Today's artist has been with us for sometime here, after all he has an enormous ouvre with lot's unreleased stuff as well. He commands the biggest space in my collection. Normally i'd post chronically but this time i will post cross his discography from 4 different decades. You can wait to see what i'll post or your welcome to request a title ... N'joy
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Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums, and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince showed remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music was inconsistent, in part because of his eclecticism, but his experiments frequently succeeded; no other contemporary artist blended so many diverse styles into a cohesive whole.
Prince's first two albums were solid, if unremarkable, late-'70s funk-pop. With 1980's Dirty Mind, he recorded his first masterpiece, a one-man tour de force of sex and music; it was hard funk, catchy Beatlesque melodies, sweet soul ballads, and rocking guitar pop, all at once. The follow-up, Controversy, was more of the same, but 1999 was brilliant. The album was a monster hit, selling over three million copies, but it was nothing compared to 1984's Purple Rain.
Around the World in a DayPurple Rain made Prince a superstar; it eventually sold over ten million copies in the U.S. and spent 24 weeks at number one. Partially recorded with his touring band, the Revolution, the record featured the most pop-oriented music he has ever made. Instead of continuing in this accessible direction, he veered off into the bizarre psycho-psychedelia of Around the World in a Day, which nevertheless sold over two million copies. In 1986, he released the even stranger Parade, which was in its own way as ambitious and intricate as any art rock of the '60s; however, no art rock was ever grounded with a hit as brilliant as the spare funk of "Kiss."
By 1987, Prince's ambitions were growing by leaps and bounds, resulting in the sprawling masterpiece Sign 'O' the Times. Prince was set to release the hard funk of The Black Album by the end of the year, yet he withdrew it just before its release, deciding it was too dark and immoral. Instead, he released the confused Lovesexy in 1988, which was a commercial disaster. With the soundtrack to 1989's Batman he returned to the top of the charts, even if the album was essentially a recap of everything he had done before. The following year he released Graffiti Bridge (the sequel to Purple Rain), which turned out to be a considerable commercial disappointment.
Diamonds and Pearls In 1991, Prince formed the New Power Generation, the best and most versatile and talented band he has ever assembled. With their first album, Diamonds and Pearls, Prince reasserted his mastery of contemporary R&B; it was his biggest hit since 1985. The following year, he released his 12th album, which was titled with a cryptic symbol; in 1993, Prince legally changed his name to the symbol. In 1994, after becoming embroiled in contract disagreements with Warner Bros., he independently released the single "The Most Beautiful Girl in the World," likely to illustrate what he would be capable of on his own; the song became his biggest hit in years. Later that summer, Warner released the somewhat halfhearted Come under the name of Prince; the record was a moderate success, going gold.
Gold Experience In November 1994, as part of a contractual obligation, Prince agreed to the official release of The Black Album. In early 1995, he immersed himself in another legal battle with Warner, proclaiming himself a slave and refusing to deliver his new record, The Gold Experience, for release. By the end of the summer, a fed-up Warner had negotiated a compromise that guaranteed the album's release, plus one final record for the label. The Gold Experience was issued in the fall; although it received good reviews and was following a smash single, it failed to catch fire commercially. In the summer of 1996, Prince released Chaos & Disorder, which freed him to become an independent artist. Setting up his own label, NPG (which was distributed by EMI), he resurfaced later that same year with the three-disc Emancipation, which was designed as a magnum opus that would spin off singles for several years and be supported with several tours.
Crystal Ball However, even his devoted cult following needed considerable time to digest such an enormous compilation of songs. Once it was clear that Emancipation wasn't the commercial blockbuster he hoped it would be, Prince assembled a long-awaited collection of outtakes and unreleased material called Crystal Ball in 1998. With Crystal Ball, Prince discovered that it's much more difficult to get records to an audience than it seems; some fans who pre-ordered their copies through Prince's website (from which a bonus fifth disc was included) didn't receive them until months after the set began appearing in stores. Prince then released a new one-man album, New Power Soul, just three months after Crystal Ball; even though it was his most straightforward album since Diamonds and Pearls, it didn't do well on the charts, partly because many listeners didn't realize it had been released.
