Columbia House pressing LP - USA - ST-17132 A Private Heaven is the fifth full‑length studio album by Sheena Easton. The project marked a deliberate shift in her artistic presentation, moving away from the “innocent” image associated with her early career and embracing a more overtly sexual, confident persona. The album’s inclusion of Sugar Walls, written by Prince under the pseudonym Alexander Nevermind, played a central role in this transformation. Columbia House pressing LP - USA - ST-17132 Prince’s contribution was recorded in late January or February 1984, during a period of intense creative output. His involvement added a distinctive edge to the album, aligning Easton with the provocative, boundary‑pushing aesthetic Prince was exploring at the time. Sessions and Compiling The track Sugar Walls was recorded by Prince in early 1984. The album was assembled from sessions that blended Easton’s pop sensibilities with more daring lyrical and stylistic choices, reflecting a conscious effort to reposition her image. LP - Japan - EMS-91088 Promotion Five singles were released from the album: Back In The City, Strut, Sugar Walls, Swear, and Hungry Eyes (Japan‑only). The album reached number 15 on the US Billboard 200 and number 26 on the Billboard Soul LPs chart. A Private Heaven received multiple reissues: • 2000 CD reissue • 2022 Deluxe Edition (2CD) with unreleased tracks and alternate versions • 2024 40th Anniversary 2LP Edition • 2025 remastered CD reissue as part of Strut – The Complete EMI Recordings Volume II. All tracklistings at foot of post. Album Details Released: 7 September 1984 Recorded: — Studios: Sunset Sound, Hollywood, CA, USA Length: 39:20 (1984) / 73:05 (2000) / 134:23 (2022) / 81:56 (2024) / 79:42 (2025) Labels: EMI Records Producer: Greg Mathieson COUNTRY VARIANTS • CD Reissue 2000 — EMI — — — 2000 • 2CD Deluxe Edition — EMI — — — 2022 • 2LP 40th Edition— EMI — — — 2024 • CD Reissue 2025 — EMI — — — 2025 Charts America USA Billboard 200 — Peak 15 — 35 weeks USA Billboard Soul LPs — Peak 26 — 13 weeks Asia Japan ORICON Albums — Peak 9 — 23 weeks Certifications USA — Gold (500,000) — 21 Nov 1984 USA — Platinum (1,000,000) — 15 Mar 1985 Canada — Gold (50,000) — 1 Dec 1984 Canada — Platinum (100,000) — 1 Feb 1985 Personnel (Full Track‑Specific Credits) Sheena Easton — lead vocals Carlos Vega — drums Abraham Laboriel — bass Lee Ritenour — guitar Mike Landau — guitar Greg Mathieson — keyboards Michael Boddiker — keyboards Lennie Castro — percussion Richard Page — background vocals Steve George — background vocals Tom Kelly — background vocals Additional Personnel Adam Mattera — producer (Deluxe Edition) Chris Lupton — designer (Deluxe Edition) Fred Schaub — picture archive assistant (Deluxe Edition) Linda Epstein — picture archive assistant (Deluxe Edition) Simon Murphy — digital remastering (Deluxe Edition) David Leonard — recording & mixing engineer Harriet Wasserman — personal management Singles from A Private Heaven Sugar Walls — Released 1984 b/w Straight Talking 📼 ORIGINAL LP / MC — Compact Tracklists Side 1 Track Strut Sugar Walls Hungry Eyes Hard To Say It’s Over Swear Side 2 Track Love And Affection Back In The City You Make Me Nervous All By Myself Double Standard 📀 ORIGINAL 1984 CD — Compact Tracklist Track Strut Sugar Walls Hungry Eyes Hard To Say It’s Over Swear Love And Affection Back In The City You Make Me Nervous All By Myself Double Standard 📀 2000 CD REISSUE — Compact Tracklist Track Strut Sugar Walls Hungry Eyes Hard To Say It’s Over Swear Love And Affection Back In The City You Make Me Nervous All By Myself Double Standard Sugar Walls (Dance Mix) Letters From The Road Straight Talking Fallen Angels Strut (Dance Mix) Swear (Dub Mix) Sugar Walls (Red Mix) 📀 2022 DELUXE EDITION — DISC 1 (Compact) Track Strut Sugar Walls Hungry Eyes Hard To Say It’s Over Swear Love And Affection Back In The City You Make Me Nervous All By Myself Double Standard Strut (Dance Mix) Sugar Walls (Dance Mix) Swear (Dance Mix) Strut (Dub Mix) Sugar Walls (Red Mix) Swear (Dub Mix) 📀 2022 DELUXE EDITION — DISC 2 (Compact) Track Letters From The Road Straight Talking Fallen Angels Have You Ever Been In Love Hungry Eyes (Alternate Version) Hard To Say It’s Over (Alternate Version) Sugar Walls (Long 'Roman' Version) Strut (Instrumental Mix) Love And Affection (Instrumental Mix) Hungry Eyes (Instrumental Mix) All By Myself (Instrumental Mix) Back In The City (Instrumental Mix) Hard To Say It’s Over (Instrumental Mix) Straight Talking (Instrumental Mix) In It To Win It (Instrumental Mix) 📀 2025 CD REISSUE — Compact Tracklist Track Strut Sugar Walls Hungry Eyes Hard To Say It’s Over Swear (Single Version) Love And Affection (Alternate Version) Back In The City (Alternate Mix) You Make Me Nervous All By Myself (Long Version) Double Standard Have You Ever Been In Love Letters From The Road Straight Talking Fallen Angels (Alternate Version) Have You Ever Been In Love (Alternate Version) Hungry Eyes (Remix) Hard To Say It’s Over (Rock Mix) Love And Affection (Acoustic Version) You Make Me Nervous (Alternate Mix) Have You Ever Been In Love (Piano Version) 📀 2024 40th ANNIVERSARY 2LP — Compact Tracklists Side 1 Track Strut Sugar Walls Hungry Eyes Hard To Say It’s Over Swear Side 2 Track Love And Affection Back In The City You Make Me Nervous All By Myself Double Standard Side 3 Track Strut (Dance Mix) Letters From The Road Hungry Eyes (Remix) Straight Talking Sugar Walls (TV Mix) Side 4 Track Swear (Dance Mix) Fallen Angels Sugar Walls (Long Version) Have You Ever Been In Love (Alternate Version) 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 joyful, ecstatic ballad remix that reimagined a track from Art Official Age as the surprise lead single for HitNRun Phase One, “This Could B Us” was released just ten days before the album dropped, with a striking cover referencing the iconic Purple Rain motorcycle scene. RELEASE DETAILS Artist: Prince Label: NPG Records / JBPR (promo) Date: September 7, 2015 Catalogue: None (promo only) Format: Promo CD Single Country: United Kingdom Genre: Pop / Ballad / Funk Style: Ecstatic ballad, remix A-Side: “This Could B Us” Written by: Prince (credited to Prince and Joshua Welton on HitNRun Phase One) Produced by: Prince and Joshua Welton B-Side: — (Single-track promo) TRACK LIST UK Promo CD Single (no catalogue number) This Could B Us LINKED RELEASES / VARIANTS Main Commercial – Digital / TIDAL (premiered for one week from 7 September 2015) Promo CD – UK (this release) Original version: “This Could Be Us” on Art Official Age (2014) Remix version: “This Could B Us” on HitNRun Phase One (2015) PERSONNEL Prince – vocals, instruments, production Joshua Welton – co-writer, co-producer THE STORY “This Could B Us” is a re-recorded and remixed version of the track originally released on Art Official Age in 2014. The new version was created specifically for HitNRun Phase One and released as its third single (and first following the album announcement). The striking cover art uses the famous motorcycle image of Prince and Apollonia from Purple Rain, directly referencing the meme that inspired the original song. Prince described it as a joyful ballad with ecstatic vocalizing. The track was first previewed via a 35-second snippet on 3rdEyeGirl’s Twitter in June 2014, but the full remix arrived as a surprise digital release in September 2015. CONTEXT & NOTES The single was made available exclusively on TIDAL for one week starting 7 September 2015, ten days before HitNRun Phase One hit stores on 14 September. It was never performed live by Prince. The release formed part of Prince’s strategy of surprise drops and short-term exclusive streaming windows during this period. RELATED MATERIAL Prince (2015) HitNRun Phase One Prince (2014) Art Official Age For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault, Discogs, JBPR promo notes, Minneapolis Star Tribune (June 2014) and 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.

Released worldwide on 9 September 1991, Cream was the second single from Diamonds And Pearls, the first album credited to Prince and the New Power Generation. Issued three weeks before the album, the single arrived during a major commercial resurgence for Prince. The track became Prince’s fifth US number‑one single, following When Doves Cry, Let’s Go Crazy, Kiss, and Batdance. It also entered the top ten in fifteen countries worldwide, confirming its status as one of Prince’s most successful international singles of the 1990s. 7" - UK - W0061 The B‑side Horny Pony had previously appeared as the B‑side to Gett Off, making its reuse unusual. A nine‑track maxi‑single followed two months later, containing multiple remixes and staged telephone surveys appended to several mixes. The single was certified Gold in the USA and Platinum in Australia, and was re‑released in 2023 as part of the Diamonds And Pearls Singles collection. 