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Prince tribute

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Live liner notes by @anildash and @iammisstlc.


This is an archive of notes taken during the livestream. The content starts at the bottom and goes up, and any typos or mistakes are from trying to document the set as it happened! Enjoy.

And thank you to Mr. Anil Dash for setting this up! See y'all tomorrow. :)

And that's a wrap. See you all in the Purple Rain tomorrow! Thanks so much to iammisstlc for her brilliant notes here!

Alright, just to bring us back to sanity, Prince on piano jamming on a slow, dirty, funky version of Sly's "Thank U" Falettin' Me Be Mice Elf/Talkin' To Me Africa.

"Work That Fat" employs the Bob George-esque voice Prince used on 'The Black Album'.


It's "Work That Fat"! A notoriously absurd 1990 outtake that featured Prince rapping in a lowered voice about... well, you can guess. The backing track later made an appearance as the groove behind the title song to Martika's 1991 album, "Martika's Kitchen".

To wrap up the song, Quest reaches to the depths of Prince's catalog to pull up the (arguably!) worst song he ever made. We're nearly 5 hours in, and it's all been building to this dramatic reveal.

Quest used to sporadically drop this "17 Days" extended version into special, rare sets. It's incredible.

Now "17 Days", a true fan classic... and Quest gifts us with the extended version, a long-rumored, but long-lost version that some had considered myth. Its appearance in recent years vaulted the track from merely great to truly one of Prince's greatest songs ever. In the mortal realm, the song had been relegated to the b-side of When Doves Cry.

Time for Sexual Suicide. Long unreleased, this piercingly funky jam was recorded amidst the nonstop manic recording sessions of the mid-80s but came out in the vault compilation Crystal Ball in 1998. It's hard to tell which goes hardest — the drums, the synths, or the vocals up front.

We move to Bold Generation! This 1982 groove was designed for The Time, but Prince reclaimed it, remodeled it, and turned it into "New Power Generation" when added it to the soundtrack of Graffiti Bridge in 1990. The song lent his name to his new band the following year.

Dance Electric arrives — Prince's own vocals, not the version he gave to Andre Cymone. The Revolution at their jammingest, and a rhythm groove that just doesn't quit. This version was released in the deluxe edition of Purple Rain.

Now on to the extended "Mo' Quake" instrumental remix of Housequake. A beautiful, jazzy counterpoint to the sheer funk of the original.

"Housequake" was initially intended for the aforementioned Camille album. It also opened the famous "4 Those Of U On Valium" SOTT preview show Prince performed at First Avenue in March 1987.

The funkiest song from 1987's "Sign O' The Time" was so quintessentially Prince that he used it as the example the following year when U2's "Joshua Tree" beat him for the Grammy for Album of the Year. Prince: "I'm not saying I'm better than anybody else. But you'll be sitting there at the Grammys, and U2 will beat you. And you say to yourself, 'Wait a minute. I can play that kind of music, too... But you will not do ‘Housequake."



"Life Can Be So Nice" is played in an adorable scene in 'Under The Cherry Moon', a meta moment where Prince is playing air drums to his own song in the car.

The hard-charging Life Can Be So Nice is up! Easily the most intense song from 1986's Parade, it's also the soundtrack to the only action scene in the Under the Cherry Moon film that it accompanied.

After a brief detour into a song from this century, back to the Black Album and its 1987 funk with Le Grind. Horns, weird squiggly synths, and inexplicable lyrics about squirrel met all abound.

A 2000s-era JAM is up next: The Everlasting Now! Not even an incredibly unwieldy preachy chorus can derail the live-style funk of the track.

Another gem that found daylight in the 1999 Deluxe reissue is a medley of hits that Prince recorded solo at the era, going from Lady Cab Driver to I Wanna Be Your Lover to Head to Little Red Corvette.

Returning back to the 1999 era, it's "Lady Cab Driver". Another archetypical Minneapolis funk song, it sounds like the blueprint for 1000 attempts at "the Prince sound" that followed in the rest of the 80s.

