All the Critics Love U in New York

All the Critics Love U in New York

(Featured Image: With an old friend at the American Music Awards in Los Angeles, January 25, 1982; that’s Steve Fargnoli in the background. Photo stolen from Consequence of Sound.)

Prince’s Los Angeles sojourn in mid-January 1982 concluded with–and was most likely scheduled around–the ninth annual American Music Awards, held at the Shrine Auditorium on January 25. He attended as a guest, not a nominee: the “Soul/R&B” category, for which he would have been nominated, was led by old-guard artists like Stevie Wonder and Smokey Robinson–as well as his rival of two years prior, Rick James.

Since the conclusion of the Fire It Up tour in May 1980, Prince’s and James’ career fortunes had diverged in unpredictable ways. Prince, as we’ve seen, had become a critics’ darling, trading the commercial success of his second album for the underground credibility of Dirty Mind and Controversy. James, meanwhile, had faltered with 1980’s flaccid Garden of Love–the album he’d allegedly recorded with a synthesizer stolen from Prince–but bounced back with the following year’s Street Songs: a masterpiece that finally made good on his “punk-funk” credo while leapfrogging his one-time usurper on the charts. Prince may have won 1980’s “Battle of the Funk,” but at the AMAs it was beginning to look like he’d lost the war, with James nominated for three awards–Favorite Soul/R&B Male Artist, Favorite Soul/R&B Album (which he won), and Favorite Soul/R&B Single for “Give It To Me Baby”–plus a proxy Favorite Soul/R&B Female Artist nomination for his protégée, Teena Marie.

It’s thus intriguing that only a few days before the awards, on January 21, Prince recorded a song that both satirized and propped up his critics’ darling status, while also lightly mocking the cultural rivalry between L.A.–home of Sunset Sound, Warner Bros. Records, and the AMAs–and its older, snootier cousin to the East, New York City. The song, one of the highlights of his fifth album 1999, was called “All the Critics Love U in New York.”

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Prince Track by Track: “Cloreen Bacon Skin”

Prince Track by Track: “Cloreen Bacon Skin”

(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:

Prince Track by Track: “Cloreen Bacon Skin”

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!

4 Paisley Park’s Consideration: The NPG Era Needs Its Own “4Ever”

4 Paisley Park’s Consideration: The NPG Era Needs Its Own “4Ever”

(Featured Image: Booklet from Emancipation, 1996; © NPG Records.)

Here’s a follow-up to last week’s guest post on Andresmusictalk, this time pitching a collection that does for Prince’s “NPG era” what Prince 4Ever did for the Warner years:

4 Paisley Park’s Consideration: The NPG Era Needs Its Own “4Ever”

Next week, more 1978 home recordings you probably don’t remember or care about. I’ll try to make them interesting, though!