Prince’s Musicians on Discipline and ‘Purple Rain’

The world premiere of the “Purple Rain” musical is a moment of monumental significance, and who better to guide us backstage than the men who were there and helped define the Prince sound? I had the profound honor of sitting down with legendary Revolution drummer Bobby “Z” Rivkin and New Power Generation keyboardist Morris Hayes. These two pioneers offer a rare perspective on Prince’s genius. We discussed the singular discipline Prince required, the necessity of giving him the unvarnished truth, and the profound wisdom he extracted from their support.

Now, as the production opens, they reflect on what it means to see their history immortalized on stage and why the Spirit of Minnesota, a concept of hometown pride they say Prince always loved, is the perfect foundation for this new chapter.

Courtesy of The Revolution/Facebook

Q: Beyond all that incredible music, what would you say is the single most important lesson about artistry, dedication, or creative freedom that you learned from working with Prince?

MORRIS HAYES (MH): The biggest lesson was discipline. Prince was a hard-working, disciplined artist and a consummate perfectionist when it came to delivering his music. He always wanted to be the best at everything, whether it was music or ping pong. He told me, “I get bored easily, and if I’m bored, everybody else is bored.” His attention to detail was paramount. He taught me, if you’re not going to dedicate yourself to something and do it the best you possibly can, then don’t do it at all. You had to appreciate that music was always first.

BOBBY Z (BZ): I absolutely agree. Music was fundamentally different for him than for us “mere mortals.” It didn’t tire him out; it gave him energy. He was uniquely given these gifts and this immense drive. It’s an amazing fact, like trying to describe a creative force on the level of Leonardo da Vinci. His creativity was simply beyond belief.

Photo by TNT Magazine

Q: So if that’s what you learned from him, what do you think you taught him? What lesson did he get from you?

MH: The biggest thing I had to do was sometimes be the guy who told the Emperor he didn’t have any clothes. I had to give him the unvarnished truth, even if I knew he wouldn’t like it. I would tell him, “Just because you can do a thing, doesn’t mean you should.” I also felt it was important to simply remind him of his accomplishments. When I first arrived and saw his operation, I would gush about how amazing it was to see a Black man running his own show. I would often confide to him, saying, “Man, what you’re doing is an incredible thing. You should be proud that you’ve come from a humble beginning, created all of this, and created jobs for all these people.” I just wanted to remind him how blessed he truly was.

BZ: I totally agree with Morris. Even though I was a couple of years earlier in his life, it was the same dynamic. It was about being immensely proud of someone who took such great risks, accomplished so much, and took on Hollywood. We had to be sounding boards that he could trust. There were very few advisors Prince could go to and get the absolute truth from, and Morris and I were there to give him that truth. Our long tenure was built on that foundation of support and honesty.

Photo by Joshua Pickering

Q: As key figures in the sound of Prince, what do you feel is the most essential element that must translate from the original film and soundtrack to the stage musical? ‎

BZ: The original film had only nine songs, so what they’ve done is expand the catalog throughout the decade. Some of these songs could have been written in the ’70s, ’80s, or ’90s. Mashing up the catalog and bringing songs forward that were written at the time or later really enhances the story in the musical. They stick to the triangle of love with Apollonia, Morris, and The Kid, and expand the music to tell the story in a very clever way.

Q: What advice do you have for young musicians who’ll never be another Prince but want to be like Prince? ‎

MH: With the landscape of music changing drastically with AI, young musicians should understand the business they’re entering. Prince was always at the vanguard of changing times and tried to be ahead of the curve. The best thing young musicians can do is understand the game and master their instrument, because while AI can create music, it can’t replace your soul or your ability to play live and entertain people.

BZ: The work ethic is crucial. There are many talented young musicians on social media with incredible playing ability, but playing in a group and making chemistry work is the hardest thing. There needs to be a leader; John Lennon led the Beatles, and Prince led us. Democracy in a band doesn’t work well; someone needs to drive the train. Young musicians should play together and experience playing with different people to find the combination that may take them somewhere.

“John Lennon led the Beatles, and Prince led us.”
–Bobby “Z” Rivkin

Q: When you were making the music with Prince, did you realize how special and incredible that creative moment was, or do you only realize the magnitude of his genius looking back now, and you realize there’ll never be another? ‎

BZ: In the beginning, you definitely knew you were part of something special just from the music rehearsal or being part of his music. But whether it was going to be a hit or not, that’s where Prince, like all people, had to fight the music business.

MH: When you’re in it, you’re not thinking about future Super Bowls or musicals. You’re just in the moment, trying to get through the day without upsetting Prince. It’s about the music, being on the run, having fun, it’s rock and roll. As time passes, you realize the significance. I grabbed Bobby last night, and I just told him, “Hey, man, you’ve been immortalized. This is so cool, brother. I’m so proud.” I just hugged him up, because, to hear your name, just like out there like that, man, to be immortalized in a Broadway play, something we never signed up for but are grateful for.

BZ: On the flip side, that’s what these kids in the production are doing now, young people trying to make it, which mirrors the story of the play itself, where a young kid is trying to make it.

Courtesy of Meet Minneapolis

Q: Minnesota Monthly is dedicated to the spirit of Minnesota. When you think about Prince and your time with Prince and being here in Minnesota, what does the spirit of Minnesota mean to you? ‎

MH: Being somebody who caught the Minneapolis bug from somewhere else, you have to understand that Prince was a Minnesota person through and through from start to finish. He always loved home, which is why I’m happy to see they’re presenting this musical in his hometown first before moving to Broadway. This production celebrates his beginnings, the people of this area, the lifestyle, and even the cold weather. Prince always said Minnesota was a great place and that “the cold weather keeps out the riffraff.” I lived here for over 25 years and got to know “Minnesota nice” firsthand. It’s a great testament to Prince that he always kept his hometown near his heart.

BZ: There’s pride beyond belief. The color purple, it’s a purple state in many ways. Prince is like Paul Bunyan now. Everybody’s so proud of him and wants a piece of it, from the dry cleaner who did his family’s clothes to someone who grew up with him or fixed his furnace. It’s hard to believe that from humble beginnings, he’s now being represented on the theater stage at the State Theater, sharing this with the hometown he loved so much. It’s emotional at times. I’m just proud of everybody involved and everybody who played with him. We’re all very fortunate to have been exposed to him and the music he taught us to play.