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Ephemera, 1983

Modernaire

The third annual Minnesota Music Awards were held on May 16, 1983, at the Carlton Celebrity Dinner Theater in Bloomington. Prince took home six awards himself–Musician of the Year, Band of the Year, Best Male Vocalist, Best Record Producer (for 1999), 45 or EP of the Year (for “Little Red Corvette”), and Album of the Year (for 1999)–plus, by proxy, Best “R&B, Soul, Ethnic” Band for the Time. According to Jon Bream of the Minneapolis Star and Tribune, he spent most of the evening backstage, watching the Motown 25 special on TV.

Finally, wrote Bream, “the local hero” made his grand entrance: “parad[ing] down the center aisle in a banana-colored satin suit” with bodyguard “Big Chick” Huntsberry in tow. He handed his awards to Chick, “thanked Minnesota for its support,” and brought out his band–along with Vanity 6 and the Time’s Morris Day and Jesse Johnson–for a 10-minute version of “D.M.S.R.” played “on borrowed equipment” (Bream 1984). Dez Dickerson, despite having put in his notice earlier that spring, was in his usual spot on lead guitar; it was the last time he and Prince would share a stage.

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Ice Cream Castle, 1984

If the Kid Can’t Make You Come

The sole ballad recorded for the Time’s third album, “If the Kid Can’t Make You Come” is also a rare example of a “proper” song seemingly inspired by a comedic sketch, rather than the other way around. According to sessionographer Duane Tudahl, basic tracking for “Kid” (then titled “If the Boy Can’t Make You Come”) began on Saturday, April 16, 1983: two days into the laborious Sunset Sound sessions that also produced the extended skit “Chili Sauce.” That track featured Time frontman Morris Day subjecting his date to a series of 17 propositions, the last and most successful of which was, “Baby, if the kid can’t make you come, nobody can.” “Kid,” then, picks up where “Chili Sauce” left off–right down to the return appearance of actress Sharon Hughes as the aforementioned date, who finally gets to show off the full extent of her breathy moaning chops here.

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Ice Cream Castle, 1984

Chili Sauce

It’s tempting to assume that the filler tracks Prince penned for the Time–of which there was at least one on every album–were dashed off quickly, without the level of care and attention he reserved for his own music. But, while that may have been the case sometimes (looking at you, clumsy edit at the end of “I Don’t Wanna Leave You”), it wasn’t always. See, for example, “Chili Sauce”: my personal vote for the most egregious filler in the group’s discography, and yet also the subject of a staggering five nights of sessions at Sunset Sound in Los Angeles.

According to Duane Tudahl’s essential studio chronicle, Prince and the Purple Rain Era Studio Sessions: 1983 and 1984, Prince started work on the unnamed instrumental that would become “Chili Sauce” at 9:30 p.m. on Thursday, April 14, 1983, after completing a mix for the ill-fated “My Summertime Thang.” He began with a sleek, sinuous Linn LM-1 pattern, reminiscent of the one he’d used on “Electric Intercourse” in January–or, for that matter, the one he would later use on “The Beautiful Ones” in September. From there, he layered on more tracks, before ultimately deciding that the song needed live strings–a sound that had been absent from his discography since “Baby” on his 1978 debut album.

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Ice Cream Castle, 1984

Jungle Love

Prince, as was his wont, had already moved on to his next phase by the time the 1999 tour entered its final stretch in March 1983. The centerpiece of his master plan was, of course, the untitled film project that would become Purple Rain; but he also intended to cement his musical dominance with follow-up albums by the 1999-era “Triple Threat” of himself, the Time, and Vanity 6. Much as he had a year before, he focused on the Time first: booking a few days at Sunset Sound in Los Angeles before playing the Universal Amphitheatre and San Diego Sports Arena on March 28 and 29, respectively.

The Time’s first two albums had been cut primarily by Prince and singer/studio drummer Morris Day alone; for the new project, however, Prince allowed the rest of the band to take on a more active role. “They played on a lot of the stuff,” former Sunset Sound engineer Peggy McCreary told sessionographer Duane Tudahl–though Prince remained the unquestioned “leader of what was going on” (Tudahl 2018 64). The Artist Formerly Known as Jamie Starr was even willing to share songwriting duties, basing “Jungle Love” on an instrumental demo by guitarist Jesse Johnson.

Categories
Ephemera, 1983

Electric Intercourse (The New Master)

Note: I first wrote about “Electric Intercourse” in 2017, when the previously-unheard studio version was released in advance of the deluxe expanded edition of Purple Rain. That original post has been preserved for posterity, but this is now the official D / M / S / R entry on the song.

Much as he had the previous year during the Controversy tour, Prince spent part of his “downtime” between the two legs of the 1999 tour at Sunset Sound in Los Angeles. Over the course of a single week, from January 7-14, 1983, he completed overdubs and mixing for the 12″ versions of his own “Little Red Corvette” and “Drive Me Wild” by Vanity 6, plus edits for the single release of the Time’s “Gigolos Get Lonely Too.” Finally, on the last night of the sessions, he recorded a new song: the aching, piano-led ballad “Electric Intercourse.”