Prince 1999 Remastered Rar
New artwork:Former album artwork:On November 15, Warner Brothers Music will return to 1999 with a Super Deluxe package that will be reissued on 5CD/1DVD and 10LP/1DVD box sets. Both sets will feature new remastering for the classic album, as well as deliver a collection of vault tracks, promo mixes and B-sides, and a previously unreleased live performance set from a Detroit show on November 30, 1982. The DVD will provide video for his previously unreleased live set at The Summit in Houston, TX on December 29, 1982. Sulls said:Like to see the original Possessed on this one as well.Unlikely that will happen. There's room for plenty of unreleased songs.In general - I'm quite curious to see what they fill up on another CD with this release. I do believe it'll happen. And I believe, along with Militant, that Originals and PAAM 1983 sort of de-prioritized 1999 Deluxe - for now.
If it doesn't come out later this year, 2020 spring would be perfect, around March or April. I am just surmising that.Whatever comes out, we'll never be short on new Prince music. This gives me hope that it will happen as Militant has come through before.Hope I don't get crapped on for this, but I recently re-did my all time favorite albums list and wrote about the personal impact each of the top 25 had on me. 1999 is my all-time favorite, so needless to say, I'd be incredibly excited if this came to be. Here's what I wrote:#1: Prince - 1999 (1982)Ordering this top 25 has been very difficult. I've actually changed the order of the remaining albums a few times, making this exercise feel a bit like Album Survivor. That said, there was never any doubt that 1999 would be my #1.
The way it has imprinted itself on my soul blows everything else away.When I first heard Prince in 1989, I encountered some of his earlier singles through music videos during days-long MTV video marathons where they would play several videos from tons of artists. In this way I discovered the magic of songs like 'When Doves Cry', 'Let's Go Crazy', 'Raspberry Beret', 'Kiss', 'U Got the Look', and 'Alphabet St.' But it was '1999' that hooked me. The opening fanfare of the synths immediately grabbed my attention, soon joined by that first Earth-shattering rumble of the Linn 1 drum machine, and then exploded into a funk bonanza with the delectable bass and guitar licks. The way it wedded the neon of synths with the irresistible gravitational pull of funk left me completely mesmerised, connecting to the deepest part of me. It sounded so massive, an unconquerable force of nature that unleashed unfathomable joy and perpetual motion all at once, tapping into some unlocked quintessence of me later joined by The Gap Band's 'You Dropped a Bomb on Me' and Stevie Wonder's 'My Eyes Don't Cry'.I started to buy music that year after my parents bought me a cassette player.
I quickly bought a BackTrax cassette single featuring '1999' and 'Little Red Corvette', another herculean song which used its synths so differently, ebbing and flowing with cinematic warmth before kicking into pop/rock immortality. I played it over and over until I eventually bought a cassette of the whole album, and thus began my decades-long obsession with this album. Actually, the word 'album' doesn't cut it, as 1999 feels like an entire world unto itself.
Indeed, the songs felt like they were conceived or hatched or unearthed in an isolated lab, cracking open new dimensions that melded sounds and images and all sorts of emotions into a sort of primal omnipresence.Every single song ingrained itself into my every fiber. I discovered with delight that '1999' offered even more thrills than the sub 4-minute single version I knew and loved, opening with a robotic god-like voice announcing its desire for the listener to have fun before the rumbles of the Linn 1 deliver just that, activating the galactic motion of the thing for over 6 minutes of extended revelry. 'Little Red Corvette' was improved with its extended pyrotechnics as well, while 'Delirious' was an immediate hit for me with its squeaking synths amplifying a delightful zaniness. 'Let's Pretend We're Married' paired Hi-NRG relentlessness with wanton desire in pulsating bursts of megavoltage. Was a call to arms for revellers of all sorts, with sassy, brassy synths prancing atop lethal slap bass licks guaranteed to shake and quake a crowd.
The synths in 'Automatic' were so singularly captivating, transmitting an alien glow equal parts eerie and irresistible. Both 'Something in the Water (Does Not Compute)', with its fractured nightmarish magma of scalding synths, frenzied Linn drum patterns, and primordial shrieks as well as 'Free' with its anthemic fireworks ignited my emotions. 'Lady Cab Driver' blended blistering rock volcanism with thumping funk rhythms, and 'All the Critics Love U in New York' convulsed with such a galvanizing freakiness that my face contorted inexorably to the rhythm of its hyperfunkplasma. And the swansong ballad 'International Lover' ended the voyage with decadent verve.1999 engaged me on all levels - it sparked my imagination, burned deep within my soul, and willed me to dance as if by remote control. The purple neon futuresynth soundscape that ties the album together saw my awestruck wonder extend to seemingly limitless heights.
