: August 15 1994 Country: United States The review opens by noting that Come was the last album Prince completed before “glyphing out” — changing his name to the unpronounceable symbol — in 1993. It contrasts the record’s sharper, more direct tone with his 1992 release alongside the New Power Generation. The critic highlights the album’s stylistic diversity: the sensual allure of the title track, the gospel‑infused Solo, and the dance‑floor intensity of Pheromone, Race, and Loose. The piece describes Come as “a restless record that pushes the limits of the artist’s talents,” emphasizing Prince’s ability to blend genres and moods seamlessly. The closing lines affirm that, despite his constant reinvention, Prince remains “one of the greatest in the business,” underscoring his enduring influence and creative vitality. CONTEXT AND NOTES Released in August 1994, Come marked a transitional moment in Prince’s career — the end of his Warner Bros. contract and the beginning of his identity as “The Artist Formerly Known as Prince.” The album’s darker, introspective tone reflected both artistic liberation and frustration with industry constraints. This Tennessean review captures the critical recognition of Prince’s evolving sound, situating Come as a bridge between his early ’90s funk experimentation and the more independent, symbol‑era releases that followed. FEATURE HIGHLIGHTS Event: Release of Come album Era: 1994 – Symbol Period / Post‑Warner Bros. Transition Tone: Analytical, admiring, and reflective Photography: None included; text‑only album review WHAT THE CLIPPING SHOWS Review of Prince’s Come album following his name change Praise for its musical range and emotional depth Recognition of Prince’s continued artistic excellence 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 bold full-page French promotional advertisement for Prince & The New Power Generation’s European Tour 1993 Act II, highlighting two special nights at the legendary Bercy venue in Paris, sponsored by Coca-Cola. PUBLICATION Publication: Concert Promotion / Magazine Advert (French market) Date: August 31 & September 1, 1993 Country: France Section / Pages: Full-page advertisement Title: Prince & The New Power Generation – European Tour 1993 Act II THE STORY This striking black-background poster features a dramatic portrait of Prince in a red-and-black plaid vest, holding and biting a long gold chain while looking directly at the camera. The massive white typography announces the tour dates at Bercy, with supporting logos from Coca-Cola, NRJ, WEA Music, M6, and Inter Concerts. It promotes the shows as part of the major European leg of the tour. CONTEXT AND NOTES This was during the Act II phase of Prince’s 1993 European Tour, following the success of The Hits/The B-Sides and the Act I shows earlier that year. The Bercy concerts were among the biggest indoor dates on the tour. The imagery (Prince with the chain, intense stare) is classic mid-90s Prince — bold, sensual, and theatrical. FEATURE HIGHLIGHTS Event: Live Concerts at Bercy, Paris Dates: 31 Août & 1er Septembre 1993 Tour: European Tour 1993 – Act II Sponsor: Coca-Cola Venue: Palais Omnisports de Paris-Bercy Visual Style: High-contrast, dramatic portrait with gold chain motif WHAT THE CLIPPING SHOWS Full promotional concert poster/advert with Prince centered, bold white headline text, Coca-Cola branding at the top, and all ticket/contact information at the bottom in French. RELATED MATERIAL Prince (October 1993) Prince Talks! – Satellite Times (UK) Prince (May 5–12, 1993) AAOOW! – Time Out London (UK) Prince (Fall/Winter 1993) NPG Catalogue Volume 1 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 Vincennes Sun‑Commercial television listing from September 5 1991 highlights the MTV Video Music Awards, noting Prince’s first appearance as a performer at the event. Hosted by Arsenio Hall, the broadcast marked a major moment in Prince’s Diamonds and Pearls era, coinciding with his Gett Off single and the debut of the New Power Generation. Publication: The Vincennes Sun Commercial Date: September 5, 1991 Country: United States The listing promotes the eighth annual MTV Video Music Awards airing at 8 p.m., emphasizing Prince’s live performance alongside other major acts including