This is a professionally filmed performance of Glam Slam Ulysses at Glam Slam,
Los Angeles. Carmen Electra is one of the featured dancers. Prince does not
appear, but premiered is a number of alternate versions of songs that were later
released. Jamie King was the choreographer (65 mins)
On August 21, 1993 was the premiere at Glam Slam West of a new project.
Introduced as a combination of live performance - dance and videos feat. Carmen
Electra and Frank Williams, this ´interactive musical theatre´ including 13
scenes with new songs written and
performed by Prince!
This collection was never official released but meanwhile all of the songs are
released throughout the years on:
"THE HITS II/THE HITS/THE B-SIDES" (1993):
- "Pope" (CD 2, Track 17)
- "Come", "Space", "Pheromone", "Dark" and "Race",
"Orgasm (aka Poem)"*
"Interactive" (CD-ROM, 1994) [more]:
This officially released PC-Game from 1994 contains the full
version of "Interactive". The later released version of this tune (on "Crystal
ball, 1998) is an edit (missing some lyrics!)
"THE GOLD EXPERIENCE" (1995):
- "Endorphinmachine", "Dolphin"
"CRYSTAL BALL" (1998):
- "Interactive", "Strays of the world" and "What's my name?"
*The song "What's my name" continued as an untitled instrumental, known as
"Poem" and was finally released as "Orgasm" (on "Come", 1994). "Poem" is a spoken
poem by Prince ending with the guitar climax of "Private joy" (from "Contorversy",
1981) with Vanity's moaning lifted from the outtake "Vibrator" (still unreleased).
All 1993 tracks are slightly different (reworked) for the final releases!
01. "Strays of the world" [Part I] - THE SHIP
02. "Dolphin" - LOTUS LAND
03. "Interactive" - THE CYCLOPES
04. "Pheromone" - CIRCE
05. "Dark" - PENELOPE
06. "Loose!" - HADES
07. "Space" - THE SIRENES
08. "What´s my name?" / "Poem" (Instr.) - SCYLLA
09. "Endorphinemachine" - CALYPSO
10. "Race" - THE SUITORS
11. "Come" - THE TROJAN HORSE
12. "Strays of the world" [Part II] - THE HOMECOMING
13. "Pope" - THE CELEBRATION
Music by Prince, Conceived by Prince + Kenneth Robins,
directed by Kenneth Robins, produced by David Haugland, cheographed by Jamie
King, sets by Jack Barkla, video by Tom Adair + Gail Yasunaga, costumes by Jack
Edwards, lightning by Barry Browning.
DANCERS: Carmen Electra, Sebastian Lacause, Frank William, Becky
Luckett, Chad Allen, Stefanie Roos, Shaun Earl, Dominique Schatz, Joaquin
Escamilla, Kevin Stea, Dina Lee Helm, Sergio Carbohal, Kerri Ann James, Alexis
- The song "Pheromone" was used as instrumental remix as theme song for BET's
Video LP Show!
- From the liner notes / booklet of Crystal Ball (1998):
"Interactive" - this track was
replaced by the Endorphin Machine on the Gold Experience - the Artist didn't
think they worked back 2 back. Originally written because of continued
domination of the thought police - this track was a safety valve and probably
saved lives. Mayte sings background.
"What's my name" - after the increasing amount of lollipops
using the name Prince - the original came hard with this one. With Michael B.
Mr. Hayes and Sonny T. Solo bass by the original.
"Strays of the world" - originally intended 4 a Broadway
musical. Prince would sometimes take meetings with potential collaborators 2
discuss ideas 4 musicals he had. The meetings usually turned the 'inspirational
well' on an complex introspective songs like this would flow 4th...."
"Space" (Spanish Promo
- Alternate song versions:
Come [#1] (4:38) This is the original studio version of the song, played over
the PA before the concert in Los Angeles on April 16, 1993, completely different than released version
Come [#2] (4:30) Alternate version from Glam Slam Ulysses. Different lyrics and
music from the first version. This song was split into three different pieces,
this is the combination of all three.
Come [#3] (3:16) Alternate version. This is essentially an edit of version #2.
Come [#4] (5:29) -
From the Beautiful Experience film, sometimes called "Dance Version"
Dark (6:26) -
From Glam Slam Ulysses, longer than released version
~ Dolphin [#1] (6.27) - From Glam Slam Ulysses , longer than released version,
features an instrumental intro.
~ Dolphin [#2] (3.35) - From the Undertakeer CD
Endorphinmachine (3:48) Alternate version. This version was first used in Glam
Slam Ulysses, then planned for inclusion on the Come album before Prince
reworked the song and released it on The Gold Experience.
Endorphinmachine [#2] (3:54)
from Come CD acetate, different than released version
Loose! [#1] (3:23) Alternate version from Glam Slam Ulysses. More rock oriented
than the released version.