Most of the songs stretched to 6, 7, 8, or 9 minutes, but I felt they could go on forever, drowning each corner of my being in succulent splashes of serotonin. More than that, 1999 emboldened me to remain true to myself. In Prince, I had found a hero - this 5'3' titan of a man raised his freak flag so unapologetically high for all to see. At 10 years old, I had begun to feel like I didn't quite fit in, but 1999 helped to instill within me an insistence that I would not, could not change who I was at my core.
If Prince could overcome the family troubles that saw him leave home at 12 as well as God-knows-what harassment due to his race, height, and comfort with his feminine side to release something so unrelentingly badass, I could face my troubles headfirst as well. In this way I felt not only permission, but a DUTY to be myself when I played the album.
I had a very strong sense of who I was, and with 1999 I had a reliable way to reconnect with my sense of self when times got hard. If I needed confidence, I could blast '1999' or 'D.M.S.R.' To pep myself up. When I felt heartbreak or loneliness, I could lose myself in the guttural wails of 'Something in the Water (Does Not Compute)' to exorcise those demons. If I felt like I was too weird for the world, I could play 'Automatic' or 'All the Critics Love U in New York' and feel encouraged to not only accept, but celebrate the quirks that made me me.I became a bit of a 'purple evangelist', unable to help myself from proselytising about the wonders of Prince and his music.
I've bought dozens of copies of 1999 over the years, both for myself and as gifts to others, even strangers who overheard it playing at a drive-thru window. It became a part of my identity, and my resultant Prince fandom changed my life in major ways, introducing me to dozens of friends, and eventually, the love of my life. I wouldn't have met my wife Tracy without Prince. I wouldn't have moved to Australia and started my career as a university academic without Prince.
I wouldn't have my son without Prince. In Prince, I found not only an identity to help guide me throughout my childhood and adolescence, but a unique map to my wife, my new home country, and an entirely new life for me. And it was the opening rumble of '1999' that opened the door.As such, as an album 1999 is the Alpha and the Omega for me.
It was on 1999 that the peak of Prince's hunger met the peak of his vision and the peak of his ambition, creating the most vibrant soundscape of any album ever made. It is a 70 minute symphony of neon purple lasers illuminating a pitch black sky that will thrill and amaze me until the day I die.
The wails of 'Something in the Water' still go right through my core, that drum machine rumble in '1999' still moves with seismic thunder, the alien synthscape of 'Automatic' still leaves me breathless, the twisted funk of 'All the Critics in New York' still ignites wild fits of dancing in me, the propulsion of 'Let's Pretend We're Married' still inhabits me with each pulse, the punishing bass and sassy synth of 'D.M.S.R.' Still get me moving thousands of listens later.It creates the most vivid pictures in my mind. I mean look at those worlds on the cover art that he drew! Prince made those worlds come to life in such a visual, visceral way. The ladder in the E leading up to the red staircase that climbs into the clouds in particular is so striking. And the guy isn't climbing the stairs as much as he is GROOVING his way up them.
If I could think of one image of what Prince's music can do, it would be this. If 'everybody's looking for the ladder' as Prince would later sing, I found mine in 1999.Top 3 songs:'Something in the Water (Does Not Compute)'1999'All the Critics Love U in New York'Full review. What about those songs that nobody had heard talk?On the other hand I am tired of the material Prince gave to other artists sung by him (Originals it´s a disappointment to me).
Not to mention the frankestein mixes (outrageous).What more conservative minds resorting to things already edited or highly bootleged that the FANS have already heard. There is no NEW material?
I think this is quite far from the Prince mentality (regarding what Michael Howe says in the interviews) if he were alive. Because normally he was throwing unheard material.Edited 8/2/19 8:52am-Reply #19 posted 08/02/19 9:30am. What about those songs that nobody had heard talk?On the other hand I am tired of the material Prince gave to other artists sung by him (Originals it´s a disappointment to me). Not to mention the frankestein mixes (outrageous).What more conservative minds resorting to things already edited or highly bootleged that the FANS have already heard.
There is no NEW material? I think this is quite far from the Prince mentality (regarding what Michael Howe says in the interviews) if he were alive.