L.L. Cool J and Poison. The awards featured 22 categories, introducing the new Best Long Form Video honor, with R.E.M. receiving the most nominations. Prince’s participation was widely anticipated, marking his return to MTV’s stage after years of cultivating a more independent artistic identity. His performance of Gett Off became one of the night’s defining moments, blending provocative choreography with the sleek funk sound of his new band. CONTEXT AND NOTES By 1991, MTV’s Video Music Awards had become a cultural touchstone, showcasing the intersection of music, fashion, and performance art. Prince’s appearance symbolized his re‑engagement with mainstream pop audiences while maintaining his creative autonomy. The Vincennes Sun‑Commercial listing reflects how local newspapers helped build anticipation for televised music events, connecting regional readers to national pop culture milestones. FEATURE HIGHLIGHTS Event: 1991 MTV Video Music Awards broadcast Era: 1991 – Diamonds and Pearls   New Power Generation Era Tone: Promotional, concise, and anticipatory Photography: Text‑only listing; no accompanying image SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Boca Raton News article from September 5 1991 announces the release of Prince’s Gett Off Maxi Video, a thirty‑minute visual collection featuring exclusive tracks tied to his upcoming Diamonds and Pearls album. The piece highlights Prince’s innovative decision to make several new songs available only through video format. Publication: Boca Raton News Date: September 5, 1991 Country: United States The article explains that fans eager to hear Prince’s latest material would have to “see it” rather than find it on television, as the videos were unavailable for broadcast. Conceived and directed by Prince at both his Minneapolis home and Paisley Park Studios, the Gett Off video includes five segments: Gett Off, Violet the Organ Grinder, Gangster Glam, Clockin’ the Jizz, and Gett Off (Housestyle). Warner Reprise Video promoted the release as a five‑song “EP” featuring four tracks not included on the forthcoming Diamonds and Pearls LP. The videocassette, running approximately thirty minutes, was scheduled for release on September 10 1991 at a retail price of $14.98, complete with a Parental Advisory label. CONTEXT AND NOTES By 1991, Prince was redefining how music and visuals intertwined, using filmic storytelling to expand his artistic reach. The Gett Off Maxi Video represented a bold marketing move — a hybrid of music video and short film that previewed the sensual, cinematic tone of Diamonds and Pearls. The Boca Raton News coverage reflects the growing anticipation for Prince’s new era with the New Power Generation, emphasizing his control over every creative detail from concept to execution. FEATURE HIGHLIGHTS Event: Announcement of Prince’s Gett Off Maxi Video release Era: 1991 – Diamonds and Pearls  New Power Generation  Era Tone: Promotional, informative, and anticipatory Photography: Black‑and‑white portrait of Prince accompanying the article WHAT THE CLIPPING SHOWS Boca Raton News feature announcing Prince’s video‑only release Details of the five included tracks and production at Paisley Park Release date and pricing information for the videocassette SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

How Late Do U Have 2BB4UR Absent? is a double studio album by George Clinton and the P‑Funk All‑Stars. The album contains Paradigm, co‑written and co‑produced by Prince, who also appears as a singer and musician on the track. As the first studio album by George Clinton and the P‑Funk All‑Stars in nine years, the album compiles tracks recorded over the course of a decade. Prince’s contribution was most likely recorded in 2000, but this is unconfirmed. Clinton noted they worked separately, writing on the Paradigm CD‑R label: “I peed on it, sent it to him, he peed on it, and sent it back.” The album was preceded by the Sneak Peek EP, featuring three tracks from the album including Paradigm. Paradigm had previously appeared as a limited CD‑R sold at George Clinton shows in early 2001. The album did not chart. Track Listing (CD Format — Full Expansion) Disc 1 • Bounce 2 This — Kendra Foster featuring P‑Funk All Stars • Su, Su, Su — P‑Funk All Stars