Released on October 12, 1993, Hey Man... Smell My Finger was George Clinton's second and final studio album issued through Paisley Park Records. The project is particularly notable within the Prince chronology because it contains significant Prince contributions, most prominently the Prince and George Clinton co-written and co-produced track "The Big Pump". Prince also appeared uncredited on the album, providing background vocals and keyboards on "Get Satisfied". According to George Clinton, Prince additionally contributed to "Way Up", although the extent of that involvement has never been fully documented. CD album - Germany - 7599-25518-2 The album featured an extensive cast of guest musicians and vocalists drawn from the worlds of funk, hip-hop and rock. Contributors included members of the Red Hot Chili Peppers, Dallas Austin, Chuck D, Flavor Flav, Humpty Hump, Ice Cube, Yo-Yo, MC Breed, Herbie Hancock, Bootsy Collins, Bernie Worrell, Maceo Parker, Fred Wesley, members of The Steeles, and Prince associates Eric Leeds and Atlanta Bliss. Although primarily a George Clinton project, the album maintained strong links to Prince's musical circle through its personnel, production involvement and several Prince-related compositions. CD album - Germany - 7599-25518-2 RECORDING Recording sessions for the album took place between 1990 and 1992. "The Big Pump" was recorded in early 1990 and became the most significant Prince-related track on the final release. Recording dates for "Get Satisfied" are not known, although Prince began incorporating chants from the song into live performances during early 1993, suggesting the track may have been completed late in the album's development. Prince also contributed the song "My Pony", although it was ultimately omitted from the finished album. An earlier album configuration included a different version of "We Can Funk" than the version later released on Graffiti Bridge. The album was recorded at Paisley Park Studios in Chanhassen, Minnesota. CD album - Germany - 7599-25518-2 STYLE & THEMES The album combined funk, hip-hop and contemporary R&B influences while bringing together musicians from several generations of Clinton's musical network. Prince's involvement is most evident on "The Big Pump", while additional Prince-related elements appear throughout the project. "Dis Beat Disrupts" contains repeated samples from Prince's song "Housequake", further strengthening the connection between the two artists' catalogues. CD album - Japan - AVCD-11426 TRACK-BY-TRACK NOTES • Way Up — Features possible Prince participation, although the exact nature of his contribution remains uncertain. • Get Satisfied — Includes uncredited background vocals and keyboards by Prince. The track later became a recurring musical reference within Prince's live performances and later recordings. • The Big Pump — Co-written and co-produced by Prince and George Clinton. Prince performed all instruments on the track. CD album - Japan - AVCD-11426 RELEASE HISTORY Hey Man... Smell My Finger was released on October 12, 1993 through Columbia Records and Paisley Park Records. The album produced two commercially issued singles, "Paint The White House Black" and "Martial Law". A third Prince-related release, "The Big Pump", was issued only as a promotional radio single in Germany. An NPG Records reissue followed in early 1995. Several tracks from the album continued to have an influence within Prince's world after release. The video for "Paint The House Black" was shown before concerts on The Ultimate Live Experience tour, while Prince later performed or referenced "Martial Law" and "Get Satisfied" in live settings. "Hollywood" also appeared on the NPG Records compilation 1-800 New Funk in 1994. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Top Pop Albums Chart — Entry: October 30, 1993 — Peak: 145 — Weeks: 3 USA: Billboard R&B Chart — Entry: October 30, 1993 — Peak: 31 — Weeks: 11 CD album - Japan - WPCP-5637 PERSONNEL George Clinton — lead vocals Prince — background vocals and keyboards on "Get Satisfied" (uncredited), all instruments on "The Big Pump", contribution unknown on "Way Up" Fred Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" JD Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" Jearlyn Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" CD album - Japan - WPCP-5637 Jevetta Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" Foley — drums, bass, guitar and vocals on "Way Up" and "Get Satisfied" Michael "Clip" Payne — vocals on "Way Up", co-lead vocals on "Get Satisfied" Garry Shider — vocals on "Way Up" and "Get Satisfied" Robert "Peanut" Johnson — vocals on "Way Up" and "Get Satisfied" Sandra Feva — vocals on "Way Up" and CD album - Japan - WPCP-5637 "The Big Pump" Atlanta Bliss — trumpet on "Way Up" Eric Leeds — saxophone on "Way Up" Maceo Parker — saxophone on "Get Satisfied" Fred Wesley — trombone on "Get Satisfied" PRODUCTION George Clinton — co-producer Prince — co-producer on "The Big Pump" Foley — co-producer on "Way Up" and "Get Satisfied" Eric Leeds — horn arrangements on "Way Up" and "Get Satisfied" Labels: Columbia Records / Paisley Park Records Studio: Paisley Park Studios, Chanhassen, Minnesota, USA RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format George Clinton Hey Man... Smell My Finger Columbia Records / Paisley Park Records USA October 12, 1993 CD George Clinton Hey Man... Smell My Finger Columbia Records / Paisley Park Records USA October 12, 1993 LP George Clinton Hey Man... Smell My Finger Columbia Records / Paisley Park Records USA October 12, 1993 Cassette George Clinton Hey Man... Smell My Finger NPG Records USA Early 1995 Reissue TRACKLIST TABLE (PRINCE-RELATED TRACKS) Format Catalogue Tracklisting CD 3. Way Up (5:08) 5. Get Satisfied (3:55) 8. The Big Pump (3:33) LP Side 2: Way Up (5:08) Side 2: Get Satisfied (3:55) Side 3: The Big Pump (3:33) Cassette Side 1: Way Up (5:08) Side 1: Get Satisfied (3:55) Side 2: The Big Pump (3:33) 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.

