Note: In the last several weeks of writing about the songs on Prince’s debut album, I’ve been struck by the many contingencies that exist around For You, and Prince’s early career in general. If things had gone even slightly differently; if his label–or, for that matter, Prince himself–had shown even a little less confidence in his artistic development; then we would be looking at a very different musical landscape in 2016. There’s also the fact that, as I’ve noted several times in my track-by-track posts, it’s difficult to look at For You in retrospect without seeing it as just the first, not-entirely-successful glimpse at a talent and vision that would find its full expression in years to come. But what if that perspective wasn’t the default? What if For You wasn’t the first step in a long career by Prince, but in fact his first and last album? This post is my attempt to think my way through this situation: think of it as a look back at For You from a possible alternate timeline. I don’t know if I will do this for other albums in the future–or, like, ever again–but I thought it was an interesting exercise to examine Prince’s earliest days as a recording artist through a completely different lens. I hope you find it interesting, too.
Like I said on Thursday, from now into the foreseeable future I will have the distinct pleasure of making weekly guest posts on Andresmusictalk: a really fun blog dedicated to contemporary music on the “jazz/funk/soul/dance spectrum.” Not all of what I write will be Prince-related; but, as luck would have it, Andre is currently celebrating “Prince Summer,” so for at least the first several weeks I’ll be posting links to my posts here. My plan is to tie in with a series on Prince’s many side projects: beginning with the classic ’80s acts we discussed in our podcast last month, then hopefully extending all the way to the 21st century. So of course, who better to start with than the greatest band in the world: the muthafuckin’ Time.
The plan is for me to post something every Saturday, so watch this space (and Andre’s page, of course) for more “Prince (Protégé) Summer.” And of course, come back next week for our regularly-scheduled programming, as we dig deeper into the songs that became For You.
Every once in a while, we’ll interrupt our usual programming on dance / music / sex / romance to repost something relevant from our sister site, Dystopian Dance Party. Today–and in honor of D.D.P.’s most sacred holiday season, Jheri Curl June–it’s a podcast where my cohost Callie and I look at the cottage industry of (very) thinly-veiled side projects introduced by Prince between 1981 and 1987: including the Time, Vanity 6, Sheila E, Apollonia 6, the Family, Mazarati, Jill Jones, and others. If you’re a Prince fan–and, if you’re at this website, I’m going to go out on a limb and guess you are–then some of this stuff is essential listening.
First, though, a word of warning, as I’m afraid there’s a factual error in this one: I was speaking from memory in the section about Sheila E, and incorrectly stated that “Noon Rendezvous” began life as a Revolution outtake. It was actually co-written by Prince and Sheila for the Glamorous Life album; the Revolution just happened to cover it in concert. Oops! Anyway, I left that bit in because I still like the song, so just enjoy the music and try to ignore the fact that I’m blatantly lying to you.
Show notes are here. We’ll be back to the chronological Prince grind starting, I believe, Wednesday; in the meantime, check out Dystopian Dance Party every weekday in June for more ’80s R&B that owes more than a slight debt to His Royal Badness.