featuring Trey Lewd • Paradigm (6:50) — George Clinton featuring Prince — Written by George Clinton, Tracey “Trey Lewd” Lewis and Prince • U Can Depend On Me — Kendra Foster • U Ain’t Runnin’ Shit — George Clinton • Inhale Slow — P‑Funk All Stars featuring Paul Hill • Because / Last Time Zone — Funkadelic • Never Ending Love — Funkadelic • Sexy Side Of You — George Clinton • Saddest Day — Belita Woods • I Can Dance — P‑Funk All Stars featuring Susy’s Posse • I’ll Be Sittin’ Here — George Clinton featuring Joi Total length: 76:02 All songs written by George Clinton, except where indicated. Disc 2 • Don’t Dance Too Close — Belita Woods • More Than Words Can Say (Live) — Belita Woods featuring Parliament/Funkadelic • Butt‑A‑Butt — Parliament • Something Stank — Sativa • Our Secret — P‑Funk All Stars featuring Trey Lewd • Viagra — Funkadelic • Gypsy Woman — George Clinton • Whole Lotta Shakin’ — P‑Funk All Stars featuring Bobby Womack • Goodnight Sweetheart, Goodnight — Parliament • Whatchamacallit — George Clinton • Trust In Yourself — Kendra Foster featuring George Clinton • Booty — Louis “Babbling” Kabbabie featuring P‑Funk All Stars • The Other Side Of The Door (Live) Total length: 76:03 Album Details Released: 6 September 2005 Recorded: Over a decade Studios: DARP Studios (Atlanta GA); Paisley Park Studios (Chanhassen MN) Length: 76:02 / 76:03 Labels: The C Kunspyruhzy Producer: George Clinton Singles from How Late Do U Have 2BB4UR Absent? Sneak Peek EP — b/w Paradigm Paradigm (promo only) — b/w None 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.

"Round And Round" was issued as the second single taken from Prince’s twelfth album, Graffiti Bridge, although in several European territories it became the third single released from the project. As with the album track itself, the single was credited solely to Tevin Campbell rather than Prince. 7" - UK - W0023 The release arrived five weeks after the parent album and was made available in the United States and the United Kingdom. Rather than featuring a completely separate song on the reverse side, the single incorporated a remix of "Round And Round", allowing the song's different interpretations to form the basis of the release campaign. The single proved commercially successful, reaching the upper levels of both the American pop and R&B charts. Its performance helped establish Campbell as a major new recording artist and resulted in a Gold certification from the RIAA in May 1991. TRACK‑BY‑TRACK NOTES 7" - UK - W0023 • Round And Round — Released as the featured track from Graffiti Bridge and credited exclusively to Tevin Campbell. The song appeared across numerous single formats and remix configurations. • Round And Round (Soul Dub) — A remix version selected as the principal B-side and later included on multiple formats issued in support of the single. RELEASE HISTORY The single was released on September 25, 1990, approximately five weeks after the release of Graffiti Bridge. Distribution was limited to the United States and the United Kingdom, although additional European configurations were also issued. 7" - UK - W0115 A wide variety of commercial and promotional formats accompanied the release, including 7", 12", cassette, CD, 12" promotional vinyl and promotional CD editions. Several exclusive remixes were made available through these formats, including "Soul Mix Edit", "Soul Mix Extended", "Soul Dub" and "The House". The release remained connected to Graffiti Bridge, although several remix versions later became notable non-album tracks. The song was subsequently associated with Tevin Campbell's later album T.E.V.I.N. CHARTS & CERTIFICATIONS 7" - UK - W0115 America USA: Billboard Hot R&B Singles — Entry: 6 October 1990 — Peak: 3 — Weeks: 17 USA: Billboard Hot 100 — Entry: 8 December 1990+ — Peak: 12 — Weeks: 29 Certifications RIAA, USA — May 24, 1991 — Gold (500,000) Awards 8th ASCAP Film and Television Music Awards, USA — May 15, 1991 — Most Performed Songs from 1 October 1989 to 30 September 1990 12" - UK - W0023T A Side Round And Round (Soul Mix Extented) - Round And Round (Soul Dub) B Side Round And Round (The House) 12" - UK - W 0115(T) A Side Round And Round (Soul Mix Extented) - Round And Round (The House) B Side Goodbye (Tevin's Dub Pt 