We now enter the extended portion of Let's Work — where Morris Day took over on the drums in the studio as they recorded the full-length version.

"Let's Work" was initially recorded as "Let's Rock" during sessions for The Rebels album. "Let's Rock" was named after a dance called "The Rock" that Prince had seen in clubs during the summer of 1979.

One of Prince's greatest basslines ever leads us inexorably into Let's Work!

From "Automatic", Quest slides into "Let's Work".

We're back to the 1999 era with "Automatic". If the kids are in bed, go take a look at a video you've probably never seen.

Another high-energy jam with the varispeed guitar riffs all over, it's Holly Rock, Prince's take on the song Sheila E. would later premiere in Krush Groove.

Interestingly enough, Maya Rudolph is live in the Questlove chat while "U Got The Look" plays and she recently sang a brief snippet of the song onstage at the Oscars. Revisit that fun moment here.

Prince commented on that inspiration (and much more!) in his own personal liner notes on his first greatest-hits collection. You can check out the full notes here, but the relevant part says: "a friend of PRN used 2 jump up and dance whenever Robert Palmer’s “Addicted to Love” came on. As a test this song was recorded to find out of the friend would dance 2 a similar groove or just chill because it wasn’t a hit. Sure enough the friend didn’t like the song until it was in the Top 10."

Quest mentions how "U Got The Look" reached the #2 spot on the Billboard Hot 100 chart and was prevented from reaching #1 because of the Lisa Lisa & Cult Jam hit, "Lost In Emotion".

Now we're on to U Got The Look, and Questlove is explaining how Prince was inspired to create his own take on a Robert Palmer-style hit, and came up with a song that was as big a hit as those that inspired it.

Quest slowly, patiently walks us through the transition from C♯ major to B♭, the historic and racial context of his addressing his different audiences, and the magic Prince had in bridging cultures, contexts and moments.

And now for one of Prince's biggest songs ever: Little Red Corvette. Quest starts with a moving personal narrative about the first time he heard the extended remix of the song, and blew a young Quest's mind with the relative minor phrasing of the extended part.

Next, Quest walks us through a tempo demo of how Prince recorded the guitar solo to Hello at half the speed of the actual track, and used a varispeed to shift the solo to the speed of the final recording. That technique found its way onto a number of songs over the following years, including other b-sides and protege tracks, as Prince clearly found the song was perfect for funky jams.

Wendy informs the crowd that Prince played the drums on "Hello".

"New Position" is the 2nd track from Prince's 'Parade' album. This album's recording is impressive in that Prince started by recording the drum track in sequence of "Wendy's Parade" (which was eventually renamed "Christopher Tracy's Parade"), "New Position", "I Wonder U" and "Under The Cherry Moon", all in one take. He then added the other instruments.

Then to the delightful 1985 b-side "Hello". Musically it stands aside the best of his album tracks of the era.

We get a taste of Prince on the drums from his 1986 film "Under the Cherry Moon", with the bassline to New Position anchoring a French crowd chanting the hook to "Planet Rock". Naturally, the actual song New Position follows.

And then "Uptown", another anthem from the Dirty Mind era. Yes, it's a real neighborhood in Minneapolis, but it clearly always meant something more to Prince.

Next we're into "Partyup". Originally written by Morris Day, Prince made it a standout track on Dirty Mind, in exchange for making Morris frontman to The Time. They both got a good deal out of it.

Wendy weighs in on the IG chat and says she "plays this so much better" now. :)

Even being one of his best-known songs, if you give When Doves Cry a deep listen, there's such an extraordinary number of standout performances even within the minimalism of the overall arrangement. The vocals include some of Prince's best ad-libs ever, the brief guitar solos are searing. They stand out even more as we segue into a live version with Wendy Melvoin soloing on guitar.

"When Doves Cry" became Prince's first number 1 single in the U.S. on the Billboard Hot 100 Chart.

Quest leading a long tease into When Doves Cry with a taste of Prince's extraordinary vocal intro to the song.

