Why no new TIME albums?
FBEAGCFBADGCBEAD
they have been a hard-working touring band all this time, no doubt, but shit at
least they could cut a fuckin' album on a portable studio or something, and
burn it to CDR's and sell it at the gigs at least, CAN I GET AN AMEN?!
MG
as the name of the group.
Who owns that name? WB or Prince?
Ernest Experience Radio Show
do w/ The Time's lack of a new CD in 12 years. Monte Moir told me that
there are a "lot of dynamics" involved in The Time, and "a lot of things to
filter and sift through when recording as The Time". Plus a lot of people
are doing a lot of things. He said it would be great to put out another
Time record, and he does recognize that it's been a terribly long time for
such a group to not have a new record out. Terry still occasionally sits in
w/ the band on tour (when I saw the Time in Mpls at The Quest in 1997, he
was there playing). But not having a lot of contact w/ Jesse (Jellybean
does talk to him more often, but still not much), plus Jimmy and Terry
producing everyone left and right, Monte writing and producing, plus what
members are there touring........the schedule just doesn't permit it.
When they recorded Pandemonium, Monte said they went to Paisley Park one
night and asked Prince for certain songs like "Chocolate" and other obvious
ones they wanted, and Prince pretty much said "Take whatever you want."
That's about the extent of Prince's involvement. They did that opposed to
using all new material partly because they wanted to stay true to the idea
of The Time in the beginning. There is no doubt w/ all that talent and
songwriting in the group that they could easily come up w/ either own funky
material sans Prince. I think even Prince would like to see a new Time
record out.
Sidenote: The Time did record some tracks after Pandemonium came out, but
it wasn't enough for a new CD, nor was any others ever recorded. Monte said
he hadn't talked to Jesse in a quite a long time (over a year I believe,
possibly twice that much). Corporate World was almost fully recorded and
was pretty much going to be just Morris and Jerome, but it was about that
time that Graffiti Bridge was in development and Prince called. So hence
that album never got to the light of day (thank God for bootleggers on that
one, right?).
--
Peace,
Ernest L Sewell, IV
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"MG" <mg...@csusm.edu> wrote in message news:3DBDAC6B...@csusm.edu...
Dan K
going to do anything else....
"
MG
cd is about to drop. They have been saying that for at least 8 years
now. I'll believe it when I see it at this point. -Mg
Ernest Experience Radio Show
Monte talked a few months ago. I do know this winter, which is upon us,
Monte plans to start work on the follow up to his This Side Of Paradise CD.
Janet Jackson is back in the studio working on her next album, which means
that Jam and Lewis are probably busy w/ her (if she's working w/ them
again). I would just think J&L would be in on the project. But since Monte
is still in the group, his side project(s) would seem to deter them from
doing much. But again.......who the hell knows. I just don't think a CD is
coming down the pipe. 1999/2000 would've been a great TIME to release a new
TIME record. Probably would've overshadowed Rave Un2 by a long shot. LOL
--
-The Ernest Experience Radio Show Team
Jolene Davies
were going to release a new CD entitled "Old Dogs, New Tricks". Then this
got removed and replaced by a general info piece about The Time.
"FBEAGCFBADGCBEAD" <drsmi...@aol.com> wrote in message
news:20021028153243...@mb-fw.aol.com...
Bart Van Hemelen
rumoured that "Ernest Experience Radio Show"
<eers...@nycap.rr.(notspam)com> spake thus on the subject of "Re: Why
no new TIME albums?" in alt.music.prince:
>When they recorded Pandemonium, Monte said they went to Paisley Park one
>night and asked Prince for certain songs like "Chocolate" and other obvious
>ones they wanted, and Prince pretty much said "Take whatever you want."
>That's about the extent of Prince's involvement.
See below for the real deal.
>Sidenote: The Time did record some tracks after Pandemonium came out, but
>it wasn't enough for a new CD
Then how come a certain someone on amp has got a copy of sucha CD and
has even posted a tracklist for it?
-----------------------------------------------------------------
An excerpt of a Time bio I was writing some years ago:
-----------------------------------------------------------------
In June 1989, Prince got together with Morris Day and Jerome Benton to
work on a follow-up to Ice Cream Castle, The Time's last album (from
1984).
The sessions went well, and by the end of the summer the album was
finished. Entitled Corporate World, it had Prince writing, producing
and playing most of the material, again under his guise of Jamie Starr
-- just like old times.
