Even after recruiting Denise Matthews to be the group’s frontwoman, Prince still envisioned Vanity 6 as a girl group in the classic sense, with each member taking the lead on their respective songs. This gave him the opportunity to return to a pair of tracks originally recorded for the Hookers project in the summer of 1981, featuring Susan Moonsie on lead vocals. Though they date back to almost a year earlier than the rest of the album, “Make-Up” and “Drive Me Wild” sound cutting-edge. Like “All the Critics Love U in New York,” both songs seem to parallel the emerging sounds of Detroit techno–particularly “Make-Up,” with Susan’s deliberately cold, dispassionate vocals, a frenetic Linn LM-1 pattern, and a synth-bass line that resembles a computer processor clearing its throat.Continue reading “Make-Up”
(Featured Image: “She’s got him now, boys!” 19th century “trade card” for Le Page’s glue; photo stolen from the Boston Public Library’s Flickr.)
Yes, I know, three Prince: Track by Track posts in a row isn’t exactly a testament to my productivity, but I’m still aiming to get “Nasty Girl” out by the end of the week. Meanwhile, here’s me and Track by Track host Darren Husted on a nice little tune from Prince’s underrated 20Ten album:
Thanks for your patience as I continue to work on the next proper chapter!
(Featured Image: “Pampered by all the finest amenities life has to offer, beautiful and wealthy Kristin Scott-Thomas is much sought after by two young men who are newcomers to life in the French Riviera in Under the Cherry Moon, a Warner Bros. release.”)
As promised/warned back at the beginning of the month, I’m intentionally taking my sweet time on the next post (though I will commit to getting it out by the end of the month). In the meantime, here’s my latest guest appearance on Darren Husted’s Prince: Track by Track podcast:
Not much more to say on this one. See you again soon!
The last time I shared an episode of Prince: Track by Track, I promised that my next post would be something more substantial; so, to keep that promise, I held back on sharing this latest episode until now.
I have to confess that I wasn’t familiar with “The Morning After” until I signed up to talk about it; I bought my copy of LOtUSFLOW3R on CD (from Zia Records in Tucson, Arizona), so I was only familiar with the configuration of the album that included “Crimson and Clover” instead. I literally listened to the song seconds before recording this, so you’re hearing my unfiltered first impressions here:
Also, this week I noticed a curious spike in views for one of the most obscure songs discussed on the blog: a late 1978 demo that has been circulating under the title “Nadeara.” Turns out the reason for all the attention was one of Prince’s old notebooks, currently up for auction, which contains (among other things) a breakup letter from the real woman who inspired the song. Also, it turns out we’ve been spelling “Nadira” wrong all these years. Oops. Anyway, I’ve added a photo of the note to the post on “Nadira,” the song, and also included it below for those who might be interested:
This is usually where I would make some kind of vague promise about when I’ll be posting again, but I’m actually not going to nail anything down yet because I know that the next piece I write is going to be longer and more research-intensive than usual. I will just say it’s a pretty significant chapter of the “story,” and I hope you’ll enjoy it once it’s ready.
(Featured Image: Cover art for Prince, 1979; photo by Jurgen Reisch, © Warner Bros.)
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 Mind podcast, 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.