"The Future" is the only song to include sampled vocals from both Sounds of Blackness and Jack Nicholson.

Now we're back to The Future, the dark, brooding and irresistible opening track to the 1989 Batman soundtrack.

Questlove takes us to the beginning of Prince's 90s era with "Thieves in the Temple", the lead single from that year's Grafitti Bridge movie soundtrack.

"Thieves In The Temple" was the last to be recorded for the 'Graffiti Bridge' album, which included a bunch of vault tracks recorded much earlier.

Wendy Melvoin reveals that Lisa Coleman was also playing the Oberheim synthesizer on Dirty Mind! All kinds of behind-the-scenes tidbits popping up.

"Dirty Mind" is the first song in which Dr. Fink was given co-writing credit.

A quick taste of Love and Sex then leads us to the title track from 1980's "Dirty Mind". This is where Prince really became Prince. Fearless and unafraid to shock, and sounding like nothing else in the world.

"Love and Sex" was another track that remained unreleased for decades until the posthumous 'Purple Rain Deluxe' release in 2017.

In the Instagram discussion about America, Revolution member Wendy Melvoin and her sister Susannah Melvoin are talking about how Wendy and Prince needed oxygen tanks to recover from the exertion of their live performance that was captured for the video of the song. It's obvious to see why if you look at the clip!

Quest is blessing the crowd with the live extended version of "America", but you can also enjoy the energetic music video, which showcases a live performance here.

Let me try that again. While filming the music video for "America", MTV interviewed Prince in his most revealing, raw and introspective televised conversation. You can revisit it here.

While filming the music video for "America", MTV interviewed Prince in his most revealing, raw and introspective televised conversation. You can revisit it here:

And now, a fan-favorite jam that never ends: America. In its album version on 1985's "Around The World In A Day", it was a fun and funky three and a half-minute song. In its full extended glory on the 12" single it went on for over 21 minutes, and ended by fading out, indicating the Revolution just kept on going.

From here, back to the Dirty Mind era for "Do It All Night". A live gem, this one showed off a groove that presaged a lot of his 80s hits, but with a spare, almost demo-quality sound.

Quest goes into detail on the Linndrum, the drum machine invented by Roger Linn that gives 1999 its signature drum sound, the one that defined the 80s. To play with a simplified version of a Linndrum-style drum machine yourself, check out this virtual drum machine — you'll want to go to the lower-right and select the "electro" drum machine. Then, just click around and make your own 1999-style beats!

Part of the genius of "1999" is that it's funky as HELL but you're literally dancing along to a child's voice questioning nuclear proliferation. Literal hell. But that was the point. It was a dance track, but it was deep. "Mom, why does everybody have a bomb?"

Now we're into a smooth blend between Possessed and the signature rhythm guitar riff from 1999... teasing one of Prince's best-loved signature songs!

Now we're back with a different version of Possessed from the one we heard a few hours ago. Much more electronic and spacy than the other more conventional arrangements.

Time for an alternate version of "Possessed".

The first time Quest played Prince's version of "The Glamorous Life" at one of his Purple Train extravaganzas at BK Bowl, the crowd stared confused. YES, Prince's version is FIRE.

And now after that extraordinarily elongated jam, it's on to an early demo version of The Glamorous Life. Missing both Sheila E.'s vocals and percussion (which would be added later), Prince's vocal takes on a completely different timbre than most of his vocals at the time.

Quest now narrates Eddie Murphy's influence on 80s pop culture, putting him alongside Michael and Prince as the titans of the decade, not least for his comedy's influence on keeping artists like James Brown visible.

Now we're into a Revolution-era rehearsal workout jam. These funky grooves just plain never ended.

In the Instagram comments, Jimmy Jam gets in the perfect plug for the Grammy special airing next week: "Reminder 'However great you remember him, he was better' Prince Grammy Salute Tuesday night on CBS"

The instrumental coda to Computer Blue is actually a separate composition, "Father's Song" (which appears in piano version briefly in the film). The full separate song was finally released in the deluxe edition of Purple Rain, bringing a very different, 80s-era ethereal synthesizer song to the fore in lieu of the searing guitar solo familiar to fans from the album cut.