The ten tracks featured on the album were: "Murph Drag", "9 Lives",
"Donald Trump (Black Version)", "Love Machine", "Data Bank", "Shake!",
"Corporate World (New Soul Nation)", "The Latest Fashion", "Release
It", and "My Summertime Thang".
But even though the album was given a release date -- November 14th,
1989 -- it got put on hold.
This time it wasn't Prince's decision, but Warner's. The company
wanted the original line-up of The Time to be featured in Graffiti
Bridge and on their album. They hoped a reunited Time would catch the
audience's imagination, giving the film another selling point. After
all, Prince's popularity in the States had reached a pre-Purple Rain
level, and Warner Bros. feared to not even recuperate the costs of his
new movie.
Thus, in late 1989 the rest of the original line-up of The Time --
Jimmy Jam, Terry Lewis, Jellybean Johnson, Monte Moir and Jesse
Johnson -- got involved.
History / his story?
However, several members of The Time have a different view of history.
Jimmy Jam explained his interest in the project as follows to US music
mag Rolling Stone []:
"It was unfinished business. The Time got cut off before it's natural
life."
The story he told UK music weekly Melody Maker [] was closer to the
truth, and more or less correct, but incomplete:
"The record had some false starts, when everyone wasn't involved.
There was a time when Terry and I couldn't be involved because of
record company obligations. There was a time Jesse wasn't going to be
part of it. Prince has been a big cheerleader about this for a long
time. He was ready to work so he wanted to get Jerome and Morris in
the studio to give himself something to do. But I think he did it to
get us to do it. I think it was a psychological thing."
(Interestingly, Monte Moir also used the term "cheerleader" in
describing Prince's involvement when he talked to Jon Bream [The Face,
1990].)
And Dutch music magazine Oor got yet another different story from Jam:
"We called Prince in December to tell him we were going to record a
new album together. "It's really nice you're all back together," he
told me. A month later he called us, asking if we were interested in
playing club owners in his movie Graffiti Bridge."
Yet another version of the truth (and a truely unbelievable one) was
given by Terry Lewis to UK music monthly Select []. He claimed that
The Time reformed because Graffiti Bridge was originally slated to be
a Time movie rather than a Prince vehicle. That they ended up playing
crooks to Prince's picked-on, felt-sorry-for hero, wasn't part of the
original plan:
"In the end the story got lost and it became a Prince picture. But
that was cool. I think our rapport with Prince is better now than it's
ever been, because there's a mutual respect in the air. We're here
because we want to be. Plus we got to hang out for six months on
somebody else's budget."
This is of course total nonsense. The idea of Graffiti Bridge had been
around for several years, probably since 1987. It was never a movie
telling the story of The Time. After all, what was there to tell? That
Prince wrote nearly everything, played all the music, producing the
records -- i.e. that The Time were more or less Milli Vanilli avant la
lettre?
From Corporate World to Pandemonium
After in late 1989 the rest of the original line-up of The Time got
involved, most of the material recorded for Corporate World was either
shelved or reworked. Another batch of songs was recorded, this time
with all band members taking an active part in the writing and
producing of the revised album, called Pandemonium.
Only two songs remained more or less intact from the Corporate World
sessions: "Donald Trump (Black Version)" and "Data Bank". "My
Summertime Thang" was considerably reworked. Two old funk numbers by
Prince, "Jerk Out" and "Chocolate", were taken from the vault, and
five new songs were recorded.
Four of the remaining Corporate World tracks turned up on Graffiti
Bridge: "The Latest Fashion", "Release It", "Love Machine" and
"Shake!". However, "The Latest Fashion" was completely reworked using
the melody of "My Summertime Thang", and has only the title and some
lyrics in common with the original recording.
The remaining tracks from the Corporate World sessions remained in the
vault: the funky dance numbers "Corporate World (New Soul Nation)" and
"Murph Drag" -- "murph" is slang for a thick roll of money -- and the
melodic rocker "9 Lives". Especially the shelving of the latter is a
mystery: it was one of the best tracks on the album, and was planned
as the first single release from the album. It was offered later in
the year to Cat, along with a song called "Cat And Mouse".
Recording Pandemonium
Even though they had ceased to be a band half a decade earlier, they
claimed there weren't much problems when they got back together.
Terry Lewis told Select []:
"We've improved in a lot of ways. First of all we're older and wiser,
more mature. Everyone has had a chance to take what he's learned in
his own career and apply it now to where it all started. It's really a
best-case scenario here. Nobody really needed to put The Time back
together, but everybody wanted to. That makes it a great experience
all round. We take the musicianship and the craft of what we do very
seriously, but when the seven of us get together it's naturally a
party, fun kinda situation."
