(Featured Image: “The Number of the Beast is 666,” William Blake, 1805.)
As we noted last time, the late spring and summer of 1981 was an extraordinarily prolific time for Prince; it was also a notably experimental one. The artist’s home studio on Kiowa Trail in Chanhassen allowed him to try out new musical styles and approaches, without having to beg W.B. for expensive L.A. studio time. It’s thus no coincidence that the resulting album, Controversy, would be his oddest and most indulgent to date. Standing head and shoulders above the rest in the “odd and indulgent” category was “Annie Christian”: a tuneless, four-and-a-half-minute slice of apocalyptic post-punk that isn’t quite like anything else in Prince’s catalogue.
“Annie Christian” begins with a manic-sounding drum machine pattern, quickly interrupted by an atonally pulsing synthesizer and a sound effect of a tolling bell. The closest thing the song has to a hook is the cascading synth line that follows, as shrill and piercing as an early cellular ringtone. Prince recites the lyrics–a fever dream of the End Times as mediated by CNN–in a nasally monotone. It’s the kind of thing Gary Numan’s Tubeway Army might have rejected for being too dour.
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(Featured Image: Cover art for the “Let’s Work” 12″, 1982; L to R: Dr. Fink, Brown Mark, Bobby Z, Prince, Dez Dickerson, Lisa Coleman. © Warner Bros.)
Mid-1981 was the first great period of prolificacy for Prince. In astonishingly little time, he completed work on his own fourth album, a full-length debut for protégés the Time, and several other assorted odds and ends, including a handful of songs for the Hookers and other tracks with tantalizing titles like “Delivery Boy,” “Friction,” “Gym Class,” “Heart Attack,” “Hump You,” “Poppa Grooves,” “The Rain and You,” “Rearrange,” and “See U Dead.” One of those odds and ends would even end up on the album: the taut, New Wave-inflected funk of “Let’s Work.”
According to legend, “Let’s Work” began life as “Let’s Rock”: Prince’s version of a ’60s-style dance craze song, like “The Twist” or “The Loco-Motion.” He recorded the song, inspired by a dance he’d seen in Minneapolis clubs called “the Rock,” with the intention of rush-releasing it as a non-LP single in the summer of 1981. But Warner Bros.–mindful, perhaps, of the moribund U.K. performance of his previous loosie, “Gotta Stop (Messin’ About)”–didn’t bite: a minor setback for Prince that, in retrospect, foreshadowed more serious conflicts with the label to come.
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