(Featured Image: Marilyn Monroe, Prince’s inspiration for protégée Jill Jones’ look, on the set of Some Like It Hot, Billy Wilder, 1959; photo stolen from the Hollywood Revue.)
The months after Jill Jones formally joined Prince’s orbit were “one crazy blur,” she recalled in a recently-published interview with writer Miles Marshall Lewis. From the “spring of ‘82 all the way until July, we were pretty much in the studio daily,” working on the Time and Vanity 6 projects alongside his own fifth album. “And who knew what was going to end up where, with who, what. I was just ready for the ride” (Lewis 2020 “Part 1”). Initially, her role was strictly as a backing vocalist: providing support on the 1999 album and tour for both Prince and Vanity 6. But the Artist Formerly Known as Jamie Starr had grander plans: namely, turning his newest protégée into a star in her own right.
Not all of these plans went off without a hitch. Jones resisted Prince’s overtures to change her name to Elektra, after the recently-introduced Marvel Comics character; a decade later, that moniker would of course find a more willing beneficiary in Carmen Electra, née Tara Leigh Patrick (Lewis 2020 “Part 2”). But she did allow him to give her a makeover inspired by prototypical blonde bombshell Marilyn Monroe: “Prince said I looked like every girl with long brown hair and I needed something to stand out,” she told Michael A. Gonzales for Wax Poetics. “He said, ‘When Vanity walks in a room, people know she’s a star. You need your own thing’” (Gonzales 2018 66). She got it. Jones–all platinum curls and red lips, artfully disheveled in black lingerie, a Marlene Dietrich naval cap, and Prince’s Dirty Mind-era trenchcoat–would steal every frame of the music video for “1999” she was in, providing a whole generation of woman-loving people (myself included) with their entrée into puberty. Nor, as Lewis observes, did it hurt that the mixed-race singer’s bottle blonde allowed her to pass as a “soulful white girl” during a critical moment in Prince’s pop crossover endgame (Lewis 2020 “Part 1”).
Continue reading “No Call U”
(Featured Image: A real-life “Lady Cab Driver,” circa 1919; photo stolen from pastpictures.org.)
Of the 11 songs that would eventually make their way onto Prince’s fifth album, “Lady Cab Driver” appears to have had the longest gestation period. The song was completed at Sunset Sound on July 7, 1982, the day after “Moonbeam Levels”; but, as the recent deluxe edition of 1999 revealed, its seeds had been planted during a break in the Controversy tour over half a year earlier on December 8, 1981, in the form of a different song called “Rearrange.”
According to sessionologist Duane Tudahl in the Minneapolis Public Radio documentary The Story of 1999, “Rearrange” was long known to researchers by its title alone: “it was one of those songs that we’d heard existed, but I didn’t think it was actually a song,” he told host Andrea Swensson. “I thought it was just some shuffling of his stuff”–a studio note indicating a literal rearrangement of tapes. As it turned out, of course, it was real–though it was also little more than an admittedly funky sketch: a stark, mid-paced groove with a slick rhythm guitar hook similar to the Time track “The Stick.” Given this similarity–not to mention Prince’s guitar solo, which plays neatly to Jesse Johnson’s combustive style–it seems likely that “Rearrange” was at least provisionally mooted for that group. But this is just speculation; ultimately, says Tudahl, we “don’t know whether it was intended for 1999, whether he was searching for a voice for 1999, or whether he was saying, ‘I gotta record another Time album soon.’ But either way it was something that was not planned. He just thought, ‘I’m in the studio, I gotta record, I’m going to record. This is what I’m gonna do’” (Swensson 2019 Episode 2).
Continue reading “Lady Cab Driver (Rearrange)”
(Featured Image: An actual horny toad, a.k.a. the Texas Horned Lizard; photo stolen from the Dallas News.)
I was focused on finishing up my “Lady Cab Driver” post when it came out last week, so I’m a little late in sharing my latest appearance on Jason Breininger’s Press Rewind podcast, talking about one of my biggest guilty pleasure B-sides from 1982:
And speaking of 1982, there are only two official posts left before d / m / s / r leaves that year behind and moves into 1983! I was initially planning to go straight into “1999,” but I decided to take a short detour into “No Call U” first: partly because I already know “1999” is going to be a huge, time-consuming post to write, and partly because I think it will end up making a little more “narrative” sense. So you can expect “No Call U” at the end of the week on Patreon/late next week on the blog, with “1999” following at the beginning of February. I also may try and sneak a Patreon exclusive on one of the 1999 Super Deluxe bonus tracks in there, too. We’ll be starting in on the Purple Rain era before you know it! I’ve also got a few ideas cooking for the podcast relaunch, so stay tuned for that. Later!
(Featured Image: Cover art for the “Super Deluxe” edition of 1999; © Warner Bros./NPG Records.)
Hi, friends. It’s taking some time to fully shake off the cobwebs, but I’m feeling myself shift back into gear for the new year; I won’t commit to a date so I don’t have to apologize later, but “Lady Cab Driver” is coming soon. In the meantime, here’s another piece I had been planning to write at the end of last year–my thoughts on the new Super Deluxe edition of 1999. Since we’re all friends here (and since I’m over a month late), I went for less of a formal review and more of a reflection on my personal feelings about the release and the state of the Vault in general. Patrons can read it here:
Speaking of patrons, thank you to Snax and Carlos Romero for supporting the blog and giving me some much-needed encouragement this week! Snax and Carlos bring us up to 20 patrons, which is honestly fantastic for my humble little project. More relevant for everyone reading this, they also brought the total monthly support up to $99–a mere dollar less than the threshold for me to start producing the d / m / s / r podcast again. That means that if just one person becomes a patron, the goal will be met! If that sounds like the kind of responsibility you’d like to have on your shoulders, you know what to do.