"The Belle Of St. Mark" was released in the United States on October 12, 1984 as the second single from Sheila E.'s debut album, The Glamorous Life. Arriving approximately four months after the album's release, the single continued the promotional campaign surrounding the successful debut record.The release featured both an edited version of the title track and the previously unreleased song "Too Sexy" as its B-side. Unlike much of Sheila E.'s associated work from the period, "Too Sexy" had no involvement from Prince. 7" - USA - 7-29180 Although issued in several territories including North America and Germany, the single's initial focus was the American market, where it became a moderate chart success. The release reached the Billboard Hot 100 and Billboard Black Singles chart, while later enjoying even greater success in parts of Europe and the United Kingdom. The single showcased material drawn from The Glamorous Life, while its accompanying formats offered alternate versions of the title track. Several releases included extended and dance-oriented mixes, giving the song a broader club presence beyond the original album version. TRACK-BY-TRACK NOTES • The Belle Of St. Mark (Edit) — The shortened single version issued on the standard 7-inch release. • Too Sexy — Previously unreleased track selected as the single's B-side. • The Belle Of St. Mark (Full Length Version) — Extended album-length version issued on selected 12-inch editions. 7" - USA - 7-29180 • The Belle Of St. Mark (Dance Remix) — Exclusive remix version issued on selected 12-inch releases. RELEASE HISTORY Released in the United States on October 12, 1984 through Warner Bros. Records, "The Belle Of St. Mark" became the second commercial single from The Glamorous Life. The release was issued across multiple formats and territories. The standard American 7-inch single paired the edited version of the title track with "Too Sexy". Additional 12-inch editions appeared featuring both full-length and dance remix versions of the song. Promotional 7-inch and 12-inch editions were also distributed in North America. The single later received a United Kingdom release on January 28, 1985. 12" - USA - 0-20285 CHARTS & CERTIFICATIONS AMERICA USA: Billboard Hot 100 — Entry: October 27, 1984 — Peak: 34 — Weeks: 15 USA: Billboard Black Singles — Entry: November 24, 1984 — Peak: 68 — Weeks: 6 EUROPE Belgium: Ultratop 50 Singles — Peak: 5 — Weeks: 11 Netherlands: Nederlandse Top 40 — Peak: 5 — Weeks: 11 UK: Gallup Singles Chart — Entry: February 3, 1985 — Peak: 18 — Weeks: 11 UK: Gallup Singles Chart (Re-entry) — Entry: April 28, 1985 — Peak: 82 — Weeks: 1 NOTES Released in the USA on October 12, 1984. Second single from The Glamorous Life. "Too Sexy" was previously unreleased and had no input from Prince. Associated non-album tracks and versions included "The Belle Of St. Mark (Dance Remix)" and "The Belle Of St. Mark (Edit)". See individual tracks and related albums for full credits. Promotional 12" - USA - PRO-A-2201 12" - UK - W9180T RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Sheila E. The Belle Of St. Mark Warner Bros. USA 9 29180-7 October 12, 1984 7" Single Sheila E. The Belle Of St. Mark Warner Bros. Canada 92 91807 1984 7" Single Sheila E. The Belle Of St. Mark Warner Bros. UK W9180 January 28, 1985 7" Single Sheila E. The Belle Of St. Mark Warner Bros. Germany 929 180-7 1984 7" Single Sheila E. The Belle Of St. Mark Warner Bros. USA 9 20285-0 A 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. Canada 9 20285-0 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. UK W9180T 1985 12" Single Sheila E. The Belle Of St. Mark Warner Bros. Germany 920 285-0 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. Italy 920 285-0 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. USA 7-29180 1984 7" Promo Sheila E. The Belle Of St. Mark Warner Bros. USA PRO-A-2201 1984 12" Promo TRACKLIST TABLE Format Catalogue Tracklisting 7" Single 9 29180-7 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 7" Single 92 91807 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 7" Single W9180 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 7" Single 929 180-7 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 12" Single 920 285-0 A. The Belle Of St. Mark (Full Length Version) (5:08) B. Too Sexy 12" Single 9 20285-0 A A. The Belle Of St. Mark (Dance Remix) (7:42) B. Too Sexy 12" Single W9180T A. The Belle Of St. Mark (Dance Remix) (7:42) B. Too Sexy 12" Single 9 20285-0 A. The Belle Of St. Mark (Dance Remix) (7:42) B. Too Sexy 7" Promo 7-29180 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 12" Promo PRO-A-2201 A. The Belle Of St. Mark (Edit) (3:38) B. The Belle Of St. Mark (LP Version) (5:08) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2,All single artwork, label designs, photographs, and original text excerpts 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 Twin Cities entertainment feature reports on the changing Minneapolis nightlife scene and the opening of Glam Slam, Prince's newly launched nightclub. The article highlights the venue's role within the city's rapidly evolving entertainment district and reveals several details about its planned design and operation. Publication: St. Cloud Times Publication Date: October 11, 1990 Country: USA Event Date: October 1990 This feature, written by D.L. Mabery, examines the impact of Minneapolis's new Target Center and the changes taking place within the surrounding warehouse district entertainment area. A significant section of the article focuses on the opening of Glam Slam, the highly anticipated nightclub