7" - UK - W0061 RECORDING Recorded during the Diamonds And Pearls sessions, Cream features Prince on lead vocals, guitars, and drum programming, supported by members of the New Power Generation. The track’s production blends polished pop‑rock, funk elements, and glam‑influenced guitar textures. The B‑side Horny Pony was originally intended for the album but replaced at the last minute by Gett Off. STYLE & THEMES Cream is a swaggering pop‑funk track built around sensual confidence, melodic hooks, and glam‑rock inflections. Horny Pony leans into rap‑based rhythms and playful lyrical delivery, reflecting Prince’s early‑1990s stylistic experimentation. Promotional 7" - Germany - 5439-19175-7 TRACK‑BY‑TRACK NOTES • Cream — A worldwide hit blending pop, funk, and glam‑rock influences, becoming Prince’s fifth US number‑one single. • Horny Pony — A rap‑driven B‑side reused from the Gett Off single, originally intended for Diamonds And Pearls. RELEASE HISTORY Released 9 September 1991 worldwide as a 7" vinyl single, CD single, cassette single, and multiple international formats. Issued by Paisley Park / Warner Bros. Catalogue numbers include US: 7‑19175, UK: W0061, DE: 5439‑19175‑7, with additional CD and cassette variants across Europe, Japan, Australia, Canada, and the USA. A maxi‑single containing nine tracks followed later in 1991. Re‑released in 2023 as part of the Diamonds And Pearls Singles collection. CD single (5") - Germany - 9362-40213-2 W0061CD Artist: Prince & The New Power Generation Title: Cream Label: Paisley Park / Warner Bros. Country: Worldwide Catalogue: 7‑19175 / W0061 / 5439‑19175‑7 Date: September 9, 1991 Format: 7" Single Tracklist (7"): A — Cream (4:12) B — Horny Pony (4:17) CD single (5") - Germany - 9362-40213-2 W0061CD PERSONNEL Prince — vocals, electric lead guitar, Roland R‑8 Levi Seacer Jr. — electric rhythm guitar Rosie Gaines — Hammond organ, backing vocals Tommy Barbarella — synthesizers Sonny T. — bass guitar Michael B. — drums Tracklist (CD Single): 1. Cream (4:12) 2. Horny Pony (4:17) 3. Gangster Glam (5:06) Promo CD single - USA - PRO-CD-4985 Cream (Album Version 4:12) Cassette single - UK - W0061C A Side Cream (4:12) - Horny Pony (4:17) B Side Cream (4:12) - Horny Pony (4:17) Region Chart / Certification Peak / Award Notes USA Billboard Hot 100 #1 (2 weeks) Weekly chart USA Cash Box Top 100 #1 Weekly chart UK UK Singles Chart #15 Weekly chart Australia ARIA Singles #2 Weekly chart Canada RPM Top Singles #2 Weekly chart New Zealand Recorded Music NZ #5 Weekly chart Austria Ö3 Austria Top 40 #4 Weekly chart Belgium Ultratop Flanders #10 Weekly chart Denmark IFPI Denmark #6 Weekly chart France SNEP #5 Weekly chart Ireland IRMA #7 Weekly chart Italy Musica e Dischi #4 Weekly chart Netherlands Dutch Top 40 #4 Weekly chart Netherlands Single Top 100 #7 Weekly chart Norway VG‑lista #3 Weekly chart Portugal AFP #7 Weekly chart Spain AFYVE #8 Weekly chart Sweden Sverigetopplistan #6 Weekly chart Switzerland Schweizer Hitparade #3 Weekly chart USA RIAA Gold (500,000) Certification Australia ARIA Certifications Platinum (70,000) Certification Notes: Worldwide release issued across multiple territories in 7", CD, cassette, and promo formats. B‑side Horny Pony reused from the Gett Off single. Maxi‑single includes nine tracks and staged telephone surveys. Certified Gold (USA) and Platinum (Australia). Re‑released in 2023 as part of the Diamonds And Pearls Singles collection. 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 Star Tribune feature, published on Sunday, July 26, 2009, commemorates the 25th anniversary of Purple Rain and explores how the film and soundtrack transformed Minnesota’s music identity. The article, written by Jon Bream with photography by David Brewster and Anthony Souffle, appears in the Variety section and blends retrospective commentary with updates on the film’s cast and crew. Publication: Star Tribune (Minneapolis, Minnesota, United States) Date: July 26 2009 Country: United States Section / Pages: Variety / E8 Title: ‘Purple’ Afterglow The piece opens with a “Where Are They Now?” sidebar, detailing the post‑film careers of Albert Magnoli, Bob Cavallo, Steve Fargnoli, William Blinn, Apollonia, Morris Day, and Clarence Williams III, alongside Prince himself, who had just performed two nights at the Montreux Jazz Festival earlier that month. The main article reflects on how Purple Rain propelled Minnesota onto the global music map, recounting the film’s production challenges, its box‑office triumph, and its enduring cultural resonance. A secondary section, “Prince’s Shadow Still Looms Large Among Local Musicians,” examines the film’s influence on Minneapolis artists decades later, noting how MTV’s Twin Cities Week and anniversary events revived interest in Prince’s legacy. The accompanying photograph shows patrons at First Avenue during the “Let’s Go Crazy” dance party celebrating the milestone. CONTEXT AND NOTES The article situates Purple Rain as both a cinematic and musical landmark, crediting Prince’s vision for redefining Minneapolis as a creative hub. It highlights the film’s grassroots origins, its impact on local musicians, and its continued relevance through modern tributes and retrospectives. Source: Star Tribune, Minneapolis, MN, July 26 2009. 