Roundup: Ephemera, 1979-1981

Roundup: Ephemera, 1979-1981

(Featured Image: How have I not used this one already?! 1979 publicity photo; © Warner Bros., stolen from Lansure’s Music Paraphernalia.)

I know I always begin these roundup posts with a reference to the obscene length of time since the last one, but this time I’m drawing attention to chronology for an entirely different reason. I wrote the first post in this roundup in April of 2017; the last one went up a week ago today. That year-and-a-half-long gap speaks to my abysmal writing pace, sure–but it also speaks to the sheer scope of non-album music Prince produced between 1979 and 1981.

When I originally decided to lump together these three years, I was concerned that I was casting too wide a net; but I think the posts collected here ended up telling an interesting story. From the recording of Prince in spring ’79 to the release of Controversy in fall ’81, Prince underwent a transformation–one that can’t entirely be explained by the album, Dirty Mind, that falls in-between. These posts trace the steps of that transformation: from reluctant R&B heartthrob to full-blown Black New Waver. It’s a fascinating journey to say the least. So, with no further ado, here’s how I rank the steps along the way:

13. “Everybody Dance” No surprise here: I said in my original post that “Everybody Dance” is barely a song. But it was a great excuse to write about his legendary debut performance at Sam’s (a.k.a. First Avenue), so I can’t begrudge it too much.

12. “The Loser” The dirty secret about the Rebels “album” is that, for all its importance to Prince’s artistic development, it really isn’t very good. The Gayle Chapman-sung “The Loser” isn’t even my least favorite track; that dubious honor goes to the instrumentals, or if those don’t count, the original version of “If I Love U 2 Nite” (sorry, Gayle, not your fault). But it is my least favorite of the tracks I’ve written about: by no means terrible, but thoroughly unremarkable, except perhaps as an early example of Prince flexing his songwriting muscles by experimenting in unexpected genres.

11. “Kiss Me Quick” This one, which I actually hadn’t heard until soon before I wrote about it, is also a mostly unremarkable genre exercise; but I give it the nod over “The Loser” because the specific genre (disco) happens to be one I think Prince was extremely good at. I can see why this was never properly released, but I also could have seen it ending up as an album track on Prince and being more than passable.

10. “Hard to Get” Another frankly mediocre Rebels track, but one I prefer to “The Loser” if only because my own personal biases lean more toward Stones-esque cock-rock than mild Bonnie Raitt pastiche. If there was a complete recording circulating of the ice-cold 1981 New Wave version, it would have been ranked higher… so, uh, what’s the hold-up, Sony and/or bootleggers?

9. “Broken” A very fun song in Prince’s subcanon of rockabilly/early R&B pastiches, but one that was easily replaced by “Jack U Off,” which was easily replaced by “Delirious,” etc. It isn’t necessarily a song that I reach for, but it’s a nice little bit of ephemera from the Dirty Mind tour.

8. “I Don’t Wanna Stop” This one is ranked as high as it is strictly because of potential: I like the version by Ren Woods enough to know that Prince’s version would surely be better. Maybe someday we’ll finally be able to hear it (ahem, Sony).

7. “Strange Way of Saying I Love You” Is this one too low? Yeah, maybe; it is kind of an earworm, especially now that the version in circulation doesn’t sound like it was recorded from a boom box outside a gymnasium where the song was being played. But I think we’ve officially reached the point in the list where my ranking is more arbitrary than usual.

6. “Rough” Is this one too high? Yeah, maybe; but I’m a sucker for the kinds of songs Prince wrote for the Time, as well as any moment when his Cars influence starts to peek through (listen to the synth bass on “Good Times Roll” at 1:05 and just try to tell me it doesn’t sound like “Rough”). That, and this post about Alexander O’Neal’s brief stint as a Prince protégé was just hella fun to write.

5. “She’s Just a Baby” One of Prince’s more conventional R&B ballads from this era, I’m even more fond of it now that I’ve formulated my theory that it was originally penned for the Time (but if that’s the case, why, oh why did he decide to use fucking “Girl”?!). Besides, whose heart doesn’t skip a beat or two thinking about a young (but not too young!) Susan Moonsie?

4. “The Second Coming” Yes, it’s only about a minute’s worth of multi-tracked a cappella Prince harmonies. But, counterpoint: it’s a whole minute’s worth of multi-tracked a cappella Prince harmonies. I’ve written before about the rapturous qualities of Prince’s falsetto; if that’s your type of thing, then “The Second Coming” might just be your own personal Rapture.

3. “You” Probably the one Rebels song that actually lives up to the hype, and definitely the only one ever covered by Paula Abdul. Coincidence? Probably.

2. “Lisa” An early glimpse of Prince’s synthpop phase dating from mid-1980, it wouldn’t have fit on the guitar-centric Dirty Mind, but boy is it a slapper. Bonus: if you can, try and track down the 1982 rehearsal version that recently entered circulation, with Prince vamping over clavinet-style synthesizer and his Linn LM-1 for damn near 45 minutes. It’s excessive, sure, but it just shows how hypnotic and tensile a groove this is.

1. “Gotta Stop (Messin’ About)” I am an outspoken stan of New Wave Prince, so it should be no surprise that I highly rate this NWP gem from 1980. Imagine if Devo were sexual beings, or if the Knack weren’t total sleazeballs; then imagine either one of them with about 9,000% more soul. One of Prince’s underrated talents in the early ’80s was his ability to highlight the sexual tension in New Wave’s stiff, nervous grooves; this, one of my favorite B-sides/non-LP singles in his discography, is a shining example of that talent.