The Vault: Old Friends 4 Sale A year later, with "1999" predictably an end-of-the-millennium anthem, Prince issued the remix collection 1999 (The New Master). A collection of Warner Bros.-era leftovers, Vault: Old Friends 4 Sale, followed that summer, and in the fall Prince returned on Arista with the all-star Rave Un2 the Joy Fantastic. In the fall of 2001 he released the controversial Rainbow Children, a jazz-infused circus of sound trumpeting his conversion to the Jehovah's Witnesses that left many longtime fans out in the cold. He further isolated himself with 2003's N.E.W.S., a four-song set of instrumental jams that sounded a lot more fun to play than to listen to. Prince rebounded in 2003 with the chart-topping Musicology, a return to form that found the artist back in the Top Ten, even garnering a Grammy nomination for Best Male Pop Vocal Performance in 2005.
3121 In early 2006 he was the musical guest on Saturday Night Live, performing two songs with a new protégée, R&B singer Tamar. A four-song appearance at the Brit Awards with Wendy, Lisa, and Sheila E. followed. Both appearances previewed tracks from 3121, which hit number one on the album charts soon after its release in March 2006. Planet Earth followed in 2007, featuring contributions from Wendy and Lisa. In the U.K., copies were cover-mounted on the July 15 edition of The Mail on Sunday, provoking Columbia -- the worldwide distributor for the release -- to refuse distribution throughout the U.K. In the U.S., the album was issued on July 24.
LotusFlow3rLotusFlow3r, a three-disc set, arrived in 2009, featuring a trio of distinct albums: LotusFlow3r itself (a guitar showcase), MPLSound (a throwback to his '80s funk output), and Elixer (a smooth contemporary R&B album featuring the breathy vocals of Bria Valente). Despite only being available online and through one big-box retailer, the set debuted at number two on the Billboard 200 chart. A year later, another throwback-flavored effort, 20Ten, became his second U.K. newspaper giveaway. No official online edition of the album was made available.
From mid-2010 through the end of 2012, Prince toured throughout Europe, America, Europe again, Canada, and Australia. During 2013, he released several singles, starting with "Screwdriver" and continuing with "Breakfast Can Wait" in the summer of that year. Early in 2014, he made a cameo appearance on the Zooey Deschanel sitcom The New Girl, appearing in the episode that aired following the Super Bowl. All this activity was prelude to the spring announcement that Prince had re-signed to Warner Bros. Records, the label he had feuded with 20 years prior. As part of the deal, he wound up receiving the ownership of his master recordings, and the label planned a reissue campaign that would begin with an expanded reissue of Purple Rain roughly timed to celebrate its 30th anniversary.
Art Official Age First came two new albums: Art Official Age and PlectrumElectrum, the latter credited to 3rdEyeGirl, the all-female power trio that was his new-millennial backing band. Both records came out on the same day in September 2014. (Two years later, the Prince reissue program and the expanded edition of Purple Rain had yet to appear.) Almost a year to the day, he released HITnRUN: Phase One, with contributions from Lianne La Havas, Judith Hill, and Rita Ora. A sequel, HITnRUN: Phase Two, was released online in December 2015, with a physical release following in January 2016. In early 2016, Prince set out on a rare solo tour, a run of shows he called "Piano and a Microphone." The tour was cut short in April due to sickness, however, and Prince flew home to Minneapolis. On April 21, 2016, police were called to Paisley Park, where they found Prince unresponsive; he died that day at the age of 57. His early death and incredible achievement prompted an outpouring of emotion from fans, friends, influences, and professional associates. On the following week's Billboard charts, he occupied four of the top ten album positions and four of the top singles positions.
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Prince was shooting for the top of the charts with Graffiti Bridge, and he missed. The movie was a disaster, causing the soundtrack to sell very poorly. Despite its poor showing, Graffiti Bridge is not a bad album; in fact, it's often very good. Prince wrote all of the songs, but only performed a little over half the tracks, leaving the rest for The Time, Mavis Staples, and Tevin Campbell. With the exception of The Time's slamming "Release It" and Campbell's "Round and Round," the best songs are the ones Prince performed himself. The George Clinton collaboration "We Can Funk," the psycho-blues of "The Question of U," the sinewy single "Thieves in the Temple," and the pop/rock of "Can't Stop This Feeling I Got," "Tick, Tick, Bang," and "Elephants & Flowers" make Graffiti Bridge a thoroughly enjoyable listen.
