In fact, according to Per Nilsen’s studio sessions Bible The Vault, “International Lover” very nearly ended up on What Time is It? as well. Recorded just a few days after “Gigolos Get Lonely Too” (January 11) and on the same day as overdubs for “The Walk” (January 14), its place in the chronology clearly suggests Prince had it in mind as a Time song; there’s very likely a tape somewhere with vocals by Morris Day. But in what would become a pattern for Prince with his spinoff acts, he ended up liking the song so much that he took it back for himself.
October 19, 2018 marks the 39th anniversary of Prince’s self-titled second album–not the most glamorous occasion, perhaps, but reason enough to reassemble the review panel from our For You podcast for a reappraisal. Once again, Zach is joined by Harold and KaNisa for a track-by-track discussion of this underappreciated album, its resonances throughout Prince’s career, and why it still matters.
If you want to keep in the loop for our forthcoming Dirty Mindpodcast, you can subscribe to dance / music / sex / romance on your aggregator of choice (iTunes, Stitcher, or Google Play); and if you like what we’re doing and want to spread the word, please leave us a review! In the meantime, the d / m / s / r blog will return next week with one last track from 1981.
With the title track of his fourth album, Prince cogently summarized his many complexities–so many, in fact, that it took me threefull-lengthposts to even attempt to untangle them. But Controversywas about more than just self-analysis and myth-building. It was also, more than any other Prince album to date, engaged with the outside world: using the artist’s increasingly well-defined persona as the basis for a distinctive–if not always coherent–worldview.
The centerpiece of this new worldview was the album’s second track, “Sexuality.” Picking up immediately after “Controversy” leaves off–scarcely a beat goes by between the former song’s final synth glissando and the ecstatic yelp with which Prince opens the latter–“Sexuality” addresses the listener with a direct call to arms. “Stand up everybody / This is your life,” the singer announces. “Let me take you to another world, let me take you tonight.” His language draws deliberately on the gospel tradition: like the allegorical train in the Impressions’ “People Get Ready,” “you don’t need no money”–or, indeed, clothes; you just get on board. It becomes clear that this is no conventional hymn, however, once the chorus hits: “Sexuality is all you’ll ever need / Sexuality, let your body be free.”
Well, folks, I said I would have another post this week (and I really, truly am almost done writing it!), but there’s been so much going on today that I think it might be better to let it simmer until Monday. In the meantime, here’s something I wrote for my other side hustle at Slant Magazine about today’s excellent (yeah I said it, fight me) posthumous release:
(Featured Image: Our co-conspirators, circa 1982.)
Over the weekend, I made another appearance on Darren Husted’s Prince: Track by Track podcast, discussing a song that Darren hates and I honestly kinda love: “Cloreen Bacon Skin,” the longest and quite possibly least consequential single track in Prince’s entire officially-released oeuvre. Listen to my spirited, albeit slightly sheepish defense, which goes on for just over the length of the song itself, at the link below:
I’m still hoping to get another proper post out by the end of the week, but it’s gonna be a long one, so apologies in advance if it doesn’t make it until next week. I’ll do my best to make it worth the wait!