(Featured Image: DJ Steve Holbrook in the booth at the Taste Show Lounge in Minneapolis, circa 1983. Note the Time poster on the right. Photo by Charles Chamblis, stolen from the Minnesota Historical Society.)
Beginning with his third album in 1980, Prince had been steadily building up a mythology–occasionally bordering on a philosophy–for himself. Dirty Mind had “Uptown,” a clarion call for hedonism that eradicated all racial and sexual boundaries. 1981’s Controversy, of course, had its epic title track, a declaration of selfhood through the negation of fixed identities; as well as “Sexuality,” a return to the themes of “Uptown” with a new quasi-religious fervor. For his fifth album in 1982, he offered something even more blunt and to the point: a musical manifesto based around the four words, “Dance, Music, Sex, Romance.”
Though it was never released as a single–and, in fact, was left off the original CD release of 1999 due to space constraints–“D.M.S.R.” holds a privileged position in Prince’s discography. Dance Music Sex Romance was of course the title of the 1999 biography and session chronicle by Per Nilsen, long considered definitive by fans of the artist’s early career. It’s also, obviously, the title of this very blog, because I figured if Per’s not going to use it anymore, somebody’s gonna have to. Its attraction to writers on Prince is self-evident: as Dave Lifton wrote on the song for Diffuser’s 365 Prince Songs in a Year series, “Dance. Music. Sex. Romance. Add God into the mixture and you’ve more or less got the formula for every song Prince released in his life” (Lifton 2017). Way back when I first started d / m / s / r in 2016, I posited that it would make a great title for a career-spanning collection like Johnny Cash’s Love, God, Murder, with a disc devoted to each theme.
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(Featured Image: “D.D. Winters,” a.k.a. Denise Matthews, a.k.a. Vanity, in Tanya’s Island, Alfred Sole, 1980; © Jef Films International.)
While Prince wasn’t nominated for any American Music Awards in 1982, the night of the ceremony would turn out to be fortuitous for another reason. It was at an AMAs after-party on January 25 when he first met Denise Matthews: a 23-year-old model who, under another name, would soon become the most infamous of his 1980s paramours.
Born in Niagara Falls, Ontario to a German Jewish mother and an African American father, Matthews shared with Prince a tumultuous childhood: her parents divorced when she was young, and she and her six siblings grew up without their mother in their lives. In Matthews’ case, however, the trauma also extended to sustained physical and, it’s been alleged, sexual abuse at the hands of her father, who died when she was only 15. “For 15 years, he beat me badly,” she later told Aldore Collier of Jet magazine (Collier 1993 58). “I wish I could see my father in heaven, but I won’t. He’s in Hell” (59).
Despite–or perhaps because of–the low self-esteem she suffered as a result of this troubled upbringing, the stunningly beautiful Matthews went on to pursue a career in modeling: winning the Miss Niagara Hospitality pageant in 1977, and competing for the Miss Canada title the following year. She signed with New York’s Zoli Agency and appeared in a few ad campaigns in the U.S. and Japan. Under the pseudonym “D.D. Winters,” she acted in the 1980 Canadian slasher film Terror Train, starring Jamie Lee Curtis, and had the dubious honor of playing the title role in Tanya’s Island: a truly bizarre erotic fantasy about a model embroiled in a violent love triangle with her painter boyfriend and a bestial, apelike creature (no, seriously, see photo above).
(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.”
(Featured Image: The Time get ready to walk a hole in their Stacy Adams on the back cover of What Time is It?, 1982; L to R: Jesse Johnson, Morris Day, Monte Moir, Jimmy Jam, Jellybean Johnson, Terry Lewis. Photo by Allen Beaulieu, © Warner Bros.)
While work on the Time’s second album didn’t formally begin until January 1982, at least one track had an earlier genesis: according to Prince Vault, the original 2″ tape of “The Walk” stored in the Paisley Park Vault (and, now, at Iron Mountain in Los Angeles) was labeled with a date of July 1, 1981. This suggests Prince recorded something by that title–either an early version or the actual basic track–in his own home studio, a few weeks before the release of the Time’s first album on July 29.
And that makes a lot of sense, because “The Walk” is the track from What Time is It? that most resembles the style of its predecessor. It’s long: nine and a half minutes, to be exact, roughly halfway between the lengths of “Get It Up” and “Cool.” And, like both “Get It Up” and “The Stick,” it moves at a sauntering pace, driven by an unhurried “walking” bassline and singer Morris Day’s casual, half-spoken vocals. The titular “Walk”–a dance-craze homage in the tradition of “Let’s Rock”–references both the song’s moderate tempo and Prince’s early instructions to Morris while the pair were developing his stage presence: “Walk, put your hand in your pocket, and be cool,” as the frontman later summarized (Crandell 2015).
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(Featured Image: “There’s never been more love in the air!” Early 1970s Southwest Airlines ad; stolen from Flashbak.)
Following a month and a half of dates in the Mid-Atlantic, South, and Midwest, Prince took a break from the Controversy tour in mid-January 1982. He spent the majority of this time in Los Angeles: attending the American Music Awards and laying down tracks at his new favorite studio, Sunset Sound. Most of the songs he recorded in these weeks were intended for his protégés (and budding rivals) the Time: “Gigolos Get Lonely Too,” “The Walk,” and “Wild and Loose” would all end up on their second album, What Time is It? But the sessions also yielded what would become the closing track on Prince’s fifth album: a seductive ballad in the “Do Me, Baby” vein called “International Lover.”
In fact, according to Per Nilsen’s studio sessions Bible The Vault, “International Lover” very nearly ended up on What Time is It? as well. Recorded just a few days after “Gigolos Get Lonely Too” (January 11) and on the same day as overdubs for “The Walk” (January 14), its place in the chronology clearly suggests Prince had it in mind as a Time song; there’s very likely a tape somewhere with vocals by Morris Day. But in what would become a pattern for Prince with his spinoff acts, he ended up liking the song so much that he took it back for himself.
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