| Title | : | Prince and the Parade and Sign O' the Times Era Studio Sessions: 1985 and 1986 |
| Author | : | |
| Rating | : | |
| ISBN | : | 1538144522 |
| ISBN-10 | : | 9781538144527 |
| Format Type | : | ebook |
| Number of Pages | : | 620 |
| Publication | : | First published June 7, 2021 |
Prince and the Parade and Sign O' the Times Era Studio Sessions: 1985 and 1986 Reviews
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A Fascinating look into making of the albums 'Parade' and 'Sign 'O' the Times' and the several aborted projects in-between, even if you are not a Prince fan this is a must read for anybody who is a fan of music and wonders about the artistic process and what goes into the making of an album.
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Nearly four years ago, when I finished reading Author Duane Tudahl's exquisitely compiled, meticulously researched, exceedingly well written masterwork Prince and the Purple Rain Studio Sessions 1983 and 1984 (published 2017), I knew that, without question, I had completed reading the finest written work devoted to exploring and examining the life, art and artistry of the artist forever known as PRINCE.
Yes, just as that title announces, the reader is indeed only given access to the time period of January 1983 through December 1984, but oh what happened during those almost two full years in Prince's life! Tudahl, through his exhaustive work, delivered a tome that far extended itself--and in fact, transcended itself--from its journal/day-by-day logbook into a full portrait of a uniquely talented and endlessly creative individual on the rise from cult artist to pop superstar and the intensified, self-imposed work ethic placed upon himself in order to achieve his dreams as well as a dissertation upon the nature of art and the inspiration and creativity involved in order to realize said art.
And to think, that book was only Volume One!
With the arrival of Prince and the Parade and Sign O' The Times Era Studio Sessions 1985 and 1986, Duane Tudahl has far outdone himself. This second volume in his planned series is the rare sequel that outdoes the original as it takes what came before as its base and then further extends, expands, and deepens its narrative, emerging with another meticulously researched and exquisitely written work but also one that was surprisingly emotional, one where I often found myself with tears welling behind my eyes, and my heart aching due to the sequence of events and the impact placed upon all principals involved, most notably the artist himself.
And as always, what music was created...the music!!!!
As with the first volume, Duane Tudahl continues to adhere to the same structure as before: a journal/day-by-day logbook covering the time period between January 1985, when Prince and the Revolution were ensconced in the Purple Rain concert tour, and December 1986, a few months before the release of the "Sign O' The Times" album (released March 30, 1987) and then supported by an entirely new band featuring Shelia E. as his formidable drummer.
Again, and especially as I was a teenager during the period when these albums were originally released, reading this diary format of Prince's day to day activities is beyond astonishing. It is not even just about his untouchable work ethic, relentless drive and unending inspiration and creativity. It is truly this unfathomable ability to seemingly stretch the limits of time itself as he was compulsively recording nearly daily, often all by himself.
This was the period during which he composed, produced, arranged and performed (to varying degrees), and often released, a mountain's worth of material, which included, but was not limited to the (then) just about to be released Prince and the Revolution album "Around The World In A Day" (released April 22, 1985), the (then) upcoming "Parade" (released March 31, 1986), and all of the various configurations of what would ultimately become "Sign O' The Times," including the aborted projects, the double album "Dream Factory" and his hoped for magnum opus, the triple album of "Crystal Ball."
This would be more than enough for any musical artist to involve themselves with, but as we all know by now, Prince was no ordinary musical artist. In addition to the material released under his own name and musical identity, this was also the period during which Prince involved himself or fully oversaw eponymously titled albums by Madhouse, Jill Jones, Mazarati, Shelia E., including her ornate second solo album "Romance 1600" (released August 26, 1985) featuring the transcendent 12 minute "A Love Bizarre" and most notably, the one and only album The Family (released August 19, 1985), which featured the original version of "Nothing Compares 2 U."