associated with Prince. Located at 110 Fifth Street North, the venue was scheduled to open the following Tuesday and was expected to become one of Minneapolis's leading nightlife destinations. According to the report, Glam Slam would occupy approximately 20,000 square feet spread across two floors and accommodate around 1,200 people. The club's design centred around a large stage and dance floor, with multiple bars throughout the venue. The article also notes that a specially designated VIP area had been set aside for Prince. The story explains that the club's goal was to provide an upscale national and international nightclub atmosphere, helping to strengthen Minneapolis's growing reputation as an entertainment destination. Accompanying the article is a photograph of the venue's organisers and a separate photograph of Prince performing on stage, captioned: “Glam Slam, a new nightclub opening Tuesday at 110 Fifth St. N, Minneapolis, has a VIP area set aside for Prince.” CONTEXT AND NOTES Published just days before Glam Slam officially opened its doors, the article documents the excitement surrounding one of Prince's most ambitious non‑musical ventures. The club would become a key part of Minneapolis nightlife during the 1990s and further cement Prince's influence on the city's cultural identity. The feature is also valuable because it records details of the original venue layout, capacity and concept before the club welcomed its first customers. CONTEXT AND NOTES Published just days before Glam Slam officially opened its doors, the article documents the excitement surrounding one of Prince's most ambitious non‑musical ventures. The club would become a key part of Minneapolis nightlife during the 1990s and further cement Prince's influence on the city's cultural identity. The feature is also valuable because it records details of the original venue layout, capacity and concept before the club welcomed its first customers. FEATURE HIGHLIGHTS Event: Opening of Glam Slam nightclub Era: 1990 – Graffiti Bridge era Tone: Informative, promotional and civic Photography: Newspaper photographs showing club organisers and a separate performance image of Prince WHAT THE CLIPPING SHOWS Announcement of Glam Slam's opening Venue located at 110 Fifth Street North, Minneapolis Planned capacity of approximately 1,200 people Description of the club's two‑floor layout Dedicated VIP area for Prince Prince performance photograph accompanying the article Coverage of Minneapolis's changing entertainment district 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 local production update in the Star Tribune detailing plans for Prince’s first feature film Purple Rain, including the start of filming on November 1, auditions for dancers and extras at First Avenue, and an anticipated April 1984 release Publication: Star Tribune Date: Sunday, October 2, 1983 Country: United States Section / Pages: In the wings / Film Title: In the wings (Purple Rain production details) THE STORY The article announces that Purple Rain, starring Prince as an up-and-coming rock performer, will begin seven weeks of filming on November 1. Producer Mike Frankovich Jr. notes the use of Minnesota’s fall scenery for outdoor shots and First Avenue for much of the indoor filming. Auditions for dancers and extras are scheduled for Tuesday at First Avenue (Plaza 3 handling casting). The piece highlights the involvement of The Time, Vanity 6, and Dez Dickerson’s band, and mentions the fast-tracked post-production schedule. CONTEXT AND NOTES This update appeared as pre-production wrapped and filming was about to begin on Purple Rain. First Avenue’s central role in both the story and real-life production further cemented its legendary status in Prince lore. The rapid timeline (filming through late 1983, release in summer 1984) underscores the ambitious momentum behind the project. FEATURE HIGHLIGHTS Event: Purple Rain film production and casting update Era: Purple Rain pre-production (1983) Tone: Informative and locally proud Photography: Filmstrip graphic header Visual Motifs: Standard “In the wings” column layout with production-focused text WHAT THE CLIPPING SHOWS Early details on Purple Rain filming schedule and locations Open casting calls for local extras and dancers at First Avenue Growing excitement in Minneapolis for RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

7" - UK - W9751 Thieves In The Temple (Album Version) Thieves In The Temple was released on 17 July 1990 as the lead single from Prince’s twelfth album Graffiti Bridge, arriving five weeks before the album. The track received a worldwide release and included the additional non‑album piece Thieves In The Temple (Part II). Although it appeared as the second track, there was no separate B‑side, marking the second time a lead single did not contain a new B‑side, following Alphabet St. in 1988. 7" - UK - W9751 Thieves In The Temple (Part II) The song reached number 6 on the US Billboard Hot 100 and number 1 on the Billboard Hot R&B Singles Chart, becoming Prince’s seventh number‑one R&B hit. It was the final track added to Graffiti Bridge, recorded at the last moment. The song’s structure begins quietly with echoed vocals and keyboards before bursting into a pulsing synth bass, syncopated drum machines, Middle Eastern‑styled melodies and layered operatic vocals. Prince incorporated a harmonica sample from The Chambers Brothers, and the lyrics express emotional frustration, spiritual conflict and accusations of betrayal. 