"Computer Blue" contains a portion of "Father's Song" during one of the instrumental breaks. John L. Nelson is credited on the track for this reason.

The most musically ambitious song on Prince's signature album, Computer Blue went through more edits than any other song on Purple Rain. Repeatedly shortened to fit more songs onto the album (remember, vinyl records had physical limits!), the album version omitted many brilliant musical sections that most fans didn't have access to until the deluxe version of Purple Rain was posthumously released.

"200 Balloons" was supposed to be released in the Joker's parade scene in 1989's 'Batman' but was ultimately replaced by "Trust".

200 Balloons! This song, written specifically for the 1989 Batman movie, was rejected by director Tim Burton, but still found its way to release as the b-side to the Batdance single.

And this is "Colleen", an instrumental that had largely disappeared since its 1982 recording until it was included in the 2019 release of 1999 Deluxe. It was named after the middle name of Prince's recording engineer at the time, Peggy Colleen McCreary.

"Make-Up" was ultimately released by Vanity 6, but Prince's demo version was released this year on the posthumous 'Originals' album.

One of the just plain meanest grooves Prince ever recorded: Make Up. A Vanity 6 track, Prince's original version was released on the 2019 "Originals" album, and it still sounds like the future.

Now it's time for "2 Nigs United For West Compton", one of the rare instrumental tracks released on an official Prince album. Funky as hell, this showed what the Sign O' The Times band could do, and appeared on The Black Album.

Quite rare for a Prince track, "Arrogance" contained various late 80s/early 90s hip hop samples.

From there, Arrogance, an almost-frantic album cut from 1992's Love Symbol album. It shows how tight the band was, as well as Prince's increasingly self-aware fixation on his own identity, image and name, as his name change the following year would demonstrate.

"Money Don't Grow On Trees" was rumored to be for an album by The Hookers, Prince's original iteration of Vanity 6.

Now a deep cut — "Money Don't Grow On Trees", from last year's 1999 Deluxe set. It evokes a bit of a Sly Stone or Archie Bell sound, though Prince played and sang every note himself in his home studio in late 1981.

One of the sweetest Whitney moments with daughter Bobbi Kris is when they sang "Take Me With U" together joyfully in the stands at a Prince show.

The duet with Apollonia was one of the last songs added to the Purple Rain soundtrack, but added a cinematic feel to the proceedings with its soaring strings.

From there into a Purple Rain classic: Take Me With U.

From there, we move to "Cindy C", Prince's ode to Cindy Crawford from 1987's Black Album — at a time when she was still far from a household name.

"Irresistible Bitch" was the B-Side to the "Let's Pretend We're Married" single, the 4th and final single from Prince's '1999'.

Now we're back to "Irresistible Bitch", this time the released version — as Quest talks us through how Prince plays the drums on the track, in a convincing evocation of Morris Day's funky drumming style.

Next up is one of Prince's legendary soundcheck jam sessions. It's the Revolution just playing along in an improvisation, at a time when those jams could easily go on for half an hour or more, and would often be recorded to serve as the basis for songs to be crafted later.

Quest is on to discussing the December 30, 2010 show at Butter in NYC, where Questlove joined Prince on dums to play Cloreen Bacon Skin and Purple Music — two songs Prince had never performed live.

Quest got to perform "Cloreen Bacon Skin" with Prince in December 2010. Dreams achieved.

Quest is going into details about how Prince never used a click track or metronome to maintain timing for his recording sessions. His timing was so legendarily consistent that he would know precisely when to come in with new instrumental parts while recording overdubbed instruments on top of music he'd already tracked.

From Head we seamlessly move into Cloreen Bacon Skin, a stripped down, almost skeletal studio jam featuring Morris Day on drums and Prince on bass and vocals. This was the template for countless songs for The Time, and this is almost the blueprint for them all.