And even then, this was the same period of time that produced a collection of B-side singles, the enormous amount of unreleased material that was rapidly populating his ever growing and increasingly mythical Vault and somehow, he also continued to manipulated time evermore to perform live concerts, create his Paisley Park record label, begin the eventual construction of his dream studio of the same name, and to finally conceive, direct and star in his second motion picture, the Parisian set, 1930's comedy inspired "Under The Cherry Moon" (1986).
There are still only 24 hours within one day, seven days a week and twelve months to a year and Duane Tudahl details each and every one in the day in the life of Prince through studio logs, and the inclusion of extensive interviews, both archived and newly conducted for this book, with nearly every principal participant during this phase of Prince's career, including words from the man himself. In doing so, we are gifted with a release that inspires yet another reason to return to the music itself, as the dialogue and events surrounding the genesis of every song and album affords us the change to hear the music as if anew, now that we have been given a greater context to the origins.
That, in and of itself, would already made this book an excellent resource. What makes Tudahl's book as vital as it is indispensable is how the work operates on multi-levels, therefore delivering even more than we, as fans, may ever hope for.
For as singular an artist as Prince was, and for all that he did do alone, Tudahl's book makes great pains to showcase how Prince was never entirely alone and was in actuality, surrounded by a superior team of individuals who all contributed their crucial parts in order for him to fully realize his visions. If anything, the book is a tribute and testament to figures including Producer David Z., Engineer Susan Rogers, saxophonist Eric Leeds, composer Claire Fischer, singer Jill Jones and unquestionably, Revolution bandmates Wendy Melvoin and Lisa Coleman plus Wendy's twin sister and Prince's fiancée, Susannah Melvoin, all of whom ensured that Prince's trajectory from cult artist to pop superstar to artist for the ages occurred at all, whether he wished to admit to that fact or not, especially as all the while, he was building his mythology as a singular force of nature dream weaver.
This aspect of Prince's life extends to Tudahl's book as he has indeed created a psychological portrait of this intensely restless creative individual, this equally intensely private person who willingly created a wall of isolation in order to focus solely upon his art as a means to communicate with the world, obsessively recording daily, transcribing his life into music.
Over and again, we hear stories from his collaborators of his tireless work ethic and seemingly impossible demands, which were often as frustrating as they were inspiring to life altering. We still hear the now familiar epiphanies extolling how Prince never required anything of others that he would not place upon himself, and in doing so, he pulled a level of performances from them they never thought possible, therefore revealing to themselves the fullness of their respective potentials.
That being said, there are a the copious juxtapositions when existing within Prince's orbit, as one would be forced to deal with and navigate a variety of his personalities. Generous and stifling, jovial and uncommunicative, lavishly adoring and cruelly dismissive plus even more were always on the table and Tudahl's book presents it all--yet, not in a lascivious, exploitative fashion. Purely journalistic and one that allows us a wider canvas in which to view this artists during a time period which would prove to be exceptionally turbulent.
How did it feel to be a member of The Revolution and therefore witness how Prince, Wendy and Lisa essentially became a band within the band? How did it feel to be a member of The Revolution and suddenly see their ranks expand to 12 members once Prince's collaborations with Shelia E. continued to blossom? How did it feel to exist in a constant cycle of rehearsal, recording and performance with songs at the top of the charts and a smash hit movie at the box office and still not personally seeing the more than deserved financial compensations for oneself? How did it feel to be within a relationship with Prince that was professional and romantic, resulting in promises made for a collaborative album but be put off and re-prioritized over and again?
Again, Tudahl has created works exceedingly well as a psychological portrait in which the threads from Prince's difficult upbringing can easily be found within his adult relationships, both personal and professional and especially when the lines become blurred and newfound global fame, monetary riches and voluminous pressures are added into the mix. To be able to create at Prince's masterful level is one thing but to view that reality through the prism that he had amassed a one-man industry which now held the lives, finances and security in the balance over those who worked with and for him--and still within his late 20's at that--must have felt to be near impossible, making his more controversial behaviors understandable even as they are painful to even emotionally abusive.
