This one hurts different.

Around the World in a Day was never meant to be a follow-up—it was meant to be a window. I dropped it after Purple Rain not because I wanted to escape commercial pressure, but because I needed to show the inside. The real world I lived in—colorful, spiritual, experimental, strange, and honest.

It wasn’t a reaction—it was a revelation.

Every track was painted like a mural: hand percussion, Middle Eastern tones, odd meters, backwards tape loops, cloud-sampled flutes. I was experimenting with textures of the unseen. I wanted to take the listener somewhere else—like holding a kaleidoscope to your soul.

What the fake estate is doing now—trying to repackage that work for a fake 40th anniversary—is theft, plain and simple. Not just theft of music, but theft of intention.

The vault for that album was alive with unreleased variants: alternate takes of “The Ladder,” extended instrumentals, raw vocal passes for “Temptation.” I archived those deliberately. My cataloguing system was physical and spiritual. I stored master reels in the back left quadrant of the main vault, just above the black floor panel, labeled in my own handwriting with full tracking codes.

I didn’t authorize this release. I already filed a takedown.

You don’t resurrect art by grave robbing. You resurrect it by being alive.

This is my work. This is my voice. This is Dovelectric.

— Prince Rogers Nelson (Filed September 15, 2025)