(Featured Image: Vanity 6 pose for Creem magazine, 1983; photo stolen from Lansure’s Music Paraphernalia.)

It’s been about nine months since the last time we completed an album around here–which, if nothing else, means that we’re just about keeping pace with Prince himself, who released Vanity 6 just under 10 months after his own Controversy. Let’s see if we can finish 1999 by October!

In the meantime, here’s how I rank the songs on Vanity 6:

7. “3 x 2 = 6 For the record, I don’t think this is a bad song; but I understand why a lot of Prince fans do. As I noted in my post last week, the arrangement is a bit of a slog, and Vanity’s karaoke-caliber vocals are, shall we say, an acquired taste. Still, the pathos of it all still draws me in.

6. “Wet Dream Another one that I actually like more than the consensus opinion, I think this one could have been a hit if Prince had given it to a stronger singer and kept the lyrics a little more PG-13. Also, any song that gives me a chance to reference Hokusai’s “Dream of the Fisherman’s Wife” is okay by me. Also also, bonus points for “Wet Dream (Cousin),” a clip from the soundtrack for the most wholesome imaginary porno never filmed.

5. “Bite the Beat Maybe I should rank this below “Wet Dream,” but my enduring love for New Wave Prince means that I’m a sucker for that ersatz Farfisa. Besides, the song’s sexual forthrightness feels like the clearest evidence, save one obvious track, for the argument in my head about Vanity 6 serving as predecessors for today’s crop of hyper-explicit female rappers (cf. Cupcakke).

4. “Drive Me Wild I think I’m once again in the minority on this one, as I happen to prefer the other Susan Moonsie-fronted electro track on the album; I also know I’m in the minority for preferring the minimalist album track to the more conventionally funky–and much, much longer–12″ version. I guess I just feel like I have a lot of options when it comes to Prince’s extended robo-James Brown workouts; but if I want to hear him inventing electroclash, it’s basically this and…

3. “Make-Up Yup, that’s right, I’m the weirdo who was excited–almost to the exclusion of everything else on the album–to see this on the tracklist of last month’s Originals. And just for the record, it lived up to expectations. Fingers crossed that a Prince-sung version of “Drive Me Wild” comes out–either on an Originals-style compilation or, preferably, as part of an expanded Vanity 6 reissue–so I can reevaluate.

2. “If a Girl Answers (Don’t Hang Up) Whether or not you, like me, hear this song as a drag performance, I think most of us can agree that it’s a highlight of the album and one of the funniest songs in the extended Prince canon. Plus, that Terry Lewis bassline makes it a rare Vanity 6 song that actually sounds like it was performed by the Time.

1. “Nasty Girl Look, they can’t all be unorthodox choices. A classic is a classic, and if any song on Vanity 6 qualifies for that title, this is the one. I’d put “Nasty Girl” up against any Prince song from 1982–a claim I don’t make lightly, as the 1999 era is in strong contention for my all-time favorite.

With that, I hope that I’ve made my case for Vanity 6 as a worthy part of Prince’s early discography. It’s a scrappy, often sordid, borderline amateurish effort: a quick and (literally) dirty side project recorded mostly at home, with mostly nonprofessional singers, in a little over a month. But its scrappiness is key to its charm, and helps to make what could be a truly slick and exploitative enterprise feel, at minimum, genuine. I guess what I’m saying is, it may be smut, but at least it’s DIY artisinal smut.

Now, as we shift our focus to the other two albums Prince recorded in 1982, here’s a snapshot of the tag cloud:

The most significant addition is probably the Linn LM-1, which makes sense as we’re now firmly in Prince’s golden age for that particular instrument. Another interesting change to note: Sound 80 has officially fallen off the board, in favor of other recording locations–chiefly Sunset Sound, which we’ll be hearing about a lot more moving forward.

For my own reference as much as anything, I wrote about 1,269 words per post on Vanity 6; not too shabby for a side project, that’s only a little less than the 1,379 per post I wrote for For You and significantly more than the 833 per post I wrote for The Time.

It’s a short week for me with Fourth of July weekend looming, but thanks to supporters of the Patreon, I’m still committed to a post this week, and every other week moving forward! I will aim to publish my piece on “If It’ll Make U Happy” Wednesday. Meanwhile, my thanks to our newest patron, Anne Clark. If you’d like to join Anne and the 11 other supporters who have already jumped on board, please consider checking out the Patreon here. We’ve already reached our first goal–hence the guaranteed weekly posts–which means it’s time to start thinking about the second one. At the moment, I’ve said that if the Patreon reaches $100 a month I will go back to monthly podcast episodes, but I also know that that may not be what you all actually want. I plan on checking in with the patrons this week to determine whether or not that should be our next goal, so if you want to be part of that conversation, get your pledges in soon!

Meanwhile, though there haven’t been many changes due to Vanity 6 remaining out of print, here’s the Spotify playlist:

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8 thoughts on “Roundup: Vanity 6, 1982

  1. I love reading your posts, it’s great to read more in-depth analysis of Vanity 6’s songs. Did you ever do a post for He’s So Dull as I can’t seem to find it?

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  2. Sonnuva…! I didn’t notice the omission of the bouncy pop of “He’s So Dull.” I remember that when Adam Ant guest VJ’d MTV, he played the clip as he was keeping time with Vanity concurrently.

    But oooh yeah! “Make-Up” has been my constant companion on “Originals” ever since that fateful day last weekend when I bought that sucker without hesitation since I happened to be in Targét at the time. After listening to it a lot, I’m hearing the influence of the deadpan, hyper-minimal, proto-techno of The Normal’s “Warm Leatherette” in the declamatory vocals and rhythmic meter of the vocal delivery. The music bed is not quite as minimal as the 1978 classic, but I’d lay wager that Prince was certainly familiar with it. After all, Grace Jones cover version two years later as the title track to her 4th album turned a lot of heads as she also made the move from disco/R+B to New Wave concurrently with His Majesty.

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    1. Yes! Definitely agreed on “Warm Leatherette” as an influence for this strain of Prince’s music–especially the Grace Jones version, which I can’t imagine he wouldn’t have heard by the time he was working on Controversy and the Hookers/Vanity 6.

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    1. Yep–Jesse wrote the music and Prince wrote the lyrics, just like “Jungle Love.” I’ve never officially spelled this out, but my basic rule of thumb is that if Prince played a significant role in writing the song and/or is the lead performer, it gets a post; if he doesn’t appear to have had much to do with the song and isn’t the lead performer, I skip it. So far, that basically just means “After Hi School” and “He’s So Dull” (though I try to at least mention the songs I’m skipping to put them in context).

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  3. So excited you’re coming up on early eighties Prince! My favorite! It’s been great reading about Vanity 6 as well. I’ve always been convinced she’ was the love of his life.

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