Roundup: The Time, 1981

Roundup: The Time, 1981

(Featured Image: Cover art for The Time, 1981; photo by Allen Beaulieu, © Warner Bros.)

Folks, it’s been a whole-ass seven months since the last roundup post on Dirty Mind–where has the time gone? Dunno, but here at least is where the Time has gone (sorry): five posts on the first album by Prince’s first and arguably most accomplished protégé act. My ranking this time is decidedly anti-climactic, since I basically organized them in ascending order of preference as I wrote. And yes, the fact that I didn’t even devote a full post to “After Hi School” should give you an idea of where it would have ranked if I had. Anyway, here goes:

5. “Girl” Only the second song I’ve written about so far (after “With You” that I’ve actively disliked–but my dislike is really, really active. Apologies to the track’s defenders, but I don’t know which is more grating to me: Morris’ whiny lead vocal or Prince’s dog-howling-at-the-moon harmonies. I would have gladly taken an extra five and a half minutes of “Get It Up” over this.

4. “Oh, Baby” The best ballad on The Time purely by default. I actually barely remember this song even after having written 600 words on it. But I guess no memory beats bad memories, so Number 4 it is.

3. “Get It Up” Now we’re talking. The Time is the definition of an uneven debut album, with half of its songs among the worst things they ever recorded and the other half among the best; “Get It Up” definitely belongs to the latter half. The only reason it isn’t ranked higher is because it’s still missing the spark of unique personality that the remaining two songs manage to achieve; but if there’s a version with just Prince’s vocals locked away in the Vault, I need it yesterday.

2. “The Stick” Maybe the best song about dicks ever to be co-written by a lesbian? I dunno, don’t quote me on that, but a great song regardless, and a tongue-in-cheek preview of the auto-erotic innuendos Prince would take to the next level with “Little Red Corvette.” Plus, any opportunity for me to reference Kenneth Anger’s Kustom Kar Kommandos has earned a special place in my heart.

1. “Cool” Maybe the definitive Time song–and certainly, as we explored, the one with the longest history in Prince’s career. Without “Cool,” Jerome would have never brought Morris that mirror–truly, an alternate timeline too terrifying to contemplate.

dirtymind-tagcloudtimeroundup

Another roundup post also gives us the opportunity to take another look at the ol’ tag cloud. The main change to note here is the debut of Kiowa Trail and Chanhassen, cementing (along with France Avenue/Edina) Prince’s lifelong presence in the Minneapolis suburbs. Also, Gayle Chapman is no longer among the top tags, having been replaced here as in Prince’s band by Lisa Coleman. Sorry, Gayle…but hey, if you ever wanna come on the podcast for an interview, we can try to get you back on the board. Oh, and if you’re wondering what the average length for these Time posts was, it was my lowest ever: a paltry 833 words, barely over half of the average post length for Dirty Mind. I make no promises that I’ll be as brief in the future.

Next week is the third anniversary of d / m / s / r (where has that time gone?), so I’ll hold off on the state-of-the-blog stuff until then. In the meantime, rest assured that I’ll keep plugging away, probably until we’re all dead. Onward to (the rest of) Controversy!

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Cool

Cool

(Featured Image: 1981 publicity photo for the Time. L to R: Jesse JohnsonTerry LewisMorris DayJimmy Jam, Jellybean JohnsonMonte Moir. © Warner Bros.)

While guitarist Dez Dickerson’s most fleshed-out contribution to The Time was the aforementioned “After Hi School,” it was his work as a lyricist that had the more lasting impact. Dickerson wrote lyrics for at least three songs recorded in April of 1981 and (most likely) intended for the new side project. Two of these, “Dancin’ Flu” and “I Can’t Figure It Out,” we only know as titles from The Vault; but the third, “Cool,” would become the Time’s second single and one of their trademark songs. “Prince called me up one day with the title and asked me to write some lyrics to go with it,” Dez recalled to Per Nilsen’s Uptown fanzine. “I called him back about 20 minutes later with the song” (Nilsen 1999 86).

According to Dickerson, the genesis for “Cool” came during the Dirty Mind tour, on a night when the band was hanging out with Warner Bros. A&R exec Ted Cohen. “I had this voice that I adopted at times, and, that night I just kind of got ‘stuck’ in it, cracking jokes,” he wrote in his 2003 memoir. “I fell into this thing where I kept telling Ted, ‘Ted, man, you bad! Ain’t nobody bad like you, Ted!’ Well, you guessed it–the voice and the phrase ‘ain’t nobody bad…’, which would later become the signature of the Time’s banter, came from that night” (Dickerson 137).