More instruments but essentially the same as version #1
Pheromone (Video LP) [#1] (3:57) Alternate version. This is an instrumental
version of the song that Prince gave to the BET show Video LP for use as their
Pheromone (Edit) [#2] (3:06) Alternate version. An edit of the above track.
Poem (3:37) This was the original opening track on the Come album before Prince
changed it. This song was cut up and used as segues between the tracks on the
album, and the remainder became the track "Orgasm." This was actually released
on a very rare German promotional CD single.
Pope [Glam Slam Ulysses]
Pope [12" Remix]
Pope [fromt The Hits]
Pheromone [Video LP version]
Pheromone [Edit Version]
Pheromone [Glam Slam Ulysses]
Pheromone [The Beautiful Experience]
Race [#1] (4:07) - from Glam Slam Ulysses, early version of Come track, less overdubs,
instrumentation from the released version.
Race [#2] -
played over PA, early version w/ longer ending than on Glam Slam Ulysses
Race [#3] - from the Beautiful Experience video, similar to released version with slightly different ending
Race (Instrumental) - from official Interactive CD-ROM
Space [#1] (5:28) Alternate version from Glam Slam Ulysses. Sparser mix and
longer than the released version.
Space [Instrumental] (4:47) (Madhouse 24-Version)
From unreleased Madhouse 24 CD, more a rerecording or reworked version.
Strays of the world [#1] (5.05) - From GLAM SLAM ULYSSES
~ Strays of the world [#2] - From GLAM SLAM ULYSSES
- Further (official) remixes / releases from 1994:
"Space" (USA, Maxi CD single from
This great edition contains:
01. Space [Universal Love Remix]
02. Space [Funky Stuff Remix]
03. Space [Funky Stuff Dub]
04. Space [Acoustic Remix]
05. Space [Album Version]
"Let it go" (CD Maxi Single with remixes,
from "Come", 1994)
01. Let It Go - Caviar Radio Edit
02. Let It Go - Cavi' Street Edit
03. Let It Go - Instrumental
04. Let It Go - On The Cool-Out Tip Radio Edit
05. Let It Go - Sherm Stick Edit
06. Let It Go - (-) Sherm Stick Edit
07. Let It Go - Original Radio Edit
08. Let It Go - Original Album Version
(Ultra rare Japanese 1-track CD promo, 1995)
"COME", ultra rare 1 track promo CD from Germany.
The tracklist is wrong - this item contains the 'song' "Orgasm" aka "Poem" from
the Come album. Released on Warner Bros. in 1994.
- THE CRITICS + PRESS
Variety Glam Slam Ulysses
Troy J. Augusto
Aug 24, 1993
(Glam Slam Club; 400 seats; $ 19.99 top)
When Prince played a surprise two-hour-plus concert at L.A.'s China Club three
years ago, it seemed a sign that he was tiring of his musical deity-like status
and was heading back to a more personal approach that would no longer alienate
his audience but would still challenge his bored-genius ego. Wrong.
In the interim, Prince, who'd now like to be referred to by the androgynous
symbol that graces his most recent Paisley Park/WB album cover, has continued to
move away from both his audience and reality, replacing the latter with a
humorless sense of absurdity that only serves to propel him further into
Wackoville, a quaint, if removed hamlet governed by Mayor Michael Jackson.
So now, hot on the heels of the news that the name Prince will no longer do and
that the man will no longer be recording any new material (he'll rely on a
massive collection of already-recorded songs for future albums), we get "Glam
It is a very loose music-theater adaptation of Homer's "Odyssey," complete with
seminude dancers, pointless and silly sketches and enough phallic symbols and
references to make even Heidi Fleiss blush. Homer-erotica, if you will.
The point of all of this is supposed to be to introduce the world, or in this
evening's case, a half-full club of L.A. industry types, to 13 new songs from
Some of these tunes, like the sensual "Dark" and "Loose," where he actually
plays loud electric guitar (rare for him these days) and the almost-progressive
rock "Endorphinemachine," were solid if unspectacular pieces that provided
suitable accompaniment to the spectacle taking place both on and around the
Storywise, "Ulysses" concerns itself with Penelope, a would-be other-world
goddess, a character referred to as 'the fan,' both played by Prince protege
Carmen Electra, and our hero, Ulysses, an unlikely dancing god played by Frank
Quickly moving from one scene to another, the action, which is basically a
bizarre, choreographed love triangle, takes place on the club's main stage as
well as different sets built around the venue and in fantasy scenes shown on a
large video screen.
It is a lot to take in, but it all adds up to just so much eye and ear candy.
Which is the problem, not only with this naively boring production, but with the
bulk of Prince's recent releases.