Because normally he was throwing unheard material.Edited 8/2/19 8:52amNot sure if the same guy that botched the Originals songs by drowning Prince's voice is a billion pounds of reverb did the mixes for 1900 Deluxe, probably, hopefully, it is a different person. Voilet reality was saying those are the only 4 confirmed, there will be more, so the ones you listed still have a shot.I bet the estate is working through the bootlegged stuff first, it would allow them to hurt the market, at least for studio stuff.Edited 8/2/19 9:32am. Leadline said:Not sure if the same guy that botched the Originals songs by drowning Prince's voice is a billion pounds of reverb did the mixes for 1900 Deluxe, probably, hopefully, it is a different person. Voilet reality was saying those are the only 4 confirmed, there will be more, so the ones you listed still have a shot.I bet the estate is working through the bootlegged stuff first, it would allow them to hurt the market, at least for studio stuff.Edited 8/2/19 9:32amHopefully not.for both-Reply #22 posted 08/02/19 10:05am.
Yello1 said:leadline said:Not sure if the same guy that botched the Originals songs by drowning Prince's voice is a billion pounds of reverb did the mixes for 1900 Deluxe, probably, hopefully, it is a different person. Voilet reality was saying those are the only 4 confirmed, there will be more, so the ones you listed still have a shot.I bet the estate is working through the bootlegged stuff first, it would allow them to hurt the market, at least for studio stuff.Edited 8/2/19 9:32amHopefully not.for bothDefinitely hopefully not on the cornering the bootleg market. But it would be smart on their part.Edited 8/2/19 10:51am. Moonbeam said:This gives me hope that it will happen as Militant has come through before.Hope I don't get crapped on for this, but I recently re-did my all time favorite albums list and wrote about the personal impact each of the top 25 had on me.
1999 is my all-time favorite, so needless to say, I'd be incredibly excited if this came to be. Here's what I wrote:#1: Prince - 1999 (1982)Ordering this top 25 has been very difficult. I've actually changed the order of the remaining albums a few times, making this exercise feel a bit like Album Survivor. That said, there was never any doubt that 1999 would be my #1. The way it has imprinted itself on my soul blows everything else away.When I first heard Prince in 1989, I encountered some of his earlier singles through music videos during days-long MTV video marathons where they would play several videos from tons of artists. In this way I discovered the magic of songs like 'When Doves Cry', 'Let's Go Crazy', 'Raspberry Beret', 'Kiss', 'U Got the Look', and 'Alphabet St.'
But it was '1999' that hooked me. The opening fanfare of the synths immediately grabbed my attention, soon joined by that first Earth-shattering rumble of the Linn 1 drum machine, and then exploded into a funk bonanza with the delectable bass and guitar licks.
The way it wedded the neon of synths with the irresistible gravitational pull of funk left me completely mesmerised, connecting to the deepest part of me. It sounded so massive, an unconquerable force of nature that unleashed unfathomable joy and perpetual motion all at once, tapping into some unlocked quintessence of me later joined by The Gap Band's 'You Dropped a Bomb on Me' and Stevie Wonder's 'My Eyes Don't Cry'.I started to buy music that year after my parents bought me a cassette player.
I quickly bought a BackTrax cassette single featuring '1999' and 'Little Red Corvette', another herculean song which used its synths so differently, ebbing and flowing with cinematic warmth before kicking into pop/rock immortality. I played it over and over until I eventually bought a cassette of the whole album, and thus began my decades-long obsession with this album. Actually, the word 'album' doesn't cut it, as 1999 feels like an entire world unto itself. Indeed, the songs felt like they were conceived or hatched or unearthed in an isolated lab, cracking open new dimensions that melded sounds and images and all sorts of emotions into a sort of primal omnipresence.Every single song ingrained itself into my every fiber.
Prince 1999 Super Deluxe
I discovered with delight that '1999' offered even more thrills than the sub 4-minute single version I knew and loved, opening with a robotic god-like voice announcing its desire for the listener to have fun before the rumbles of the Linn 1 deliver just that, activating the galactic motion of the thing for over 6 minutes of extended revelry. 'Little Red Corvette' was improved with its extended pyrotechnics as well, while 'Delirious' was an immediate hit for me with its squeaking synths amplifying a delightful zaniness. 'Let's Pretend We're Married' paired Hi-NRG relentlessness with wanton desire in pulsating bursts of megavoltage. Was a call to arms for revellers of all sorts, with sassy, brassy synths prancing atop lethal slap bass licks guaranteed to shake and quake a crowd. The synths in 'Automatic' were so singularly captivating, transmitting an alien glow equal parts eerie and irresistible.