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 Abbotsford News Daily article, published on Monday, July 6, 2009, announces Prince’s return to the Montreux Jazz Festival in Switzerland for two performances on July 18, closing the event on the shores of Lake Geneva. The report, credited to Reuters, confirms that tickets were expected to sell out rapidly, continuing the excitement surrounding Prince’s previous Montreux appearance two years earlier. Publication: Abbotsford News Daily (Abbotsford, British Columbia, Canada) Date: July 6 2009 Country: Canada The article recalls Prince’s 2007 Montreux performance, where tickets sold out in ten minutes and ended with a spontaneous 3 a.m. jam session. Festival organizers described the upcoming shows as “even funkier this year,” confirming long‑standing rumours that the musician would perform twice. Supporting musicians Rhonda Smith, Renato Net, and John Blackwell were listed to join Prince on stage, with ticket prices set at $180 US (standing) and $443 US (seated). Founder Claude Nobs humorously noted Prince’s backstage requests for popcorn and a specific American bottled water, recalling that he had to send someone across Geneva to find the exact brand. CONTEXT AND NOTES Prince’s 2009 Montreux performances marked his third appearance at the prestigious jazz festival, blending funk, soul, and improvisation in a venue renowned for musical excellence. The event underscored his enduring global appeal and his reputation for spontaneity and perfectionism — traits that defined his relationship with Montreux audiences. Source: Abbotsford News Daily, Abbotsford, BC, Canada, July 6 2009. 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 Los Angeles Times article, published on Saturday, July 4, 2009, announces Prince’s return to the Montreux Jazz Festival in Switzerland for two performances on July 18. The report confirms that the Minneapolis‑born musician will close out the festival on the shores of Lake Geneva, with tickets expected to sell out rapidly. Publication: Los Angeles Times (Los Angeles, California, United States) Date: July 4 2009 Country: United States Title: Prince to Play at Montreux The article notes that Prince last appeared at Montreux two years earlier, performing at the Stravinski Auditorium and later joining his band for a spontaneous 3 a.m. jam session at a local jazz café. Organizers described the upcoming shows as “even funkier this year,” confirming long‑standing rumours on the festival’s opening day. Source: Los Angeles Times, Los Angeles, CA, July 4 2009. 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.

TOUR DATES • May 8, 1987 — Stockholm, Sweden — Isstadion • May 9, 1987 — Stockholm, Sweden — Isstadion • May 10, 1987 — Stockholm, Sweden — Isstadion • May 12, 1987 — Gothenburg, Sweden — Scandinavium • May 14, 1987 — Berlin, West Germany — Deutschlandhalle • May 15, 1987 — Berlin, West Germany — Deutschlandhalle • May 18, 1987 — Zürich, Switzerland — Hallenstadion • May 19, 1987 — Zürich, Switzerland — Hallenstadion • May 20, 1987 — Zürich, Switzerland — Hallenstadion • May 22, 1987 — Munich, West Germany — Olympiahalle • May 23, 1987 — Munich, West Germany — Olympiahalle • May 25, 1987 — Frankfurt, West Germany — Festhalle • May 26, 1987 — Frankfurt, West Germany — Festhalle • May 29, 1987 — Vienna, Austria — Wiener Stadthalle‑Kiba (Halle D) • May 30, 1987 — Vienna, Austria — Wiener Stadthalle‑Kiba (Halle D) • June 1, 1987 — Dortmund, West Germany — Westfalenhallen (Halle 1) • June 2, 1987 — Dortmund, West Germany — Westfalenhallen (Halle 1) • June 4, 1987 — Stuttgart, West Germany — Schleyer‑Halle • June 7, 1987 — Milan, Italy — Palatrussardi • June 8, 1987 — Milan, Italy — Palatrussardi • June 9, 1987 — Milan, Italy — Palatrussardi • June 11, 1987 — Milan, Italy — Palatrussardi • June 13, 1987 — Paris, France — Palais Omnisports de Paris‑Bercy • June 14, 1987 — Paris, France — Palais Omnisports de Paris‑Bercy • June 15, 1987 — Paris, France — Palais Omnisports de Paris‑Bercy • June 17, 1987 — Paris, France — Palais Omnisports de Paris‑Bercy • June 19, 1987 — Utrecht, Netherlands — Stadion De Galgenwaard • June 20, 1987 — Utrecht, Netherlands — Stadion De Galgenwaard • June 21, 1987 — Utrecht, Netherlands — Stadion De Galgenwaard • June 22, 1987 — Utrecht, Netherlands — Stadion De Galgenwaard • June 26, 1987 — Rotterdam, Netherlands — Sportpaleis Ahoy’ • June 27, 1987 — Rotterdam, Netherlands — Sportpaleis Ahoy’ • June 28, 1987 — Rotterdam, Netherlands — Sportpaleis Ahoy’ (matinee) • June 29, 1987 — Antwerp, Belgium — Sportpaleis BAND LINEUP Prince — Vox, Guitar, Keyboards, Drums, Percussion Sheila E — Drums, Percussion, Vox Levi Seacer Jr — Bass, Vox Miko Weaver — Guitar, Vox Dr. Fink — Keyboards Boni Boyer — Keyboards, Vox Eric Leeds — Saxophone, Flute Atlanta Bliss — Trumpet Cat — Dance, Vox Wally Safford — Backing Vox, Dance Greg Brooks — Backing Vox, Dance OTHER TOUR PERSONNEL Alan Leeds — Tour Manager Dale Alexander — Drums (Madhouse) Mark Adelman — Road Manager Gwendolyn Gwyn — Assistant to Tour Manager Donald Peake — Tour Accountant Spencer Churchill — Tour Accountant Clayton Burton — Tour Security Robyn Lynch — Make‑Up Artist Beth Sidla — Wardrobe Leroy Bennett — Production & Lighting Designer Roland Fackel — Travel Coordinator Jennifer Walton — Wardrobe Rande Laiderman — Assistant to Prince Robbie Paster — Assistant to Prince Earl Jones — Hair Stylist Bevla Reeves — Hair Stylist Gilbert Davison — Security Director Hucky Austin — Tour Security Michael Oakvik — Tour Security Elizabeth Dorr — Wardrobe Supervisor Helen Hiatt — Wardrobe Assistant Lisa Jordan — Wardrobe Assistant Martha O’Connor — Wardrobe Assistant Patrick Wilson — Wardrobe Assistant Victoria Ayres — Assistant to Prince Karen Krattinger — Assistant to Prince Lyle Centola — Stage Manager Steven Gilbard — Stage Manager Matthew Larson — Band Technician Joel Bernstein — Guitar Technician Michael Soltys — Guitar/Bass Technician Bradley Marsh — Drum Technician Donald Johnson — Keyboard Technician David Rule — Keyboard Technician Terra Andrews — Hair/Make‑Up Assistant Robin Fox — Technician Peter Gauchi — House Security Leslie Lehr — Production Coordinator Jeffrey Mason — Production Manager Rebecca Boss — Production Secretary Terri Brook — Production Assistant Wendy Brooks — Assistant to Production Manager William Adie — Lighting Technician David Beazley — Lighting Technician Peter Currier — Lighting Technician Gary Massey — Lighting Technician Jeff Mateer — Lighting Technician Milan Rakic — Lighting Technician Steven Rusling — Lighting Technician John Wyer — Lighting Technician Dennis A. Frank — Electrician Dan Lutz — Electrician Sal Greco — Maintenance Engineer Eddie Garcia — Assistant Engineer Tim Jordan — Assistant Engineer Mike Kloster — Assistant Engineer Terry Wilson — Assistant Engineer Calvin “Mac” Mosier — Vari‑Lite Operator John Morgan — Vari‑Lite Technician Laurel Glowecki — Vari‑Lite Technician Aidan McCabe — Vari‑Lite Technician Andrew Watson — Vari‑Lite Technician David Dorr — Rigger Robert McKinney — Rigger Edward Monahan — Rigger Fred Moultrie — Business Manager Joanne Rabune — Production Accountant Ann Richman — Production Accountant Robyn Riggs — Publicist Gary Sanguinet — Monitor Mixer Laila Schirrmeister — Property Master Roger Harding — Turbosound Technician Nicholas Atkins — Turbosound Technician Mick Staplehurst — Turbosound Technician Therese Stoulil — Music Production Coordinator

August 12, 1986 – August 31, 1986 September 5, 1986 – September 9, 1986 TOUR DATES • August 12, 1986 — London, England — Wembley Arena • August 13, 1986 — London, England — Wembley Arena • August 14, 1986 — London, England — Wembley Arena • August 17, 1986 — Rotterdam, Netherlands — Sportpaleis Ahoy’ • August 18, 1986 — Rotterdam, Netherlands — Sportpaleis Ahoy’ • August 19, 1986 — Rotterdam, Netherlands — Sportpaleis Ahoy’ • August 21, 1986 — Copenhagen, Denmark — Valby‑Hallen • August 22, 1986 — Johanneshov, Stockholm, Sweden — Isstadion • August 25, 1986 — Paris, France — Le Zénith • August 26, 1986 — Frankfurt, West Germany — Eissporthalle • August 27, 1986 — Brussels, Belgium — Forest/Vorst Nationaal • August 29, 1986 — Essen, West Germany — Grugahalle • August 30, 1986 — Hamburg, West Germany — Alsterdorfer Sporthalle • August 31, 1986 — Hamburg, West Germany — Alsterdorfer Sporthalle • September 5, 1986 — Osaka, Japan — Osaka‑jō Hall • September 6, 1986 — Osaka, Japan — Osaka‑jō Hall • September 8, 1986 — Yokohama, Japan — Yokohama Stadium • September 9, 1986 — Yokohama, Japan — Yokohama Stadium BAND LINEUP Prince — Vox, Guitar, Keyboards, Drums Bobby Z — Drums Brown Mark — Bass Wendy Melvoin — Guitar Lisa Coleman — Keyboards Dr. Fink — Keyboards Eric Leeds — Saxophone, Flute Atlanta Bliss — Trumpet Miko Weaver — Guitar Jerome Benton — Dance, Backing Vox Greg Brooks — Dance, Backing Vox Wally Safford — Dance, Backing Vox OTHER TOUR PERSONNEL Alan Leeds — Tour Manager Leroy Bennett — Production & Lighting Designer Karen Krattinger — Road Manager Fred Moultrie — Tour Accountant Donald Peake — Tour Accountant