Allegedly the wedding references in "Head" were inspired by Darlene, a girl from San Francisco that Prince was seeing who was married when they met in 1978.

Now it's time for Head. I mean, if you don't already know, I can't help you. This is the funk anthem.

From there to "Dance On", from 1988's Lovesexy. This one again has an absurdly syncopated drumbeat, but also brings in a lot of the newer electronic textures to add incredible depth to a very sparsely-arranged song.

The drum beat on "It" created from the Fairlight CMI was also utilized in the live version of "When Doves Cry" on the Parade Tour.

This is IT. So rhythmic, so repetitive, it's almost trance-inducing. "It" stood out on 1987's "Sign O' The Times" for sounding so incredibly futuristic in its production. Prince collaborator Susannah Melvoin also mentions in the comments that it's one of her favorite of his vocals — though they're lower in the mix than some of the electronic effects, his vocals are incredibly passionate on the track.

Now we're into Sexy Dancer, a brilliant jam from his self-titled sophomore album. It's held up so well that Janet Jackson (produced by Prince's old pals Jimmy Jam & Terry Lewis) gave a nod to the track in her 2015 song, "Night".

For a beautiful glimpse into Prince's songwriting process, we get to hear a teenage Prince thumping on his acoustic guitar to craft a song that would later become the biggest record of 1985.

Awwww yes, it's "I Feel For You". Maybe you know Chaka Khan's version better, but she was covering a track first written by a teenage Prince — and he won a Grammy for her version.

The "Controversy" music video is the first to feature Brownmark of The Revolution.

YES! Prince's hardest-hitting four-on-the-floor beat ever — Controversy! Title track for the 1981 album where Prince cemented the Minneapolis sound. This track killed in concert every time, especially as Prince would invariably break it down to its most basic rhythmic elements, showing off his perfect timing on rhythm guitar.

And thus, we're on to "Eye Know". It's the most-heard song from 1988's Lovesexy album because Prince chose to release the album as a single, unsplit track. In the vinyl record era, that wasn't too bad, since you could just lift up the needle. In the CD era, it involved a lot of fast-forwarding. :)

Now, "The Ball". This song has never been officially released (though rumors about that upcoming Sign O' The Times deluxe edition persist!) but Prince clearly considered it a standout as he refashioned it into "Eye Know" for the Lovesexy album not too much later.

As Prince often did in the early 90s, My Name Is Prince was clearly Prince doing his own take on popular songs of the time — in this case, evoking LL Cool J's "Mama Said Knock You Out", a smash at the time.

An item that has since become associated with Prince automatically upon first glance, the chain-link hat made its debut in Prince's "My Name Is Prince" music video.

In 1993, Prince gave The Simpsons permission to use the backing track to create the track "My Name Is Bart", with new lyrics and lead vocals delivered by Bart Simpson (played by Nancy Cartwright), for The Yellow Album.

And then to "My Name Is Prince". Ironically, shortly after the release of this song, Prince would change his name to the symbol that provided the title for the album it was on. It's also the first time Prince sampled his own music, creating a pastiche of the Bomb Squad productions of the time by lifting bits from his own "I Wanna Be Your Lover", "Controversy" and other hits.

"Sleep Around" contains a sample of Tower of Power's "Squib Cakes". Tower of Power appears on the Sam Jennings-illustrated inspiration wall at Paisley Park.

From there, seamlessly onto a retro-disco track from a decade later: Sleep Around. This one was so danceable it even had the audience of Oprah's show on their feet!

"Girls & Boys" is the first album track released by Prince (under his own name) to contain musical contributions by Eric Leeds.

And now Girls & Boys! A uniquely Princely Frenchified funk jam from 1986's "Parade".

Now we're into "Cream". One of Prince's last #1 singles in the U.S., he never tired of telling audiences that he wrote it while looking in the mirror.

U're so cool Everything u do is success Make the rules Then break them all 'cause u are the best

During the Musicology Tour in 2004, Prince often told the story that "Cream" was 'written while looking in the mirror'. :)

"Love or Money" is the B-Side to Prince's monster hit, "Kiss". The song was featured in the shopping spree scene of Prince's 2nd feature film - Under The Cherry Moon.

