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Ephemera, 1975-1976

Home Recordings, 1976

“Guess how many times I’ve changed addresses,” Prince asked at one point in a 1979 interview with Cynthia Horner of the African American teen magazine Right On! “Twenty-two times!” (Horner 1979) His typically charming, almost childlike delivery made it seem like an amusing anecdote; for what it’s worth, it was also probably an exaggeration. But beneath the wide-eyed ingénue act, he was revealing something profoundly sad about himself. For about six years during his childhood, Prince’s living situation was unstable at best; at worst, he was functionally homeless.

The period of instability ended around the same time that Prince formed his first band, thanks to the same catalyst: André Anderson, whose mother Bernadette took him in around 1974, and with whom he lived until after he signed with his first manager in late 1976. It was at the Anderson household where Prince made his earliest home recordings, at the ages of 17 and 18. But it was during his proverbial “wilderness period” when he established the fierce independence and drive–as well as the distance from others–that would define his professional life for decades to come.

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Ephemera, 1975-1976 Lacunae

Funk Machine: Prehistory, 1963-1968

The earliest known Prince song has no title…or lyrics, or a melody. It was just a rhythm, supposedly banged out on a pair of rocks by five-year-old Prince Rogers Nelson–or “Skipper,” as he was more commonly known–soon after he saw his father’s band perform in 1963. Just as few details are remembered about the second earliest known Prince song–except for the fact that it involved larger rocks (Ro 4). Even the third earliest known Prince song has been lost to memory. All we know is that Prince was seven when he wrote it on the family piano, and that it was called “Funk Machine”–though even that much is questionable, as the likely earliest musical reference to “funk,” Wilson Pickett’s “Funky Broadway,” was released in 1967, two years after “Funk Machine” was supposedly written.

All of these stories may well be apocryphal; knowing Prince, who often played fast and loose with the facts of his life in recounting them to the media, they probably are. At the very least, it’s likely that these earliest compositions stretched the definition of what one might reasonably consider a “song” (though, who knows–maybe “Rock Jam #2” would later be resurrected as the drum machine pattern from “1999”). The point of such tales, however, is to establish a more fundamental fact: that Prince, more or less from his first memories, was saturated in the act of music-making. “Music is made out of necessity,” he wrote in 1992. “It’s a fact of life. Just like breathing” (Prince 1992).