Michele Mecca — Tour Accountant Jeffrey Mason — Tour Production Gwendolyn Gwyn — Assistant to the Tour Manager Stachia Fiedler — Management Norm Williams — Tour Coordinator Robbie Paster — Assistant To Prince Robyn Lynch — Make‑up Cindy Rae — Make‑up Nancy Pollock — Make‑up Earl Jones — Hair Rona Beyer — Hair Beth Sidla — Wardrobe Helen Hiatt — Wardrobe Penny Truax — Wardrobe Monica Caston — Wardrobe Nancy Swarts — Wardrobe Jeff Katz — Still Photographer Gilbert Davison — Security Harlan Austin — Security Michael Oakvik — Security Nur Muhammad — Security Dewey Muhammad — Security Mitchell James — Security Rob “Cubby” Colby — Sound Engineer Tom Hudak — Stage Manager Michael Horner — Stage Manager Dale Peters — Audio Technician Roseanne Longworth — Assistant Engineer Bruce Judd — Monitors David Dorr — Rigging Steve Fortney — Guitar Technician Rick Garcia — Guitar Technician Doug Breidenbach — Guitar Technician Mike Soltys — Bass Technician Todd Herreman — Keyboard Technician Wayne Williams — Keyboard Technician Brad Marsh — Drum Technician Matt Larson — Technician

June 2, 1990 – September 10, 1990 TOUR DATES — EUROPE • June 2, 1990 — Rotterdam, Netherlands — Stadion Feijenoord • June 3, 1990 — Rotterdam, Netherlands — Stadion Feijenoord • June 5, 1990 — Copenhagen, Denmark — Gentofte Stadion • June 6, 1990 — Kiel, West Germany — Ostseehalle • June 7, 1990 — Hamburg, West Germany — Alsterdorfer Sporthalle • June 9, 1990 — Hamburg, West Germany — Alsterdorfer Sporthalle • June 10, 1990 — Hannover, West Germany — Niedersachsenstadion • June 12, 1990 — Berlin, West Germany — Waldbühne • June 13, 1990 — Dortmund, West Germany — Westfalenhallen (Halle 1) • June 14, 1990 — Munich, West Germany — Olympiastadion • June 16, 1990 — Paris, France — Parc des Princes • June 17, 1990 — Lille, France — Grand Palais De La Foire De Lille • June 19, 1990 — London, England — Wembley Arena • June 20, 1990 — London, England — Wembley Arena • June 22, 1990 — London, England — Wembley Arena • June 23, 1990 — London, England — Wembley Arena • June 25, 1990 — London, England — Wembley Arena • June 26, 1990 — London, England — Wembley Arena • June 27, 1990 — London, England — Wembley Arena • June 29, 1990 — Birmingham, England — National Exhibition Centre • June 30, 1990 — Birmingham, England — National Exhibition Centre • July 1, 1990 — Birmingham, England — National Exhibition Centre • July 3, 1990 — London, England — Wembley Arena • July 4, 1990 — London, England — Wembley Arena • July 7, 1990 — Cork, Ireland — Páirc Uí Chaoimh • July 9, 1990 — London, England — Wembley Arena • July 10, 1990 — London, England — Wembley Arena • July 11, 1990 — London, England — Wembley Arena • July 13, 1990 — Birmingham, England — National Exhibition Centre • July 15, 1990 — Basel, Switzerland — Fussballstadion St Jakob • July 17, 1990 — Rome, Italy — Stadio Flaminio • July 18, 1990 — Cava de’ Tirreni, Italy — Stadio Simonetta Lamberti • July 22, 1990 — Madrid, Spain — Estadio Vicente Calderón • July 24, 1990 — Valencia, Spain — Estadio Luís Casanova • July 25, 1990 — Barcelona, Spain — Estadi Olímpic de Montjuïc • July 27, 1990 — Marbella, Spain — Estadio Municipal de Marbella • July 29, 1990 — La Coruña, Spain — Estadio Santa María del Mar SECOND LEG — EUROPE • August 4, 1990 — Werchter, Belgium — Festival Terrein • August 5, 1990 — Heerenveen, Netherlands — IJsstadion Thialf • August 6, 1990 — Dortmund, West Germany — Westfalenhallen (Halle 1) • August 8, 1990 — Mannheim, West Germany — Maimarkthalle • August 10, 1990 — Gothenburg, Sweden — Scandinavium • August 11, 1990 — Stockholm, Sweden — Stockholm Globe Arena • August 12, 1990 — Stockholm, Sweden — Stockholm Globe Arena • August 16, 1990 — Lausanne, Switzerland — Stade de la Pontaise • August 18, 1990 — Nice, France — Stade de l’Ouest • August 20, 1990 — London, England — Wembley Arena • August 21, 1990 — Manchester, England — Maine Road • August 22, 1990 — London, England — Wembley Arena • August 23, 1990 — London, England — Wembley Arena • August 24, 1990 — London, England — Wembley Arena TOUR DATES — JAPAN • August 30, 1990 — Tokyo — Tokyo Dome • August 31, 1990 — Tokyo — Tokyo Dome • September 2, 1990 — Nishinomiya — Hanshin Koshien Stadium • September 6, 1990 — Sapporo — Makomanai Open Stadium • September 10, 1990 — Yokohama — BAND LINEUP Prince — Vox, Guitar, Piano Michael B — Drums Levi Seacer Jr — Bass, Vox Miko Weaver — Guitar, Vox Dr. Fink — Keyboards Rosie Gaines — Keyboards, Vox Tony M — Dance, Rap Damon Dickson — Dance Kirky J — Dance, Percussion The Game Boyz: Tony M, Damon Dickson, Kirk JohnsonYokohama Stadium OTHER TOUR PERSONNEL Stiefel‑Philips