12" - UK - W9751T A Side Thieves In The Temple (Remix) The maxi‑single expanded the song’s themes with extended lyrics and dance‑oriented arrangements. Junior Vasquez contributed the Thieves In The House Mix, which included samples from Eye No and Batdance, along with a dub version. The music video was drawn from the film Graffiti Bridge, with an extended version mirroring the long remix. Critical response highlighted the track’s inventive production, emotional delivery and distinctive sound. Retrospective commentary has praised its drum programming, vocal layering and atmospheric tension. The song has been covered by multiple artists, including Herbie Hancock, Renée Geyer and Ulver, and its final scream was sampled in Eddie Murphy and Michael Jackson’s 1993 duet Whatzupwitu. 12" - UK - W9751T B Side Thieves In The House (Mix) - Temple House Dub (Fade) VARIANTS Artist: Prince Title: Thieves In The Temple Label: Warner Bros. / Paisley Park Records Country: Worldwide Catalogue: 7‑19751 / W9751 / 5439‑19751‑7 / MX305875‑6 / 4‑19751 / 91 97514 / W9751C / 92 15980 / 0‑21598 / W9751T / 7599‑21598‑0 / MX305873‑4 / W9751TP / PRO‑A‑4345 / 4‑21598 / 9 21598‑2 / W9751CD / 7599‑21598‑2 / WPDP‑6240 / PRO‑CD‑4345 Date: 17 July, 1990 Format: 7" / Cassette / 12" / Picture Disc / Promo / Cassette Maxi / CD / 3" CD / CD Promo Picture disc 12" - UK - W9751TP Thieves In The Temple (Remix 8:03) Tracklist (7"): A — Thieves In The Temple (3:20) B — Thieves In The Temple (Part II) (1:41) Cat #: US: 7‑19751 / UK: W9751 / DE: 5439‑19751‑7 / AU: MX305875‑6 (7" Promo): A — Thieves In The Temple (3:20) B — Thieves In The Temple (3:20) Cat #: US: PRO‑A‑4345 Picture disc 12" - UK - W9751TP Thieves In The House Mix (6:50) - Temple House Dub (5:06) (12"): A — Thieves In The Temple (Remix) (8:03) B1 — Thieves In The House Mix (6:50) B2 — Temple House Dub (5:06) Cat #: CA: 92 15980 / US: 0‑21598 / UK: W9751T / DE: 7599‑21598‑0 / AU: MX305873‑4 12" Picture Disc: A — Thieves In The Temple (Remix) (8:03) B1 — Thieves In The House Mix (6:50) B2 — Temple House Dub (5:06) Cat #: UK: W9751TP Cassette Single UK: W9751C Cassette Single: A — Thieves In The Temple (3:20) B — Thieves In The Temple (Part II) (1:41) Cat #: US: 4‑19751 / CA: 91 97514 / UK: W9751C Cassette Maxi: A — Thieves In The Temple (Remix) (8:03) B1 — Thieves In The House Mix (6:50) B2 — Temple House Dub (5:06) Cat #: US: 4‑21598 5" CD: 1 — Thieves In The Temple (Remix) (8:03) 2 — Thieves In The House Mix (6:50) 3 — Temple House Dub (5:06) Cat #: US: 9 21598‑2 / UK: W9751CD / DE: 7599‑21598‑2 5" CD: UK: W9751CD 3" CD: 1 — Thieves In The Temple (3:20) 2 — Thieves In The Temple (Part II) (1:41) Cat #: JAP: WPDP‑6240 CD Promo: 1 — Thieves In The Temple (3:20) Cat #: US: PRO‑CD‑4345 3" CD: JAP: WPDP‑6240 RELEASE HISTORY Released 17 July 1990 (7") Released 2 August 1990 (US maxi‑single) Lead single from Graffiti Bridge Worldwide release Included non‑album continuation piece Thieves In The Temple (Part II) Final track added to the album Extended mixes issued across multiple formats Three tracks were included on the New Power Generation Funky Weapon Remix CD single - Japan - WPCP-4200 Track list Thieves In The Temple (Remix 8:10) Thieves In The House Mix (6:59) Temple House Dub (5:08) N.P.G. (Funky Weapon Remix 5:02) T.C.'s Rap (3:12) Brother With A Purpose (4:19) Get Off (4:42) The Lubricated Lady (2:40) Loveleft, Loveright (5:00) CHARTS & CERTIFICATIONS America USA: Billboard Hot 100 — Entry: 4 Aug 1990 — Peak: 6 — Weeks: 13 USA: Billboard Black Singles — Entry: 4 Aug 1990 — Peak: 1 — Weeks: 14 USA: Billboard Dance — Entry: 1 Sep 1990 — Peak: 9 — Weeks: 7 Europe Belgium — Peak: 9 — Weeks: 8 Germany — Peak: 21 — Weeks: 12 Ireland — Peak: 2 — Weeks: 5 Netherlands — Peak: 5 — Weeks: 6 UK — Peak: 7 — Weeks: 6 Pacific Australia — Peak: 16 — Weeks: 9 Certifications USA — RIAA Gold — 2 Oct 1990 Awards USA — ASCAP Film & Television Music Awards — 22 Apr 1991 — Most Performed Songs from Motion Pictures Full page avert U.K. press Smash Hits lyric page SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, labels, and original text excerpts 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 review covers the opening night of Prince's three-night residency at the Apollo Hammersmith in London. Writing for The Independent, Gavin Martin praises Prince's musicianship, the power of the New Power Generation and the remarkable breadth of a performance that moved effortlessly between funk, jazz, rock, blues and classic hits. Publication: The Independent Date: October 4, 2002 Country: United Kingdom Published under the heading "First Night", the review documents Prince's opening concert at the Apollo Hammersmith on October 3, 2002, the first British date of the European leg of the One Nite Alone... Tour. Martin immediately highlights the intensity of the performance, describing Prince as creating "a hot bed of scorching funk" while leading an exceptional group of musicians. Supported by the New Power Generation, the concert demonstrated Prince's ability to move between different musical styles while maintaining complete control of the performance. The review notes that some of the newer material may not have possessed the immediate familiarity of Prince's most famous recordings, but argues that this hardly mattered because of the warmth, energy and infectious enthusiasm generated throughout the evening. The musicianship of the band receives particular praise, especially the contributions of Maceo Parker, whose presence linked the performance directly to the traditions of James Brown-era funk. Throughout the concert Prince moved confidently between musical genres. The review highlights moments that ranged from funk workouts and blues-based