Lust U Always (Divinity)

Lust U Always (Divinity)

(Featured Image: “The Nightmare,” Henry Fuseli, 1781.)

Note: Please be advised that this post contains frank and uncensored discussion of lyrics which explicitly reference sexual assault. 

There are any number of reasons why Prince may have left a given song in the Vault. There were, of course, the basic limitations of recorded media formats: by 1982, Prince was producing more music than could possibly be accommodated on two 12-inch sides of vinyl–hence why 1999 ended up as a double album, and why his singles increasingly came backed with non-LP B-sides. There were instances where a certain song may have been deemed too similar to another that ended up making the cut on the album: see, for example, “Turn It Up,” which is believed to have been left off 1999 in favor of “Delirious.” There was also an even simpler explanation, per Prince himself: “If any track is unreleased, it’s because it’s not done,” he reportedly told Dan Piepenbring, the coauthor of his unfinished memoir, in 2016 (Prince 2019 16).

The particular song Prince was discussing with Piepenbring was “Extraloveable,” a widely-bootlegged track recorded at the beginning of April 1982 and not officially released until 2011. Taking Prince at his word that the song wasn’t “done” until Andy Allo rapped on it, I won’t be writing about it until we get to that point in our chronology; however, I will posit a theory that there was another reason why it didn’t see the light of day. As anyone who’s heard the original version can attest, the song takes a turn in the last minute and a half or so. After six minutes of gently cajoling the listener to take a bath with him, Prince suddenly becomes menacing: “I’m on the verge of rape,” he grunts, repeating himself for good measure. A blast of discordant synthesizer noise takes over the mix, as if the song itself has begun to malfunction. “I’m sorry,” Prince intones in his detached android voice over the ongoing din, “but I’m just gonna have to rape you. Now are you going to get into the tub, or do I have to drag you? Don’t make me drag you.”

Prince was obviously no stranger to aberrant expressions of sexuality at this point in his career: on “Horny Toad,” as we’ve discussed, he had imagined himself as an obscene phone caller, a groper, and a stalker; perhaps most notably, “Sister” had described an incestuous relationship of dubious consent. But the former song was obviously played for laughs, while the latter crucially depicted Prince as the victim of abuse, not the perpetrator. Interrupting an exuberant, sexy frolic to outright threaten sexual violence was clearly a bridge too far, even in the thick of Prince’s “Rude Boy” era. Which makes it all the more surprising that he did it again with another unreleased track recorded in the same year, “Lust U Always.”

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Purple Music (Welcome 2 the Freedom Galaxy)

Purple Music (Welcome 2 the Freedom Galaxy)

(Featured Image: Languishing on the inner sleeve of 1999, 1982; photo by Allen Beaulieu, © Warner Bros.)

It’s difficult to pin down exactly when the color purple took on the deep significance it would come to hold in Prince’s creative universe. The reference to a “purple lawn” in his 1976 song “Leaving for New York” was an interesting piece of trivia, but it felt more like an early attempt at Joni Mitchell-esque lyrical impressionism than the genuine birth of a motif. It wasn’t until much later, after the pastel pinks and blues of 1979’s Prince and the stark monochrome of 1980’s Dirty Mind, when the color began to show up in earnest. The album cover for 1981’s Controversy featured a lavender font, with Prince sporting one of his trademark studded trenchcoats in a matching color. And of course, at some point after he moved into his house on Kiowa Trail in Chanhassen, Prince had the exterior painted from its original cream color to an electric purple.

Whether the color’s private importance to Prince was a recent development or a long-simmering fixation, however, it was on his fifth album in 1982 that he finally shared it with the world. 1999 is rife with lyrical references to purple: it’s the color of the title track’s apocalyptic sky; the “rock” he invites listeners to “take a bite of” in “D.M.S.R.”; the “star in the night supreme” to which he compares his lover in “Automatic”; the promised “love-amour” and the “high” he craves in “All the Critics Love U in New York.” The album’s artwork, too, is dominated by purples of all shades: from the deep royal purple of the background to the phallic, red-tinged shades of the lettering, to the cool violet tones of the inner sleeve photo of Prince with his backing band. Yet not even this veritable explosion of purple makes as clear a statement as another song, recorded at some point during the 1999 sessions and titled simply “Purple Music.”

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Delirious

Delirious

(Featured Image: Courtship rituals of early ’80s French rocker gang the Del Vikings; photo by Gilles Elie Cohen, stolen from VICE.)

After a string of songs exploring, to various degrees, the darker side of his emotional spectrum, Prince capped off his late April and early May 1982 sessions at Sunset Sound with something light and frothy. Sonically, “Delirious” is cut from the same cloth as most of its predecessors on the album that would become 1999: from the driving Linn LM-1 beat to the sparse, but infectious synth line. Yet where songs like “Automatic” and “Let’s Pretend We’re Married” assemble these building blocks into complex, ever-shifting structures, “Delirious” offers more straightforward pleasures: it’s a simple eight-bar blues, as pure and elemental as Leiber and Stoller’s “Hound Dog” or Jesse Stone’s “Shake, Rattle and Roll.”

With its solidly retro foundation, “Delirious” is arguably the pinnacle of Prince’s brief, but intense infatuation with 1950s rock ‘n’ roll: an “obsession,” according to guitarist Dez Dickerson, that began when the band caught a show by rockabilly revivalists the Stray Cats while in London on the Dirty Mind tour. “We were all blown away with them,” Dickerson told Nashville Scene magazine in 2014, “the look, [singer] Brian Setzer’s amazing sound, just the sheer authenticity of it.” The experience inspired a handful of songs–most famously “Jack U Off” from 1981’s Controversy, but also tracks like the unreleased “You’re All I Want.” Perhaps even more notably, according to Dickerson, it also inspired both him and Prince to style their choppy punk hairdos into Little Richard-style pompadours (Shawhan 2014).

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Automatic

Automatic

(Featured Image: Jill Jones and Lisa Coleman act out Prince’s sapphic S&M fantasies in the too-hot-for-TV “Automatic” video; © Warner Bros.)

By the beginning of May 1982, Prince had recorded more than enough quality new material to fill a single LP; but he was still only a little more than halfway finished with the album that would become 1999. “I didn’t want to do a double album, but I just kept writing and I’m not one for editing,” he later explained to Robert Hilburn of the Los Angeles Times. “I like a natural flow. I always compare songwriting to a girl walking in the door. You don’t know what she’s going to look like, but all of a sudden she’s there” (Hilburn 1982).

The “girl” that walked in the door of Sunset Sound on May 2 was “Automatic”: the third–and, at nine and a half minutes, longest–of 1999’s extended electro-funk jams. Like its siblings “Let’s Pretend We’re Married” and “D.M.S.R.,” “Automatic” unfolds over a rigid, knocking Linn LM-1 beat and a deceptively simple synthesizer hook–in this case, a sing-song four-note pattern perfectly honed to penetrate the cerebral cortex. But with its lyrical themes of emotion as technology, the song is ultimately closer in spirit to its more introspective neighbor on the album, “Something in the Water (Does Not Compute).” The key difference is that, while “Something in the Water” is all about (perceived) malfunction, “Automatic” finds both pleasure and unease in the machine working exactly as designed.

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