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The chances are zero. I have 20 of these drawings. This is his greatest work. Of course, I saw what David did around his death. It was an amazing accomplishment.

It just tore my heart out. What a person, what a magnificent person. Does it go back before The Velvet Underground?

He spent the last three months of his life remastering stuff from the Arista era. The energy of that music comes zooming out in a way that is almost terrifying.

Anohni Where is the most interesting place on earth to listen to music? First of all, the answer is inside your head.

If I were listening outside, I would choose a mesa in New Mexico. A very, very flat top-of- the-world kind of thing, a perfect blend of sky and land.

Have a piece of paper next to the fax machine. But OK, my favourite colour today is white. My friend Julian Schnabel is my painting teacher.

I like really pale faces. I like white socks. How did you become involved with the Nova Convention? Keith Richards was supposed to be there, but he had cancelled quite early.

Karl Hunter , Brent We had this idea of looking at the water while we were listening to the music. The Hudson is right outside my studio window. The music seemed to go with the river no matter what.

If it was rhythmic and the river was really glassy, it seemed to work as a counterpoint, or if it was choppy, it seemed to magnify the rhythmic elements.

Then they built this Trump building in front of my windows and right against the walls so I see nothing anymore. How does your childhood in Glen Ellyn, Illinois influence your art and music?

Allan Lee, Springfield, Illinois I went back a couple of summers ago for a small reunion with some of the people in my school. We walked around the town.

I had been so afraid that it had been turned into some kind of condo, but it was even sweeter than I remembered it.

What were the pros and cons of that success for you? We were really snobbish. We thought that pop world was idiotic, built for year-olds.

So when I got calls about doing this record, I thought it odd, but I decided to do it. I got a lot of criticism from other artists but I saw it not as selling out but crossing over.

My ego probably got entwined a little bit, but for the most part it was a really interesting experience. But it was cool, too, to do it for a bit.

I liked it a lot. I just feel great. I just can think of so many times somebody would say things that I did wrong or that were stupid or not very generous and it would really make me feel bad.

How did you and Lou arrive at those three rules? Peter Speller, Torquay Trial and error! Rule two was, get a really good bullshit detector.

And three, be really, really tender. They really worked for us. Neil Clarke, Bristol Quite a lot, because my life was very shaped by the group of people that I worked with at that time.

We lived in S0H0 and we all saw each other every day. No one thought they would ever make one cent from their work so there was a kind of crazy egalitarian thing that was happening.

Men and women were completely equal. It was a lovely time and we were really snobbish and we were really hard- working. Then gradually we began to work in Europe, mostly in Italy and Germany, and we became expats.

You worked with Andy Kaufman. Did his brand of performance art influence you? William Merrin Yes, but I was never anywhere near as out there as Andy, no-one ever was.

I saw him at a club in Queens when no-one had heard of him. He was playing the bongos really pretty badly and crying while he was playing. It made you cringe, but it was also really hilarious.

So then I was his plant for a while. I would go to clubs with him and he would go into character as this guy Tony Clifton. He would really fight, and I would try to punch him.

He kind of let me win, but not really. I had a great time with Andy. Vol 1 also available on CD. Eschewing more traditional pop structures, Vanilla is aggressive, extroverted and raw.

Zamrock came to embody the economic despair that followed the oil crisis, which flung Zambia into recession and exacerbated a wide range of social tensions.

UK - LA, January At 28, she is struggling to transition from being one half of the peerless husband-and-wife writing team Goffin 8t King to becoming a solo artist.

She has already made two albums, neither of which have made much impact. Nobody really expects her third attempt to buck the trend.

Of course, not long after that, it all blew up. All the forces came together. To date, King has written or co-written songs that have appeared on the Billboard charts.

By the spring of , however, both the marriage and creative alliance was over. Built into the hillside, the house had pale peach adobe walls, tiled floors, and a sense of light and space.

She was part of a widespread exodus to the west. Among the many musicians heading for the sun were two men King knew well from New York studios and Greenwich Village coffee houses: Kortchmar and bassist Charles Larkey.

So open and sunny, and friendlier. Everyone lived in rented houses rather than apartments, so it was easier to have band rehearsals.

That made it easier to play. When he learned that King had moved west, he immediately set about signing her to Ode. She insisted that she would only sign as part of a band, and on condition that she would not be asked to undertake any promotion.

