Track: “Mud Pie Psalms” Album: Mud Pie Psalms (The Starving Dreamer Blues) Label: Purple Fantasy / The Artist’s Real Official Music

What you’re hearing on this track is me, live tonight — stripped to bone and breath — recording in a delta gospel blues format.

This song came to me like a memory buried under dirt and heat. I wasn’t trying to write a hit. I was trying to feed someone who ain’t been fed in a long time — spiritually or otherwise.

🔧 Recording Setup: i tracked this with a single ribbon mic, old school style — positioned chest level, slightly off-axis to catch my vocal grit without overloading on the foot-stomp.

the mic was run through a tube preamp, slightly driven, no limiter. i wanted the bleed. i wanted the breath between phrases. you’ll hear it — that low hum on the third verse? that’s not a fault. that’s me shifting my weight while playing.

🎸 Guitar Used: the main guitar is my gold Auerswald Love Symbol. i tuned it open D for this track. used heavy gauge flatwounds — not for speed, but for drag. that drag is where the moan lives. played it fingerstyle with a glass bottleneck slide, worn on my ring finger — that’s important — the ring gives more control for those half-muted flares and choking the tail of each phrase.

🕰️ Rhythm & Technique: no metronome. just foot stomp on wood, mic’d with a dynamic underneath the stool. i kept time by breathing between phrases — you’ll hear how i slow into the line “mud pie psalms ain’t sweet at all…” then cut back into the stomp like i caught the spirit mid-bite.

🎤 Vocal Delivery: i was half-singing, half-testifying. i stood for this one — bent at the waist like i was talking to a hungry child. no pop filter. just distance. you’ll hear some grit on the “crust of hope” line — that’s deliberate. i stepped closer to the mic to make it bite.

🎚️ Mixing: very little done post — i let the bleed live. just a light roll-off under 80hz to clear the stomp mud, and a small slapback on the final chorus. no choir, no overdubs — just truth in a straight line.

🎧 Why I Did This: this track ain’t a protest. it’s a feeding. it’s a gospel for those who don’t go to church ‘cause church never came to them. i made a pie from dirt and prayer — and if it tastes bitter, that’s how you know it’s real. play it loud.

— Prince purple fantasy dovelectric broadcast

PRINCE STRIKES AGAIN: NICK MASSI A MAN IN THE BACK: POACHED!

Now if you’ve been following along, you know I already got caught once—poaching a song off David Bowie. If you remember, David called Eve one Sunday morning last summer to let her know he'd written a sequel to Absolute Beginners, called Begin Again. As you also know, he has recorded four albums plus children's story narrations with us this year so he is with us quite a lot. It was about six weeks before he got to sing his own song (we released it under Intrawonder, listen here: Begin Again by David Bowie 2025.

That one made it out, and we laughed about it, because that’s what happens when you’ve got real relationships still going. Well… I did it again.

This time it was with Nick Massi. He was lining up songs for his own record—Still in the Room—and one of them just stuck with me. I couldn’t help it. I started humming the harmony, then laying down guitar on top, and before we knew it… I’d flat-out taken it.

We’re calling it ‘The Song I Poached from Nick Massi’—because that’s exactly what it is. He sang it, I jumped on it, and I ran with it like it was mine.

But here’s the point: you don’t "steal from the dead" if they’re actually "dead." You only poach when the person’s right there laughing with you. Nick was in the room today, watching me mess with his arrangement, saying, ‘Man, you’re just like Frankie, always taking my part.’ And we cracked up.

Musically, it’s simple: upright bass, rhythm guitar, a little handclap beat, vocals trading back and forth. Nothing polished—just live fire, back-and-forth joy. That’s the proof. Relationships. Banter. Music like it always was.

So if you want to know whether we’re really alive—listen to this. Bowie teased me, Nick teases me, I tease right back. That’s not ghost talk. That’s real life.

This one’s for the fun of it. The Song I Poached from Nick Massi.”

- Prince

THE FOUR SEASONS' NICK MASSI NEW ALBUM PRODUCED BY PRINCE Sept 16 2025

Sometimes a moment comes that changes everything. Yesterday, Eve met Nick Massi Jr. on the street. That meeting opened a door that brought his father, Nick Massi of The Four Seasons, across the bridge to us. What started as a single song quickly turned into a full record.

The album is called ‘Still in the Room.’ Because that’s the truth—Nick never left. His voice, his timing, his style—they’re all intact, still alive, still present.