Even further, there were points when I wondered if perhaps Prince may have existed within the high functioning area upon the autism spectrum due to his ability of utilizing music as his most effective form of communication where standard interpersonal cues so often failed him. And that, actually leads me to the next level that Duane Tudahl so expertly presented in this volume.
As much as Tudahl's book is about success, it is also a book about failure. After all of the success of the "Purple Rain" period, this specific time period is one of artistic transition, and turbulent change, often resulting in hardships that Prince did not anticipate. Subsequent singles did not chart as highly, critical and fan responses to his rapid stylistic changes were not always embraced, "Under The Cherry Moon" was a critical and commercial let down, his vision of a triple album masterpiece was rejected and forced to be reconfigured, tenuous relationships became increasingly fractured, his engagement to Susannah Melvoin ended and The Revolution was disbanded.
All of this material is given equal weight to the music that was created and deservedly so, for there were real human lives and feelings at the core and Tudahl's recognition of these people and their feelings, especially for individuals that felt to be so indestructible, gave the book a powerful sense of empathy and humanity, that was bracing, urgent and even sorrowful to read. But even then, Tudahl is not finished as the book, as much as it is about failure, it is a book about perseverance. Because from every setback, we see how Prince re-grouped, placed one foot in front of the other and continued to move forwards.
Duane Tudahl's Prince and the Parade & Sign O' The Times Era Studio Sessions 1985 and 1986 is a staggering, and again, essential work for anyone who has ever loved, or has even been curious about Mr. Prince Rogers Nelson. Filled with anecdotal riches and bottomless integrity, it is continuously illuminating as it is compulsively readable, making me anxious for whatever arrives in the third volume, while also inviting me to read it all over again.
And as for Duane Tudahl, this is a massive undertaking in which he has proven to be the absolute BEST person for the job, making himself a literary/scholar contemporary of author/historian Mark Lewinsohn's legendary work chronicling The Beatles.
As a lifetime Prince fan, I wish to reach out and shake Tudahl's hand and personally thank him for committing himself to ensuring the life, art and artistry of Prince is commemorated and preserved so highly and brilliantly. -
Exceptional work. It's hard to beat Duane's last book, but by (Bob) George he's managed to do it. A detailed, thorough, hilarious, sad and hugely profound covering of perhaps Prince's greatest ever period. An absolute must read for any Prince fan. To paraphrase Spinal Tap, Duane has turned it up to 11 with this one. Buy it, buy a copy for your best friend and then buy it again in case you lose the first one!
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For those who purchased Duane’s previous tome detailing Prince’s work off the back of the “1999” era, through the heady heights of “Purple Rain” mania and into the bold and wonderfully creative 90 degree turn of “Around the World in a Day”, you’ll already have some clear idea of what you’re getting here and won’t be disappointed.
This books expands upon its subject by adding considerable contextual flavour to the masses of Studio documentation provided that could at times make the previous book feel a little formal and rigid. While the quotes are welcome, they can feel a little clumsily in their placement - in some instances, even repeated several pages on. It seemed a little strange that these things were not picked-up during the proofreading stage but hopefully the overall text will be tightened-up for the inevitable revised and expanded edition that will no doubt follow. The addition of these contextual touchstones however are most welcome. There are a few grammatical errors and typos that surprise - in the previous volume this never seemed to be an issue - but these small quibbles aside, it doesn’t detract from what the book sets out to deliver: facts. And there are plenty of them to sink one’s teeth into.
Duane’s respect for the subject at hand, the vast legacy of Prince’s work - not to mention innumerable iterations of any one song - and the players involved is obvious. But what may be overlooked is his attention to the aesthetic of these books - he has chosen his Publishing House wisely and - no doubt with a nod to Prince himself - much time and care has obviously been spent on how the work is presented. Everything about it exudes quality - from the choice of paper stock and clever cover design, down to the placement and colour choice of the title emblazoned upon its spine. (If U know…U know)
The one thing I will state with regards this First Edition print run of the Hardback is that its pagination is SO big, the binding struggles somewhat [mine gave way the day I started reading it, but thankfully due to the quality paper stock, it didn’t separate from its cover, just the spine. A little super glue will sort that], but it’s something for the Publisher to definitely look into. I’m not hugely bothered by this as others may be as I’ll be purchasing the updated Paperback version further down the line anyway - I respect Duane’s work enough that I’m happy to support his efforts by purchasing both editions. (Yes, he really is that good - run, tell a friend).