So she put herself in the middle of this group. That was her cover, so to speak. That was her entree into being an artist.

The City were supposed to do a gig at the Troubadour and she cancelled it, she had such stage fright. We never did any gigs.

He introduced her to his audience. It was the record that helped explain the baby boomer generation to itself, as their need for personal freedom and self-expression rushed headlong into the responsibilities of marriage, parenthood and citizenship.

It continues to cast a powerful spell. In America, it has accumulated a total of weeks in the Billboard Hot In Britain it spent 42 consecutive weeks in the chart immediately following its release, and has since spent a further two years in the top Even in the exhilarating days of January , Lou Adler sensed it was a work that would cut deep.

It was different from a so-called hit. It was more than that. That was my feeling right away, that it was very, very special.

I still feel that. King and Taylor had begun their lives and careers poles apart, but slowly spun towards one another.

She was an earthy, diminutive Jewish girl. He was the long, cool product of wealth and education. It very quickly fell into place. She and James shared a harmonic consciousness.

It was a time in her life when she was reinventing herself, and James was very encouraging to her to do her own thing.

In May she released her first solo album, the pointedly named Writer. Her breakthrough came in the last week of November , when King was persuaded to open for Taylor during a week- long residency at the Troubadour.

The club made careers. That was the beginning of it. Her songs, her presentation! The difference was one of emphasis.

That was the basis of the feel I was after, which was the way that her demos sounded. I wanted it to be as if somebody listening to the LP felt that Carole was sitting at the piano singing the song for them.

I think it put things in perspective! She did a great show. It was a lark! The whole audience would leave the club and stand in the grass island on Santa Monica Blvd.

It served to chill out the start of the evening, as the performers and the audience had spent time together before the show out on the grass.

Carole always did great. She was very enthusiastic. The selected songs were a blend of three established Goffin-King classics, seven new compositions, and two collaborations with a new lyrical partner.

Attuned to the changes in her own life and an evolving cultural shift from communal exuberance to confessional intimacy, the songs on Tapestry speak directly to the needs, wants and fears of a modern mother and divorcee who is both independent and a traditionalist.

She was developing into a singer- songwriter, but her primary responsibility was still as a mother. Watching her sound- check from the balcony on the opening night, Taylor and Peter Asher heard the song for the first time.

Then I had the nerve to ask Carole how she would feel about us recording it. And she said, great.

To her credit, with incredible generosity, she basically gave away what was clearly a hit song. It was joined by several more powerful new songs.

The sentiment resonated not only for King personally, but within the group of travelling musicians she was working with, and for a generation yearning for its roots.

Stern wrote the lyric - allegedly about James Taylor - and King quickly came up with the music and melody. It was the voice of a lover on the pillow, a mother at the kitchen table, a friend on the sidewalk.

She was seeking not technical perfection, but emotional truth. The musicians all bought into what we were doing. He saw her amazing talent and he wanted to bring her into her own.

A scene had developed. Based around the Troubadour bar, there was a sense of cohesion and something happening. We all felt there was room for everyone.

Taylor transposes King's song of assurance from piano to acoustic guitar, smooths out every crease, and turns it into a fireside benediction.

The shuffling Old West storytelling of the bluesy original is transformed into taut, funky street soul, propelled by a monster bass groove. A killer lO-minute reading.

The slow, heavy, almost indecently funky verse yields to a tender chorus, with fluting falsetto and cascading piano.

The backing track tends towards the schmaltzy, but the melody and sentiment of Tapestry s most achingly lovely song prove a perfect fit for Stewart's astute interpretative skills.

The core band was King on vocals, piano and keyboards, Kortchmar on guitar, Charles Larkey on bass and Russ Kunkel on drums.

David Campbell, who had played the November shows at the Troubadour, was one of several string players. A handful of other exemplary musicians added further, subtle textural touches.

The easy, organic feel that still pervades the album today was not a construct. They were happy sessions. The band recorded live, forming a semi- circle around King and her piano, enabling everyone to see each other and the musicians to respond to her head movements and facial gestures.

The studio was low-lit, the atmosphere thick with candles and incense. I played a couple of solos off the floor, live. But I just went for it.

She was very friendly, open and sweet, very New York - but she was all business in the studio. She knew what she wanted. She was never overbearing, but like all great musicians she knows what she wants and how to describe it to musicians she works with.

