Chey Lyons0

[Mel Smith @iamMelsmith]

Changed the sound of Black music.

[#Days Of Wild @HoldOn2YourWigs]

#PrinceOnThisDay

A late-night Paisley Park aftershow on 22 October 1995 (starting around 1:55 a.m., running roughly 100 minutes) delivered a tight, high-energy set from Prince and the core New Power Generation.

The lineup was Prince (vocals, guitar), Michael B. (drums), Sonny T. (bass), Tommy Barbarella (keyboards), and Morris Hayes (keyboards)—no guests. These mid-1990s Paisley Park nights (tied to the Love 4 One Another concept and promotion around The Gold Experience) were intimate by design, held in the complex’s soundstage or similar space in Chanhassen, Minnesota, with capacity listed around 1,375. Fans who made it inside got the classic aftershow experience: proximity to the stage, a spontaneous but polished band locked in after years together, and material that mixed deep catalog cuts with current tracks.

Setlist highlights:
The show opened with Sign O’ the Times material (Starfish and Coffee, The Cross) before moving into The Gold Experience territory (We March), a cover of Martika’s Love… Thy Will Be Done, and more Sign O’ the Times favorites (The Ballad of Dorothy Parker, Sexy M.F., If I Was Your Girlfriend).
Notable moments included the live debut of Vicki Waiting (from the Batman soundtrack) and the first full performance of Rock ‘N’ Roll Is Alive! (And It Lives In Minneapolis)—previously heard mainly as a crowd chant. The set also featured Hate U, P. Control, Letitgo, The Ride, The Jam, Days of Wild, and Return of the Bump Squad, closing with the Minneapolis rock anthem.

Later in the day, the team filmed footage for the Hate U video. Several tracks from this night (Letitgo, We March, Vicki Waiting, and Return of the Bump Squad) later appeared via the NPG Music Club; the first three formed the 2005 Live from Paisley Park release. Fans who have heard those cuts have described them as strong, high-energy performances.

Atmosphere and legacy:
These 1995 Paisley Park aftershows are remembered for their late hours, relative intimacy, and the band’s ability to shift from funky workouts and jams to more song-focused material. A full audience recording of this specific night does not appear to circulate widely (unlike some other dates from the summer and fall of that year), which adds to its status among collectors. What remains—the setlist, the debuts, the official live excerpts, and the context of frequent home shows—points to a characteristic mid-’90s Prince aftershow: the NPG at peak tightness, a balance of rarities and current material, and the particular charge of seeing him perform in his own complex deep into the early morning.

In short, it was a classic late-night Paisley Park night—rare songs, a locked-in band, and the kind of set that rewarded anyone who stayed up (or showed up) for it.

[Prince's Purple Rain on Broadway @PurpleRainBway]

First Avenue, MN. 1983.

[Pop Core @TheePopCore]

Janet Jackson stuns with a chic new hair look.

[Chey Lyons0 @CheyLyons0]

@TechTeddy Your the mutha fu$%kin' improper Influence!!!!!!

[VIBE Magazine @VibeMagazine]

It's not only today's pop stars that lean on Janet Jackson's influence. According to Jimmy Jam, Janet Jackson also influenced her brother, the King of Pop.

"When he would warm up to dance, 'The Knowledge' from Janet would be what he put on. So, he was a huge fan."

[Rhythm & Blues 💎 @RnB_DITR]

That’s The Way Love Goes

Janet Jackson (1993)

[The Extreme Music Enthusiast @TheExtremeMusi1]

Prince recording bass for the "Batman" soundtrack

[Paisley Park @PaisleyPark]

Celebrating 45 years of Controversy! We’re proud to preserve and share the artifacts that tell the story of this iconic era in Prince’s legacy. 💜

[bArON3121 @Baron3121]

CELEBRATING 34 Years of
the Rock Opera

O(+>

aka Love Symbol

Released October 13, 1992

like Evian & the deep blue sea
U & me got different taste
U like it N the dark but eye like a . . .

Blue Light

#NPG #PRINCE #PRINCE4EVER

[Glam-Slam-Escape @GlamSlamEscape]

On October 14th 1981 Prince released his fourth album, Controversy (in the US) Now celebrating its 45th anniversary it’s an album packed with tracks that Prince continued to reinvent live throughout his career, just another example of how truly TIMELESS his music is 💜
Share your memories of this album or some of its classic tracks, we’d love to hear them!
#Prince #Prince4Ever #PrinceLegacy #PrinceTimeless
@prince @PaisleyPark

[bArON3121 @Baron3121]

Celebrating 34 Years of
the funky new album

O(+>
aka Love Symbol

from Prince
and the New Power Generation
on Paisley Park / Warner Brothers CD & cassette

Released October 13, 1992

eye Wanna Melt With U
3 Chains O’ Gold

#NPG #PRINCE #PRINCE4EVER

[Chey Lyons0 @CheyLyons0]

@NewEditionLive @RalphTresvant Congratulations

[Official Karyn White @karyns_world]