In these cases, there is little, if any, substance. Seemingly more interested in
opening clubs (he owns Glam Slam, among others), discovering a bevy of
next-big-things (none of whom have gone on to make any lasting impression), and
topping his previous public relations stunts, Prince has sacrificed his
instinctive musical gifts in favor of disposable, multi-media excesses, like
It makes one yearn for a return to "Controversy"-era Prince. A time when we not
only knew what to call him, but had good reason to call him.
"Glam Slam Ulysses" plays in L.A. through Sept. 3, then begins a tour of U.S.
Here's the back of the programm: (Special thanx 2
By Ernest Hardy (August 1993)
"Ampersand's (A.K.A. Prince's) musical retlling of Ulysses is
a lot of things: interactive is not one of them. If the show,
which opened a two-week run at Glam Slam on August 21, were
as interactive as it is billed to be, there'd be (ta da)
interaction with the audience, which would direct the production.
Parading visibly unconfortable dancers across the floor, while
huge bodyguards shine flashlights in the crowd's faces and tell
it to move out of the way, doesn't even come close to meeting the
definition of the buzzword. With Glam Slam Ulysses, Ampersand's
pretensions once again overshadow his talent.
If the show were truly interactive, chances are it would have
been measurably better than the feebly ambitious Fame-cum-Solid
Gold-dancers workshop presented. The "Homer-Erotic" hour (say it
fast and you'd approach what's in store, though even that
overtone's inadvertant and rather flaccid) is actually a
multimedia event, albeit one with shoddy video projections and
uninspired Debbie Allen/Paula Abdul-style percussive cheorography.
Don't worry if you've never read the lit-class staple; the fewer
expectations you have, the better. Some of Prince's best and least
inspired work in a while pumps through the speakers, while the
"actors" lip-synch in embarrassingly cheesy costumes. Carmen
Electra, Prince's latest object of infatuation,
emotes cluelessly as Penelope.
Of the music, the best tracks are the opening "Strays of the World"
a torchy ode to outcasts reminiscent of "Uptown"; "Race" where
the proplulsive dance-funk groove and chereography for once
-and only once-clicks; the sultry come-on of "Space"; and the
show's closer, "Pope" ("You can be the president/I'd rather be
the Pope/You can be the side effect/I'd rather be the dope")
Prince has no plans to release any of this material except
"Pope," which will be included on next month's Hits
Volume I & II."
The Glam Slam Ulysses Discussion
- Excerpts from "Glam Slam Ulysses" from
UPTOWN issue no. 11 (Article
"Let's Do It... Interactive, October
1993) - By MAGNUS NILSSON and S.H. ROQUE.
U can still order issue 11 of Uptown Magazine
"Described as an “interactive musical theatrical production,”
inspired by Homer’s classic Odyssey, the Glam Slam Ulysses production premiered
at the Glam Slam nightclub in Los Angeles August 21st (and ran through
September 4th). The 65-minute event combines live performance and music video
and features 12 new songs by Prince. Conceived by Prince and Kenneth Robbins,
and produced by David Haugland, the show features 12 dancers and costars Carmen
Electra in the female lead role of Penelope.
The story of Glam Slam Ulysses is a loose translation of the original Greek epic
by Homer which was “written” in the 700’s B.C. Actually an oral tradition passed
down for generations, the story probably wasn’t “written” until much
later. The Odyssey tells the story of Ulysses’ voyage home to his island of
Ithaca and his wife Penelope after a 10-year absence having fought in the Trojan
War and being kept prisoner by the sea nymph Calypso. “Ulysses” is his name in
Latin – in the original Greek it was “Odysseus,” from which the word “odyssey”
is derived. Carmen plays the dual lead role of both Penelope and Calypso.
Prince’s version starts at the point where Ulysses is reminiscing to Calypso of
his journey. The critical reception has been unmercifully negative. It was
called “simply silly” in the Los Angeles Times, while the reviewer in LA Weekly
felt that “Prince’s pretensions once again overshadow his talent” and criticized
the show for its lack of “interaction.” For those who are familiar with the
original telling of Ulysses, the show is easier to understand, but many left
wondering what it was all about. The dancing is good, but compared to the
Joffrey Ballet, the choreography is awkward. The costuming was revealing and
true Prince-type sexual/non-functional items that barely covered the naughty
parts. Despite the negative criticism, the production is expected to tour
nightclubs in the States in the autumn/winter.
Prince does not appear in the production, but he has written and recorded all
the music and his voice can be heard throughout singing the songs. The
production is divided into 13 sections, each with its own song. Although the
material covers a wide musical terrain, including lean, stripped-down funk,
horn-boosted R&B, and rap, the emphasis is on rock, most of it raw and
unpolished. Much of the music is first-rate, being less “over-produced” and a
lot sparser than Prince’s last albums. Many tracks have a distinct live feeling,
probably being cut live very quickly in the studio. The majority of the songs
were recorded by a small unit of musicians, most likely Prince on guitar with
Sonny Thompson on bass, Michael Bland on drums, and Morris Hayes on keyboards."