She was in complete control of the arrangements. The lyrical mix of sexual daring and emotional desperation is tailor made for Amy, and her vocal strikes to the heart.

I recall looking through the studio window, seeing all these young people, so focused and concentrated. It was a beautiful tableau.

She would then slide effortlessly into writing and arranging string parts. David Campbell recalls the violin and cello overdubs being recorded in a single afternoon.

Everything is there before you even recorded, ready to show you. She was lovely, but absolutely certain about what she wanted. She gave it to me with a thank you, and it disappeared somewhere.

In mid- June it finally displaced Sticky Fingers at the top of the charts, remaining there for a record-breaking 15 consecutive weeks.

Suddenly, Tapestry was everywhere. In every shop and clothing store, from cars and windows - everywhere. You could not get through a day without hearing two or three tracks of it wherever you went.

Exactly how that happened is hard to say. Though at heart it is a gentle reckoning of all that King had lived through as a woman, and a recognition of the challenges to come, it also spoke for a generation.

The arrangements and music matched the lyrics so well. It was intimate and uncluttered, you could get close to it.

Nothing interfered with the emotion. Any listener could imagine themselves singing those songs. It kicked off the singer-songwriter thing. Tapestry opened a lot of doors that are still open today.

Did she enjoy it? She was not thrilled at being famous. When the follow- up, Music, went to number one in January , Tapestry was still in the top ten.

Its songs dominated her set when she played a free concert to , people in Central Park in She has continued to make and release music, with decreasing frequency, as well as tour, act and write film scores, all in the certain knowledge that nothing she does will ever have the cultural or commercial impact of Tapestry, which has now sold north of 15 million copies.

As if to prove the point, she is performing the album in full for the first time in July. Now, as then, Danny Kortchmar will be playing guitar.

He understands what people want. Those songs, that voice, the piano. I The sense that, no matter what tribulations life may through at us, things will work out all right.

I always like playing those songs. Every time I play them I get a good feeling. King was the first solo female artist to win a Grammy for the last two categories.

A proper professional studio. From then on, anything went so long as it excited its creators. We wanted to do something different.

It would be the first of a trio of chart-topping hits for the band across the decade, each one primarily sung by a different member of the group: We were never precious about who did what.

There was no ego involved. It was about getting an extraordinary finished result. The Stones recorded many of their great albums on it.

So I bought about eight modules from Dick Swettenham and put them in a desk that some local electricians had knocked up for us.

The sound was great. We were learning all the time with everything we did. Eric was an engineer, so the fact that we were a completely self-contained unit was quite unusual.

No-one else would be in the studio, no other engineers were necessary. It quickly became obvious that these faders, these knobs, these little boxes, are capable of providing any noise that you can think of.

All you have to do is think of them. But looking back, you know, it was another pastiche. It was a brilliant idea.

Our way of writing, Lol and me, was just to accept what came out when we sat down and played and sang.

We knew what the feeling of this thing was, which is kind of weird because the lyric is essentially about a fictitious prison riot, taken from a fictitious black and white movie from the era of James Cagney.

We were big movie buffs in those days, me and Lol, so it was one of those kind of films It was caricaturing those movies. But it just worked.

The lyrics are great. Godley and Creme could come up with anything. No-one could come up with stuff like that. I used to look forward to going down to the studio each morning just wondering what crazy things we would get into.

I seem to remember it was, in general, but naturally when you start recording something it changes shape a little bit along the way, because better ideas actually come out when it exists on tape Kev and Lol were wonderful songwriters, but sometimes they could go on a bit.

Or they had a habit of writing one part of a song, that would only occur once, that was actually a work of genius.

Lol Creme guitar, vocals, piano , Kevin Godley drums, vocals , Graham Gouldman bass, vocals, guitar , Eric Stewart lead guitar, vocals Produced by iocc banned, but it probably had the them, and dancing around and giving them V-signs, taunting them.

Basically, the soldiers responded in kind when a brick almost downed one of them. So they started firing rubber bullets at these kids.

And there was a lot of scrambling after them, as they were quite prized, apparently. They used to sell them to visiting journalists or put them on the mantelpiece at home.