As noted, "Love or Money" was invariably listed as "♥️ or $" on the sleeves and labels of all the releases where it appeared. Quite a pain in the ass for 80s-era printing technology!

The title of "Love or Money" was stylized with emojis. Before emojis were a thing. Prince was ALWAYS a trendsetter.

This 1976 demo of "Soft And Wet" demo contains alternate lyrics and a more disco-oriented sound than the version eventually released on his debut album, 'For You'.

Now! An early alternate take of "Soft and Wet", Prince's very first single. It did... set a precedent for what to expect from the man. Again, it's mind-boggling to think of a 17-year-old writing this and creating multiple full versions of the complete song — all produced by the young man himself.

Prince's longest-running bandmate, keyboardist Morris Hayes joins the IG comments, along with brilliant keyboard genius Jimmy Jam. Naturally, conversation turns to the gear Prince was playing on the song. From Jimmy: "Oberheim 4 voice synthesizer on this."

A nice little detour into demoing the influence Joe Tex had on Prince's riffing late in the track leads back into the extended instrumental jam that closes the last few minutes of "I Wanna Be Your Lover".

Originally recorded in 1979 by the budding artist Prince Rogers Nelson, the soon-t0-be super successful singer had some cheeky fun with the lyrics while performing it live years later at his famous "birthday" show in Detroit in 1986, adding "that's a lie" after the "I ain't got no money" lyric. :)

And now: I Wanna Be Your Lover. For most of the world, this was their introduction to Prince. Also crafted when he was a teenager, it held up as a timeless classic all the way to his final concerts.

Erotic City was clearly also inspired by Laid Back's "White Horse", which was becoming a huge hit at the time and featured the same vibe. More on that influence here. A rare promo release by Warner Bros even had a double a-side with Prince's "When Doves Cry" on one side, and "White Horse" on the other.

At the 'Purple Rain' movie premiere which aired on MTV, VJ Mark Goodman interviewed Sheila E and mistakenly said she duetted with Prince on "Let's Go Crazy". Sheila corrected him and said no, she was on an upcoming track - "Erotic City".

And now, one of the all-time greats: Erotic City. Prince credited the song to having been inspired by watching a P-Funk show in Los Angeles. He and Sheila E came straight back from the show, stayed up all night, and came out of the studio the next day with the song complete.

"Erotic City"'s official title is: "Erotic City (Make Love Not War Erotic City Come Alive)".

Prince originally wrote Just As Long As We're Together when he was just 18 years old, and it was part of the series of demos he made that helped him get his recording contract. He only ever played it live once — in his big on-stage debut at the Capri Theater in Minneapolis, just after his first album came out.

In 1977, Prince recorded "Just As Long As We're Together" from scratch in front of CBS Records executives in Los Angeles to show that he could play all the instruments and produce himself. SERIOUSLY.

Jimmy Jam with the amazing reveals! He says about "Just As Long As We're Together": "I played this to audition for Prince. I didn’t get the job. Dr Fink beat me out."

Recently released on the 1999 Deluxe set, "Don't Let Him Fool Ya" was recorded in 1982.

"Just As Long As We're Together" was one of Prince's earliest extended jams, a song he recorded in the studio multiple times. Remember as you listen — every single note you hear on this track, on every instrument, along with every vocal, were all recorded by Prince as a teenager.

"Don't Let Him Fool Ya" wasn't well-known by most fans until its release in the deluxe edition of 1999 late last year. Recorded in early 1982 (one of Prince's most prolific eras), it feels halfway between his own sound of the time and that of The Time.

And then a lesser-known gem from 1985's "Around The World In A Day": Trampoline! Prince showing off his stellar syncopation.

Prince's spelling of the title to his song "Tamborine" is missing the "u" in the instrumental spelling. I always say it's a nod to the meaning of the song. Finding pleasure without U. ;)

Both of those versions of Feel U Up and Irresistible Bitch are now released in the 1999 Deluxe Edition re-release.