Jimmy Jam told Oor []:
"We've never lost track of each other and remained friends, even
though we were all busy on our own projects. And we still had
something to communicate, we thought, because we were prematurely cut
off. There were a lot of songs we wanted to play, and we also wanted
to have a lot of fun together. We carry that from the record on to the
stage."
To which Jerome Benton added:
"We're entertaining ourselves as well as the crowd."
Jam also told Oor []:
"There's a big difference between what Terry and I do as producers and
the role we play in The Time. As producers we look for the sound that
works best for a certain artist. But when I'm in The Time, I'm not a
producer, I'm a musician. There's nowadays much better technology on
the market and you can hear this in our album, much more than a new
way of producing. But we still used analogue tape, played nearly
everything on real drums and tried to record as much as possible in
one take, without overdubs. We composed most songs when we were
working together in the same space. Terribly oldfashioned, but as far
as I'm concerned the only way to really produce the funk. The way they
make records these days, with a sequencer here and a sampler there,
reminds me of a meal straight out of a microwave. We're chef cooks
working in a gourmet restaurant."
Jimmy Jam in Rolling Stone []:
"None of us individually is going to make an album that sounds the way
a Time album does. I think The Time brings to the gametrue
musicianship and the concept of a band -- something that was sorely
lacking during the latter part of the 1980s."
Lewis:
"Everything is cool with Prince. Prince is a great guy. We've had our
differences. Maturity and time clear up those things. And respect
respects respect. As long as he gives me some respect, I'm going to
respect him."
Lewis:
"Whether the record becomes a hit or not, we felt we'd made a
successful record when we left the studio. Whether we do another will
be based more on our own feelings than on the public's reaction. If
the public loves it, that's great; we're happy. But we're happy that
it's gotten to this point. If this is as far as it goes, we feel like
we've accomplished what we've set out to do -- and everyone can go
home."
Was Prince involved?
On the album, Prince never gets direct credits for composing or
producing tracks. But he was heavily involved in the making of the
album, although not all Time-members are willing to admit it.
Morris Day for instance, won't comment on it. He told Melody Maker:
"I'm drawing blanks on that."
Instead, he insists Pandemonium is the first "real" Time-album:
"We had control over the song selection, song production, songwriting.
It's definetely 100 per cent pure Time. In rare form."
Other Time-members however are less candid about Prince's alleged
help.
Jimmy Jam told Melody Maker:
"Prince's involvement or non-involvement is a hard thing to put into
terms. He is a big fan of the band. Prince is a big part, a silent
partner, so to speak, in what we do. Always has been, always will be."
"One of the first things that happened when we decided to do the
reunion, was that we decided to get Prince involved in any way he
wanted, whether he wanted to be there to bounce ideas off, or sit in a
room with us while we wrote our songs. That's why it's kind of a
cloudy thing. It's not defined on our record as far as production
credits go. It was produced and written by The Time, because that's
what it was. I mean, individuals came up with the songs, but we'd like
to keep it as a group thing."
Jam went even further in The Face []:
"For us, Prince is the eight member of The Time. He's been very
influential. It's sort of like we're his sons and he's the dad."
[To continue Jimmy Jam's line of thought: should we then call Prince
"Father Time"?]
Prince on Pandemonium: the evidence
But even if the band members are reluctant to admit Prince's
involvement in the album, the evidence that he played a major part in
it is all over the place -- especially in the liner notes.
After all, why would The Time record their reunion album in studios
like Paisley Park and Sunset Sound (one of Prince's favorite studios),
when some members own themselves renowned recording studios? Jimmy Jam
and Tery Lewis own Creation and Flyte Tyme Productions, and Jesse
Johnson has Jungle Love.
Let's also not forget that the liner notes to Pandemonium claim all
songs were "produced, arranged and written by The Time", and that
could be a cryptic way of giving Prince credit. Doesn't he own the
rights to the name "The Time", the group he created and molded?
On top of that, five songs are registered with Tionna Music, the
publishing company Prince always uses when composing for (or with) The
Time: "Jerk Out", "Donald Trump (Black Version)", "Chocolate", "Data
Bank" and "My Summertime Thang". It is now generally acknowledged
Prince has (co-)written these five songs, and was very likely involved
in the recording and the production of them.
"Who wrote that?"
There is further evidence that Prince was involved in these
aforementioned tracks:
"Jerk Out" [the first single from the album, with a video directed by
Julien Temple] has been around for several years. The track was
originally intended for What Time Is It?, The Time's second album.
