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Ephemera, 1983

Vibrator

After returning to Minnesota from Los Angeles at the end of April 1983, Prince continued work on a prospective second album for Vanity 6. On Saturday, April 30, he cut the initial basic tracks for “Sex Shooter” and “Promise to be True,” both of which would be reworked extensively before eventually seeing release (or, in the later case, not seeing it). The following day, he revisited “No Call U”–a holdover from the 1999 sessions of the previous year–and recorded a new song called “Moral Majority.”

The latter, named after the notorious Christian Right movement led by televangelist Jerry Falwell, is described by sessionographer Duane Tudahl as “a synth-based track about nonconformity with lines like[,] ‘don’t want to be like anyone, I want them all to stare.’” While not in circulation, it reportedly features a gang vocal recorded by Vanity, Brenda Bennett, Susan Moonsie, manager Jamie Shoop, and Brenda’s husband Roy, while crammed into the bathroom of Prince’s Chanhassen home. “I remember… sitting on the handle of the toilet, right in the middle of the session,” Roy recalled to Tudahl. “It gave away where we were” (Tudahl 2018 81).

Later that month, Prince would record two other potential Vanity 6 tracks containing a similar cocktail of topical vulgarity. “G-Spot,” later recorded by backing singer Jill Jones for her 1987 solo album, was inspired by the so-called “Gräfenberg spot”: a (likely apocryphal) erogenous zone of the vagina that had captured the popular imagination through the 1982 bestseller The G Spot and Other Recent Discoveries About Human Sexuality. Meanwhile, “Vibrator” commemorated a popular sex toy during a watershed year in its own journey to the American mainstream.

Categories
Ephemera, 1983

Katrina’s Paper Dolls

A little over a year after their first meeting in January 1982, Prince and Denise Matthews (better known as Vanity) had cultivated an image as pop music’s sexiest power couple: the royal bride and groom of his imminent purple reign. Early in 1983, the pair posed for fashion photographer Richard Avedon in a shot that would make the cover of Rolling Stone that April. Looking like mirror reflections–or incestuous twins–they fixed the camera with identical, kohl-blackened stares: she embracing him from behind, two fingers tucked suggestively down the front of his jeans. In the coming months, Prince would plan to take their relationship to an even larger venue, slating Vanity to play the leading lady in his forthcoming motion picture debut.

But there was trouble in paradise. The strong-willed couple clashed frequently–not least because Prince insisted on seeing other women at the same time as Matthews, including her Vanity 6 bandmate Susan Moonsie and his backing singer Jill Jones. A song inspired by their relationship from around this time, “Wonderful Ass,” pokes fun at the disconnect between their undeniable sexual chemistry and their equally undeniable emotional incompatibility: “My sensibilities you aggravate,” Prince croons, but “you got a wonderful ass.” Another, “Strange Relationship,” opts for a more trenchant self-critique: “Baby, I Just Can’t Stand 2 See U Happy / More Than That[,] I Hate 2 See U Sad.”

Jones, who shared a dressing room with Vanity 6 during the 1999 tour, recalled Prince giving a cassette tape with both songs on it to Matthews: “She’d play it before the show while me, Susan, and all of us [were] getting dressed,” she told sessionographer Duane Tudahl. “It wasn’t discreet.” Prince and Vanity, she added, actually did have a “Strange Relationship”: “It was really true that he didn’t want to see her happy and he didn’t want to see her sad. Because she started dating other people… and he got pissed. She was like, ‘I’m moving away from him. Fuck him. I’m really famous. People love me.’ So she was getting something and that was the only thing he had to yank her back in” (Tudahl 2018 40).

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Uncategorized

Press Rewind: “When Doves Cry”

As we all continue to figure out how to get through this pandemic with some level of normalcy, please feel free to spend a little over an hour with me and Jason Breininger (not in the same room, thankfully) as we go in-depth on “When Doves Cry” for his Press Rewind podcast:

Press Rewind: “When Doves Cry”

Listening back, it strikes me how much these lyrics are about touching and other forms of physical intimacy, and how wildly different those concepts sound today than they did 36 years (or two weeks) ago. May we all look forward to a day when “the sweat of your body covers me” conjures images of more than just COVID-19-spreading droplets. In the meantime, stay safe (and stay home).

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Patreon Exclusives Reviews

Post-Vacation Update: Patreon-Exclusive Originals Review, plus “Sister” on Press Rewind

It’s a well-known fact that when Prince gave songs to other artists, he would cut his own recordings with guide vocals–not “demos” in the traditional sense so much as complete alternate takes, with production values in many cases equal to the versions that saw release. Almost as well-known, at least among bootleg enthusiasts, is the fact that Prince’s versions of these songs tended to be better than the “covers.” That makes the latest posthumous release by Warner Bros. Records and the Prince Estate, Originals, something of a no-brainer: here are 15 songs we already know and (mostly) love, preserved as they might have been had Prince decided to keep them for himself.

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Prince Track by Track: “U KNOW”

We’re down to my final three appearances on Darren Husted’s Prince: Track by Track podcast! This time, the subject is (probably) my favorite track from Prince’s last three albums:

Prince Track by Track: “U KNOW”

Also, as promised, my review of Lizzo’s new album is up on Slant Magazine! She’s come a long way from “BOYTROUBLE”:

Lizzo’s Cuz I Love You is a
Vessel for Pure Exuberance

Hoping to have another Vanity 6 post up by the end of the week–and, of course, it being Celebration week, I’d be surprised if there wasn’t a “new” track to write about sometime in the next couple of days. We’ll see what happens!