Strawberry Studios, Stockport, adverse effect, as banned things often do. Live, we extended it. It can jump around, it can change mood. It can go into a quiet room or a louder room or go up onto the roof, if you like, and change musical structure.

So I imagine Graham took it to where it needed to go, because again, like Lol, he had a very intense knowledge of how chords work and where they should go and how lyrics work.

Eric always managed to get a good sound out of the kit, but I found out quickly when they were mixing the kit and they soloed in on the hi-hat mic you could hear me mumbling gibberish while I played - very embarrassing.

Eric had an extraordinary pair of ears that managed to capture the essence of everything we were doing in that particular space.

I used to use Neumann U67 valve mics, which cost more than a bloody E-Type Jag, about 12 hundred quid apiece. Those sounded so good.

We built an echo chamber in the stone- staircase going down to the basement. We put a speaker at the bottom and a microphone at the top, and it actually did work.

It probably only took a few days to record. There was no-one coming in to check on how we were doing. And there were no mobile phones ringing. So, it was like we were in there, virtually with the door locked just playing and overdubbing until it was done.

We were going on to an eight-track machine. The next thing we put on was a piano, which had a sort of slightly strange sound on it, slightly chorused or phased.

We used to do that quite a lot, put an unusual sound on, and that would influence all the other things that we put on after.

Yeah, very McCartney, and I understand why. He does it for the same reason. You know the sound you get then is pretty much gonna be as it is when it gets mixed, so you might EQ the bass differently at that later stage.

Eric played the lead part on his Les Paul. One playing an octave higher and one playing the actual lead solo normal speed.

I played straight through the Helios module. The first modules, if you turned up the mic amp to full it would go into the most beautiful distortion - a pure, smooth sound.

I think that guitar is actually the signature sound of the record. It was the sort of the thing we would do, just to not be the same as everybody else [laughs] And it got banned, initially, by the BBC.

They banned it because they thought it was about Northern Ireland. You just kept it going and made it as wild as possible. And that song seemed to lend itself to that approach.

It was fun to do. A bit knackering, though, because it was quite a long song anyway, and it was very fast - thank goodness we had two drummers onstage [Paul Burgess joined the band live from ].

It gave me a chance to have a little blast on the solos. Of course, I had to use effects pedals live. That, for me, is my favourite iocc album.

We were already freed-up to do anything, we were free from the beginning. And so, we continued to be a band that sounded different on every record we ever made.

I remember when we finished it, it felt special. It was just kind of different to whatever else was out there. The Kinks, past masters of the art of biz snap and crackle, and now you you YOU can go right along with them.

Eat your heart out. But the startling thing about For You, even more impressive than the opening chorale of harmonised voices that all turned out to be the work of one person, was the amount of instruments he played.

There were 27 of them. Nobody else so much as rattled a tambourine. And even then, the rock-educated, new- wave -loving Prince Rogers Nelson might have found the comparison restrictive.

Why not target a white audience? Why not target the world? Within three years, he was the toast of rock critics. Within five, a crossover star on MTV.

Within six-and-a-half, a screen idol and cultural phenomenon. Miles Davis believed him to be a synthesis of three of the greatest entertainers in history: I think when Prince makes love, he hears drums instead of Ravel.

Others described him as a perfectionist, a control freak, a narcissist, an inexhaustible workaholic, a consummate self-mythologist and a severe introvert with an impish sense of humour.

The skies had started raining on a white building on the outskirts of Minneapolis. A team of paramedics, summoned to Paisley Park by a call, had found a body slumped in an elevator.

He played long live sets of hard funk, ignoring all but a few hits. He was mocked for a bizarre speech at the Brits. The rules were simple: A bodyguard frisked me as I entered the dressing- room.

Cool air wafted from an overhead fan. All they know is marketing. He began impersonating the guys he was talking about, sounding like Richard Pryor in his routine about white people returning after the intermission to find black people sitting in their seats.

Looks at imaginary watch, hails taxi Listen, I gotta go. I can't deal with that. He hinted he might vandalise Warners' HQ in Burbank.

They go in, destroy the office. He seemed keen to remunerate me for publicising his cause. I was sane when I did that. The bodyguard escorted me out.

There were times when he made even Madonna look slow, and not many people did that. With their colourful Christian names, the two icons dominated the yuppie decade, but there were crucial differences in their manifestos.