You can devour it in a few days like I [and no doubt thousands of others] did, or pick it up and read an entry at random and usually learn something new. Case in point: “Play in the Sunshine”, one of my personal favourite Prince songs; was whipped-up quickly as nothing more than a song to bridge “Sign o’ the Times” with “Housequake” - yet much like the underrated yet wonderful “Christopher Tracey’s Parade” from the previous year’s “Parade” album, it’s some of the cleverest lyrics he ever wrote. But while creating Music was seemingly as natural for Prince as breathing, it doesn’t necessarily mean all of it is/was good, and that’s something this book in particular helps shine a light on at times.
What I admire about Duane’s approach is that he’s able to separate the fan from the author, and the star from the man. Remaining impartial is no easy task for any author at the best of times I’m sure, but Duane somehow makes it seem as natural to him as flowing water. Some “fans” (you know the ones I mean…) will no doubt not approve of some of the things recalled and stated here, but those people are never going to be able to separate Prince Rogers Nelson the human being from “Prince” the global rockstar and the pedestal they placed him upon. While these are more clarifications from those who were there than Earth-shattering revelations, it does allow us a glimpse at the one side of Prince he never wanted the world at large to see - that he was just as human and flawed as the rest of us. At times, He could be very harsh and cold to those around him - people that gave so much of themselves to enable him to do what he needed to do to get the music out. For some, these recollections may be bitter pills to swallow, but they simply reveal another layer of just how complex an individual he was and no matter how hard he tried at times, the Music was always his sole focus - even when he tried to divert his heart elsewhere, his creative id just couldn’t (or wouldn’t) allow him the freedom to do so for too long. “Lonely hearts, worlds apart…”
My only hope is that the Publisher understands that this is a longterm commitment - depending on whatever peanut butter’s your jelly some may see the future of these volumes as diminishing returns (and maybe access to such written records will start to become less easy to find and collate Post-Eighties work), and while there are many books about Prince, few are actually worthy of your money - Duane’s series is one that absolutely is. (I also highly recommend Touré’s wonderful book “I Would Die 4 U” that provides a truly insightful read from a Black perspective).
This isn’t just another book churned-out for die-hard Prince fans, but one for lovers of all music. The fact alone that it opens with a wonderfully astute Forward written by Sir Elton John should tell you this is no ordinary Prince book (…let’s face it, Sir Elton John isn’t going to lend his name to just anything).
If you’re a Prince fan, you NEED this book.
If you’re a Music fan, you NEED this book.
I for one very much look forward to to further deep-dive explorations into Prince’s work, I hope the Publisher will allow Duane to take us there with him. -
Great book, but whew! 700 pages of tiny print, covering just 1985 and 1986. Learned a lot of cool things about Prince--like I had no idea what a Joni Mitchell fanatic he was. He loved her line about "All I want is the gift of your extra time" which of course he rephrased in his song "Kiss." Great story about him inviting her on stage to sing Purple Rain. She balked and said she didn't know it well enough, and you can just hear his little high-pitched voice whining, "Aww, c'mon, Joni, it's just Purple Rain, Purple Rain, Purple Rain, Purple Rain..."
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While reading Duane Tudahl's chronological account of two years of Prince's life, I often thought to myself that I never wanted it to end. Happily, it ended on the right note. The epilogue closed with these words: "Prince knew that expectations were high for his next move... but that is a story for another book." When I read those words, I actually involuntarily shouted out loud: "YEAH! YES!" I already want to pre-order whatever Tudahl is going to put out next. That guy deserves a Pulitzer Prize.
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This review appeared in the Washington Independent Review of Books.