1 & 2) - Goodbye (Siddub And Listen) RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA 7-19748 September 25, 1990 7" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. United Kingdom W 0023 September 25, 1990 7" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. Europe 5439-19748-7 September 25, 1990 7" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. United Kingdom W 0025 September 25, 1990 12" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. Europe 5439-18838-7 September 25, 1990 12" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA 0-21740 September 25, 1990 12" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. United Kingdom W0023T September 25, 1990 12" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. United Kingdom W 0115 T September 25, 1990 12" Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA 9 21740-2 September 25, 1990 CD Tevin Campbell Round And Round Paisley Park Records / Warner Bros. Europe W0115CD-9362-40483-2 September 25, 1990 CD Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA PRO-A-4348 September 25, 1990 12" Promo Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA PRO-CD-4348 September 25, 1990 5" CD Promo Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA 4-19748 September 25, 1990 Cassette Tevin Campbell Round And Round Paisley Park Records / Warner Bros. USA 4-21740 September 25, 1990 Cassette TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting 7" 7-19748 / W 0023 / 5439-19748-7 A. Round And Round (Album Version) (3:55) B. Round And Round (Soul Dub) (5:02) 12" W 0025 / 5439-18838-7 A. Round And Round (Soul Mix Edit) (4:54) B. Round And Round (Soul Dub) (5:02) 12" 0-21740 / W0023T A1. Round And Round (Soul Mix Extended) (6:39) A2. Round And Round (Soul Dub) (5:02) B. Round And Round (The House) (7:30) 12" W 0115 T A1. Round And Round (Soul Mix Extended) (6:39) A2. Round And Round (The House) (7:30) B1. Goodbye (Tevin's Dub) (Part I & II) B2. Goodbye (Siddub And Listen) CD 9 21740-2 1. Round And Round (Single Version) (3:55) 2. Round And Round (Soul Mix Extended) (6:39) 3. Round And Round (The House) (7:30) 4. Round And Round (Soul Dub) (5:02) CD W0115CD-9362-40483-2 1. Round And Round (Soul Mix Edit) (4:54) 2. Round And Round (The House) (7:30) 3. Goodbye (Tevin's Dub) (Part I & II) 4. Goodbye (Siddub And Listen) 12" Promo PRO-A-4348 A. Round And Round (Album Version) (3:55) B. Round And Round (Album Version) (3:55) 5" CD Promo PRO-CD-4348 1. Round And Round (Album Version) (3:55) Cassette 4-19748 A. Round And Round (Album Version) (3:55) B. Round And Round (Soul Dub) (5:02) Cassette 4-21740 A1. Round And Round (Soul Mix Extended) (6:39) A2. Round And Round (Soul Dub) (5:02) B. Round And Round (The House) (7:30) SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

"Count The Days" was issued as the third and final single taken from Exodus, the New Power Generation album released through NPG Records. The single was distributed exclusively in the United Kingdom and Europe and marked the closing chapter of the album's single campaign. CD single (5") - Germany - 0061335 NPG A Side Count The Days (Edit 3:24) Count The Days (Album Version 3:32) New Power Soul (3:49) Unlike the album version, the single featured a specially prepared "Clean Edit" of the title track. The edited version replaced the song's explicit language with instrumental overdubs, creating a version suitable for wider commercial release. The accompanying B-side, "New Power Soul", was also drawn directly from Exodus. The release achieved a modest chart placing in the United Kingdom, reaching number 79 on the Gallup Singles Chart. The single's featured version, "Count The Days (Edit)", was derived from the album recording and altered for release by replacing curse words with instrumental fills. No additional recording information was supplied. TRACK‑BY‑TRACK NOTES • Count The Days — Released in edited form for the single. The "Clean Edit" substituted instrumental passages for explicit language while retaining the structure of the original recording. • New Power Soul — Included as the B-side and taken directly from the Exodus album. RELEASE HISTORY Released on September 25, 1995, "Count The Days" became the final single to be issued from Exodus. Distribution was