While Madonna patented the wannabe, Prince embodied the maestro, the grand illusionist. The champion had defended his title one-handed.

Then, as if shedding another layer, he told a New York audience in March that he was writing his autobiography.

Had he sensed in that last breath that he had one more illusion up his sleeve? Most people in this world are born dead, but I was born alive.

MTV and Google turned their logos purple for the day. NASA tweeted a purple nebula in honour. First Avenue, the Minneapolis nightclub where parts of Purple Rain were filmed, joined many venues across America in holding impromptu all-night parties so that grief, disbelief and non-stop music could intermingle.

His free gift to three million UK readers, viewed by some analysts at the time as an act of marketing suicide, is now widely regarded as revolutionary.

I thought I'd be perfect for him. He liked working with women. I knew all his material and had been a fan since the start.

He was taking delivery of some new studio equipment at his house in Chanhassen, Minnesota. I'd flown out from LA to help with the installation of this console and I asked to use the facilities.

He was coming from the shower upstairs. The studio was downstairs across the hallway from his master bedroom. He kept a turntable in there and would play records a lot.

Right above me was the living room where his piano was. I could hear him rehearsing with Vanity Six. He was eager for me to hurry up and finish so he could come down and resume recording.

He got this amused look on his face. We recorded that basic track with the whole band at rehearsal, then they went home and he and I stayed to finish the song.

He had an incredible aptitude for auditory imagery, for imagining what worked with what. He was easy in that he had a sense of direction and a lot of work got done.

There was money, so anything we needed we could get. We had the best equipment. The difficult part was we had to stay up long, long, long hours.

A typical day might be 20, 24 hours. A hour day would be like a day off. There were no real days off - even Christmas, New Year and birthdays.

I was happy to do that as I had my dream job. But it was physically challenging, and there were many days when I was up for 48 hours.

There was one - only one! Yeah, that was a long day. Sometimes the band would play and he would invite friends and people who lived locally, people he knew from the clubs.

He'd sometimes rent a movie theatre and we could all go to the movies or roller-skating or ice-skating. Sometimes he just liked having the band over to his house.

Most of the socialising he did, as you might imagine, was dating. That was quite common. He was doing the Purple Rain movie. There was going be the night shoot in South Minneapolis.

For some ridiculous reason, I decided he needed pie. He had a real sweet tooth. So I baked this pie and took it to the movie set.

Hang on a second. I put my hand out and he tapped a few Tic Tacs into my palm. Our relationship changed after that. I think he realised I wanted to be of service.

Chocolate chip cookies, hot chocolate or cake? He was an expert at reading people and understanding howto bring out the best in them. I think that pie incident went a long way.

It helped our relationship. The high number of celebrity deaths since January has jolted many a baby-boomer into fearing an apocalyptic end to the established order of their lives, yet the death toll is far from unprecedented.

The pre-war and post-war generations must have thought their childhoods were evaporating before their eyes.

Just as they would 40 years later, those deaths in arrived in clusters and clumps with no pattern and no symmetry, their sequence chosen as if by random from a directory of the famous.

As it happened, thousands of Britons on April 21 were still mourning the death of Victoria Wood a day earlier when the breaking news bulletins on BBC and Sky suddenly cut to a development in Minneapolis.

Everyone is a fan of something in childhood, and even the editors of gutter tabloids began life as children.

Now we steel ourselves for the sight of them, their lyrics reshaped into banner headlines, their obituaries written as rave reviews.

I never meant to cause you any sorrow. The stars look very different today. For You was a typically bold statement from the then 19 -year-old artist.

But beyond the hunt for hits, Prince is still a more diverse record than its predecessor: The doe-eyed romantic of the first two albums is replaced by a sexually voracious upstart.

There are collaborators, too, with Lisa Coleman and Doctor Fink joining the party. His lawyers were notorious for stamping down on transgressors.

Shelves were quickly stripped bare. A catalogue that ordinarily sold 1, units a week sold , in the space of three days. Extreme artist he certainly was.

Nobody had been quite so extreme before. Permeating his songs from almost day one were bodies soaked in sweat, moistening, grinding and writhing.

Revelling in outrage and scandal, he set a new indoor record for X-rated lyricism with the full-blown hardcore porn movie that was Dirty Mind We set up the entire sound system in a day.

