There are, it’s been advertised, 45 previously-unissued studio tracks on next month’s Super Deluxe Edition of Sign “O” the Times; and Warner Bros. appears to be hell-bent on issuing as many of them as possible to digital platforms before the box set’s release. By last Thursday’s surprise drop of an “early vocal run-through” of the album track “Forever in My Life,” I was starting to feel like I’d been opening all my Christmas presents early. But hey, it’s not like I have the self-control to not listen to a newly-unveiled Prince outtake as soon as it comes out, so let’s tear off that wrapping paper and get to it.
As usual, I took the last couple weeks of December off for the holidays, which meant I didn’t post the links to my last two appearances on Darren Husted’s Prince: Track by Track podcast. So here they are now: one of my favorite tracks from Prince’s extended universe, as well as one of the most forgettable. I’ll let you guess which one is which:
With this bit of business out of the way, I’m now officially on track to kick off the blog for 2019. We’ll start tomorrow with a belated post from one of our alternate timelines, then it’s back to the Time’s second album next week. Happy New Year!
First, allow me to make my customary apology for how quiet it’s been around these parts lately: October was a disaster for me on several fronts, and my free time has taken an according hit. Fortunately, Darren Husted has come through with my latest guest appearance on his chronological Prince podcast, Prince: Track by Track. We’re talking about one of my favorite dark-horse cuts from Lovesexy, “Dance On”:
I believe this will be my last appearance on Track by Track in 2017–in the meantime, look out for some more stuff in the coming weeks on d / m / s / r!
Settle in, folks, because today we’ve got not one, but two presenters from this spring’s Prince conference at the University of Salford: interdisciplinary artist/activist Felicia Holman and independent scholar/activist Harold Pride. Both were part of the organic community of Black artists and academics who came together in Manchester and, each in their own way, helped to reclaim Prince’s legacy as a specifically African American artist. The three of us talk about that, as well as their specific papers–Harold’s on the underrated, short-lived “Band with No Name” from 1987–88; Felicia’s on Prince’s autodidacticism and its connection to traditions of Black self-determination–and, as usual, a lot of other things along the way. It’s a great conversation that could have easily been twice as long; I hope you enjoy it as much as I did!
I still have a handful of these interviews lined up, and will be posting them at least through Labor Day. Appearances to the contrary, I’m also still writing: I’ll be back to the ol’ grind next week. See you then!