By Daniel de Visé
I grew up with Prince in the 1980s, and I can attest that most of us did not regard him as the greatest musical artist of his era. Michael Jackson and Madonna seemed bigger stars. R.E.M. rivaled Prince for supremacy in college dorm rooms, and U2 ultimately overshadowed him on rock radio and MTV.
“I’m not saying I’m better than anybody else,” Prince once said, explaining his decision to forego award shows in those Joshua Tree years. “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.’”
“Housequake” is, of course, the third track on Sign o’ the Times, released in 1987 as the second double album of Prince’s prolific career.
Only later did Prince emerge, not only as presumptive winner of the perennial Prince vs. Michael Jackson debate, but as arguably the preeminent musical artist of the Reagan decade and one of a few truly immortal pop stars of the 20th century.
Prince Rogers Nelson grew up in Minneapolis. He learned the guitar, the piano, and nearly every other instrument without a mouthpiece. He harnessed the melodicism of Joni Mitchell, the rhythm of Sly Stone, and the virtuosity of Carlos Santana in a series of genre-busting rhythm-and-blues albums of ascending quality, starting with For You in 1978 and ending with the triumphal Purple Rain in 1984.
Prince continued to churn out a record a year throughout the 1980s. To some extent, the Prince legend hinges on those post-Purple Rain releases, evidence for or against his enduring artistic supremacy.
None of them approached Purple Rain in sales, but critics hailed Sign o’ the Times as a stunning return to form, a sort of coming of age for the former pop wunderkind. At year’s end, critic Robert Christgau wrote that Sign o’ the Times had “established Prince as the greatest rock and roll musician of the era.” In the decades since, Times has only risen in stature. Many critics now regard it as the greatest of all Prince albums.
A new book by Duane Tudahl, Prince and the Parade & Sign O’ The Times Era Studio Sessions: 1985 and 1986, provides a definitive account of two heady years that followed Prince’s Purple Rain breakthrough, climaxing with his completion of a mammoth three-record set that would be pared down into Sign o’ the Times. The book serves as a companion volume to Tudahl’s 2017 release, Prince and the Purple Rain Era Studio Sessions: 1983 and 1984.
Prince richly deserves a multi-volume biography of the sort already available on Sinatra and Elvis. Tudahl offers instead a detailed diary and chronicle, reeling off copious notes on nearly every recording session and performance on the daily calendar of a man who seldom slept.
The Artist’s most ardent followers will read both volumes cover to cover. Casual fans may not want to plod through 600 pages of Prince session notes. Yet I came away from Tudahl’s new tome with a powerful sense of the essential Prince.
Tudahl reveals a man who spent nearly every waking hour writing, recording, or performing his music. Prince awoke with a song in his head, and he never left the studio until he had arranged and recorded it, typically playing every instrument and singing every part himself. A session might stretch for 10 hours, or 20, or 30. Prince stopped only to snack on Doritos and Toblerone, and he expected musicians and producers to match his pace.
When Prince returned home from a Minneapolis club with a beautiful woman on his arm, he would deposit her on a chair and return to his music. In a poignant scene from Studio Sessions, engineer Susan Rogers recalls walking into Prince’s kitchen and finding a nude woman making coffee. Returning downstairs to the studio, Rogers tells Prince, “There’s a naked woman in your kitchen.” Prince replies, “Yeah, she’s something, isn’t she?” He goes right on working.
Prince never topped the pop charts until Purple Rain, which sold 25 million copies and defined the summer of 1984 for young, urban hipsters. Tudahl’s book begins as Prince awaits the 1985 release of his Purple Rain follow-up, the dreamy Around the World in a Day, and begins work on his second film, “Under the Cherry Moon.” The film would bomb, and the accompanying soundtrack, Parade, left Prince underwhelmed, although it included perhaps his very finest song, “Kiss,” a track his label attempted to block because it lacked a bass part.
Superstardom drove a wedge between Prince and his closest collaborators, singer-percussionist “Sheila E.” Escovedo, keyboardist Lisa Coleman, and guitarist Wendy Melvoin. Wendy & Lisa were a couple, and Prince became engaged to Wendy’s twin sister, Susannah. By the time he completed work on Sign o’ the Times, Prince had fired Wendy & Lisa. All four women found Prince impossibly remote, except in the studio, where they could commune through his music.