Both 'Something in the Water (Does Not Compute)', with its fractured nightmarish magma of scalding synths, frenzied Linn drum patterns, and primordial shrieks as well as 'Free' with its anthemic fireworks ignited my emotions. 'Lady Cab Driver' blended blistering rock volcanism with thumping funk rhythms, and 'All the Critics Love U in New York' convulsed with such a galvanizing freakiness that my face contorted inexorably to the rhythm of its hyperfunkplasma. And the swansong ballad 'International Lover' ended the voyage with decadent verve.1999 engaged me on all levels - it sparked my imagination, burned deep within my soul, and willed me to dance as if by remote control. The purple neon futuresynth soundscape that ties the album together saw my awestruck wonder extend to seemingly limitless heights. Most of the songs stretched to 6, 7, 8, or 9 minutes, but I felt they could go on forever, drowning each corner of my being in succulent splashes of serotonin. More than that, 1999 emboldened me to remain true to myself. In Prince, I had found a hero - this 5'3' titan of a man raised his freak flag so unapologetically high for all to see.
At 10 years old, I had begun to feel like I didn't quite fit in, but 1999 helped to instill within me an insistence that I would not, could not change who I was at my core. If Prince could overcome the family troubles that saw him leave home at 12 as well as God-knows-what harassment due to his race, height, and comfort with his feminine side to release something so unrelentingly badass, I could face my troubles headfirst as well. In this way I felt not only permission, but a DUTY to be myself when I played the album. I had a very strong sense of who I was, and with 1999 I had a reliable way to reconnect with my sense of self when times got hard.
If I needed confidence, I could blast '1999' or 'D.M.S.R.' To pep myself up. When I felt heartbreak or loneliness, I could lose myself in the guttural wails of 'Something in the Water (Does Not Compute)' to exorcise those demons. If I felt like I was too weird for the world, I could play 'Automatic' or 'All the Critics Love U in New York' and feel encouraged to not only accept, but celebrate the quirks that made me me.I became a bit of a 'purple evangelist', unable to help myself from proselytising about the wonders of Prince and his music. I've bought dozens of copies of 1999 over the years, both for myself and as gifts to others, even strangers who overheard it playing at a drive-thru window. It became a part of my identity, and my resultant Prince fandom changed my life in major ways, introducing me to dozens of friends, and eventually, the love of my life.
I wouldn't have met my wife Tracy without Prince. I wouldn't have moved to Australia and started my career as a university academic without Prince. I wouldn't have my son without Prince. In Prince, I found not only an identity to help guide me throughout my childhood and adolescence, but a unique map to my wife, my new home country, and an entirely new life for me.
And it was the opening rumble of '1999' that opened the door.As such, as an album 1999 is the Alpha and the Omega for me. It was on 1999 that the peak of Prince's hunger met the peak of his vision and the peak of his ambition, creating the most vibrant soundscape of any album ever made. It is a 70 minute symphony of neon purple lasers illuminating a pitch black sky that will thrill and amaze me until the day I die. The wails of 'Something in the Water' still go right through my core, that drum machine rumble in '1999' still moves with seismic thunder, the alien synthscape of 'Automatic' still leaves me breathless, the twisted funk of 'All the Critics in New York' still ignites wild fits of dancing in me, the propulsion of 'Let's Pretend We're Married' still inhabits me with each pulse, the punishing bass and sassy synth of 'D.M.S.R.' Still get me moving thousands of listens later.It creates the most vivid pictures in my mind. I mean look at those worlds on the cover art that he drew! Prince made those worlds come to life in such a visual, visceral way.
The ladder in the E leading up to the red staircase that climbs into the clouds in particular is so striking. And the guy isn't climbing the stairs as much as he is GROOVING his way up them. If I could think of one image of what Prince's music can do, it would be this. If 'everybody's looking for the ladder' as Prince would later sing, I found mine in 1999.Top 3 songs:'Something in the Water (Does Not Compute)'1999'All the Critics Love U in New York'Full reviewWOW.I was 14 in NYC and there were commercials on the radio for the album coming. 'Music from the year 2000' with 1999 playing behind it.
It was banned in my house, because of the Controersy album. So, I had to buy it on cassette to hide it.I was in my own Prince world with 1999, What time is and the Vanity 6 albums playing on my boom box I had my first girlfriend.
