Tag: baby

Girl (1981)

Girl (1981)

(Featured Image: Morris Day with unidentified vocal coach, circa 1981; photo stolen from prince.org.)

One of the most fascinating things about the 1981 debut album by the Time is the way that, if you listen to the tracks in a certain order, you can practically hear the band’s classic sound take shape in real time. As we established in the last post, however, “Oh, Baby” was not an example of that classic sound. Morris Day, the group’s drummer turned lead singer, was still tentative in the role, his voice too strained to sell a seductive ballad.

“Girl,” the second and (blessedly) only other ballad on The Time, is not an improvement–if anything, it’s worse. Morris sounds whiny and adenoidal, like a teenage boy whose voice is in the middle of changing. Prince’s backing vocals–even more audible here than on the rest of the album–hit a piercing, dog-whistle tone in the chorus that cuts through the rest of the mix like a knife, and only gets more annoying the more you turn down the volume. Morris, meanwhile, just gets louder: as on “Oh, Baby,” he starts the song at a whimper and ends at a bellow. The whole thing feels like bad karaoke, an impression that is only enhanced by the bland, lifeless arrangement. It’s the weakest Prince song since “With You,” but without even that track’s competent performance.

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My Life with You I Share: An Alternate Timeline Review of For You

My Life with You I Share: An Alternate Timeline Review of For You

(Featured Image: Warner Bros. press photo, 1978; stolen from Lansure’s Music Paraphernalia.)

Note: In the last several weeks of writing about the songs on Prince’s debut album, I’ve been struck by the many contingencies that exist around For You, and Prince’s early career in general. If things had gone even slightly differently; if his label–or, for that matter, Prince himself–had shown even a little less confidence in his artistic development; then we would be looking at a very different musical landscape in 2016. There’s also the fact that, as I’ve noted several times in my track-by-track posts, it’s difficult to look at For You in retrospect without seeing it as just the first, not-entirely-successful glimpse at a talent and vision that would find its full expression in years to come. But what if that perspective wasn’t the default? What if For You wasn’t the first step in a long career by Prince, but in fact his first and last album? This post is my attempt to think my way through this situation: think of it as a look back at For You from a possible alternate timeline. I don’t know if I will do this for other albums in the future–or, like, ever again–but I thought it was an interesting exercise to examine Prince’s earliest days as a recording artist through a completely different lens. I hope you find it interesting, too.

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Roundup: For You, 1978

Roundup: For You, 1978

(Featured Image: Billboard magazine ad, 1979; photo stolen from Fusion.)

Well, it took a little longer than planned, but we’ve officially finished Prince’s first album! For You was a lot of fun for me to revisit, because like many who got into Prince through his ’80s work, I never really listened to it all that much. It’s still far from my favorite Prince album, but looking at in depth has given me a new appreciation. Not only is it an ambitious and beautifully crafted record, but it also provides some fascinating glimpses into Prince’s musical future: the sounds he would further refine, as well as the stylistic dead ends he’d cease to pursue. If you’re a serious Prince listener–and if you’re reading this blog, I can only imagine you are–then you absolutely need to give For You a fair shake.

So, to that end, here are all nine of my posts about the album, in ascending order of my personal preference:

9. “So Blue” Like I said in the original post, this feels the most like filler of anything on For You; having said that, however, there are so many interesting little sonic touches that make it a pleasure to listen to. Most artists would kill to have Prince’s filler.

8. “My Love is Forever” Maybe the most dated song on the record. Love that guitar tone, though.

7. “Just as Long as We’re Together” A virtuoso performance on just about every level, but a little precious for my tastes. Still, you can’t deny the kid has talent, and the “Jelly Jam” coda knocks.

6. “Baby” The most conventional late-’70s R&B track on the album; but Prince’s more-falsetto-than-falsetto voice, and the unusually mature lyrical themes, demonstrate that there’s something much more interesting at work.

5. “Crazy You” A real sleeper; this one went from one of my least favorite tracks on the album to my top five. It’s slight and arguably underdeveloped, but the vibe is undeniable. If he’d put it out in 2016 instead of 1978, hipsters would have already developed a whole subgenre around it, like beachwave or space calypso or some shit.

4. “For You” This used to be the only song on the album besides “Soft and Wet” that I really loved. It’s no longer that, but it’s still up there. Prince’s vocals are breathtaking, and the chutzpah it took to make this the opening track of his first album is admirable.

3. “In Love” I used to think it was “too disco”; now I enjoy its funhouse-mirror version of the Minneapolis Sound. And who among us wouldn’t let 19-year-old Prince “play in their river?”

2. “Soft and Wet” Easily the most “Prince”-sounding song on the album, and not coincidentally the only one that tends to be anthologized. I’m not mad, though; it’s a great track.

1. “I’m Yours” Man, did this song ever grow on me. The guitar pyrotechnics are amazing, of course, but the extreme contrast between Prince’s sledgehammer riffage and his overtly fey vocals is what makes it for me: it’s not quite like anything else in rock. Like I noted in the post, this song more than any other on the album would determine Prince’s musical direction for the next several years; it was definitely the right call.

