Production on Purple Rain officially wrapped in late December 1983; but as the film’s chief composer as well as its star, Prince remained on call through the post-production phase. Just about a month after the end of shooting, his services were once again required: Director Albert Magnoli wanted a song for the sequence where the Kid and Apollonia ride through rural Henderson, Minnesota on his motorcycle. So, at Sunset Sound on January 22, 1984, Prince started work on “Take Me with U.”
On August 1, 1983, Albert Magnoli arrived in Minneapolis to finish his revised screenplay for Purple Rain. He spent his first week in town interviewing the prospective cast members, including Prince’s band, the Time, and Vanity 6, to mine their real-life relationships for dramatic potential. As he explained to sessionographer Duane Tudahl, “My research was for me to sit down and say, ‘Okay, I have a scene I’m developing between you, Wendy, Lisa, and Prince, and you’re very angry at him. And you’re in the dressing room and you’re about to go on and you want to know if he hear[d] your music. Give me what you feel like?’ And they start, ‘Oh well, yeah that happens all the time!’ So all their shit comes up because they’ve been in that with him” (Tudahl 2018 117).
The director supplemented his research by sitting in on band rehearsals and attending the August 3 First Avenue performance where the film’s title song received its debut. Mostly, though, he wrote: spending his days in a motel room drafting in longhand, “from seven to seven… with a ruler and pencil, on paper. Then a secretary would come in and type everything up from that day in script form” (Light 2014 91). By the end of the month, when Magnoli flew back to Los Angeles to finish editing James Foley’s Reckless, his first draft was complete.
Of the six new, original songs Prince debuted at First Avenue on August 3, 1983, three–“I Would Die 4 U,” “Baby I’m a Star,” and “Purple Rain”–were sourced directly from the concert recording for his upcoming album and film. A fourth, “Let’s Go Crazy,” was re-recorded in short order at the Warehouse rehearsal space; while a fifth, “Electric Intercourse,” never saw official release in Prince’s lifetime. But it was the sixth–a cerebral punk-funk workout called “Computer Blue”–that would occupy Prince for the rest of the month, with weeks of overdubs spanning both Minnesota and Los Angeles.
The genesis of “Computer Blue” was in the intensive rehearsals at the Warehouse in summer of 1983. As keyboardist Dr. Fink recalls in the Purple Rain expanded edition liner notes, “We were jamming at rehearsal one day and I started to play a synthesizer bass part along with the groove. It happened to catch Prince’s ear, so he had our sound man record the jam.” The band continued to work on the song and, according to drummer Bobby Z, had it “just about fully rehearsed” when Prince threw another element into the works: a lyrical guitar solo based on a melody by his father, John L. Nelson, later to be dubbed “Father’s Song” (Revolution 20).
Note: I was just over 1,800 words into the post you’re about to read when I finally admitted defeat; there is, quite simply, no way that I can fit everything I have to say about “Purple Rain” into a single, digestible piece of writing. So, in the grand tradition of my “Controversy” three-parter from 2018, I’m splitting it into chapters. The first, and likely longest, will talk about the song’s composition; the second will go into detail about its debut performance at First Avenue on August 3, 1983; and the third will delve into the final recording that appears on the Purple Rain album and film. There will probably also be a coda of some kind discussing the song’s impressive (and ongoing) afterlife. Basically, just think of July 2021 as my unofficial “Purple Rain” month–and, for the next several weeks, sit back and let me guide u through the purple rain.
It’s a sweltering August night at First Avenue in downtown Minneapolis. Prince and his band have just returned to the stage for the first encore of their benefit show for the Minnesota Dance Theatre: the local dance company and school, located just up the street at 6th and Hennepin, where the musicians have been taking dance and movement classes to prepare for their imminent feature film debut. Moments earlier, MDT founder and artistic director Loyce Houlton thanked Prince with a hug, declaring, “We don’t have a ‘Prince’ in Minnesota, we have a king.” Before that, Prince had run the group through a fierce 10-song set: sprinkling a handful of crowd-pleasers amongst the largely new material, and ending with the biggest crowd-pleaser of all, his Number 6 pop hit “Little Red Corvette.”
No one in the sold-out crowd of around 1,500 recognizes the chords that now ring out from the darkened stage. Even the film’s director, Albert Magnoli, hasn’t heard the song before; it wasn’t among the tapes he’d reviewed to prepare for his draft of the screenplay. But the chords–played by 19-year-old guitarist Wendy Melvoin, in her first public performance with Prince–are immediately attention-grabbing: rich and colorful and uniquely voiced, somewhere between Jimi Hendrix and Joni Mitchell.
A spotlight shines on Wendy as she continues to play, her purple Rickenbacker 330 echoed by her partner Lisa Coleman playing the same progression on electric piano. Prince begins to solo around the edges of the progression; he paces the stage, walking out to the edge of the crowd as he plays, then slings his “Madcat” Telecaster around his back and makes his way to the microphone at center stage. He holds the mic for an instant and backs away, as if suddenly overwhelmed. Then, he steps back to the mic and begins to sing: “I never meant 2 cause u any sorrow…”