limited to the United Kingdom and Europe. The single was made available on CD and cassette formats only. No 7", 12" or digital editions were issued. A music video was also produced to support the release. CHARTS & CERTIFICATIONS Europe UK: Gallup Singles Chart — Entry: October 1, 1995 — Peak: 79 — Weeks: 1 Cassette single - Germany - 0061339NPG A Side Count The Days (Edit 3:24) - New Power Soul (3:49) B Side Count The Days (Edit 3:24) - New Power Soul (3:49) Artist Title Label Country Catalogue Date Format New Power Generation Count The Days NPG Records Germany 0061335 NPG September 25, 1995 5" CD New Power Generation Count The Days NPG Records Germany 0061339 NPG September 25, 1995 Cassette TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting 5" CD 0061335 NPG 1. Count The Days (Edit) (3:24) 2. Count The Days (Album Version) (3:24) 3. New Power Soul (4:10) (listed as 3:49 but contains the 4:10 album version) Cassette 0061339 NPG Side A: 1. Count The Days (Edit) (3:24) 2. New Power Soul (4:10) (listed as 3:49 but contains the 4:10 album version) Side B: 1. Count The Days (Edit) (3:24) 2. New Power Soul (4:10) (listed as 3:49 but contains the 4:10 album version) NOTES • Related album: Exodus • Non-album track: Count The Days (Clean Edit) (3:24) • Released only in the United Kingdom and Europe. • Not released on 7" format. • Not released on 12" format. • Not released in digital format. • According to Michael Van Huffel, Prince telephoned him at approximately 3 a.m. and asked him to come to the studio to hear "Count The Days" and prepare artwork for the single. Van Huffel later described the result as "sleep deprived artwork". • No known special editions or reissues were issued. • See individual tracks and related albums for credits. SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Raise Up is the ninth studio album by Larry Graham & Graham Central Station and was released in September 2012. The album marked the group's return after more than thirteen years since their previous studio release, GCS 2000. It was also the second Larry Graham and Graham Central Station project to feature contributions from Prince, although the earlier collaboration had been issued solely under the Graham Central Station name. Prince contributed to three tracks on the album: "Raise Up", "Shoulda Coulda Woulda" and "Movin'". These appearances connected the project to the long-standing musical relationship between Larry Graham and Prince. Released through Moosicus Records, the album combined new material with updated versions of songs that had originally appeared in the Graham Central Station catalogue. RECORDING The exact recording dates for "Raise Up", "Shoulda Coulda Woulda" and "Movin'" have not been confirmed. It remains unclear whether any elements originated during the 1997-98 recording period that produced GCS 2000. The three Prince-associated tracks were at least partially recorded at Paisley Park Studios in Chanhassen, Minnesota. Additional recording locations credited for the project include The G-Station in Chanhassen, Minnesota, and Studio de l’Hacienda in Tarare, France. These facilities were used during the development and completion of the album. TRACK-BY-TRACK NOTES • GCS Drumline — Opening track included on both the CD and LP editions. • Throw-N-Down The Funk — Featured as one of the album's early tracks. • It's Alright (The New Master) — Newly recorded version of a previously released Graham Central Station song. • Raise Up — Features Prince and was selected as the album's sole promotional single in Europe. • Shoulda Coulda Woulda — Features Prince and includes musical contributions from both artists. • Welcome 2 Our World — Included on both CD and LP editions. • It Ain't No Fun To Me (The New Master) — Revisited version of an earlier Graham Central Station recording. • Higher Ground — New recording of the Stevie Wonder composition. • No Way — Featured on both album formats. • Hold You Close — Included on both CD and LP editions. • Movin' — Features Prince and additional vocal and instrumental contributors. • Now Do-U-Wanta-Dance (The New Master) — Updated recording of the earlier Graham Central Station track. • One Day — Features Raphael Saadiq and concludes the album. RELEASE HISTORY The album was first