Prince - Graffiti Bridge (flac 457mb)
01 Can't Stop This Feeling I Got 4:24
02 New Power Generation 3:39
03 The Time - Release It 3:54
04 The Question Of U 4:00
05 Elephants & Flowers 3:54
06 Tevin Campbell - Round And Round 3:55
07 We Can Funk (with George Clinton) 5:28
08 Joy In Repetition 4:53
09 The Time - Love Machine 3:34
10 Tick, Tick, Bang 3:30
11 The Time - Shake! 4:01
12 Thieves In The Temple 3:20
13 The Latest Fashion (with The Time) 4:02
14 Mavis Staples - Melody Cool 3:39
15 Still Would Stand All Time 5:23
16 Graffiti Bridge 3:51
17 New Power Generation (Pt. II) 2:57
Prince - Graffiti Bridge (ogg 164mb)
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In the early 90's Prince's band New Power Generation came into the possition of doing something that his original band The Revolution never got the chance to do;release a full lengh album under there own name without Prince having to be involved in everything. The NPG were not the Revolution,Madhouse,The Family,The Time or any of the other bands Prince had been involved with in the past. Their first two albums with Prince flaunted their abilities very well so on their first album they decided to take a different route. 1993 was one of the darker years for a lot of people in the black community,especially given the events the year before. The sexual revolution was long over and hip-hop was was reflecting the puzzling situation in different ways. With songs such as the multi part title song,"Oilcan","Deuce A Quarter","Black MF In The House","Call The Law" and "Johnny" the music is extrodinarily funky,mining a heavy JB style groove with some brilliant,highly structured rhythms and some extremely rhythmic horn charts.
The major issue with this album comes from outside the music. The 15 cuts on this album are linked together by segues which weave a concept similar in style to Prince's The Love Symbol Album. In these segues the basic theme features band members calling up their record company and trying, unsucessfully as it turns out to negociate a reasonable contract settlement so they can be free to make and produce music as they want. Basically it echoes Prince's own struggles at the same time with Warner Bros. On the other hand the concept is carried out in a very confrontational manner,with the lyrics containing a lot of hostile profanity and bitter social commentary on the racial injustices of the music industry of the day. A couple of the segues also take on the vital,but equally grim topic of the "no means no" attitude towards sexuality at the time before the albums lead character,who calls himself Gold N***a (you all know what it means but sadly I had to edit the word) can no longer climax sexually.
That term that..shall go nameless is also illustrated early on in the album as a name the black community took back as their own to confront racism at the time. Despite the slower,jazzier funk groove of "2together" sounds romantic,in the end it's the same as the rest of the songs on the album. The issues it brings up are important but there's little to no positive resolution. It's very true if you real literature on the 90's linkage of funk and hip-hop that the emotions involved and expressed in that area are very complex and densely layered to start with. As strong a funk album as this is,lyrically it's the domain of some very troubled souls who are facing reality just a little too hard and aren't really looking forward to that bright of a future. It's an excellent and topical album if your in the right kind of mood but if your looking to "dance the pain away" with a good groove this album probably won't do the trick.
N.P.G. - Gold Nigga (flac 303mb)
01 Goldnigga Pt.1 3:14
02 Oilcan 0:44
03 Segue 1 3:20
04 Deuce & A Quarter 0:17
05 Segue 2 5:10
06 Black M.F. In The House 0:22
07 Goldnigga Pt.2 2:53
08 Goldie's Parade 2:23
09 Segue 3 0:37
10 2gether 5:33
11 Segue 4 0:46
12 Call The Law 4:17
13 Johnny 10:21
14 Segue 5 1:14
15 Goldnigga Pt.3 2:39
N.P.G. - Gold Nigga (ogg 120mb)
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Xpectation is the 26th full-length studio album by Prince, and the first instrumental album released under Prince's own name. It was released as a surprise mp3 download on New Year's Day, 2003 to members of the NPG Music Club, with no formal artwork (only two weeks after the commercial release of his previous album, One Nite Alone... Live!). Sessions for the album took place in Autumn, 2001, at Paisley Park Studios, Chanhassen, MN, USA, with saxophone overdubs by Candy Dulfer taking place in December 2001, also at Paisley Park Studios.