In the IG comments, legendary producer, and member of The Time, Jimmy Jam reveals that "Feel U Up" was (at least at one point) intended for The Time, and segued into Irresistible Bitch... which Questlove recreates in realtime now.

"Feel U Up" was originally slated to be released on Prince's 'Camille' album. After the 'Camille' and ''Dream Factory' albums were scrapped, various songs from both projects were released on the aforementioned 1998 box set - 'Crystal Ball'.

One of the most "Prince-sounding" tracks of all time, a jam that incorporates all the elements Prince used to define the Minneapolis sound: Feel U Up. Prince crafted the track in the midst of his work in 1981 that led to the 1999 album, and redid it in the mid-80s, but never released the song until 1989, when it was the b-side to the "Partyman" single.

Recorded in 1982, fans often wondered about the funky instrumental mysteriously dropped in the 'Purple Rain' movie. The song "Possessed" circulated on various bootlegs for decades and was officially released in 2017 on the posthumous 'Purple Rain Deluxe'.

Now we're back to the early 80s again, with Possessed, a track that Prince revisited several times during the pre-Purple Rain era. It exists in both instrumental and lyrics versions, with Prince alone or backed by the Revolution.

This remix features a great sax solo from Candy Dulfer, whom Prince would work with off and on for the next decade and a half. You can see it in the video for the song, too.

The music video for "Partyman" is one of Prince's best. Prince played 'Gemini' - his visual iteration of The Joker.

And now here comes the Partyman! This song from the Batman soundtrack was a great theme for one of Jack Nicholson's signature scenes in the 1989 comic book movie, and if you listen to the tempo of the track, you can see how it was slotted in for "1999", the song it replaced in the movie.

Prince's version of "Jungle Love" was just released this year on the posthumous 'Originals' album which included his demo versions of tracks made famous by other artists.

And now JUNGLE LOVE. The original draft of the song was written by Jesse Johnson, the extraordinary guitarist of The Time. Prince took the handoff on the track, recording this demo of the full song in his Morris Day voice, and adding some synths, too.

Escape was the b-side to the 1988 single Glam Slam, and reuses the same hook for its chorus. The horns are fantastic and elaborately arranged, as was typical of songs from the Lovesexy era.

Prince performed "Daddy Pop" on The Arsenio Hall Show in 1991. The day before his infamous performance of "Gett Off" on The MTV Video Music Awards... that Arsenio hosted.

That extended section of The Continental was then remixed and released as its own track, "Tell Me How U Wanna Be Done" in the 1998 box set Crystal Ball.

The extended part of the album version of The Continental features a rap from Prince's latest protege at the time: Carmen Electra.

The Contintental, from 1992's album with the New Power Generation, entitled...

"Rearrange" was initially recorded in 1981, but wasn't officially released until 2019. It sent fans into a frenzy 38 years later.

Speaking funky as hell, it's Supercalifragisexy. Ridiculous name, but every bit as funky as the name demands. This 1987 track was released on The Black Album, which almost came out that year, but eventually escaped from Paisley Park in 1994.

On the stream, Q says "Rearrange" is a template for The Time's song, "The Walk", which is also structurally very similar. And funky as hell.

One of the best of the lost gems in the deluxe re-issue of the 1999 album is "Rearrange". Musically very similar to "Lady Cab Driver" on that album, it was ostensibly intended for The Time.

(Q is showing off a little here, revealing he's got an unreleased alternate cut of the song — I wonder if that's a hint at the rumored upcoming Deluxe release of the Sign O' The Times album and singles???)

In The B-Sides liner notes, "La, La, La, He, He, Hee" is explained as a response to a dare by Sheena Easton who claimed that Prince couldn't write a song from such a basic phrase (resulting in her writing co-credit).

Hopefully we'll get a taste of the extraordinary 12" version of La, La, La, Hee, Hee, Hee, which has a back-breaking bass solo in the extended section of the track.

