Now on Patreon: Lady Cab Driver (Rearrange)

Now on Patreon: Lady Cab Driver (Rearrange)

(Featured Image: A real-life “Lady Cab Driver,” circa 1919; photo stolen from pastpictures.org.)

Note: The drought is over! This post, as you know, took entirely too long. Part of it was because it’s just a tricky song to talk about; part was garden-variety writer’s block; part was just general burnout and needing a break, but we’ve covered that. I won’t promise it will never happen again–because it will–but for the time being, I’m back on track. As usual, this will be exclusive to my Patreon for about a week before I put the full post up on the main blog. And, while we’re on the subject of patrons, thank you to Hayo Reinders, who joined Snax and Carlos Romero in supporting the blog last week and officially became the person to put it over the top for my $100 goal. That means I’d better get started thinking up podcast ideas; if you have any you’d like to share, hit me up. I will aim to get the podcast up and running again in February.

Of the 11 songs that would eventually make their way onto Prince’s fifth album, “Lady Cab Driver” appears to have had the longest gestation period. The song was completed at Sunset Sound on July 7, 1982, the day after “Moonbeam Levels”; but, as the recent deluxe edition of 1999 revealed, its seeds had been planted during a break in the Controversy tour over half a year earlier on December 8, 1981, in the form of a different song called “Rearrange.”

According to sessionologist Duane Tudahl in the Minneapolis Public Radio documentary The Story of 1999, “Rearrange” was long known to researchers by its title alone: “it was one of those songs that we’d heard existed, but I didn’t think it was actually a song,” he told host Andrea Swensson. “I thought it was just some shuffling of his stuff”–a studio note indicating a literal rearrangement of tapes. As it turned out, of course, it was real–though it was also little more than an admittedly funky sketch: a stark, mid-paced groove with a slick rhythm guitar hook similar to the Time track “The Stick.” Given this similarity–not to mention Prince’s guitar solo, which plays neatly to Jesse Johnson’s combustive style–it seems likely that “Rearrange” was at least provisionally mooted for that group. But this is just speculation; ultimately, says Tudahl, we “don’t know whether it was intended for 1999, whether he was searching for a voice for 1999, or whether he was saying, ‘I gotta record another Time album soon.’ But either way it was something that was not planned. He just thought, ‘I’m in the studio, I gotta record, I’m going to record. This is what I’m gonna do’” (Swensson 2019 Episode 2).

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Lust U Always (Divinity)

Lust U Always (Divinity)

(Featured Image: “The Nightmare,” Henry Fuseli, 1781.)

Note: Please be advised that this post contains frank and uncensored discussion of lyrics which explicitly reference sexual assault. 

There are any number of reasons why Prince may have left a given song in the Vault. There were, of course, the basic limitations of recorded media formats: by 1982, Prince was producing more music than could possibly be accommodated on two 12-inch sides of vinyl–hence why 1999 ended up as a double album, and why his singles increasingly came backed with non-LP B-sides. There were instances where a certain song may have been deemed too similar to another that ended up making the cut on the album: see, for example, “Turn It Up,” which is believed to have been left off 1999 in favor of “Delirious.” There was also an even simpler explanation, per Prince himself: “If any track is unreleased, it’s because it’s not done,” he reportedly told Dan Piepenbring, the coauthor of his unfinished memoir, in 2016 (Prince 2019 16).

The particular song Prince was discussing with Piepenbring was “Extraloveable,” a widely-bootlegged track recorded at the beginning of April 1982 and not officially released until 2011. Taking Prince at his word that the song wasn’t “done” until Andy Allo rapped on it, I won’t be writing about it until we get to that point in our chronology; however, I will posit a theory that there was another reason why it didn’t see the light of day. As anyone who’s heard the original version can attest, the song takes a turn in the last minute and a half or so. After six minutes of gently cajoling the listener to take a bath with him, Prince suddenly becomes menacing: “I’m on the verge of rape,” he grunts, repeating himself for good measure. A blast of discordant synthesizer noise takes over the mix, as if the song itself has begun to malfunction. “I’m sorry,” Prince intones in his detached android voice over the ongoing din, “but I’m just gonna have to rape you. Now are you going to get into the tub, or do I have to drag you? Don’t make me drag you.”

