Prince "Timeless" : A Quinn Martin Epilogue

From The Second Disc Newsletter:

 

Until yesterday, this was going to be a pretty standard review of Timeless (NPG/Paisley Park 19958 44929-2), the newest posthumous Prince project, arriving just over a decade after his tragic passing. You would read about how unusual it is at this juncture to release a short compilation of unrelated outtakes from the Minneapolis icon’s storied vault, one not curated by him or guided by his examples, one that reminds you of projects we’d love to have on our shelves – a pre-1999 deep dive, a complete presentation of his final concerts (or any of the many, many tours not represented on record).

And then the horns blew.

As I broke down in a report for Ultimate Classic Rock, horn player Greg Boyer, who performed with Prince’s touring band The New Power Generation during the 2000s, let slip on Facebook that his contributions to one of Timeless‘ tracks, a funk number called “Calabama” that dated to 2003, were in fact recorded “several months ago,” a fact not noted in the package’s liner notes. (The other two brass players, Adrian Crutchfield and Lynn Grissett, didn’t take up with The NPG until the last few years of Prince’s life, the first sign of a fudge in the timeline.) Charles F. Spicer, Jr., one of the co-chairs of The Artist’s estate management company Prince Legacy, took to X to corroborate Boyer’s claim. “I stated that nothing had been edited or added to ‘Calabama,'” his statement read. “I’ve since confirmed that the released version includes additional horns, so that statement was not accurate, and I will take responsibility for what I stated.”

The already uneven presentation of Timeless – succinctly eviscerated for its haphazard sequencing, slight portions, and middling repertoire in Rolling Stone, Minneapolis public radio station The Current, and by former Allmusic senior editor Stephen Thomas Erlewine – suddenly seems like less of an affront to Prince’s output and legacy than the wanton shattering of one of his guiding principles: a centering of his artistic vision, uncompromised by outside ideas. This may sound dramatic, but it’s true. Posthumous knob-twiddling is nothing new, and many Prince outtakes – including all the ones on Timeless – are often newly mixed. But this lack of transparency casts a dark shadow over the current estate administration’s already-questioned ability to tell a story through Prince’s music.

The releases that predate Prince Legacy’s involvement in the estate – titles like Piano & A Microphone 1983 and Originals as well as deluxe editions of 1999, Purple Rain and Sign O’ the Times – were touted as accurate representations of Prince’s theoretical output. There were shaky moments, sure – reportedly, the fan-favorite 1999 outtake “Extraloveable,” later re-recorded for Prince’s final album HITnRUN volume two, was allegedly barred from inclusion on the box due to objectionable lyrics – but there never felt like any doubt that what you were hearing was tracks that Prince himself put together. The misrepresentation of posthumous overdubs – even ones done in ways or with musicians he easily would’ve called to contribute – calls that veracity into question forever. Fans deserve better, and so do we. With the current leadership of the estate at the helm, The Second Disc does not expect to cover future titles pertaining to Prince’s catalogue, unless actual honesty and integrity can mark its every project.

This will no doubt be a challenging bar to clear. The estate’s other co-chair, L. Londell McMillan (the typical “bad cop” in the estate’s external presentation, responsible for much of the pomp around their often headache-inducing decisions), recently gave an interview to Rolling Stone to coincide with this album’s release covering a wide range of topics (including the bizarre challenge that most fans are so disinterested in listening to archival Prince box sets, instead just buying them and never even opening them). When asked about what the Prince estate can learn from recent financial successes from the Michael Jackson estate (including a woefully error-ridden but financially successful biopic), McMillan’s meandering answer suggested that Jackson’s remaining executor could learn from them. Considering Jackson’s team courted controversy over the veracity of songs on the first full posthumous album, perhaps we can call this one a draw.

 

"Timeless" Is Better Than The Last 20 Years Worth Of Prince Releases

 

Listen to another cash grab Prince vault release or have dental surgery?

I gotta say, this wasn't an easy decision.

Neither is much fun.

If you've been reading me for some time, you know I am not a disciple. I will be first in line to call out my heroes. My love is conditional. And let's face it, beginning in 2001 with "The Rainbow Children" and continuing through the unlistenable "Welcome 2 America" in 2021, Prince's output was godfuckingawful.

I can hear the disciples now, defending "Musicology" and "Lotusflower." 

Please, let it go. 

So why do I like the just released "Timeless?" 

Maybe it's because my expectations were so low, they were buried.

Yes, it's random. And it was haphazardly put together...or maybe it wasn't.

That it is chronological doesn't help my argument, especially after years of stressing how sequencing a record is so important. But with this release, I think it works. It lays it all out. 

Every song on its own is better than most of what is found on all of those weirdo experiments throughout the 2000's. Every song took me back to a period when I thought Prince was a god, maybe even thee God for a stretch. 

Is "I Am You" better than anything on Prince's debut? 

Yeah, a few tunes.

Is the original "Tick Tick Bang" better than the revamp on "Graffiti Bridge?"

I think so.

"Dirty Mind" is already amazing. Think about how much more amazing it could have been with "Tick Tick Bang" right before "Sister."

We love "Computer Blue" from "Purple Rain," don't we? "Heaven" is not much different.

I can't say I have ever heard Celine Dion's version of "With This Tear," but the version on "Timeless" is quite lovely.

"Stone" was considered for "Emancipation" and after hearing it twice, I think I'd considered it for one of my "Emancipation" edits I've made through the years.