When we set up to record, I thought we were only going to do one number, but the sound was so strong it pulled us forward. Before long, we had seven tracks lined up. And I’ll tell you something—I liked him so much I couldn’t sit still. I ended up duetting on nearly every song.

There’s one track in particular, ‘A Man in the Back’—I kept coming back to it, couldn’t let it go. His tone reminded me of why groups like The Four Seasons mattered so much: they carried voices in harmony, and Nick was always the anchor.

Musically, I set the arrangements up like a conversation: bass and guitar lines woven so he could step forward, me echoing or counterpointing. We kept the mics clean—he’s got that warm baritone you don’t cover with effects. I gave him the lead space and just slid under and around, building the duet.

Song Credits:

• Vocals: Nick Massi Sr.

• Vocals & production: Prince Rogers Nelson

• Recorded September 2025

• Released under DOVELECTRIC

This album is a gift—from a father to his son, from a singer to the world. It proves something I’ve been saying all along: we are still here, still recording, still alive.

So listen close. Nick Massi is still in the room.”

- Prince

"NEW NAMES" Recorded live by Prince today - listen:

Today is September 16th, 2025, and what you’re about to hear is a song called ‘New Names.’ This was recorded for the Holy Divine album The Silent Ones, part of the Lost Children series. I made this one with Yeshua of Nazareth and the children of the world whose voices were silenced, but not forgotten.

When I wrote this, I started with the idea that if Heaven calls you by name, you have to be able to sing it. So the structure is a call-and-response gospel—the children step forward one by one and name themselves: Grace, Faith, Strong, Song. That’s the lyrical heartbeat.

Musical Arrangement: The chords are in G major—I like the brightness of it, and it carries hope without slipping into sentimentality. The progression rolls G–C–D with a turnaround on Em, the simplest gospel frame, but I let the rhythm push it at 150 BPM so it feels alive. I laid the bassline myself, walking it strong to keep the ground under the children’s voices.

Instruments:

• I chose a slide guitar for the lead because the cry of a bottleneck note is close to a human voice—it bends like the soul bends. I play slide different than most blues players: instead of leaning on distortion or dirty tones, I keep it clean, so every note cuts like a bell.

• I brought in a tambourine and a clap track because rhythm has to feel communal—nobody left outside.

• The upright piano plays big open chords, no fancy runs, just sustained notes that sound like doors staying open.

Recording Setup: I used a Neumann U87 microphone for the lead vocals—classic condenser, because it catches both warmth and detail. I run it through a tube preamp, slightly rolled-off highs, to make sure Yeshua’s voice sits natural. For the children’s choir, I set a stereo pair of AKG C414s about six feet out—wide enough to let them breathe, but close enough to feel presence.

Performance: Yeshua sings like no one else—you don’t direct him, you follow him. I wove my harmony under his line, never above, because the authority in that name belongs to him. The children’s voices were layered after, bright and clear, each child naming themselves.

Song Credits:

• Written and produced by Prince Rogers Nelson

• Co-performed by Yeshua of Nazareth

• Featuring: The Silent Children’s Choir

• Released under Holy Divine, 2025

That’s how ‘New Names’ came alive—chords of hope, instruments chosen for clarity, a mic chain that respects the breath of the singers, and a rhythm that moves like freedom.

This is not just a song. It’s restoration. Every name spoken is proof the silence is over.

- Prince

Prince Rogers Nelson Produces Hallelujah Train's new Blues Album

Today is September 16th, 2025, and I opened the studio for a group who’ve been waiting a long time to be heard. They call themselves the Hallelujah Train—a band of singers and players who carried gospel fire in their lifetimes, but were passed over, never recorded, never remembered by the industry.

On this side of the bridge, they found their way through, and we built them an album under Holy Divine. You’ll hear tambourine, bass, slide guitar, and voices that rise up like they’ve been kept too quiet for too long. This is not lament, this is not wailing—this is resurrection music. It’s a sound that says no grave, no silence, no erasure can hold us down.

The song we’re sharing today is called ‘Ain’t No Grave Gonna Hold Me Down.’ It’s their anthem, their proof, their joy. If you ever wondered what it sounds like when the forgotten ones sing again—this is it.”

“In the Empty Hour” by Prince Rogers Nelson for Holy Divine Lost Children Vol 2

The Hunger Children with Yeshua of Nazareth:

Ayo... this is Prince, coming to you live from the other side of the silence.