Now, let’s take a look at the tag cloud and see how it compares to the last one:

tagcloud1tagcloud-foryou

Aside from the obvious differences in date and location, it’s interesting to see how Prince’s dominant musical influences are beginning to shift: Stevie Wonder comes up a lot more than Sly Stone, and while Larry Graham is holding strong, both James Brown and Earth, Wind & Fire have taken a dive. Oh, and I apparently haven’t been talking about Under the Cherry Moon as much. That’s probably for the best.

Like I said yesterday, we’ll be spending one more week wrapping up For You, with a different kind of post I’m trying out for fun. Then, the following week, we’ll pick up with some of Prince’s 1978 home recordings. In the meantime, check back on Saturday for the last of my Prince (Protégé) Summer guest posts on Andresmusictalk. You can also check out the growing companion playlist on TIDAL, if that’s your thing. And, again, thanks so much for reading!

I’m Yours

I’m Yours

(Featured Image: At Unique Records, San Francisco, 1978; photo stolen from Noisey.)

There’s a famous story, originating with former Warner Bros. executive Lenny Waronker, about the 1977 test session in Los Angeles where Prince first demonstrated his ability to self-produce. “As I was walking through the studio, he was on the floor,” Waronker told the Minneapolis Star Tribune in 2004. “He looked up and said, ‘Don’t make me black.’ I thought, ‘Whoa!’ He said, ‘My idols are all over the place.’ He named an array that was so deep in terms of scope of music that for an 18-year-old kid to say what he said was amazing. That, as much as anything, made me feel that we shouldn’t mess around with this guy” (Star Tribune 2004).

It’s important to note that, when Prince asked Waronker not to “make him black,” it was less an expression of internalized racism than one of pragmatic frankness. As we’ve noted before, Prince was acutely aware of the hypersegregated nature of the pop music market in 1978–not least because his own hometown of Minneapolis was among the most musically segregated in the country. His desire to be a “crossover” artist was fed in part by his vaunting ambition, of course, but also by the simple fact that if he didn’t break out of the R&B charts, his own city wouldn’t play him on the radio. So from the beginning, he struggled against being pigeonholed as an “R&B” (read: Black) artist.

The trouble was that “making Prince black” was the only way Warner Bros. knew how to sell him. When For You was released on April 7, 1978, the label struggled to get it reviewed in mainstream (again, read: white) publications; the only consistent national coverage came from African American-oriented teen magazines like Right On!, Soul Teen, and Black Beat. To be fair, some of the blame for Prince’s initial failure to cross over rested with his material: as many reviewers have observed, despite Prince’s protestations and aside from a few unusually muscular guitar parts, the majority of For You fits squarely in the Black soul and funk traditions. With one key exception, that is: the very last track, “I’m Yours.”

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My Love is Forever

My Love is Forever

(Featured Image: Prince in his first press kit, 1977; photo stolen from Nate D. Sanders Auctions.)

Sessions for Prince’s second demo at Sound 80 commenced on December 29, 1976 and lasted through the remainder of the winter. This time, a total of six songs were completed: new versions of “Soft and Wet,” “Baby,” “Jelly Jam,” “Make It Through the Storm,” and “Love is Forever”–now renamed “My Love is Forever”–plus a brand new song, “Just as Long as We’re Together.” Just like with the earlier sessions at Moonsound, however, the final demo was limited to only a few tracks. Per Nilsen’s The Vault reported the tape as consisting of “Baby” and “Soft and Wet,” with “Make It Through the Storm” “as a ‘back-up’ if record company executives wanted to hear more” (Nilsen 2004 16-17). According to a recent auction listing, however, at least one configuration seems to have featured “Just as Long as We’re Together,” “Jelly Jam,” and “My Love is Forever.”

princedemo
Photo stolen from Nate D. Sanders Auctions

In addition to the demo tape, Prince’s management also prepared a luxe press kit to distribute to labels in Los Angeles. “We attacked it all first class, ’cause if we went in as just the average Joes, it wasn’t gonna look like a first-class effort,” Owen Husney recalled to biographer Dave Hill. “We spent 1,500 dollars on fifteen press kits… The usual press kit has clippings, and stories about your mom, and all the other bands you played in. All I did was have a picture of Prince on the cover. It said, ‘American Artists Presents Prince’, and inside there was just five sheets. And on those sheets there was just one picture, and one quote from Prince above each one” (Hill 40). The minimalist presentation had the additional effect of playing up Prince’s enigmatic air, which remained a cornerstone of his public persona for the duration of his career. “[T]here was a mystery about him even then,” Husney told NPR’s Audie Cornish shortly after Prince’s death in April. “And so as a manager I noticed that, and I was able to just make that a part of who he was in all of our publicity and everything going forward. We did a first press kit with him that said very little, because Prince said very little. Because his music does the talking” (Cornish 2016).

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