released in France on September 20, 2012, followed by its United States release on September 25, 2012. It appeared more than thirteen years after GCS 2000, making it the group's first studio album of new material in over a decade. Promotion was limited to a single European promotional release of "Raise Up". No commercial single was issued from the album. PRODUCTION Produced by: Larry Graham Executive Producers: Quentin Geerinckx, Joachim Becker Label: Moosicus Record PERSONNEL Larry Graham — lead vocals, bass guitar on "Raise Up" and "Shoulda Coulda Woulda"; lead vocals, electronic drums, bass guitar, guitar and keyboards on "Movin'" Prince — drums, guitar, keyboards and background vocals on "Raise Up" and "Shoulda Coulda Woulda"; guitar on "Movin'" James McKinney — vocoder on "Raise Up"; vocals on "Movin'" Brian Braziel — drums on "Movin'" Ashling Cole — vocals on "Movin'" David Council — keyboards and vocals on "Movin'" Wilton Rab — vocals on "Movin'" Támar Davis — vocals on "Movin'" Chance Howard — vocals on "Movin'" RELEASE VARIANTS TABLE Artist Album Label Country Catalogue Date Format Larry Graham & Graham Central Station Raise Up Moosicus Records France M 1202-1 September 20, 2012 LP x2 Larry Graham & Graham Central Station Raise Up Moosicus Records USA 7930183372-2 September 25, 2012 CD TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting CD 7930183372-2 1. GCS Drumline 2. Throw-N-Down The Funk 3. It's Alright (The New Master) 4. Raise Up (featuring Prince) 5. Shoulda Coulda Woulda (featuring Prince) 6. Welcome 2 Our World 7. It Ain't No Fun To Me (The New Master) 8. Higher Ground 9. No Way 10. Hold You Close 11. Movin' (featuring Prince) 12. Now Do-U-Wanta-Dance (The New Master) 13. One Day (featuring Raphael Saadiq) LP x2 M 1202-1 Side 1: GCS Drumline; Throw-N-Down The Funk; It's Alright (The New Master); Raise Up (featuring Prince) Side 2: Shoulda Coulda Woulda (featuring Prince); Welcome 2 Our World; It Ain't No Fun To Me (The New Master); Higher Ground Side 3: No Way; Hold You Close; Movin' (featuring Prince) Side 4: Now Do-U-Wanta-Dance (The New Master); One Day (featuring Raphael Saadiq) SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Muppets Tonight episode, first aired on September 13 1997, stars Prince O(+> in a playful, music‑filled guest appearance. The show blends surreal comedy with musical sketches, highlighting Prince’s humor and creativity alongside the Muppet ensemble. Publication: Muppets Tonight Date: September 13 1997 Country: United States The episode opens with Prince arriving at the studio, confusing Bobo the Bear with his symbol‑based name. Throughout the show, Prince interacts with Clifford, Kermit, Rizzo, Pepe, and others in a series of sketches that parody his musical persona. He performs “Starfish and Coffee” and “She Gave Her Angels,” closing with “Let’s Go Crazy.” The storyline also features Sal Minella’s comical bone‑doctor course and Statler and Waldorf’s commentary from Times Square. Prince’s guest spot unfolds through interconnected skits: a country spoof (Muppet Hoo‑Haw), a commissary jam session where he turns a lunch menu into a song, and a finale where purple rats form his symbol. Between musical numbers, recurring gags involve Sal’s misguided medical training and Carl the Big Mean Bubble Guy. The episode’s humor centers on Prince’s self‑aware wit and the Muppets’ chaotic enthusiasm. CONTEXT AND NOTES This was the first episode of Muppets Tonight’s second season, airing on the Disney Channel after ABC’s cancellation. It marked Prince’s only appearance with the Muppets and showcased his lighter side during his Symbol era. The broadcast included edits for international versions, with several scenes shortened or removed. FEATURE HIGHLIGHTS Event: Prince’s guest appearance on  Muppets Tonight Era: 1997 – Symbol Period TV Crossover Era Tone: Playful and musical Photography: Studio set images of Prince  with Muppets in performance and sketch segments WHAT THE CLIPPING SHOWS - Prince performing “Starfish and Coffee” and “She Gave Her Angels” - Comedic skits with Kermit, Clifford, and Sal Minella - Finale featuring Prince’s symbol formed by purple rats All episode details and character appearances 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.