improvisation through to Duke Ellington-inspired swing and heavy rock. A particularly memorable moment came during a powerful version of "Whole Lotta Love", demonstrating the band's willingness to reinterpret material in unexpected ways. The latter stages of the performance drew increasingly on Prince's celebrated catalogue. The review specifically praises "Strange Relationship", noting its dedication to the media, alongside strong performances of "Take Me With U" and "Raspberry Beret", both warmly received by the audience. Prince also introduced newer compositions drawn from The Rainbow Children, continuing the spiritual and musical themes that defined the tour. Martin concludes that Prince remained an artist who should never be underestimated. Despite changes in musical fashion and industry fortunes, the review argues that his talent, creativity and performance skills remained as impressive as ever. CONTEXT AND NOTES The review presents Prince as an artist determined to control both the concert environment and audience expectations. The restrictions on cameras and the refusal to deliver a conventional greatest-hits performance form an important part of the writer’s assessment. Rather than depending on elaborate staging, Prince appeared with a compact five-piece band and placed greater emphasis on funk, musicianship and extended performance. The nearly three-hour concert moved between newer material, excerpts from familiar songs, unexpected cover versions and direct audience participation. The page is accompanied by an archive photograph captioned “Camera shy: Prince on stage in 1998 – photographers were not allowed in last night.” The photograph shows Prince wearing dark glasses and a patterned stage outfit. FEATURE HIGHLIGHTS Event: Opening night of Prince's Apollo Hammersmith residency Era: 2002 The Rainbow Children / One Nite Alone era Tone: Enthusiastic and highly appreciative Photography: Live performance photograph of Prince accompanying the review WHAT THE CLIPPING SHOWS • Review of Prince's October 3, 2002 opening-night performance at the Apollo Hammersmith • Praise for the New Power Generation and Maceo Parker • Discussion of material from The Rainbow Children • References to "Whole Lotta Love", "Strange Relationship", "Take Me With U" and "Raspberry Beret" • Recognition of Prince's continuing brilliance as a live performer

A hometown “Critic’s choice” preview in the Star Tribune promoting Morris Day and the revamped Time’s performance at First Avenue, noting their hopes of appearing as extras in Prince’s forthcoming movie Purple Rain. Publication: Star Tribune Date: Friday, September 30, 1983 Country: United States Section / Pages: Critic’s choice / Music Title: Critic’s choice/Music THE STORY The short piece invites readers to see Morris Day and the revamped Time strut their stuff at First Avenue on Tuesday. It highlights the group’s connection to Prince and mentions the opportunity for audience members to potentially land roles as extras in Prince’s new movie Purple Rain. Ticket and casting contact information is provided. CONTEXT AND NOTES This preview appeared during the filming of Purple Rain in Minneapolis. The Time (led by Morris Day) was central to the film’s storyline, and this show was part of the organic crossover between Prince’s real-life musical circle and the movie’s narrative. First Avenue continued to serve as the heart of Prince’s local scene. FEATURE HIGHLIGHTS Event: Concert preview – First Avenue (The Time) Era: Purple Rain pre-production (1983) Tone: Promotional and community-focused Photography: Black & white photo of Morris Day performing Visual Motifs: Standard newspaper “Critic’s choice” column with photo WHAT THE CLIPPING SHOWS Early local promotion tying The Time’s live show to Purple Rain casting The close-knit Minneapolis music scene surrounding Prince Anticipation building for the film project RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

Krush Groove is the soundtrack album to the Michael Schultz film Krush Groove. The album was released on September 30, 1985, four weeks before the film's theatrical release. The soundtrack is notable within the Prince-related catalogue for including Sheila E.'s Holly Rock, a track written by Prince but credited to Sheila E. The song was not included on any of Sheila E.'s own contemporary studio albums, making the soundtrack its original album home. The album brought together artists from the worlds of hip-hop, R&B, funk and pop, reflecting the emerging mid-1980s hip-hop culture depicted in the film. RECORDING Prince's contribution to the soundtrack, Holly Rock, was recorded in April 1985 at Sunset Sound, Hollywood, California. Sheila E. performed lead vocals and percussion on the track. Prince provided background vocals and played all instruments except where noted, although these contributions were uncredited on the released soundtrack. Prince also produced the recording, although production credit was assigned to Sheila E. A Love Bizarre appears in the film itself but was not included on the soundtrack album. STYLE & THEMES The soundtrack combines hip-hop, R&B, funk, dance-pop and contemporary urban music styles. Holly Rock combines Sheila E.'s vocal and percussion-driven performance with Prince's tightly structured Minneapolis-influenced production. The track sits comfortably alongside the soundtrack's blend of rap, funk and dance-oriented material. The album serves as both a companion to the film and a snapshot of the rapidly expanding crossover between hip-hop and mainstream popular music during 1985. RELEASE HISTORY Released on September 30, 