While I am skeptical of attributing the whole “Morris Day” persona to Dez alone–both Prince and André Cymone, not to mention Morris himself, are also on record as having used the hoarse, jive-talking “pimp voice” most publicly identified with the Time–it is certainly true that “Cool,” and Dickerson’s “ain’t nobody bad but me” lyric, played an essential role in bringing that persona to life. Equal parts smooth and clownish, “Cool” laid the parameters for the hair-slicking, Stacy Adams-wearing, two-stepping caricature from which Morris remains publicly inseparable to this day.

Continue reading “Cool”

The Stick

The Stick

(Featured Image: From Kustom Kar Kommandos, Kenneth Anger, 1965. © Fantoma Films.)

Despite the band name on the label and the six musicians credited on the sleeve, the Time’s first album is often remembered as a thinly veiled solo effort by Prince. This, however, isn’t strictly true: not only was frontman Morris Day largely responsible for the album’s drum tracks, but Prince also drew heavily on his inner circle for songwriting assistance.

Guitarist Dez Dickerson wrote the lyrics for “Cool”–more on that later–and, less successfully, was solely responsible for “After Hi School.” “The idea was for the record to have a youthful vibe,” Dickerson wrote in his 2003 memoir, so he recorded a four-track demo for a song “where the main character is a kid about to graduate, facing the usual questions from adults, and decisions to be made. Prince liked it, but changed it from its original AC/DC-ish rhythm to a more up-tempo Brit/New Wave feel” (Dickerson 112). The song’s faux-Farfisa accompaniment does recall Prince’s New Wave-flavored “When You Were Mine”; but the cloying lyrics and Morris’ still-untutored vocals do it no favors.

For the album’s most fruitful collaboration, however, Prince didn’t have to look far: in April of 1981, keyboardist and recent Los Angeles transplant Lisa Coleman was still living in his home at 9401 Kiowa Trail. “My room was upstairs,” she later told biographer Matt Thorne, “so he would call me down. ‘Lisa, would you help me do this string part? What about these lyrics? Can you finish this verse?’ He involved me. I punched him in while he was playing the drums, whatever it was” (Thorne 2016). Lisa’s backing vocals are prominent throughout The Time: she, along with Sue Ann Carwell, is one of the “Various Girlfriends” credited in the liner notes. And it was Lisa who provided the lyrical spark–and maybe more–for the album’s comically raunchy closing track, “The Stick.”

Continue reading “The Stick”

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

(Featured Image: One of Callie’s rad stickers for Dystopian Dance Party 1.)

As you may or may not know, Dystopian Dance Party is the other, more irreverent project I do with my sister Callie. We recently launched a physical magazine, the first issue of which is dedicated to art and writing inspired by the music of Prince. On this episode of the DDP podcast, Callie and I are joined by our friend Erika Peterson to talk about her work for the magazine–an exhaustive guide to the 3 Chains O’ Gold film–the most absurd/surreal moments of Celebration 2018, and our ongoing beef with Questlove. It’s definitely a bit looser and sillier than the average d / m / s / r podcast, but if you enjoy my other stuff, you should enjoy it:

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

For those of you who haven’t picked up the magazine yet, we’re also offering the opportunity to get it for free, along with a set of rewards otherwise exclusively made available to our Kickstarter backers. All you have to do is follow Dystopian Dance Party on TwitterFacebookInstagram, and/or Tumblr, and share a link to this episode with us tagged so we know you did it. Toward the end of May, we’ll choose one or two people to receive a free copy of the magazine, a sheet of custom-designed stickers, three buttons, and a poster of the cover art by Callie. None of this stuff is available anywhere else, so take advantage of this chance to get your hands on it!

And if you can’t get enough of Erika, remember that she also recently appeared on our friend KaNisa’s excellent Muse 2 the Pharaoh podcast. Take a listen if you haven’t already:

Muse 2 the Pharaoh #1

Finally, an update on my next post for d / m / s / r. I had been planning to get something out by the end of the week, but I decided to make some changes which resulted in a delay: basically, I was writing separate posts on “The Stick” and “Cool,” but I decided to combine the two and just write a longer post on “Cool” that also touches on “The Stick” (and “After Hi School,” in case anybody was waiting for that). I fully expect to have this post out next week–which means that we’re finally going to be done with the Time’s first album! After that, we’ll turn to another 1981 outtake, and then back to Controversy. I also have plans for a few podcasts in the pipeline, so there’s plenty to look forward to!