Prince recorded the track in April 1982 under his pseudonym Jamie
Starr. It got shelved.
It got picked up in the summer of 1985 when sessions for Mazarati's
debut album were held in Paisley Park. Mazarati were a Minneapolis
rock-funk outfit discovered by Revolution bass player Brown Mark and
signed to Paisley Park Records. Prince updated the track for them, and
even recorded their vocals. After Mazarati singer Sir Casey Terry had
heard The Time's version of the track in 1990, he complained to Jon
Bream in The Face []:
"Prince took the same tracks he had made with us, and just substituted
Morris's voice for mine. That's still us on the back-up vocals."
This is a bit exaggerated, to say the least. The Mazarati version --
which surfaced at the beginning of the 1990s on some bootlegs -- is
indeed very similar to The Time's version, but it's not the same.
Prince probably re-recorded "Jerk Out" with some members from The
Time, using the Mazarati version as a lead. So why's Casey Terry
alleging Prince took their recording? Maybe he has a king-sized axe to
grind with Prince? After all, Prince took their version of "Kiss" from
them and made it a hit, and left them with a inferior song, "100 MPH".
[By the way: On the end credits of Prince's 1990 movie Graffiti
Bridge, "Jerk Out" is credited as been composed and performed by The
Time.]
"Donald Trump (Black Version)" is a very Prince-style ballad, to say
the least, and features a sax part by Dutch girl sax player Candy
Dulfer. She worked with Prince in Paisley Park in the summer of 1990,
and claimed in interviews she gave afterwards that she worked not only
on Prince-tracks but also on songs for other Paisley Park-artists like
The Time and Jill Jones. On Pandemonium, she is given a general credit
for playing sax. Besides in "Donald Trump (Black Version)", she can
also be heard in "Data Bank" (and in "My Summertime Thang"?????).
"Chocolate", the second single, is a thight funky jam, originally
rehearsed for Ice Cream Castle (1984). There exist two rehearsal
versions, both sung by Prince in a Morris Day-like voice. The first is
somewhat rougher, and contains a few more cues and instructions from
Prince. At the end of the second version, Prince delivers some
improvised lines about "green beans, cabbages...", which were included
in the released version by The Time. (Prince also used those ad-lib
lines in his version of James Brown's "Get Up (I Feel Like Being A)
Sex Machine" at his First Avenue concert on 14 August 1984.) The song
concerns a frustrated love as in "Irresistible Bitch", and was even
offered to Miles Davis at one point.
"Data Bank" was originally an instrumental jam with a few perfunctuory
lines at the beginning, dating from Prince's work with The Revolution
in 1986 and intended for inclusion on Prince's Dream Factory, an
unreleased album project from 1986. When Morris Day, Jerome Benton and
Prince got together in the Summer of 1989, they recorded a new
version. When at a later stage the rest of the original line-up (Jimmy
Jam, Terry Lewis, Monte Moir and Jesse Johnson) got involved, "Data
Bank" was re-recorded again, now featuring Candy Dulfer on saxophone.
"My Summertime Thang" uses the same music as "The Latest Fashion" on
Prince's Graffiti Bridge. Therefore, the credits for "The Latest
Fashion" can be used as an indication of Prince's involvement in "My
Summertime Thang".
"The Latest Fashion" is composed by Prince and published by
Controversy Music. The track is produced and arranged by Prince with
The Time, while Femi Jiya, Tom Garneau and Michael Koppelman recorded
and mixed it at Paisley Park. "The Latest Fashion" is performed by The
Time with Prince, and features Candy Dulfer playing saxophone. Crowd
noise is provided by Jerome Benton, Robin Power, Tom Garneau and
Michael Koppelman.
"I didn't write that!"
The songs Prince didn't (co-)write are published by the Time-members
own publishing companies.
"Pandemonium": Although sounding very much like one, "Pandemonium"
isn't a Prince-penned tune but one written by one of his best
imitators (Jesse Johnson) and by Jimmy Jam & Terry Lewis. Published by
Crazy People Music (Jesse Johnson) and Flyte Tyme Tunes (Jimmy Jam &
Terry Lewis);
"Blondie" and "Skillet": heavy funk rock with loud guitars, typical of
Jesse Johnson's own personal taste. Published by Crazy People Music
(Jesse Johnson) and Flyte Tyme Tunes (Jimmy Jam & Terry Lewis); on the
end credits of Graffiti Bridge the trio are credited as the authors of
the song!