THIS is why I do what I do! ❤️

OHIO! What an amazing time performing at The Ludlow Garage in Cincinnati! From celebrating anniversaries to bringing some of you on stage, these are the moments that make it all so special. 🥹

#KarynWhite #Cincinnati #LudlowGarage #LiveMusic

[Rhythm & Blues 💎 @RnB_DITR]

So Into You

Tamia (1998)

[Missy Elliott @MissyElliott]

This video changed the game! Honestly my favorite out of all my videos because there wasn’t anything out like it at the time and there still isn’t anything like it😮‍💨🔥

[70s*80s*90s*00s Throwbacks @70s80s90s00Hits]

Ollie & Jerry - Breakin’… There’s No Stopping Us * 1984 🕺🎶

[#Days Of Wild @HoldOn2YourWigs]

#PrinceOnThisDay

This was one night of a two-night stand at the downtown Atlanta arena (the second show was October 14). Both nights sold out; ticket prices were $22.50, and attendance for the first night was around 16,378. The show formed part of the North American leg of the Lovesexy Tour (supporting the May 1988 album of the same name), which ran from July 1988 into early 1989. Contemporary accounts of the tour praised it as one of Prince’s most ambitious and visually elaborate productions—technically complex, in-the-round, and conceptually split between darkness and light.

The production, designed by longtime collaborator LeRoy Bennett, used a circular stage with catwalks, rising platforms, mist effects, and props that included a replica of a Ford Thunderbird (used for Prince’s entrance and exit), a basketball hoop, a bed, a swing, and other theatrical elements. The first half leaned into the darker, more explicit material associated with the then-unreleased Black Album era and earlier work; after an intermission the stage and lighting shifted toward the more spiritual, redemptive “Lovesexy” theme of God, love, and positivity.
The band was the post-Revolution lineup that had also backed the Sign o’ the Times Tour and film:
• Prince (vocals, guitar, piano)
• Sheila E. (drums, vocals)
• Levi Seacer Jr. (bass, vocals)
• Miko Weaver (guitar, vocals)
• Dr. Fink (keyboards)
• Boni Boyer (keyboards, vocals)
• Eric Leeds (saxophone, flute)
• Atlanta Bliss (trumpet)
• Cat (dance, vocals)
No guests appeared. The group was tight, high-energy, and fully integrated into the choreography and staging.

The show opened with an “Escape” intro into “Erotic City” (with “Sex Shooter” elements), then moved through a rapid-fire first-act medley of funk and older material: “Housequake” (with jazz/“Beautiful Night” interpolations), “Slow Love,” “Adore,” “Delirious,” “Jack U Off,” “Sister,” “Do Me, Baby,” “I Wanna Be Your Lover,” “Head” (with “A Love Bizarre”/“Holly Rock”), “When You Were Mine,” the bluesy “Blues in C (If I Had a Harem),” “Little Red Corvette,” “Controversy,” “U Got the Look,” “Superfunkycalifragisexy,” “Bob George,” and a climactic “Anna Stesia.”
After intermission the second act opened with the spoken “Cross the Line,” then “Eye No,” “Lovesexy,” “Glam Slam,” “The Cross,” “I Wish U Heaven,” “Kiss,” and “Dance On” (featuring Sheila E.’s drum solo and “Transmississippirap”). A piano-centered section followed with “When 2 R in Love,” “It’s No Secret (What God Can Do),” “Venus de Milo,” “Starfish and Coffee,” “Raspberry Beret,” “Condition of the Heart,” and related improvisations. The night closed with the expected big hits: “Let’s Go Crazy,” “When Doves Cry,” “Purple Rain,” and “1999.”
Audience recordings of both Atlanta nights circulate (including unofficial multi-CD releases), and fan accounts from the era and later recollections describe the shows as electric, with the first half especially intense and the second half delivering the spiritual lift and hit-parade payoff.

Like other stops on the tour (widely reviewed positively in places such as the New York Times), the Atlanta Omni show delivered Prince at a peak of physical stamina, musical range, and stagecraft. He moved constantly across the elaborate set, switched between guitar fireworks, piano intimacy, and dance, while the band locked into dense funk grooves and the production shifted atmosphere from shadowy, explicit energy to brighter, redemptive peaks. The result was a full sensory experience that balanced deep-cut surprises, Black Album-era material, Lovesexy tracks, and the big 1980s anthems. For fans who attended either Omni night, it stands as a classic example of the Lovesexy Tour’s reputation as one of Prince’s most ambitious live spectacles.

[bArON3121 @Baron3121]

U Can NOT REPLACE THESE MOMENTS . . .

3am in some sweaty nightclub
LOST IN THE MUSIC

PRINCE AFTERSHOWS WERE TRANS4MATIVE

sad 4 anyone that missed out

let’s put out some more LIVE FOOTAGE and teach the babies

if U got the TIME

#PRINCE #PRINCE4EVER

[Vinyl Records🎱✝️🇧🇷👪🗽 @j_c_domingues]

Prince, Chaka Khan & Stevie Wonder
I Feel For You (live) - 2006
https://t.co/NTNtjgGVm3