Since it’s only been a couple of weeks since my Controversy roundup, I don’t see much point in updating the tag clouds; there’s also nothing new to add to the Spotify playlist, since all but one of these tracks is not currently available for (legal) streaming. So I’ll just say that, while this week was largely occupied with what I hope to be an exciting upcoming project, I’ll be back next week to kick off 1982. See you then!

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Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

(Featured Image: One of Callie’s rad stickers for Dystopian Dance Party 1.)

As you may or may not know, Dystopian Dance Party is the other, more irreverent project I do with my sister Callie. We recently launched a physical magazine, the first issue of which is dedicated to art and writing inspired by the music of Prince. On this episode of the DDP podcast, Callie and I are joined by our friend Erika Peterson to talk about her work for the magazine–an exhaustive guide to the 3 Chains O’ Gold film–the most absurd/surreal moments of Celebration 2018, and our ongoing beef with Questlove. It’s definitely a bit looser and sillier than the average d / m / s / r podcast, but if you enjoy my other stuff, you should enjoy it:

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

For those of you who haven’t picked up the magazine yet, we’re also offering the opportunity to get it for free, along with a set of rewards otherwise exclusively made available to our Kickstarter backers. All you have to do is follow Dystopian Dance Party on TwitterFacebookInstagram, and/or Tumblr, and share a link to this episode with us tagged so we know you did it. Toward the end of May, we’ll choose one or two people to receive a free copy of the magazine, a sheet of custom-designed stickers, three buttons, and a poster of the cover art by Callie. None of this stuff is available anywhere else, so take advantage of this chance to get your hands on it!

And if you can’t get enough of Erika, remember that she also recently appeared on our friend KaNisa’s excellent Muse 2 the Pharaoh podcast. Take a listen if you haven’t already:

Muse 2 the Pharaoh #1

Finally, an update on my next post for d / m / s / r. I had been planning to get something out by the end of the week, but I decided to make some changes which resulted in a delay: basically, I was writing separate posts on “The Stick” and “Cool,” but I decided to combine the two and just write a longer post on “Cool” that also touches on “The Stick” (and “After Hi School,” in case anybody was waiting for that). I fully expect to have this post out next week–which means that we’re finally going to be done with the Time’s first album! After that, we’ll turn to another 1981 outtake, and then back to Controversy. I also have plans for a few podcasts in the pipeline, so there’s plenty to look forward to!

Podcast: Nothing Compares – A Conversation with Marylou Badeaux, Author of Moments… Remembering Prince

Podcast: Nothing Compares – A Conversation with Marylou Badeaux, Author of Moments… Remembering Prince

(Featured Image: Marylou and Prince, 1979; photo from Moments… Remembering Prince by Marylou Badeaux.)

This is the last d / m / s / r podcast of 2017, and I have to say we’re going out on a high note. It was my honor and privilege to speak with Marylou Badeaux: a former Warner Bros. executive who worked closely with Prince for his 17 years with the label, and the author of the newly-released memoir Moments… Remembering Prince. You can probably tell that I was a little nervous at the beginning of the conversation, but we warmed up quickly and had a great chat about Prince and his relationship with the label that, for better or worse, defined his era of peak artistic achievement.

Now, I have one last item of business to conduct before the podcast goes on holiday break. There are actually two winners of my contest for iTunes and Stitcher reviews–one for each platform. The first is Louise Be, for her eloquent and incredibly flattering review on Stitcher; the second is Mafalda Taborda, who not only left a very nice review on iTunes, but was also the first person to review the podcast on any platform. Louise and Mafalda, if you’re reading and/or listening to this, please email me and let me know which of the two recent Prince books you would prefer me to send: Marylou’s Moments, or Duane Tudahl’s Prince and the Purple Rain Era Studio Sessions. And for everyone else who participated–and those who didn’t!–thanks for making the first year of the dance / music / sex / romance podcast such a pleasure to put together. I can’t wait to see where things go in 2018.

Continue reading “Podcast: Nothing Compares – A Conversation with Marylou Badeaux, Author of Moments… Remembering Prince”

The Loser

The Loser

(Featured Image: Back cover of The Glow by Bonnie Raitt, 1979; © Warner Bros.)

In addition to providing a creative outlet for his backing band, the Rebels project also offered Prince an opportunity to experiment with different styles outside the context of his official albums. For the most part, that meant hard rock and New Wave: as we discussed last week, “Hard to Get” was as straightforward a Rolling Stones rip as Prince ever recorded; songs like his “You” and Dez Dickerson’s “Disco Away,” meanwhile, bore the influence of Boston FM rock/New Wave act the Cars, whose sophomore album Candy-O was reportedly in heavy rotation at the group’s mid-1979 tour rehearsals (Thorne 2016). But in two of his compositions for keyboardist Gayle Chapman, Prince explored less familiar territory–with admittedly mixed results.

The more substantial of the pair was “If I Love You Tonight,” a soft rock ballad distinguished mainly by its oddly theatrical conceit: Chapman playing the role of a woman on the brink of suicide and desperate for connection, apparently inspired by Kris Kristofferson’s “Help Me Make It Through the Night” (Thorne 2016). The track would be revised thoroughly in the years to come–so much that I’m waiting until one of the later versions to discuss it in depth. The other song, “The Loser”–long mislabeled by bootleggers as “Turn Me On”–seems to have been recorded only once, making it unique among Prince’s Rebels songs; and the version that does exist is little more than a stylistic pastiche of his late-1970s labelmate, roots rock singer-guitarist Bonnie Raitt.

Continue reading “The Loser”