(Featured Image: From Kustom Kar Kommandos, Kenneth Anger, 1965. © Fantoma Films.)
Despite the band name on the label and the six musicians credited on the sleeve, the Time’s first album is often remembered as a thinly veiled solo effort by Prince. This, however, isn’t strictly true: not only was frontman Morris Day largely responsible for the album’s drum tracks, but Prince also drew heavily on his inner circle for songwriting assistance.
Guitarist Dez Dickerson wrote the lyrics for “Cool”–more on that later–and, less successfully, was solely responsible for “After Hi School.” “The idea was for the record to have a youthful vibe,” Dickerson wrote in his 2003 memoir, so he recorded a four-track demo for a song “where the main character is a kid about to graduate, facing the usual questions from adults, and decisions to be made. Prince liked it, but changed it from its original AC/DC-ish rhythm to a more up-tempo Brit/New Wave feel” (Dickerson 112). The song’s faux-Farfisa accompaniment does recall Prince’s New Wave-flavored “When You Were Mine”; but the cloying lyrics and Morris’ still-untutored vocals do it no favors.
For the album’s most fruitful collaboration, however, Prince didn’t have to look far: in April of 1981, keyboardist and recent Los Angeles transplant Lisa Coleman was still living in his home at 9401 Kiowa Trail. “My room was upstairs,” she later told biographer Matt Thorne, “so he would call me down. ‘Lisa, would you help me do this string part? What about these lyrics? Can you finish this verse?’ He involved me. I punched him in while he was playing the drums, whatever it was” (Thorne 2016). Lisa’s backing vocals are prominent throughout The Time: she, along with Sue Ann Carwell, is one of the “Various Girlfriends” credited in the liner notes. And it was Lisa who provided the lyrical spark–and maybe more–for the album’s comically raunchy closing track, “The Stick.”
Continue reading “The Stick”
(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:
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 Twitter, Facebook, Instagram, 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:
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!
(Featured Image: Cover art for the “Dinner with Delores” CD single, 1996; photo by Steve Parke, © Warner Bros.)
Darren Husted’s Prince: Track by Track podcast has reached the end of the Warner Bros. era, and I was lucky enough to discuss ’s final single for the label, the elegaic-but-also-kinda-sexist “Dinner with Delores.” Check it out here:
While I’m in podcast-plugging mode, allow me to shout out the first episode of Muse 2 the Pharaoh, the latest addition to Michael Dean’s purple podcast empire hosted by friend of the blog Darling Nisi. I had the opportunity to hang with KaNisa and three of her guests (Stephanie, Crystal, and Erika) at Celebration last month and they are warm, funny people; so it comes as no surprise that their conversation for the podcast is heartwarming and positive, a perfect balance of intelligence and totally relatable fangirlishness. I can’t wait to hear the second episode:
And if you enjoy that, then keep an eye out for when Erika shows up on my other podcast, Dystopian Dance Party, on Friday! We’ll be talking about our Paisley Park experiences, and she’ll quiz my sister and I on some Prince songs we love to hate.
Finally, I’m hoping to get back in the weekly-post groove and knock out another song from The Time by the end of the week. Wish me luck!
(Featured Image: 1981 publicity photo for the Time. L to R: Terry Lewis, Jimmy Jam, Morris Day, Jellybean Johnson, Monte Moir, Jesse Johnson. © Warner Bros.)
As of this writing, there is no public record of the order in which the songs on the Time’s first album were recorded (fingers crossed that Duane Tudahl can scare up some details when he gets around to writing his book on the 1981-82 studio sessions). It’s generally agreed, however, that the song Prince used to get Warner Bros. interested in the project was the one that became its lead single and opening track: “Get It Up.”
As a proof of concept for the Time project, “Get It Up” makes a lot of sense. It is, first of all, familiar territory. According to Bobby Z, the song came out of Prince’s jams with his touring band, and it shows: more than any other song on The Time, “Get It Up” sounds like the missing link between Dirty Mind and Controversy (Nilsen 1999 86). The brittle New Wave funk arrangement and wheedling Oberheim synthesizer, played once again by guest soloist Matt Fink, bear Prince’s immediately identifiable fingerprints–that, and the fact that his backing vocals are clearly audible throughout the track.
Continue reading “Get It Up”