I was kicking purple ass!Game changer'All the critics Love U' was my year book signature.-Reply #26 posted 08/02/19 12:52pm.
Main article:Camille is an unreleased album by Prince, recorded in 1986. The album was planned to consist of 8 tracks recorded by the singer in a feminine, sped up vocal. The album was to be released under the name Camille (who would not be pictured on the cover) and not as a Prince album. The album was canceled weeks prior to its release and most of the tracks were incorporated into the unreleased album, which evolved into. Most of the music has been released officially in some form or another, however, one song, 'Rebirth of the Flesh' remains unreleased in its original form. In 2001, a live rehearsal of 'Rebirth of the Flesh' recorded with the Sign o' the Times band was released on Prince's website.
This version, however, had profanity edited from the lyrics.Side one. ' Rebirth of the Flesh': Prince recorded this song at Sunset Sound on October 28, 1986, on the same day as 'Rockhard in a Funky Place'. When the Camille album was shelved, the song was slated for inclusion on Prince's next album project, Crystal Ball. It was going to be the opening track segueing into 'Play in the Sunshine'.
The NPG Music Club made a 1988 rehearsal recording available in September 2001, marking the point at which all the Camille tracks have now been officially released in some form, although the original studio version only circulates on bootlegs. ' Housequake': significantly remixed for Sign '☮' the Times. Prince – all vocals (as Camille) and instruments, except where noted. Eric Leeds – saxophone. Atlanta Bliss – trumpet. Gilbert Davison – party voice. Coke Johnson – party voice.
Todd Herreman (as Todd H.) – party voice. Susan Rogers – party voice.
Mike Soltys (as Mike S.) – party voice. Brad Marsh (as Brad M.) – party voice. The Penguin (a plush prop, not an actual person) – party voice. ' Strange Relationship': Reworked from the Dream Factory sessions and released unedited on Sign '☮' the Times.
Prince – all vocals and instruments, except where noted (credited as Camille for vocals). Wendy Melvoin – tambourine, congas. Lisa Coleman – sitar, wooden flute. ' Feel U Up': This outtake was recorded toward the end of 1981 and was taped in sequence with 'Irresistible Bitch'.
Both songs were re-recorded later. 'Feel U Up' was re-recorded in 1986 and the lyrics of both recordings are very similar. The track was finally released in 1989 as the B-side of '.Side two.
' Shockadelica': Originally written (unsolicited) by Prince in response to 's then-forthcoming album titled Shockadelica (1986) because that album had no song to match/complement what Prince felt was such a great album title. 'Shockadelica' was later included as a B-side of 'If I Was Your Girlfriend'. ' Good Love': Later released on the film soundtrack in 1988, then compiled on. Prince – all vocals and instruments(assumed), except where noted. Eric Leeds – saxophone (uncredited). Atlanta Bliss – trumpet (uncredited). Susannah Melvoin – background vocals (uncredited)Two other songs were credited to Camille after the album project was abandoned.
The first was 'Scarlet Pussy', which was released as the B-side of the 1988 single ' featuring a black label with the artist Camille credited in deep peach. The song was also submitted for Sheila E's upcoming 4th album, however the album went unreleased.
Also, ', which appeared on Sign '☮' the Times and was also released as a single. The video was recorded in France while Prince was on tour and the video was later added into the film Sign '☮' the Times.Prince would later resurrect the character of Camille for the 1988 Lovesexy tour. Within the show, Camille sang in a low tone, with Prince's vocal filtered to sound lower. Prince has used this technique on numerous occasions, uncredited to Camille.
Prince 1999 Super Deluxe Zip
Prince confirmed in the Lovesexy tour book that Camille is the creator of The Black Album.Crystal Ball. See also:was a 3-LP set to be released in 1986, The set was to consist of various tracks from 1985–1986. Although several Dream Factory tracks were incorporated, this set was to be marketed as a solo album by Prince.
Balked at the album's length so Prince begrudgingly trimmed it to the 2-LP, which many still consider to be his best album (although Purple Rain was his most successful). Not to be confused with.The original Rave unto the Joy Fantastic album was shelved when Prince started working on the soundtrack in late 1988. This section does not any. Unsourced material may be challenged and.Find sources: – ( July 2017) Triple album. Combined tracks which had been previously included on 1993 configurations of, along with tracks that would later be released on and, along with various NPG Operator segues, although the exact track listing is not known. 'Come'.
Prince Remastered Catalog
'Endorphinmachine'. '. 'Pheromone'. 'Loose!'