Prince could be generous with that music. He wrote and recorded entire albums for Sheila E. and R&B artists the Family and Mazarati in 1985 and 1986, giving away catchy songs that might have strengthened Parade or Sign o’ the Times. (He very nearly gave away “Kiss.”) And he was a tireless philanthropist, performing at hospitals and children’s homes even as he endured withering criticism for snubbing “We Are the World” in 1985.
But Prince could be stingy with money. According to Tudahl, he paid Wendy & Lisa only $800 a week and posted massive charges against Sheila E.’s tour earnings, leaving her deep in debt at the height of her fame.
Tudahl urges the reader to play Prince’s songs while reading the book. I did, and I tried to fall in love with Sign o’ the Times. I bought all of the canonical Prince albums in the ‘80s, and I’ve long thought Purple Rain might be the finest record ever released. I consider Prince’s first double LP, 1999, a staggering achievement, as important a twofer as Stevie Wonder’s Songs in the Key of Life.
But I never regarded Sign o’ the Times as a great Prince album. The record stalled at number six on the Billboard album chart. Yes, critics love it, but I’ve seldom seen a used copy that looked worn from repeated plays. To my ears, little on either disc approaches the sustained magnificence of 1999 or Purple Rain.
Tudahl’s book didn’t change my mind about Sign o’ the Times. But Studio Sessions delves deep into the mind of a millennial Mozart, dissecting his craft and illuminating his demons. Like a great Prince album, it reveals the Artist down to his heart.
Daniel de Visé is author of King of the Blues: The Rise and Reign of B.B. King, coming in October from Grove Atlantic. -
2.5 stars. This book is not suited for audiobook format at all. There was a seemingly endless litany of data like which studio the song was recorded in, who the engineer was, the length of the song, and how many tapes were created from the recording session. It made for a very tedious listening experience. There was also a lot of statements like: “it is likely that,” “it is unknown if,” etc. that makes the information included feel somewhat questionable. In the midst of all the itemized lists there was some interesting information that redeemed the book somewhat but overall I was disappointed.
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The definitive chronicle of one of the most astonishing feats of creativity to ever emerge from a human mind.
Tudahl is doing the lord’s work. -
To say
Duane Tudahl went above and beyond in his research for
Prince and the Parade and Sign O' the Times Era Studio Sessions: 1985 and 1986 is saying the sun's surface is hot.
Tudahl, having a long history as a filmmaker, editor, producer and director, was the practical de facto choice to author a book about Prince. And this was his second on the subject of the Minneapolis genius. I've never read a book so fast in my life as I did this one. The amount of information, whether from studio work orders, or the people who were there, is simply overwhelming. Yet Tudahl weaves the facts an engaging and page-turning narrative about Prince's career and personal life during the two years covered in the book.
If you're a Prince fan, this is your book to read (behind
Prince and the Purple Rain Era Studio Sessions: 1983 and 1984 of course). -
The sequel is just as good as the original. Once more, the author combines studio logs with plenty of they-were-there interviews to show Prince's progression - this time, from Purple Rain superstar to once-more solo artist. Everybody has lots of praise for the man, but there's plenty of negative takes to counteract what might otherwise just be shallow hagiography. He was by turns insecure, needy, unapproachable and an asshole, and this book displays all of this prominently. But he also could be a fun guy, a good person, and an incredible musician, and this book shows that just as much.
Sign O' The Times is my favorite album, and I loved reading about how the songs on there came about, and how the album took shape. I also liked reading about the Madhouse project, which is something I've loved since its release. Finding out all about it from the people who took part in it (it was conceived, written and recorded in sixty hours?!) was a great bonus.