Entertainment — Corporate Advisers Gary Stiffelman — Legal Representation Nancy Chapman — Business Management Jill Willis — Media & Public Relations Jacquelyne Ledent‑Vilian — Media & Public Relations Leroy Bennett — Production & Lighting Design Henry Neuman — Tour Director Mark Adelman — Tour Manager Lars Brogaard — Production Manager Skip Johnson — Advance Production Manager Jurgen Leipold — Stage Manager Tait Towers — Stage Construction Davy Moire — Audio Engineer Bruce Knight — Audio Engineer Harald Danker — Monitor Engineer Michael McNeil — Monitor Engineer Calvin “Mac” Mosier — Vari‑Lite Designer Joseph Chardukian — Vari‑Lite Technician James Tellson — Vari‑Lite Technician Matthew Larson — Electronic Technician (Crew Chief) Paul Froid — Electronic Technician (Crew Chief) Dallas Schoo — Guitar Technician (Prince) Thomas Moore — Guitar Technician (Miko & Levi) Robert Eagle — Keyboard Technician Bob Reddy — Keyboard Technician Toby Davis — Drum Technician Gilbert Davison — Security Director Mike McGinley — Tour Accountant Tony Flannery — Tour Accountant Tim Jahnke — Tour Accountant Helen Horatio — Wardrobe Manager & Designer Robbie Paster — Valet Sheira Rees Davies — Assistant to Tour Manager Craig Rice — Tour Production Rehearsals Mark “Red” White — Tour Production Rehearsals Alan Leeds — Paisley Park Records Therese Stoulil — Paisley Park Records Lisa Reker — Paisley Park Records Peter Rayel — Head Rigger Jan Bohse — Rigger Hangover Rigging — Tour Rigging Roland Fackel — Travel Coordinator Earl Jones — Hair Deborah Lake — Make‑up Cheryl Nick — Make‑up Simon Cramp — Dressing Room Coordinator Cheryl Brenner — Chef Christopher Finn — Catering Martin Vaughan — Catering Jay Hewitt — Catering Harlan Austin — Security Duane Nelson — Security Derrick Henry — Security Jim Shearon — Wardrobe Lou Eyrich — Wardrobe LeAnne Doescher — Wardrobe Sue Flesland — Wardrobe Heidi Presnail — Wardrobe Marta Prues — Wardrobe Mary Lohlien‑Thiess — Wardrobe Stacia Lang — Wardrobe Karen Winkler — Wardrobe Liz Languaard — Wardrobe Penny Truax — Wardrobe Richard Kordash — Sound Technician William Carus‑Wilson — Lighting Technician Peter Parchment — Lighting Technician Milan Rakic — Lighting Technician Mark Rahn — Lighting Technician Douglas Brant — Lighting Technician Laurence Dunnett — Electrician Jeffrey Gilreath — Head Carpenter Phillip Billey — Carpenter Charles Harris — Carpenter DB Sound — Sound LSD — Lights Vari‑Lite / Brian Croft — Computerized Lighting Trinifold Travel — Travel Rock It Cargo — Freight Agent David Bernstein — Freight Agent Ed Butler — Freight Agent Brockum Inc — Merchandising Jill Willis & Mark Adelman — Tour Book Concept Roger Gorman — Design John Campagna — Design Jeff Katz — Photography Matthew Rolston — Photography Bob MacNamara — Photography Joel Bernstein — Photography Paul Natkin — Photography Stephen Crawford — Special Effects Technician Hill Shorter Ltd — Printing John Basile — Video Engineer Mic Anger — Video Director James Cooper — Video Projectionist Mark Stutsman — Video Camera Mikkel Brogaard Design & Production — Staging APS — Staging Templine — Power Generator Company Bill Lawford — Ground Rigger Crawfords / Wharfedale — Bus Company TransAm — Truck Company

This Daily Telegraph review from August 1986, titled “A Crown for Prince,” captures the spectacle and charisma of Prince’s Wembley Arena performance. Written by Charles Clover, the piece portrays Prince as a commanding figure in modern pop — a performer whose mastery of music, theatre, and style earned him royal status in the world of rock. Publication: The Daily Telegraph Date: August 14 1986 Country: United Kingdom The article opens by recalling Prince’s first London appearance in 1981, when few knew his name. Five years later, the scene had transformed: a sold‑out Wembley Arena greeted him with “a crescendo of screaming,” confirming his ascent to superstardom. Clover describes the show as a lavish display of energy and glamour. Prince appeared “high‑heeled, bare‑chested, with kiss‑curls gleaming,” backed by a band performing on a black‑and‑white chessboard stage. His set featured multiple costume changes — from yellow suits to leather jackets and bell‑bottoms — each discarded mid‑performance. The review praises Prince’s musicianship and stagecraft, noting his ability to blend funk, soul, rap, and rock with effortless precision. Songs such as Raspberry Beret, When Doves Cry, Under the Cherry Moon, Kiss, and Purple Rain are highlighted as moments of brilliance within a show that balanced spectacle and artistry. Clover likens Prince’s control of his band and audience to James Brown’s, calling him “the most exciting thing