At the end of the day, when we thought we were going to go home, guess who arrived? He walked out to front of house, put in a cassette tape - this was - and listened to the sound system.

Eventually, he made his way up to the stage and asked if he could play the drums. He sat down at the LinnDrum machine and programmed a beat.

He moved to a keyboard rig, playing bass lines with his left hand and horn punches with his right. Then he put on the bass guitar and then he put on a guitar and he makes the rounds, playing different guitars, his included.

Sets everything back down, gets back up on the drum machine, hits stop. I look at my watch: Orchestrating everything, every dance step, right down to the shoelaces.

Everything was well organised. The band would stop. We'd play long enough so whichever team he was on would win by at least 20 points.

You had to be ready. If you made a habit of being late by a few minutes, at some point he'd stop during the day and say. He was well respected by everybody as he worked so hard.

Not trying to be a perfectionist, but just to show the right demeanour. I learned so much from him. Not just about music and engineering, but how to treat other people.

I never knew who was taking it until one day I looked up and he was standing there eating my candy bar. The management team he had.

The purple dove was in the cage, the coffee pot was on, The FedEx guy was coming and going. It was a special time. Or failing that, in a restaurant of her choice.

When he performed live with his band the Revolution, one could have been forgiven for thinking his dazzling skills had arrived on a plate, needing no tuition.

In fact, meticulous work had gone into making him look and sound sensational. After a physically demanding concert lasting several hours, he would invariably materialise onstage in a nearby club and perform an after-show gig with the energy of a teenager.

Even in his fifties, his stamina was so strong that 3rdeyegirl - the trio who played on his album Plectrumelectrum - told stories of multiple hour jam sessions at Paisley Park.

Was that what happened on the night of his death? Had he been alone in the studio recording? To put it another way, did he ever stop recording?

He sat a course in music business studies at Central High School, learning about contracts, copyright and control.

And then one day he made his move. But one career was never going to be enough for such a productive writer and thinker. The semi-autobiographical Purple Rain turned this coterie into one of the coolest gangs in s cinema, but the precise relationships between Prince and his players were not as they sometimes seemed in the movie.

For one thing, in real life, Prince never allowed himself to be viewed as a loser. Prince told the likes of Morris Day what to do, not the other way round.

Purple Rain continued his creative streak. Consequently, LoveSexy was written, recorded and released at speed. While not quite in the same league as its predecessors, LoveSexy is a typically ambitious set, finding Prince sharing his love of God and sex in equal measure.

Prince and the New Power Generation pose backstage on his Act 1 1 tour, Den Bosch, Netherlands, August 9, ethereal movie stars glided past in whispering limousines on their way to mysterious assignations in the Hills.

A coquettish flirtation began between the star of Purple Rain and a thousand magazines to whom he declined to speak. More than one writer compared him to Bambi, bashfully batting his eyelids, or Greta Garbo, a luminous screen goddess who slammed the shutters down on the outside world.

Prince was well aware of the effect he was creating. Getting ready for her close-up? He had expanded his funky little scene at First Avenue into a universe in which he was the potentate and puppet master.

It was a universe in which the small man had power, the downtrodden man had freedom and the introvert had all the social confidence he could ever need.

The media became besotted with him. I am just like anyone else. The album introduced his latest backing band The New Power Generation - who upped the funk quotient considerably - and contained several Prince classics: The opening salvo in his dispute with Warners, this found Prince eschewing a conventional LP title - though he wouldn't change his name for a year.

Conversely, though, he's keen to remind us of his nomenclature. It also marks the arrival of singer Mayte, later Mrs Squiggle.

Nevertheless, the music is strong, if surprisingly retro in sound and attitude. Understandably Emancipation is all over the shop.

But there are jewels, if you dig deep enough. Two years on, he released another multiple set: Can I have some? Spielberg wondered if his secret lay in his fascination with the sky.

Others look straight ahead. The irresolvable conflict in his work - and one suspects in his personality - was that he was as sexually voracious as he was spiritually compulsive.

Add one to the other and there was Prince reclining naked on Lovesexy, his twin obsessions offering no protection, the very picture of artistry and vulnerability.

Dickerson later reflected on the conflicts and contradictions that drove his former boss in the biography I Would Die 4 U, written by the American critic Toure.

And those are the three guys who, over the years, have vied for the microphone. I think people want order again.