1985 through Warner Bros. Records. Issued four weeks before the theatrical release of the Krush Groove motion picture. Originally released on LP and cassette, with the compact disc edition issued as a reissue of the original album configuration TRACK-BY-TRACK NOTES • (Krush Groove) Can't Stop The Street — Chaka Khan contribution to the soundtrack. • I Can't Live Without My Radio — LL Cool J recording. • If I Ruled The World — Curtis Blow performance. • All You Can Eat — Fat Boys contribution. • Feel The Spin — Debbie Harry recording featured on the soundtrack. • Holly Rock — Sheila E. performance written by Prince and produced by Prince, although both credits were assigned to Sheila E. • She's On It — Debut single by the Beastie Boys. • Love Triangle — Gap Band recording. • Tender Love — Force MD's performance written and produced by Jimmy Jam and Terry Lewis. • Krush Groovin' — Performed by the Krush Groove All-Stars. AMERICA Country Chart Entry Date Peak Position Weeks USA Billboard Top Pop Albums October 26, 1985 79 20 USA Billboard Top Black Albums November 2, 1985 14 22 PERSONNEL Sheila E. — vocals, percussion Prince — background vocals, instruments (uncredited) PRODUCTION Produced by Prince (uncredited; credited to Sheila E.) Executive Producer — Doug McHenry Executive Producer — Kurtis Blow Executive Producer — Russell Simmons Mastered by Lee Herschberg Label: Warner Bros. Records Recorded At: Sunset Sound, Hollywood, California Length: 47:43 NOTES • Soundtrack album to the Michael Schultz film Krush Groove. • Released four weeks before the movie reached cinemas. • Issued on September 30, 1985. • Contains Sheila E.'s Holly Rock, one of the key Prince-related recordings of 1985. • Holly Rock was written by Prince but credited to Sheila E. • Prince's musical and production involvement was largely uncredited. RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Various Artists Krush Groove Original Motion Picture Soundtrack Warner Bros. Records USA Not Supplied September 30, 1985 LP Various Artists Krush Groove Original Motion Picture Soundtrack Warner Bros. Records USA Not Supplied September 30, 1985 Cassette Various Artists Krush Groove Original Motion Picture Soundtrack Warner Bros. Records USA Not Supplied Later Issue CD TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting LP Not Supplied SIDE ONE: • (Krush Groove) Can't Stop The Street – Chaka Khan • I Can't Live Without My Radio – LL Cool J • If I Ruled The World – Curtis Blow • All You Can Eat – Fat Boys • Feel The Spin – Debbie Harry SIDE TWO: • Holly Rock – Sheila E. • She's On It – Beastie Boys • Love Triangle – Gap Band • Tender Love – Force MD's • Krush Groovin' – Krush Groove All-Stars CD Not Supplied TRACK LISTING: • (Krush Groove) Can't Stop The Street – Chaka Khan • I Can't Live Without My Radio – LL Cool J • If I Ruled The World – Curtis Blow • All You Can Eat – Fat Boys • Feel The Spin – Debbie Harry • Holly Rock – Sheila E. • She's On It – Beastie Boys • Love Triangle – Gap Band • Tender Love – Force MD's • Krush Groovin' – Krush Groove All-Stars 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.

"Free Urself" was released as a standalone digital single on September 30, 2015 through NPG Records. The release arrived without advance announcement and appeared only two weeks after the physical and download release of Hitnrun Phase One. Although released during the same period, the track was not connected to Hitnrun Phase One and was issued as an entirly separate project. Two days before its commercial release, the song had been made available as Tidal's Purple Pick of the Week, giving listeners an early opportunity to hear the recording. The single holds particular significance within Prince's catalogue as it became the final single released during his lifetime, arriving approximately six months before his passing in April 2016. Unlike many of Prince's contemporary releases, "Free Urself" was not accompanied by a remix programme, physical formats or expanded editions. The release remained a standalone digital-only single. RECORDING Written and produced by Prince. TRACK‑BY‑TRACK NOTES • Free Urself — A standalone Prince recording released independently from any album project. The song was first previewed through Tidal before becoming available as a worldwide digital download. RELEASE HISTORY The track debuted on September 28, 2015 as Tidal's Purple Pick of the Week. Two days later, on September 30, 2015, it received a surprise worldwide digital release through NPG Records. The single was distributed through iTunes and other digital platforms and was never issued in any physical format. No alternate versions, special editions or reissues were released. NOTES • Released without prior announcement. • Made available two days earlier as Tidal's Purple Pick of the Week. • Issued two weeks after Hitnrun Phase One. • The song is not connected to Hitnrun Phase One. • Released worldwide through digital platforms. • No physical formats were issued. • No alternate versions, special editions or reissues were released. • Prince appeared by telephone on NBC's Today on the day of release to discuss the single and Hitnrun Phase One. • The artwork featured a shirt design based on an illustration by Spencer Derry ART. • The final single released during Prince's lifetime. RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Prince Free Urself NPG Records Worldwide id1044829074 September 30, 2015 Digital Single (.mp3) TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting Digital Single id1044829074 1. Free Urself (3:47) 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.

