Press Rewind: “Jack U Off”

Press Rewind: “Jack U Off”

(Featured Image: Prince jacks off at the Palladium in New York, December 1, 1981; photo by Waring Abbott, stolen from WIRED.)

Apparently I’ve found my niche on Jason Breininger’s Press Rewind podcast, because after guesting on his episodes for “Head” and “Sister” in June, I came back to talk about “Jack U Off.” Not much more to say than that, to be honest–just tune in for some decent dad jokes and way more analysis than the average person has ever thought to apply to a goofy rockabilly song about mutual masturbation:

Press Rewind: “Jack U Off”

I also am happy (and a little surprised!) to announce that we’re now 87% of the way to meeting our Patreon goal to bring back the d / m / s / r podcast–so who knows, by this time next month, I could be promoting a new episode of my own! Big thanks to our latest patron, Robin Seewack, for her generous support. If you want to join Robin and the 16 other patrons who are helping me keep d / m / s / r regularly updated, please consider clicking the link below:

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Press Rewind: “Ronnie, Talk to Russia”

Press Rewind: “Ronnie, Talk to Russia”

(Featured Image: Back cover of Controversy, 1981; © Warner Bros.)

Over in these parts, I’m still focusing on my written explorations of Prince’s recorded catalogue; but I’ve kept my hand in the podcast game thanks to Jason Breininger’s Press Rewind podcast. This time, we’re talking about what I think may still be my least favorite song on the Controversy album–though I will say it’s an interesting discussion nevertheless:

Press Rewind: “Ronnie, Talk to Russia”

If you’re someone who misses the days when d / m / s / r had its own semi- regular podcast, remember that that’s my current stretch goal for the Patreon and we’re about halfway there–so, if you’d like to see me start recording monthly podcasts again and you haven’t become a supporter, please do consider tossing a buck a month my way. This will not only allow me to justify the hours spent recording and (especially) editing these podcasts, but it will also help me to pay for the software that allows me to edit in all that legally-dubious music:

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Something in the Water (Does Not Compute)

Something in the Water (Does Not Compute)

(Featured Image: Sean Young’s femmebot fatale, Rachael, in Blade Runner, Ridley Scott, 1982; © Warner Bros.)

Having recorded the majority of 1980’s Dirty Mind and 1981’s Controversy at home in Minnesota, Prince shifted gears and made liberal use of Sunset Sound during the sessions for his fifth album in early 1982–his most reliance on a professional recording studio since the 1979’s Prince. On April 28–two days after recording “How Come U Don’t Call Me Anymore?” and a day after cutting an early version of his 1985 hit “Raspberry Beret”–he even did something relatively rare for him: using the more advanced facilities in L.A. to re-record a “demo” from his home studio on Kiowa Trail in Chanhassen.

While his precise motivations for this remake are impossible to surmise, it seems unlikely that recording quality was one of them. A little more polish and the original “Something in the Water” could have passed for a studio take, with its three distinct keyboard parts layered like gauze over elastic bass and pistonlike Linn LM-1. The most prominent of those parts–an angular hook resembling the sound of numbers being dialed on a touch-tone phone–sounds like a more melodic mutation of the synth line from another home studio creation, “Annie Christian.” But where that song’s cold, technologically detached arrangement had extended to Prince’s robotic vocals, here he plays off against the science-fiction musical tropes with an organically soulful melody and acoustic jazz piano.

This literally cyborgian aesthetic has led some to detect the influence of Ridley Scott’s Blade Runner in the song–both for its themes of synthetic androids experiencing human emotions and for its soundtrack by Greek musician Vangelis, who similarly blended cutting-edge electronics with more traditionally noir-ish jazz motifs. But Blade Runner didn’t premiere in theaters until June 25, a solid two months after both the original “Something in the Water” and its remake. Most likely, then, the resonances between the two works are coincidental: Prince and Vangelis both drawing from the same well of alienated postmodernity as contemporary synthpop artists like Gary Numan and the Human League.

Continue reading “Something in the Water (Does Not Compute)”

Prince Track by Track: “Better with Time”

Prince Track by Track: “Better with Time”

(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:

Prince Track by Track: “Better with Time”

Not much more to say on this one. See you again soon!