If you're looking for a quick portrait of the artist, this is probably way too much detail for you. But if you're interested in learning about how the man made his work, this is top-notch stuff. -
You take my all-time favorite artist and add my all-time favorite album (or albums) and it's a recipe for five stars. Tudahl's chronological format is well-suited for these particular years and this era within the Prince canon. So this book contains much more than just the making of some songs. For starters, Prince was creating music NON-STOP. Almost new songs every day for two consecutive years. To that end, we learn the backstory to some hits (like "Kiss") and other nuggets like happy accidents (see "Forever in My Life"). We also see the impact that Prince's work ethic had on others including, of course, his on/off-again fiancee, Susannah Melvoin, but notably engineer Susan Rogers.
Like I've mentioned elsewhere, Prince was a real piece of work. Anti-social, insecure, controlling and kind of jerk. Doesn't make me love his work any less though. It does appear as though Duane is planning a third book--and I can't wait to see which albums it covers. -
A sizable tome, but it's readable throughout: you're left thinking that there are few better ways to understand Prince than to see his life through the lens of the recording studio, which was always his temple. Based on Susannah Melvoin's accounts of her life with Prince in Chanhassen, the studio was essentially an extension of the bedroom. Whatever was happening in Prince's life, it found its way directly and immediately onto tape; he lived in a world of music where, it seems, what the rest of us consider "real life" was like a shadow on a cave wall.
I reviewed Prince and the Parade and Sign O' the Times Era Studio Sessions for The Current. -
Impeccably researched, Prince at the crucible, a great man at work: obsessive, funny, clearly loved but also controlling, cruel and often with little regard for others with all his will bent towards the creation of brilliant, original music. Like the first volume of the Studio Sessions this charts the tracks and how they came about. I loved reading this book - it's exilierating, and hard to put down but when my eyes were tired I put on the SOTT Remasters, and listened to the tracks (many from the vault) and imagined that studio magic running along in the background. Prince is a genius.
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Duane Tudahl has done it again! Just when you thought his examination of Prince's Purple Rain was thorough, he doubles down to explore Prince's post-Purple Rain transformation via Around The World In A Day, Parade, and his opus, Sign O' The Times. His examination of arguably Prince's most creative period is is first hand account made up of countless of hours of interviews to tell the story of a pop star who sought to be so much more. If anything, Tudahl's latest offering is an exploration of Prince's tireless pursuit to bring pop to art.
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Been reading it on and off for a while. It is a lot to digest but as with the PR sessions, Duane’s attention to detail is phenomenal. I enjoyed this very much even if it took me longer than I planned to finish it. That is always a good sign because it means there was so much to it that I had to take time to process it. I wish I had the dedication Duane has had to this, I have spent years studying music, mostly because of Prince, but the work Duane has put in and others like Per Nielson before him, is exactly that…work! And they definitely did what they do amazingly well! Thank you!
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As much as I loved Tudahl’s first book in this series, this is even better. The music covered is to my ears, better, and Tudahl has so much behind-the-scenes info about the sad destruction/implosion of the Revolution, vital for any Prince fan. His research feels deeper on this book, too, and he got pretty much *everyone* connected to Prince to speak on the record. Very deep, very granular, and incredibly essential.
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As he did with the first book of these sessions series, Tudahl again goes into exhaustive detail of Prince’s life over a twenty-four month period. This book tells every song he worked on in 1985 and 1986, and how the music reflected what was going on in his world, his relationships and his interaction with his bands. For a lifelong Prince fan like myself, this is a feast indeed.
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The second Prince studio sessions book is as essential as the first! It's everything about what happened in 1985 and 1986 on the road and in the record shops as well as in the studio making so many albums under various guises.
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This and the Purple Rain sessions by Duane Tudahl are the two most incredible books I've EVER read about Prince! I LOVE the attention to detail! I've been looking for books like this my entire life and I'm so glad I found them!
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What an amazing musician. Duane Tudahl has done a great service to the legacy of Prince by simply revealing how the man spent his days. It’s no hagiography, but it’s a portrait of a genius at work in service to his gift. Highly recommended.
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Highly recommended if you or someone you love appreciates music minutia combined with a slow dramatic subplot about relationships. Combines interviews with just enough speculation to create something as cinematic as the book’s main character.
