Prince reflected in a 2014 Rolling Stone interview on the treasures locked away in his vault, noting, “I didn’t always give the record companies the best song… There are songs in the vault that no one’s ever heard… In the future you could put all the best stuff from one particular time period together and then you can release it.”
The newly released album *Timeless* fulfills that promise, presenting a curated selection of previously unreleased recordings that span every decade of Prince’s career. Highlights include the funky 1977 home demo “I Am You,” the 1981 original version of the relentless “Tick Tick Bang,” a 1991 piano ballad “With This Tear” written for Celine Dion, the 2003 party jam “Calabama” from the *Musicology* sessions, the 2007 guitar showcase “The Guilty Ones,” and the surprise 2012 track “Bestest Friend,” which fans had never heard.
Following Prince’s death in 2016 without a will, the estate was settled in 2022, splitting control between Primary Wave and Prince Legacy LLC—an entity formed by Prince’s three oldest heirs together with attorneys L. Londell McMillan and producer Charles Spicer Jr. Early efforts focused on reissuing classic albums such as *Purple Rain* and *Diamonds and Pearls*, supplemented by outtakes and the demo collection *Originals*, plus the 2010 album *Welcome 2 America* released in 2021. Timeless marks the first drop of unheard material since 2023, prompting fan petitions and open letters demanding more from the vault.
A separate controversy involves a Prince documentary directed by Ezra Edelman, the Oscar‑winner behind *O.J.: Made in America*. Edelman delivered a nine‑hour cut that portrayed the artist amid allegations of abuse, as detailed in a New York Times Magazine report. Despite objections from the estate, Netflix shelved the project last year, a decision that sparked intense criticism from the filmmaker.
McMillan, who served as Prince’s lawyer for over a decade, joined a Rolling Stone Zoom to discuss *Timeless*, the Netflix decision, and the estate’s future plans.
Let’s start with this release. The fans are very impatient for stuff from the vault, and now you’ve got something for them. Tell me about narrowing down what you had — how you got to “This is the album we’re releasing right now.”
I think the fans are very patient. I think there are a few very loud ones — they’re often amplified by a couple of major journalists who portray the community as overly impatient, which isn’t the full picture. I’m engaged daily with fans, at events and on social media, and the reality is different from the perception. There are about 200 previously unreleased sound recordings that have been issued since Prince’s passing, and many fans still haven’t encountered them on their coffee tables. We appreciate the patient listeners and aim to release material at a pace that honors Prince’s legacy.
How many tracks did you choose from to narrow down for this album?
We listened to roughly 35‑40 tracks that made it into serious contention. The vault contains far more material—perhaps double that amount—still awaiting digitization. The process is ongoing, and we’re only beginning to surface everything that was stored across countless devices.
So you first chose 35 finalists, out of about twice that — about 70. What was that universe of 70 you were picking from? Is that just what’s ready to be listened to?
The 70 candidates spanned each decade of Prince’s career, ensuring broad representation. We also filtered for songs that wouldn’t clash with other upcoming projects, such as the forthcoming 3121 release, which will draw from its own unreleased stash.
To take an even bigger step back: How many songs have been digitized so far?
We estimate we’re just over 50 % digitized when it comes to sound recordings. The full scope is hard to pin down because Prince’s recordings were scattered across many formats and devices, and no professional archiving existed during his lifetime. We’re currently digitizing tens of thousands of assets—encompassing audio, concert footage, photographs and more—and the process is far from complete.
I understand the number that needs to be digitized is unknowable. But I’d assume you know how many you have digitized already — or you don’t want to say?
I don’t have a precise count of sound recordings versus other assets, but we’re talking about tens of thousands of items overall—hundreds of thousands when including photos, videos and other memorabilia. Everything is in varied formats, and we’re systematically converting them to modern, masterable stems.
What, if anything, have you learned from the success the Michael Jackson estate has had recently — the Broadway show leading into the film, and the massive surge of interest in Michael? What can the Prince estate learn from that?
The key takeaway is that timeless art endures. Prince’s estate follows a different model: we preserve, curate and present rather than sell assets. While Michael’s team protected his brand and leveraged blockbuster projects, we focus on releasing music at a pace that reflects Prince’s own creative rhythm. We admire their storytelling approach, but we prioritize the music itself, ensuring that each release stays true to Prince’s sonic legacy.
Tell me about the musical on Broadway. Lin‑Manuel Miranda and his dad have signed on as producers, and it’s being pretty reworked from what people saw in Minneapolis, correct?