The album is one of Prince's most sophisticated jazz compositions, far outstripping the musical depth of the various incarnations of the Madhouse project. This is largely because the album was mostly composed in conjunction with one of his best band configurations - the core of the "One Night Alone" group, including Candy Dulfer (sax), John Blackwell (drums) and Rhonda Smith (bass). The band is also joined by classical violinist Vanessa-Mae.
The album was initially titled Xenophobia until the title track was removed, perhaps because of its inclusion on the album One Nite Alone... Live!. In 2015, the album was re-released on the Tidal music service, initially only to stream before a download store was opened three months later, offering the album in mp3 and flac files. There has been no wider retail release.
Prince - Xpectation (flac 439mb)
01 Xhalation 2:04
02 Xcogitate 3:33
03 Xemplify 5:52
04 Xpectation 4:01
05 Xotica 3:04
06 Xogenous 4:11
07 Xpand 6:10
08 Xosphere 3:34
09 Xpedition 8:24
10 Silver Tongue 4:55
11 United States Of Division 6:18
12 Magnificent 4:38
13 The Dance 4:41
14 Purple House 3:38
15 Samples From "Xenophobia" 0:18
16 Xotica (Candy Dulfer Live) 6:01
Prince - Xpectation (ogg 157mb)
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Comeback accomplished, Prince now settles into a groove with 2007's Planet Earth, his 26th studio album and successor to the two deliberate comebacks, Musicology and 3121. Those two albums were designed to storm the top of the charts but, more importantly, they were made with the intention of making Prince prominent again -- a gambit that worked since Prince worked hard, stealing the show at both the Superbowl and the American Idol fifth-season finale and turning into an in-demand concert ticket once again. Both records were recorded with the expectations of making a splash, and 3121 even made some overtures toward modern music, most noticeably in the sleek electro workout of "Black Sweat," which suggested that Prince had heard the Neptunes, even if he didn't pay them much mind. In contrast to such grudging nods at his progeny, Planet Earth doesn't attempt to make concessions to contemporary music, although it does make a point of addressing the modern world, whether it's in the neo-apocalyptic warnings of destruction and God on the title track or his offhand reference to "this digital age" on the sweet slow jam "Somewhere Here on Earth." Such passing asides are enough indication that, even if Prince may belong to his own universe, he surely lives in our world, something that's also apparent from his move to give away the album with Sunday newspapers in the U.K., a move that infuriated record labels in Britain -- since how can you sell something that's being given away for free? -- yet makes some sense in terms of sheer marketing. After all, Planet Earth is the kind of sturdy, highly enjoyable music that needs some manufactured hoopla around its release; otherwise, it will fade into the artist's prodigious back catalog because of its very nature. This isn't a self-styled comeback, it's an album that showcases a still-vital veteran relaxing and playing music that's not surprising, not fashionable, but not stodgy or fussy. That may mean that Planet Earth isn't much more than a quite good Prince album, one that hits upon his most accessible personas -- impish popster, funk-rocker, seductive balladeer, charmingly mystic weirdo -- and doesn't go much further than that, yet it still offers plenty to enjoy, either as sheer music (some of the synths are a bit glassy, but nobody knows how to make a record sound warm like Prince) or as songs. If there are no classics here -- or even songs that are as instantly grabbing as "Lolita" -- there are no bad songs either, with the very funny, tightly wound rocker "Guitar," the light, frothy "The One U Wanna C," and the NPG knockoff "Chelsea Rodgers" being as engaging as slow jams like "Future Baby Mama." There's no fluff and no fat, just ten strong songs delivered with just enough flair to remind you it's the work of Prince, yet strategically avoiding the indulgence that marginalized him throughout the '90s. Ultimately, Planet Earth is the sound of a working musician working, which makes it a bit of a passing pleasure, yet there's no denying that it is indeed a pleasure having him turn out solid records like this that build upon his legacy, no matter how modestly.
Prince - Planet Earth (flac 250mb)
01 Planet Earth 5:51
02 Guitar 3:45
03 Somewhere Here On Earth 5:46
04 The One U Wanna C 4:29
05 Future Baby Mama 4:48
06 Mr. Goodnight 4:26
07 All The Midnights In The World 2:22
08 Chelsea Rodgers 5:41
09 Lion Of Judah 4:11
10 Resolution 3:41
Planet Earth (ogg 90mb)
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