The Hits 1 is the first volume of Prince’s official greatest hits compilation, gathering 18 essential tracks spanning his career from 1978 to 1993. Released in 1993, it includes major hits alongside two previously unreleased songs. RELEASE DETAILS Artist: Prince Label: Warner Bros. Records / Paisley Park Catalogue: 9362-45431-1 Format: 2×LP, Compilation Country: Germany Released: 1993 September 13 1993 (UK) September 14 1993 (USA) THE STORY The album blends R&B, funk, pop, rock, soul, and hip hop. It tells the story of an Egyptian Princess (Mayte Garcia) who falls in love with a rock star (Prince) and entrusts him with the sacred 3 Chains o’ Gold after escaping assassins. The official title is the unpronounceable Love Symbol #2, which Prince later adopted as his stage name. CONTEXT & NOTES Released during Prince’s contract disputes with Warner Bros., The Hits 1 (paired with The Hits 2) served as a career retrospective. It features two previously unreleased tracks: “Pink Cashmere” and the live version of “Nothing Compares 2 U.” The set became a popular introduction to Prince’s catalog. TRACK LISTING (1993 Original 2LP Vinyl) Side A A1 When Doves Cry — 3:49 A2 Pop Life — 3:42 A3 Soft And Wet — 3:03 A4 I Feel For You — 3:25 A5 Why You Wanna Treat Me So Bad? — 3:48 Side B B1 When You Were Mine — 3:43 B2 Uptown — 4:09 B3 Let's Go Crazy — 4:39 B4 1999 — 3:37 B5 I Could Never Take The Place Of Your Man — 3:40 Side C C1 Nothing Compares 2 U — 4:58 C2 Adore — 4:41 C3 Pink Cashmere — 6:15 C4 Alphabet St. — 5:39 Side D D1 Sign 'O' The Times — 3:43 D2 Thieves In The Temple — 3:20 D3 Diamonds And Pearls — 4:20 D4 7 — 5:09 PERSONNEL Musicians Prince – lead and backing vocals, all instruments on most tracks (guitar, bass, keyboards, drums, etc.) ADDITIONAL MUSICIANS AND BACKGROUND The New Power Generation Rosie Gaines – co-lead vocals, organ, backing vocals Tony M. – lead raps, backing vocals Levi Seacer, Jr. – rhythm guitar, backing vocals Sonny T. – bass, backing vocals Tommy Barbarella – keyboards, sampler, organ Michael Bland (Michael B.) – drums Damon Dickson, Kirk Johnson – backing vocals, percussion Mayte – introduction / additional vocals The Revolution Wendy Melvoin – guitar, vocals Lisa Coleman – keyboards, vocals Matt Fink (Dr. Fink) – keyboards, vocals Brown Mark – bass, vocals Bobby Z. – percussion Production Compilation Producer: Gregg Geller Art Direction & Design: Greg Ross, Jeff Gold Logo Design: David Carson Liner Notes: Alan Leeds Mastering: Lee Herschberg, Dave Friedlander, Stephen Marcussen Lacquer Cut: Hü* PACKAGING HIGHLIGHTS Double vinyl in standard jacket with embossed “W” on back Includes printed dust sleeves with black & white photos, liner notes, and credits “Nothing Compares 2 U” & “Pink Cashmere” noted as previously unreleased Made in Germany by Warner Music Manufacturing Europe Labels indicate original recording years per side SOURCES Album liner notes, provided release data, Discogs. 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.