La, La, La, He, He, Hee was the b-side to the single release of "Sign O' The Times", featuring Prince's first on-record imitation of a dog barking.

"Pheromone" was an integral part of the 1993 Glam Slam Ulysses stage-show, during the segment titled "Circe".

Next up: Pheromone, from 1994's "Come". The backing track to this song acted as the theme music to BET's Video LP for a few years in the 90s, as well.

The never-yet-released Big Daddy Kane remix of Batdance! Pretty extraordinary little gem that will hopefully someday see an official release. It's funky as hell.

Michael Keaton was the best Batman. (Just sayin'.)

If you're interested in a 6-year-long Twitter thread about the song Batdance, which went to #1 in 1989, well... good news.

"D.M.S.R." stands for Dance, Music, Sex, Romance. Not to be confused with ASMR. Which stands for 'autonomous sensory meridian response'. ASMR videos are known to relax listeners' pulses. Prince's DMSR is known to speed them up.

And now the Vicki Vale breakdown to BATDANCE!

The version Q is playing here is an alternate take from the album track, a version which was finally released as part of the 1999 Deluxe edition this year.

D.M.S.R., a standout from 1982's "1999" album, features Prince calling out "Jamie Starr", the producer of Vanity 6 and The Time's albums. Though he worked hard to hide that fact at the time, Prince actually *was* Jamie Starr.


"Dream Factory" was not officially released until 1998 on the 'Crystal Ball' box set, however, it was recorded 13 years prior in 1985.

This leads into "Dream Factory", title track to planned 3-record album set Prince began working on in 1986, his most prolific year ever.

There are various scorching live performances of "Bambi" (originally featured on Prince's eponymous sophomore album). The song was performed by Prince from 1980 all the way up to 2014.

[From Anil: When I saw this live performance at The Tonight Show in the studio, Quest was at the side of the stage playing along on cowbell with stars in his eyes. He'll play like he wasn't.]

Now: Bambi. Prince's definitive early-era glam rock track. This was, incidentally, also the song Prince played on his last appearance on The Tonight Show, capping it by tossing into the air the guitar of Captain Kirk of The Roots.

Eve's rap was recorded at the eternally famous Electric Lady Studios in NYC.

The "Hot Wit U (Nasty Girl Mix)" featured rapper Eve and was officially released a couple months after her debut album on Ruff Ryders Records.

Eve's verse was likely the best of the many guest rappers he featured across various albums in the late 90s.

The remix of course prominently features Prince singing the hook to "Nasty Girl" — the track he'd written for Vanity 17 years earlier. It was one of the first times he publicly nodded at his authorship of the classic track.

1999's "Rave Un2 The Joy Fantastic" featured a standout track, Hot Wit U, featuring Eve. The next year, Prince released a remix album "Rave In2 The Joy Fantastic" whose undoubted highlight was the "Nasty Girl" remix of the Hot Wit U.

Even though it was "just" a remix, Violet the Organ Grinder even got its very own music video, and it's... sexy as hell.

Another of the great remixes from the Gett Off era is "Violet the Organ Grinder", an almost complete reinvention of the song, with all-new lyrics over the same beat.

That leads directly into "Houstyle" the 90s house remix version of Gett Off.

Smoothly moving into Gett Off, from 1991 — a song which went through many forms over the years from its debut as a 12" single Prince secretly dispatched to clubs on his 33rd birthday, June 7, 1991

Nice shoutout from Q as we get started. :)

Just joining the comments in IG, Susannah Melvoin, Prince's collaborator and often-muse at the time when many of the Sign O' The TImes tracks were created.

First up: "Sign O' The Times", title track from Prince's 1987 magnum opus.

Okay! Now we're really starting.

Next up, "Poor Goo", a early-90s guitar jam, a tribute to drum tech "Goo".

(This is interstitial music while tech difficulties are being worked out.)

The set opens up with a live version of "Sign O The Times", the title track from his 1987 work — the pinnacle of his catalog, according to many!

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