Lin‑Manuel and his father were actually involved from the early Minneapolis workshops. The current production retains many core contributors, though the director and writer have changed. We are emphasizing Prince’s music more heavily, and the team—led by Orin Wolf—brought in original Prince bandmates Bobby Z and Morris Hayes to guarantee authenticity. The show has been trimmed and reshaped to highlight Prince’s story, moving away from some of the adaptations seen in Minneapolis while preserving essential elements from the original team’s work.
There was a jukebox musical in discussion with Ryan Coogler perhaps as a producer. What’s the status of that?
The project remains in development. We are excited to collaborate with Ryan Coogler, his wife Zinzi, and Universal Studios’ Donna Langley and Ryan Jones on a jukebox‑style musical that will feature Prince’s songs without retelling his biography.
So it’s more like Mamma Mia! : a story that isn’t about Prince, but using Prince’s songs. Is that the idea?
Exactly. It will follow the *Mamma Mia* template—using established songs in a contemporary narrative—allowing Prince’s catalog to reach new audiences through a familiar musical format.
And a biopic — especially given Michael, everyone wants to know. Any status or update on that?
Discussions about a Prince biopic have been ongoing for years. We are keeping those conversations alive, but any announcement will come through an official press release when the time is right.
But that’s something you’re eyeing, and in progress on?
I’ve always believed a biopic should lay the groundwork before a large documentary, so the timing aligns with our broader strategy. Prince was the original “movie‑maker” musician, and projects like *Purple Rain* proved that narrative filmmaking could amplify his story. While the Netflix documentary fell apart, we remain committed to telling his life through the right kind of film—one that respects his artistic vision.
So in other words, for a movie you don’t sell the rights — you collaborate with a studio. That’s what you’re saying?
Yes. Unlike selling recordings, which generates more immediate revenue, we license projects to preserve creative control. The Michael Jackson film was a phenomenal success, and we admire the way they structured partnerships. For Prince, we are still exploring how to bring a movie to life, focusing on collaborations that serve his legacy rather than a one‑time sale.
But for us, we are also trying to service and share Prince’s music with those core fans… … make sure we don’t just throw things out and sonically lose the generations of the future.
Our philosophy is to honor Prince’s original artistry while ensuring the sound is ready for today’s listeners. We invest in high‑quality stems and modern mastering so that each release sounds as vibrant as the day it was recorded. This careful curation helps us reach both longtime fans and younger audiences without sacrificing sonic integrity.
I wanted to ask about the Parade reissue. Is that going to be a major thing with a bunch of unreleased stuff, or a smaller-scale thing?
Parade is a major undertaking, not just a simple anniversary reissue. It will feature a comprehensive campaign that includes new music, archival material and additional components beyond the record itself. The timing is set for when it feels right—shortly, as we prepare to celebrate the album’s legacy.
What’s the overall plan to make sure Prince connects with younger generations, is reintroduced to younger audiences, and keeps and increases the status he’s had?
We aim to meet younger fans where they are—through the platforms, sonics and formats they love. A 60‑song box set, no matter how valuable, isn’t the way to engage millennials who gravitate toward stream‑friendly playlists. By releasing focused, accessible collections and partnering with influencers who understand today’s music ecosystem, we hope to spark discovery and make Prince a living, breathing presence for the next generation.
I just want to be clear — you’re talking about perhaps releasing some remixes, with new production?
We are not prescribing a specific format, but we are certainly exploring ways to present Prince’s music in ways that resonate with contemporary ears. Younger team members are already gathering feedback on how they want to hear, discover and promote his work, ensuring that any remixes or re‑interpretations stay true to his essence.
Young people aren’t really big buyers of box sets, in general.
Exactly. The conversation often ignores this reality. Some in the community act as self‑appointed provocateurs, but many are simply mourning the loss or deeply appreciative. We remain grateful for the support that keeps Prince’s legacy alive—through music, events, merchandise and the community’s investment.
We’d be remiss if we didn’t mention how big the “Purple Rain” moment was in Stranger Things, and how many new fans that made. Are you or anyone actively pursuing opportunities like that?
Yes, we have a dedicated team that constantly scans for partnership opportunities, both internally and through our publisher Universal Music Publishing. We are selective because exclusivity preserves the special nature of Prince’s catalog; flooding the market would dilute its impact. When the right project comes along—like a *Stranger Things* tie‑in—we are eager to explore it.
I’m personally looking forward to hearing more of the live stuff.
Live recordings are high on our priority list. We are assembling concert footage and unreleased performances to complement the studio releases, giving fans a fuller picture of Prince’s live presence. Those packages are in the works, and we anticipate rolling them out soon.