Diamonds And Pearls Video Collection was released in the United States on October 6, 1992 through Paisley Park Records and Warner Reprise Video. The fifty-eight minute home video assembled promotional videos, live performances and exclusive interview footage connected to the Diamonds And Pearls era. Throughout the programme, members of The New Power Generation discuss their roles within the band, with interview segments filmed by Prince himself. The collection also incorporated footage from the 1992 Diamonds And Pearls Tour, making it both a video anthology and a documentary snapshot of the era. The programme combines official music videos with specially filmed interview material and live concert footage. Featured performances include Thunder, Dr. Feelgood, Jughead and Live 4 Love, while NPG members including Rosie Gaines, Tony M., Damon Dickson, Kirk Johnson, Tommy Barbarella, Levi Seacer Jr., Michael Bland and Sonny T. discuss their contributions to the group. Live footage was sourced from several dates on the Diamonds And Pearls Tour, including performances in Australia and the United Kingdom. RELEASE HISTORY Released on October 6, 1992 in the USA. The collection was initially issued on VHS and LaserDisc in the USA, Europe and Japan. A DVD edition followed on September 25, 2006. In 2023, the collection was included on Blu-ray as part of the Diamonds And Pearls Super Deluxe Edition, remastered in 1080p high definition with stereo audio. CHARTS & CERTIFICATIONS AMERICA Country Chart Entry Date Peak Position Weeks USA Billboard Top Music Videos October 24, 1992 3 13 USA Billboard Top Video Sales October 31, 1992 22 6 CERTIFICATIONS Country Certification USA None AWARDS Institution Country Date Award Music Video Producers Association Awards USA November 7, 1992 Best Longform Video Collection PERSONNEL Prince — producer, director, interviews Rosie Gaines — interviews Tony M. — interviews Damon Dickson — interviews Kirk Johnson — interviews Tommy Barbarella — interviews Levi Seacer Jr. — interviews Michael Bland — interviews Sonny T. — interviews The New Power Generation — performances PRODUCTION Directed by Rebecca Blake Directed by Spike Lee Directed by Larry Fong Directed by Scott McCullough Directed by Sotera Tschetter Label: Paisley Park Records / Warner Reprise Video Running Time: 58 Minutes NOTES • Released October 6, 1992. • Running time of approximately 58 minutes. • Combines music videos, live performances and documentary interview segments. • Interviews with members of The New Power Generation were filmed by Prince. • Thunder footage was filmed at Sydney Cricket Ground, Sydney, Australia on May 3, 1992. • Dr. Feelgood footage was filmed at Flinders Park Tennis Centre, Melbourne, Australia on April 18, 1992. • Live 4 Love footage was filmed at Earls Court, London, England on June 24, 1992 and edited with footage from Paris, France • Reached No. 3 on Billboard's Top Music Videos chart. • Won Best Longform Video Collection at the Second Annual Music Video Producers Association Awards. • Released on DVD on September 25, 2006. • Remastered in HD and included on Blu-ray in the 2023 Diamonds And Pearls Super Deluxe Edition. • Videos for Daddy Pop (four versions) and Walk Don't Walk were filmed but not included and remain unreleased. RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Prince And The New Power Generation Diamonds And Pearls Video Collection Paisley Park / Warner Reprise Video USA 38291-3 October 6, 1992 VHS Prince And The New Power Generation Diamonds And Pearls Video Collection Paisley Park / Warner Reprise Video Europe 7599 38291-3 October 1992 VHS Prince And The New Power Generation Diamonds And Pearls Video Collection Paisley Park / Warner Reprise Video Australia 7599 38291-3 October 1992 VHS Prince And The New Power Generation Diamonds And Pearls Video Collection Paisley Park / Warner Reprise Video USA 9 38291-6 October 1992 LaserDisc Prince And The New Power Generation Diamonds And Pearls Video Collection Paisley Park / Warner Reprise Video Japan WPLP-9085 October 1992 LaserDisc Prince And The New Power Generation Diamonds And Pearls Video Collection Paisley Park / Warner Reprise Video Europe 7599 38291-6 ZM October 1992 LaserDisc Prince And The New Power Generation Diamonds And Pearls Video Collection Warner Home Video USA R2 971644 September 25, 2006 DVD Prince And The New Power Generation Diamonds And Pearls Video Collection Warner Home Video Europe 0349 71644-2 September 25, 2006 DVD Prince And The New Power Generation Diamonds And Pearls Video Collection Warner Home Video Australia 0349716442 September 25, 2006 DVD TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting VHS / LaserDisc / DVD Various Introduction • Thunder (Live) • Gett Off • Cream • Diamonds And Pearls • Dr. Feelgood (Live) / Rosie Gaines & Tony M. Interviews • Call The Law / Damon Dickson Interview • Willing And Able / Kirk Johnson Interview • Jughead (Live) / Tommy Barbarella Interview • Insatiable / Levi Seacer Jr. Interview • Strollin' / Michael Bland Interview • Money Don't Matter 2 Night / Sonny T. Interview • Live 4 Love (Live) 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.

Night Calls was the thirteenth full-length studio album by Joe Cocker. The album was released in the United Kingdom on October 7, 1991, with a substantially revised United States version following on July 14, 1992. The album is notable in Prince-related discography for including Five Women, a song written by Prince. The track was newly recorded by Joe Cocker's band for the album and did not contain any musical contributions by Prince. Prince later released his own version of the song as 5 Women on The Vault... Old Friends 4 Sale. The album was recorded at A&M Studios in Los Angeles, California. Five Women was re-recorded by Joe Cocker's band specifically for the project. Although Joe Cocker wanted Prince to contribute guitar to the recording, Prince declined, reportedly telling him, "It's your baby now." Prince also offered the 1991 version of Old Friends 4 Sale for possible inclusion on the album, but Joe Cocker chose not to use it. The UK edition had a running time of 52:53 on CD and 43:56 on LP and cassette. STYLE & THEMES Night Calls combines rock, soul and blues influences that had become central to Joe Cocker's sound by the early 1990s. The UK release balanced original material with reinterpretations of established songs while showcasing Cocker's distinctive vocal style. The inclusion of Five Women added a Prince composition to the album's repertoire, bringing a darker and more dramatic lyrical element to the collection. TRACK-BY-TRACK NOTES • Love Is Alive — Opening track on the UK edition. • Little Bit Of Love — Included on the original UK configuration. • Please No More — Ballad featured on both UK and US editions. • There's A Storm Coming — Album track retained on UK releases. • You've Got To Hide Your Love Away — Cover version included on the UK