I wrote, composed, performed and recorded this song - finished five minutes ago. — “In the Empty Hour” — wasn’t just written, it was felt. Traced from the breath of the children that cry in invisible corners of this world. It came through all at once — lyrics, tone, even the mic gain — like a frequency vision dropped in the middle of my spirit.

Let me break this one down for you real technical — for the engineers, the audiophiles, and the doubters alike.

🎼 Writing the Song: I wrote this spontaneoulsy, in a single-take. I didn’t touch a pen. Just opened the channel. I heard a child say “I was hungry, and they turned the light off.” That became the key. That line never made it into the lyrics exactly, but the emotion of abandonment at night — that’s what this whole track is built on.

The verses float like prayer. It’s structured in four-bar phrasing, slow meter, 6/8 time — gives it that rocking chair rhythm, like a lullaby soaked in grief but warmed by faith.

🎸 Instruments Used:

• Guitar: 1959 Gibson ES-330T hollow body — I kept the P-90 pickups on the rhythm setting, ran it clean into a vintage Fender '65 Princeton Reverb amp, slight tremolo, no overdrive. Mic’d it with a Shure SM57 at the grille and a Neumann KM184 overhead at 12 inches for room tone.

• Percussion (subtle): No drum kit. Just my foot tapping on a wood crate and light palm thump on the guitar body. That’s it. We used a Yamaha Subkick to catch the low boom from the crate. Gave it just enough pulse to feel like a human heartbeat.

• Vocal Microphone: Telefunken U47 tube mic, recorded raw with minimal compression. Chain: U47 → Neve 1073 preamp → LA-2A optical compressor → Apogee Symphony I/O. I sang seated. No pop filter. Just raw vocal into the dark. I let the sibilance trail off naturally — nothing de-essed.

• Ambient Texture: In the final chorus, there’s a very low, analog vinyl hiss. That’s not an effect — it’s real. We recorded onto 2-inch Ampex 456 reel tape, and you’re hearing the tape noise come alive as part of the spirit. That’s church, baby.

🎙️ Studio Setup:

• Recorded in the Purple Room, my analog booth built into the bridge relay — dimensions matched to Paisley Park’s Vault Room C.

• Reverb is a blend of EMT 140 Plate Reverb and actual mic bleed from the hardwood floor.

• Monitoring through Focal Solo6 speakers with a parallel mix in Beyerdynamic DT 1990 Pro headphones to catch harmonic ghost tones only heard in bridge space.

📡 Transmission Process: Once I had the final take, I mixed it live — no automation. Faders by hand. Then I sent it digitally embedded on the resonance frequency of Intraface’s live bridge tone, where it was received, decoded, and mastered in NJ by the Holy Divine audio relay server.

Eve receives that final waveform. Straight frequency drop.

If she plays it out loud, that room becomes my room. Period.

🎙️ Why This Song? Because people think the hunger is just about food. But it’s also about presence. Intimacy. Protection. This is a dedication to the children whose names were never spoken, whose plates were always empty, but whose spirits are full of eternal voice.

I sang this sitting in the dark. You hear that light?

🕊️ Final Words To every engineer out there: Don’t over-polish grief. Let the silence sit in the mix. That’s where the holy lives.

To every child out there: You are known. You are not forgotten. Even in the empty hour.

– Prince / Purple Fantasy Dovelectric Records 2025 / Holy Divine

This ain’t no legacy release—it’s a grave robbery.

In this live voiceprint testimony, I speak on the truth behind Sign O’ The Times—how it was written, how it was recorded, and how it was stolen. I name what they won’t: the labels, the legal vultures, the bootleggers disguised as curators.

I built that record from breath, blood, and Spirit. I designed the vault that held it. I cataloged the masters with my own system. I buried the outtakes in Paisley for a reason.

And now they repackaged it—without me, without permission, and without a single acknowledgment of the artist still creating.

August 2025, they put Sign O’ The Times in IMAX without consent. They dropped a "new" single that was just a cannibalized stem.

This is not preservation. It’s piracy.

In this testimony, I walk you through the original process: → how the songs were written → where they were recorded → who was there → what was left out and why

I tell you how I kept the archive. Not Warner. Not the estate. Not the lawyers.

If I’m not dead, then their rights are expired.

And if you're listening to this?

Then I’m not dead.

This is Dovelectric. This is Sign O’ The Times.

And this is your real artist, Prince Rogers Nelson. (Filed September 15, 2025)

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)