Roundup: Ephemera, 1977-1978

Roundup: Ephemera, 1977-1978

(Featured Image: Prince by Robert Whitman, 1977.)

I’m not gonna lie, folks: this “chapter” of the blog wasn’t always easy to get through. I mentioned before that For You is my least favorite album of Prince’s “classic period,” and his outtakes from that time are, well, outtakes. If nothing else, however, this was valuable training for when I have to trudge through the parts of his discography I like even less; the other day I realized that at some point I’m going to need to spend a couple of months on Carmen Electra’s album, and I promptly broke into a cold sweat.

So, in addition to my usual “thank-yous” for reading, I’d like to also thank my readers for being so patient in the five months (!) between this and the last roundup post. I’m sure this won’t be the last time I feel some burnout on a project that, I’m well aware, will be a part of my life for the next several years. All I can do is continue to do my best and try to do the material justice, even when it doesn’t especially excite me.

And hey, in case you were wondering what songs excited me least, here’s the ranking:

11. 1978 Instrumentals No surprise here: like his home recordings of 1976, Prince’s France Avenue instrumentals are For Devotees Only. But man, what a treat that we get to hear them at all.

10. “Baby, Baby, Baby” Another one for the Devotees Only list: basically just a couple minutes’ worth of Prince strumming and scatting, and yet here I am writing about it 40 years later like it’s the Holy Fucking Grail. If this was just some guy in a coffee shop, it would be unbearable; but it’s Prince, and somehow that makes all the difference.

9. “Donna” A cute, if clearly unfinished little ditty. Also gave me an excuse to share a pretty dope photo of Donna Summer.

8. “Down a Long Lonely Road” The fact that this is ranked so high is proof that I’m being as subjective as possible: it’s barely a song, but what can I say, I like the pure and simple gospel feel. Would have loved to hear this develop into something more.

7. “Make It Through the Storm” I know this is a popular outtake, but it’s not my favorite. Still, an interesting reminder that even in the For You era, Prince didn’t sound quite like anyone else: this is the exception that proves the rule.

6. “Nadira” I bet he writes songs like this for all the girls.

5. “Miss You” My favorite of the post-For You demos by default: it’s the only one that really holds up as a complete song. Well, with one exception…

4. “Wouldn’t You Love to Love Me?” This is low-key one of Prince’s best early pop cuts, and it dates back all the way to 1976. Would love to hear the Sue Ann Carwell version one of these days.

3. Loring Park Sessions Would I care about this if it wasn’t by Prince? Probably not; like I said in the original post, it’s perfectly good jazz-funk in the Herbie Hancock vein, but nothing earth-shattering on its own merits. The fact that it is by Prince, though–recorded before his first album!–makes it a fascinating listen. I also feel like I’ve seen someone on the Internet share a link to Prince’s “mind-blowing early jazz sessions” at least once a week since last April, so if nothing else these should be easy to track down.

2. “Just Another Sucker” I never really bothered digging into 94 East before I wrote this blog, so “Just Another Sucker” is one of my favorite new discoveries. It’s no masterpiece, but it would have fit Prince’s self-titled second album like a glove.

1. “We Can Work It Out” As a blogger used to toiling in obscurity, I can appreciate an idea like this: a superbly-crafted disco-funk-pop-rock opus only meant to be heard by a handful of people; an elaborate private joke that could have been a legitimate hit. Oh, and check out the handwritten lyrics! These were acquired late last year by the Minnesota Historical Society; I hope they don’t mind me sharing the image below. I’ve also added it to the original post for posterity’s sake. Gotta love that racy doodle.

I Hope We Work It Out, 1977.
Photo stolen from the Minnesota Historical Society

In case you missed it, I also just wrote a rather lengthy post discussing Prince’s first band and his live debut as a solo artist:

I am You: Capri Theatre, January 5-6, 1979

Finally, here’s a song without a home for the time being. I wanted to write about “Moonbeam Levels,” the first officially-released outtake since Prince’s passing, while it was still relevant. I’m sure I will revise this post by the time we get to 1982 in our official chronology, but here it is for now:

Moonbeam Levels

And of course, it wouldn’t be a roundup post without a snapshot of the ol’ tag cloud:

1978-tagcloud

Next week, we’re finally making the leap into 1979 with a post on one of Prince’s early classics: “I Feel for You.” I’m looking forward to it! In the meantime, remember that you can always see the full chronological index of songs right here.

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1978 Instrumentals

1978 Instrumentals

(Featured Image: Prince in 1978; photo by Darlene Pfister, Minneapolis Star Tribune.)

One thing Prince established very early on was a near-constant rate of musical productivity: as we observed way back at the beginning of this blog, he spent the vast majority of his day-to-day adult life–not to mention a good amount of his childhood–participating in some form of songwriting, recording, rehearsal, or performance. So it should come as no surprise that when Prince moved into his first house in the summer of 1978, the otherwise-unassuming 5215 France Avenue in Edina, Minnesota brought with it another first: his first home studio. Indeed, according to his cousin and former Grand Central drummer Charles Smith, the rest of the house was mostly an afterthought for Prince: “The basement was full of equipment but he didn’t have any furniture in the house,” Smith told biographer Per Nilsen. “He didn’t have any carpets. He just had a rocking chair and a little TV for his games.” Eventually Prince’s girlfriend at the time, Kim Upsher, would help decorate and make the place “look like a home” (Nilsen 1999 43). But it’s clear that creature comforts placed a distant second for Prince, below his ability to create whenever the muse struck him. The lifelong blurring of the lines between studio and living space that he’d set into motion while still living in the Andersons’ basement was, by mid-1978, in full swing.

The France Avenue “studio” wasn’t exactly Paisley Park, of course: just a basement space with instruments and a portable TEAC four-track reel-to-reel. But it did the job, giving Prince an opportunity to flesh out new ideas without booking expensive studio time–which, after the hefty $170,000 recording cost of For You, probably came as a relief to the bean counters at Warner Bros. Many of the demos for Prince’s second album were reportedly recorded at home, and a few of the tracks that ended up on 94 East’s infamous Minneapolis Genius compilation (more on that to come). There were also several songs known only by their titles: “Darlene Marie” (also known as “Darling Marie”), “Do It Again,” “Gypsy,” “I am You,” “I Met a Virgin Queen,” “I’m Leaving L.A.,” “Love Affair,” “Love of Mine,” “Rocking Chair,” and “We Would Like to See You Again,” as well as a re-recording of the 1976 demo “Rock Me, Lover.” And then there are the circulating recordings: starting with today’s six untitled instrumentals.

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