album. • I Can Hear The River — One of the album's best-known tracks. • Don't Let The Sun Go Down On Me — Interpretation of the Elton John composition. • Night Calls — Title track and key promotional single. • Five Women — Prince composition re-recorded by Joe Cocker's band with no musical involvement from Prince. • Can't Find My Way Home — Included on both UK and US editions. • Not Too Young To Die Of A Broken Heart — Included on the original UK release. • Out Of The Rain — Closing track on the UK album. RELEASE HISTORY The album was first released in the United Kingdom on October 7, 1991 through Capitol Records. A revised United States edition followed on July 14, 1992 featuring an alternate cover and altered track sequence. A European CD reissue issued in 1992 expanded the album to fifteen tracks and increased the running time to 68:35. CHARTS & CERTIFICATIONS AMERICA Country Chart Peak USA Billboard Top Pop Albums #111 EUROPE Country Chart Peak UK Gallup Album Chart #25 Austria Ö3 Austria #4 Switzerland Schweizer Hitparade #5 Germany Offizielle Top 100 #6 Netherlands Dutch Album Top 100 #18 CERTIFICATIONS Country Certification UK Silver France 2× Gold Germany Platinum PERSONNEL Joe Cocker — vocals Steve Holley — drums Phil Grande — guitar T.M. Stevens — bass guitar Greg Phillinganes — keyboards Girls Talk (Michelle Cross, Debra Lewis-Brown and Geraldine Clarke) — background vocals PRODUCTION Produced by David Tickle Recorded by David Tickle Engineered by David Tickle Mastered by Photography by Herb Ritts Artwork by Tim Smith (Crimson Productions, London) Design by Tim Smith (Crimson Productions, London) NOTES • Focused on the original UK release issued October 7, 1991. • Includes Five Women, written by Prince. • Prince did not perform on the recording. • Prince later released his own version as 5 Women on The Vault... Old Friends 4 Sale. • Joe Cocker asked Prince to contribute guitar but Prince declined. • A revised US edition was released in July 1992 with an alternate cover and tracklist. • The album generated multiple singles across different territories. • Five Women was later released as a European single in 1992. RELEASE VARIANTS TABLE Artist Title Label Country Cat No. Date Format Joe Cocker Night Calls Capitol Records UK CDP 79 8886 2 October 7, 1991 CD Joe Cocker Night Calls Capitol Records UK — October 7, 1991 LP Joe Cocker Night Calls Capitol Records UK — October 7, 1991 Cassette Joe Cocker Night Calls Capitol Records USA 97801 July 14, 1992 CD Joe Cocker Night Calls (European Reissue) Capitol Records Europe — 1992 CD TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting CD CDP 79 8886 2 Love Is Alive • Little Bit Of Love • Please No More • There's A Storm Coming • You've Got To Hide Your Love Away • I Can Hear The River • Don't Let The Sun Go Down On Me • Night Calls • Five Women • Can't Find My Way Home • Not Too Young To Die Of A Broken Heart • Out Of The Rain LP — Side One: Love Is Alive • Little Bit Of Love • Please No More • There's A Storm Coming • You've Got To Hide Your Love Away Side Two: I Can Hear The River • Don't Let The Sun Go Down On Me • Night Calls • Five Women • Can't Find My Way Home CD (US) 97801 Feels Like Forever • I Can Hear The River • Now That The Magic Has Gone • Can't Find My Way Home • Night Calls • Don't Let The Sun Go Down On Me • Love Is Alive • Five Women • Please No More • Out Of The Rain • You've Got To Hide Your Love Away • When A Woman Cries SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveagraphia2 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 feature previews Prince's forthcoming London appearances at the Apollo Hammersmith, presenting him as one of popular music's most influential and enduring performers. The article examines his continued artistic vitality, the impact of Rainbow Children, and expectations for the upcoming One Nite Alone tour. Publication: Evening Standard Date: October 3, 2002 Country: United Kingdom The feature opens by comparing Prince to David Bowie, noting that many of the same descriptions frequently applied to Bowie could equally be used to describe Prince. While acknowledging that Prince was no longer dominating the charts as he had during the 1980s, the article argues that his influence remained visible throughout contemporary music. The writer notes that artists including Basement Jaxx, Macy Gray and Beck had all drawn inspiration from Prince's work. Following his well-publicised departure from Warner Bros. Records and a brief partnership with Arista, the article suggests that Prince had increasingly turned to the internet as a means of distributing and promoting his music directly to fans. Particular attention is given to Rainbow Children, released the previous year. The article describes the album as a departure from the funk-based approach of some of Prince's recent recordings, instead embracing a more sophisticated and stripped-back jazz-influenced sound. The lyrical content is also highlighted, with the reviewer noting Prince's continued exploration of spirituality and faith. The preview examines the One Nite Alone tour, which had already visited theatres across America before arriving in Britain. Reports from the United States suggested that Prince had been performing lengthy sets lasting around three hours, often without a fixed set list. The article notes that the shows relied less on dancers and visual spectacle and instead focused on musicianship. Performing with the New Power Generation and veteran saxophonist Maceo Parker, Prince was expected to draw heavily from Rainbow Children while also revisiting classic material including "Nothing Compares 2 U" and "Diamonds And Pearls". The article concludes by describing the concerts as a different kind of show from one of pop music's greatest performers. CONTEXT AND NOTES Published immediately before Prince's London performances at the Apollo Hammersmith, the article captures a period in which he was reshaping both his music and his relationship with the music industry. Rather than relying on past successes, he was continuing to experiment artistically while embracing direct-to-fan distribution methods. The feature is notable for recognising Prince's broad influence on contemporary musicians while also highlighting the more intimate and musically focused nature of the One Nite Alone performances. The result is a portrait of an artist who remained creatively ambitious more than two decades into his recording career. FEATURE HIGHLIGHTS Event: Preview of Prince's Apollo Hammersmith performances Era: 2002 The Rainbow Children / One Nite Alone era Tone: Appreciative and anticipatory Photography: Large black-and-white promotional portrait of Prince WHAT THE CLIPPING SHOWS • Preview of Prince's Apollo Hammersmith concerts • Discussion of The Rainbow Children album • References to the One Nite Alone tour and New Power Generation • Commentary on Prince's continuing influence on contemporary music