He had four or five tracks ready he wanted me to play on. He asked if I wanted to have a cassette of them to listen to for a couple of days, to get familiar with them.

If you want to start recording, I'm cool. He asked me if I knew any good trumpet players. I did, a close friend of mine, Matt Blistan.

Prince immediately started referring to him as Atlanta Bliss. We worked with Prince a lot. He recorded all the rhythm instruments himself, but when he wanted horns, he had to come to us.

I did close to sessions with him through the '80s and early '90s, well over pieces of music - close to 90 per cent of what we recorded is still in the vault.

We did a track for Miles, for possible inclusion on Tutu. But Prince decided otherwise and asked Miles not to include it on the LP. Miles was a guest and came onstage with us and played with us on one of the songs.

I think that is the only time Miles and Prince were in a space together performing. Prince wanted his music and lyrics to be more of a spiritual and positive perspective.

The Black Album was a bit dark. He came to us once in early ' We were getting ready to go out on the road that year and he said he had an idea of doing a musical.

We worked on four or five songs. A lot of the excitement he might have on Monday might not have much relation to what he was interested in doing on Tuesday.

You had to roll with it. It was like going down the rabbit hole in Alice In Wonderland. King, accustomed to productive discussions with statesmen, was unable even to introduce his guest by name.

Six years into a dispute with Warner Bros that burrowed to the very essence of what music is and who it belongs to, the man on the other side of the desk was familiar to US households as The Artist Formerly Known As Prince.

His actual name - at least until he reverted to his given one when his contact with Warners expired in - was an unpronounceable hieroglyphic that combined the gender symbols for man and woman.

The album also finds Prince exploring alternative release strategies: His next two albums would be download- only; while three years later, he released Planet Earth free with The Mail On Sunday.

K M iTi-JB fj. Phase Two is the better piece, not least because it holds the grim distinction of being the final studio release in Prince's lifetime.

I finally straightened it out. Never mind his religious beliefs - in a charming sort of way Prince was becoming middle-aged.

The chemtrail conspiracy, which Prince learned about from the comedian and civil rights activist Dick Gregory, claims that these trails are deliberately caused by sinister forces - not necessarily the government - in order to poison citizens in poor communities and keep the population down.

The New World Order? Prince had to walk past me every morning to go to the rehearsal studio. His creativity was astounding.

Here is how it will work, this is what it will cost, that sort of thing. He was constantly working: I never was a party person but there were a lot of parties.

He would give me zero notice. It's gonna be a masquerade ball. It's Prince calling from Paris and he needs a number.

Then, five minutes later the phone rings again: It blew out the window. Even though sometimes we all wanted to wring his neck, we all loved him in our own way.

Prince was so special and so gifted. Waldorf Astoria Hotel, New York. That sound of the people to voice our concerns in those types of areas is gone now.

Or are they the sentiments of someone who everyone agrees never fully made his peace with hip-hop? Artists who are magically gifted can seem incredibly remote, especially if, like Prince, they spent years trying to be.

But notice how he brings it all back to music every time. He wants a particular sound. He wants to voice his concerns. Prince becomes more of a sympathetic figure the more he looks around the world beyond his experience and tries to comprehend.

We know that he suffered in silence. We know about the damage he did to his hips with those high-intensity performances onstage, leaping off drum risers while wearing high heels.

Yet the realisation is dawning on us that he was as mortal as any man, and that strict vegetarianism was no help in his darkest times. All the poor little genius wanted to do was to dance, to dazzle and to be a few inches taller.

Look at what they make you give, as a dying man once said. When he walked offstage, I looked at my watch and it was The whole show had been choreographed to the instant.

They needed details of the address. Was he a first-time visitor? What had he expected to find? But he knew the name of the man lying in the elevator.

Everybody knew his name. Even when he changed it for a symbol, everybody knew his name. Man down, not breathing.

It can go around the world in a day. It can make a rainbow. He performed with his band and made a speech that struck a blow for artistic independence.

Freedom to produce, freedom to play all the instruments on my records, freedom to say anything I wanted to. About two minutes into the song, a camera picked up a slim figure in a red cowboy hat strumming a Telecaster on the far right of the stage.

What happened next, beginning at 3: Wh feck is that faze 9: Wth going on 8: What the song name plz its great why can t i dowload this!!?

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