(Featured Image: Prince by Jurgen Reisch, from the Prince
As we discussed last week, Prince responded to his scuppered 1979 tour plans in characteristic fashion: by throwing himself even further into his work. Pepé Willie, his cousin by marriage–and, at the time, his informal manager–recently recounted a story from around this period to Rolling Stone’s Kory Grow. “One night, at around 10:30, I tried to call Prince and I didn’t get an answer,” he said. “So I went over to his house, because he wasn’t far from where I lived, and I see his car parked in front of his house. I rang the bell, knocked on the door and I didn’t get no answer. Then I hear this little tapping sound, and I went around to the side of the house and I peeped through the basement window, and Prince was down in the basement playing drums. I mean, he was wailing away. And this was after 12 hours of rehearsing. It was just unbelievable. So I had to tap the window in-between the drum beats so he could hear me, and then he came to the door and we talked. But after that experience, I had said to myself, ‘Gee, no wonder why he’s so good. This guy practices all the time’” (Grow 2016).
In addition to the non-stop rehearsals, Prince also wasn’t above picking up a session gig or two. In February of 1979, Tony Silvester from soul trio the Main Ingredient (of “Everybody Plays the Fool” fame) contacted Willie with an opportunity: he was producing an album by Pepé’s old employers, Little Anthony and the Imperials, and needed musicians. “I told him, ‘Look, I got two musicians who can play everything,’” Willie recalled to biographer Matt Thorne (Thorne 2016). So Willie, Prince, and André Cymone left for Music Farm Studios in New York, where they cut a handful of backing tracks in a one-day session. Silvester and the Imperials didn’t end up using them–though two of the songs they recorded, “If You Feel Like Dancin’” and “One Man Jam,” would later show up on the 94 East compilation Minneapolis Genius
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