they were going to see all year.” The finale — 1999, Kiss, and Purple Rain — is described as an epic fusion of black and white musical traditions, symbolized by Prince donning a white suit and summoning his white guitar. CONTEXT AND NOTES This review documents Prince’s Parade‑era tour stop in London, part of his 1986 European Tour following the release of Under the Cherry Moon. The Daily Telegraph’s coverage reflects the height of Prince’s mid‑1980s acclaim, when his blend of funk, pop, and theatricality captivated audiences worldwide. Clover’s writing situates Prince as both heir and innovator — drawing from James Brown’s funk legacy while redefining pop performance through sensuality, precision, and visual flair. The article’s tone is reverent yet analytical, emphasizing Prince’s ability to merge musical genius with showmanship. FEATURE HIGHLIGHTS Event: Prince live at Wembley Arena, London Era: 1986 – Parade / Under the Cherry Moon Tour Tone: Celebratory, detailed, and admiring Photography: Black‑and‑white image of Prince performing shirtless, spotlighted mid‑movement WHAT THE CLIPPING SHOWS Daily Telegraph review titled “A Crown for Prince” by Charles Clover Description of Prince’s dynamic stage presence and costume changes Praise for his vocal range, band musicianship, and fusion of musical styles 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 Abbotsford News Daily article, published on Monday, July 20, 2009, covers the electrifying atmosphere surrounding Prince’s two sold‑out performances at the Montreux Jazz Festival in Switzerland. Fans from across Europe flocked to the lakeside town for the artist’s rare continental appearance, which stretched late into the morning hours. Publication: Abbotsford News Daily (Abbotsford, British Columbia, Canada) Date: July 20 2009 Country: Canada Section / Pages: Arts & Entertainment / Music News Title: Prince Fans Storm Montreux The report describes Prince, aged 51, closing the two‑week festival with a dynamic set blending classics like Little Red Corvette, Peach, and Purple Rain with new material from Elixir, his collaboration with Bria Valente. Dressed in a bright red suit, gold necklace, and platform shoes, he performed under his signature purple light, thanking the crowd before launching into an encore of Insatiable. Over 8,000 tickets, priced up to $480 US, sold out in just eight minutes — his only European booking that summer, announced shortly after Michael Jackson’s passing. Prince also debuted a jazz‑infused version of In A Large Room With No Light, praised by organizers as a “groovy mix of soul, jazz, and funk.” He closed the second show in a metallic grey outfit with Purple Rain, marking the song’s 25th anniversary. CONTEXT AND NOTES These performances reaffirmed Prince’s reputation as a genre‑defying showman, merging jazz sophistication with pop spectacle. His Montreux appearances became legendary for their precision, spontaneity, and emotional resonance — a fitting tribute to his enduring artistry. Source: Abbotsford News Daily, Abbotsford, BC, Canada, July 20 2009. 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 Leader‑Post article, published on Saturday, July 4, 2009, reports Prince’s return to the Montreux Jazz Festival in Switzerland for two performances on July 18, closing the event on the shores of Lake Geneva. Written by Stephanie Nebehay (Reuters), the piece confirms that tickets were expected to sell out rapidly, continuing Prince’s record‑breaking streak from his previous Montreux appearance two years earlier. Publication: Leader‑Post (Regina, Saskatchewan, Canada) Date: July 4 2009 Country: Canada Title: Prince to Close Out Festival The article highlights Prince’s 2007 Montreux performance, where tickets sold out in ten minutes and ended with a spontaneous 3 a.m. jam session. Festival founder Claude Nobs recalled Prince’s quirky backstage requests — popcorn and a specific American bottled water — noting that he had to send someone across Geneva to find the exact brand. Supporting musicians for the 2009 shows included Rhonda Smith, Renato Net, and John Blackwell, with ticket prices listed at 195 Swiss francs ($180 US) for standing and 480 Swiss francs ($443 US) for seated. CONTEXT AND NOTES Prince’s 2009 Montreux performances marked his third appearance at the prestigious jazz festival, blending funk, soul, and improvisation in a venue renowned for musical excellence. Organizers described the event as “even funkier this year,” confirming long‑standing rumours on the festival’s opening day. Source: Leader‑Post, Regina, Saskatchewan, Canada, July 4 2009. 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.