"It's Your World": sounds like an outtake from Janet Jackson's Rhythm
Nation 1814 album (wich was mostly written and produced by Jam and
Lewis), so it's no wonder it is published by Flyte Tyme Tunes (Jimmy
Jam & Terry Lewis);
"Sometimes I Get Lonely": Published by Monte Moir Music (Monte Moir)
and Flyte Tyme Tunes (Jimmy Jam And Terry Lewis).
Remarkable is the omnipresence of Jimmy Jam And Terry Lewis, while
they only got involved in the making of the album at a later stage.
Another split...
But The Time never gave the reunion their best shot. A big factor in
their second demise was Jam and Lewis's desire to return to their
Flyte Tyme projects. Other hindrances were Jesse Johnson's drug
addiction and personal problems.
This did not stop, however, the organisation of a small tour. Dates --
or more accurate, showcases -- were played in Japan and London in
September 1990, among them an incredible secret show at London club
Subterrania. The concerts were rapturously received, but the band
drifted further apart, and split up again in early 1991.
At the same time, Jesse Johnson's personal life got ugly. He was
arrested in his hometown of Minneapolis, on a charge of threatening to
kill his wife and attempting suicide. [More info on Jesse Johnson.]
--
Bart Van Hemelen
http://pr1nc3.com/BVH/
----------------------------------------------------------------------------
Looking for answer? Why not try:
http://www.prince.org/faq/
http://www.prince.org/
http://pr1nc3.com/google.asp
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"History has shown that one of the best deterrents to pirated product is
providing legitimate product at appropriate prices. In the music industry,
we have already seen that people will gladly pay fair prices for
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to a vast number of Disney employees, 2000
Full text @ http://www.2600.com/news/display.shtml?id=326
Bart Van Hemelen
rumoured that "Ernest Experience Radio Show"
<eers...@nycap.rr.(notspam)com> spake thus on the subject of "Re: Why
no new TIME albums?" in alt.music.prince:
>There are no legal issues w/ using the name. WB nor Prince have anything to
>do w/ The Time's lack of a new CD in 12 years.
Then how come a proposed Time compilation never happened and the guy
that was gonna do it ran into a legal wall of crap? Then how come Time
members told a certain someone on amp that Prince was blocking them
releasing a CD?
Ernest Experience Radio Show
member told me? HA! Keep thinking that Bert.
--
Peace,
Ernest L Sewell, IV
--------------------------------------------------------------------------
Brota bra men hemma bäst.
--------------------------------------------------------------------------
The Ernest Experience Radio Show - Episode 207 NOW playing as of October
1st, 2002
Is it a heatwave while dancing in the streets? Well get ready....cuz Motown
is in the house this month.
Also NEW: Uptown.Radio, so check out The Ernest Experience Online @
www.TheErnestExperience.net
--------------------------------------------------------------------------
AIM, Yahoo! ID's: ErnestSewell
MSN: ernest...@hotmail.com
ICQ: 116434445 or 44656218
--------------------------------------------------------------------------
"Bart Van Hemelen" <tenthousa...@yahoo.com> wrote in message
news:bp41su0kqmrbuup9v...@4ax.com...
Ernest Experience Radio Show
--
Peace,
Ernest L Sewell, IV
--------------------------------------------------------------------------
Brota bra men hemma bäst.
--------------------------------------------------------------------------
The Ernest Experience Radio Show - Episode 207 NOW playing as of October
1st, 2002
Is it a heatwave while dancing in the streets? Well get ready....cuz Motown
is in the house this month.
Also NEW: Uptown.Radio, so check out The Ernest Experience Online @
www.TheErnestExperience.net
--------------------------------------------------------------------------
AIM, Yahoo! ID's: ErnestSewell
MSN: ernest...@hotmail.com
ICQ: 116434445 or 44656218
--------------------------------------------------------------------------
"Bart Van Hemelen" <tenthousa...@yahoo.com> wrote in message
news:9351suo0vg1glakd7...@4ax.com...
Neversin
message news:OTov9.35775$c51.10...@twister.nyroc.rr.com...
> Sidenote: The Time did record some tracks after Pandemonium came out, but
> it wasn't enough for a new CD, nor was any others ever recorded.
"Old Dogs New Tricks" anyone...?
Neversin.
--
O(+>NIN<+)O
Neversin's ICQ#: 49439148
"A man's ethical behavior should be based effectually on sympathy,
education, and social ties and needs; no religious basis is necessary. Man
would indeed be in a poor way if he had to be restrained by fear of
punishment and hope of reward after death."
- Albert Einstein