My point is, nothing on "Timeless" is as terrible as most of those "proper" albums Prince released in the last 20 years. That's a bit backhanded, I know. But how about this? It's been years since I wanted to listen a new Prince album a second and third time. "Timeless" is the first in a while that called me back and it will be revisited again, and maybe again.

If a friend made you a Prince mixtape of rarities and it was "Timeless," you'd love it. 

 

 

 

 

The Summertimes Will "Save You Now"

 

 

The Summertimes are an Australian power pop band with a fantastic pedigree, featuring Davids Challenger and Beniuk doing the songwriting, Steve Bull from Icehouse on bass, and guitarist Ash Naylor, whose resume includes stints with Paul Kelly and The Church.

Their 2023 debut was released to critical acclaim and after one pass, you will understand why. Their forthcoming E.P. will also include Amanda Brown from The Go-Betweens and the first single from that E.P. caught me immediately.

"Save You Now" is a jangly masterwork that pushes all the right power pop buttons and that chorus will stay with you all day. 

Give it a few spins. You can thank me later. And when you're through, check out the debut HERE. 

 

Songs Of The Week, 2026: 8/22-8/28

 

Philly Freeze- Alvin Cash & The Registers
Little Wild One (No 5)- Marshall Crenshaw
Ride On Baby- The Rolling Stones
Don't Turn Your Back- Johnny Sayles
Mr. Cop- Gregory Isaacs
Boom, Boom Out Go The Lights- Little Walter
Goodbye Toulouse- The Stranglers

 

The Alvin Cash and the Johnny Sayles are just two of the many amazing tracks from that "Move With The Groove" compilation I mentioned last week or so. This is it, and you need to listen to it all.

Always loved this Marshall track. Like The Beatles' "No Reply," the subtle dynamic shift takes the song to another level.

There is a great Tommy Keene cover of the Stones "Ride On Baby" out there, but I enjoyed listening to "Flowers" so much last week, thought I'd go with the OG.

Okay, those are my quick notes. 

Now, dig it. 

 

It's HERE 

BW's Saturday #86: Zak's Bak

 

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"Kick Out The Jams, Burning Woodsters!" THE WEEKEND MIXES PARTS 5 & 6"

 

"We'll meet again, don't know where, don't know when!"

Okay rockers, these two ass-kickers conclude the rockin' project.

Thank you everyone for participating. I enjoyed every minute and loved (almost) every suggested song.

 

KOTJ Part 5

California Man- The Move
Jealous- Robert Palmer
Baby Won't Ya- MC 5
Saturday Night- John Waite
I'm An Adult Now- The Pursuit Of Happiness
In Love- The Datsuns
If I Can't Change Your Mind- Sugar
Little Doll- The Peppermint Kicks
Crystal Ball- Utopia
Precious- Pretenders
Powerman- The Kinks
Precision Auto- Superchunk
Harmony In My Head- Buzzcocks
Long Tall Sally- Barbara Greene
Don't Burst My Bubble- Small Faces
She's So Modern- Boomtown Rats
Perfect Day- The Saints
4th Of July- X
Monkey With A Gun- The Yayhoos
Reach Out I'll Be There- The Jaded Hearts Club
Devil With The Blue Dress- Mitch Ryder & the Detroit Wheels
Johnny B. Goode- Chuck Berry
California Man- Cheap Trick

It's HERE

KOTJ Part 6

Jailbreak- Thin Lizzy
Toys In The Attic- Aerosmith 
Kickin' My Heart Around- The Black Crowes
Happy- The Rolling Stones
Let It Rock- Bob Seger
Lovers' Walk- Elvis Costello & The Attractions
Anywhere's Better Than Here- The Replacements
Seven & Seven Is- Love
Jail Guitar Doors- The Clash
Parole- Todd Rundgren
Love Is The Law- The Seahorses
Heaven & Hell- The Easybeats
It Came Out Of The Sky- Creedence Clearwater Revival
Open All Night- Bruce Springsteen
T.V. Set- Spoon
Red Hot- Robert Gordon
Slow- The Reverend Horton Heat
Ugly Truth Rock- Matthew Sweet
Adam- Native Sun
Sweet '69- Babes In Toyland
Breadfan- Budgie
Revolution- The Beatles

It's HERE

 

 

The Strawberry Alarm Clock Is Back! (No, Really.)

 

There is a new Strawberry Alarm Clock record out featuring almost all of the original members. This wasn't particularly exciting news for me. I don't recall liking the "Incense & Peppermints" album very much, and I'm pretty sure I'd remember anything else that followed if it was worth remembering. Then, I saw that the new album, titled "Where's One?" was an ungodly 59 minutes long. I pretty much decided I wasn't going to bother.

But then I bothered. And I am glad I did.

First, "Where's One?" needn't be 59 minutes long. Two unnecessary Beatles' covers and two silly songs that close the album equal 20 minutes of time that ruin an otherwise very solid psychedlic pop record. Once I made my own personal edit, "Where's One?" sounded ever better than the first two passes. And truth be told, I forgot to remove one of The Beatles' covers, "Within You, Without You," and it's better than I thought.

I've been told that the first two records by the Alarm Clock deserve more attention. It seems the band was unfairly pigeonholed thanks to their one hit. From the sound of the new record, I think it's time to go back and give those records a chance. 

Neither the songs nor production here sound dated, or what I imagine the band's original albums might have sounded like. "Where's One?" could sit beside any current power pop band and occasionally kick some asses, to boot. And while there are a few sprinkles of trippy novelty, "Where's One?" will not leave you fishing for hooks. This is a very welcome return.