Prince was obviously no stranger to aberrant expressions of sexuality at this point in his career: on “Horny Toad,” as we’ve discussed, he had imagined himself as an obscene phone caller, a groper, and a stalker; perhaps most notably, “Sister” had described an incestuous relationship of dubious consent. But the former song was obviously played for laughs, while the latter crucially depicted Prince as the victim of abuse, not the perpetrator. Interrupting an exuberant, sexy frolic to outright threaten sexual violence was clearly a bridge too far, even in the thick of Prince’s “Rude Boy” era. Which makes it all the more surprising that he did it again with another unreleased track recorded in the same year, “Lust U Always.”

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Patreon Exclusive: Review – The Beautiful Ones

Patreon Exclusive: Review – The Beautiful Ones

(Featured Image: Cover art for The Beautiful Ones by Prince, from Amazon.)

As promised, I’ve sorted through my thoughts on The Beautiful Ones, the new part-memoir, part-scrapbook from the Prince estate, and have made them available for patrons here:

Patreon Exclusive: Review – The Beautiful Ones

TL;DR version for non-patrons: it is what it is, I’m glad it exists, but it’s inescapably dwarfed by the possibilities of what a completed memoir might have been. On the other hand, this is Prince we’re talking about, so who’s to say that the book would have ever come out even if he’d lived to finish it?

I’m sure a lot of readers have also been digging into The Beautiful Ones this last week, so I’m curious to hear your thoughts. Please leave a comment and let me know how you’re processing the book, what you think of it, what’s most (or least) compelling to you, etc.! And of course, if you haven’t bought the book yet, feel free to do so using my Amazon affiliate link.

A few housekeeping-type notes before I go: first, now that I’m pretty sure I have my shit together again, the blog is moving back to a Patreon-first schedule: I’m hoping to have the next post (on “Horny Toad”) up for patrons tomorrow, to appear on the regular blog next week. After that, I’m once again leaving the next post up to patrons: the choice is between “Lust U Always” and “Don’t Let Him Fool Ya,” and as of this writing the former is winning. If you have a dog in this particular fight and want your voice to be heard, you can become a patron at the $5 level or above and vote–preferably by the end of the weekend, as I’ll need to start writing soon!

Finally, you might have noticed that the blog is now ad-free; this is an intentional choice, both because I’m shilling the Patreon enough without involving other revenue streams and because frankly today’s Internet ad rates are too low to justify the ugliness of advertisements all over the website. Thanks for tolerating them while they were here.

I think that’s it for now. Looking ahead, if I can keep to my current schedule, we’ll be closing out 2019 with a real big one. I can’t wait!

Press Rewind: “Ronnie, Talk to Russia”

Press Rewind: “Ronnie, Talk to Russia”

(Featured Image: Back cover of Controversy, 1981; © Warner Bros.)

Over in these parts, I’m still focusing on my written explorations of Prince’s recorded catalogue; but I’ve kept my hand in the podcast game thanks to Jason Breininger’s Press Rewind podcast. This time, we’re talking about what I think may still be my least favorite song on the Controversy album–though I will say it’s an interesting discussion nevertheless:

Press Rewind: “Ronnie, Talk to Russia”

If you’re someone who misses the days when d / m / s / r had its own semi- regular podcast, remember that that’s my current stretch goal for the Patreon and we’re about halfway there–so, if you’d like to see me start recording monthly podcasts again and you haven’t become a supporter, please do consider tossing a buck a month my way. This will not only allow me to justify the hours spent recording and (especially) editing these podcasts, but it will also help me to pay for the software that allows me to edit in all that legally-dubious music:

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