Tag: chic

Podcast Prince, 1979

Podcast: Prince (1979) Revisited

Post author By Zach
Post date October 19, 2018
3 Comments on Podcast: Prince (1979) Revisited

Cover art for Prince, 1979; photo by Jurgen Reisch, © Warner Bros.

October 19, 2018 marks the 39th anniversary of Prince’s self-titled second album–not the most glamorous occasion, perhaps, but reason enough to reassemble the review panel from our For You podcast for a reappraisal. Once again, Zach is joined by Harold and KaNisa for a track-by-track discussion of this underappreciated album, its resonances throughout Prince’s career, and why it still matters.

Tags 1000 x's & o's, 17 days, 1979, 1980, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1991, 1995, 1999 song, 1999 tour, 2002, 2004, 2009, 2010, 2011, 2013, 2014, 2016, 3rdeyegirl, act i tour, act ii tour, adore, all day all night, alpha studios, alphabet st, american bandstand, andre cymone, andy allo, anna stesia, arif mardin, baby, bambi, bob mockler, boogaloo shrimp, breakin, burbank, cameo, capri theatre, carolina coliseum, celebration 2001, chaka khan, chic, controversy tour, coyote, darling nisi, dennis locorriere, denver auditorium arena, dez dickerson, diamonds and pearls tour, dick clark, diffrent strokes, dirty mind, dirty mind tour, do me baby, don't disturb this groove, dortmund, dr hook, egyptian lover, ellen degeneres, ellen degeneres show, endorphinmachine, erica thompson, everything but you, extraloveable, fire it up tour, first avenue, fleetwood mac, for you, foreigner, friend lover sister mother wife, furious five, g-spot, gayle chapman, gotta broken heart again, grand funk railroad, harold pride, head, heart, hit n run tour, how come u don't call me anymore, i feel for you, i wanna be your lover, i'm yours, if i was your girlfriend, international lover, it's gonna be lonely, jack u off, jesse johnson, jill jones, john blackwell, joni mitchell, jungle love, jurgen reisch, just as long as we're together, k-funk interview, kiss, kiss band, lakeland, le freak, linn lm-1, lisa coleman, little red corvette, live out loud tour, livin on the nile, los angeles, love we make, lovesexy 30, lovesexy tour, lust u always, main ingredient, mazarati, mc hammer, melle mel, mia bocca, michael dean, michael jackson, midnight special, minneapolis, mo ostin, monkees, muse 2 the pharaoh podcast, musicology tour, my name is prince, nadeara, new york university, nile rodgers, nona gaye, north sea jazz, nothing compares 2 u, nude tour, one nite alone tour, piano & a microphone tour, prince, private joy, purple medley, purple rain, purple reign conference, ray sawyer, rebels, record plant sausalito, revolution, rick james, rosie gaines, screams of passion, seattle, sexy dancer, sexy mf, sinead o'connor, so blue, soft and wet, sometimes it snows in april, soul train, stevie wonder, still waiting, sue ann carwell, system, tc ellis, turn me loose, uptown, vancouver, violet blue, warner bros records, welcome 2 europe tour, wendy melvoin, when we're dancing close and slow, why you wanna treat me so bad, with you, xenophobia celebration

For You, 1978 Podcast

Podcast: 40 Years of For You

Post author By Zach
Post date April 6, 2018
15 Comments on Podcast: 40 Years of For You

Cover art for For You, 1978; photo by Joe Giannetti, © Warner Bros.

Podcast: Play in new window | Download

dance / music / sex / romance is fast approaching its third year, so to celebrate, we’re going…backwards? That’s right, to mark the 40th anniversary of Prince’s debut album, I thought now was the perfect time to go ahead with an idea I’ve been toying with for a while: our own sub-series of review podcasts looking at each of Prince’s albums in isolation.

I’m doing this for a few reasons. First, it’s a way to bring those of you who have been listening to the podcasts but not reading the blog into the loop on my chronological Prince project–and also a way for me to work through some of these albums before I can get to it with my glacially paced writing schedule.

Second, I’ve known from the beginning of this project that if I really wanted to do Prince’s catalogue justice, I would need to incorporate more voices and perspectives than just my own. We all have our biases and blind spots, and as a Prince fan I am acutely aware that one person’s sentimental favorite can be another’s unlistenable mess (and vice versa). That’s why I asked my friends Harold and KaNisa, both of whose encyclopaedic knowledge of Prince’s career dwarfs my own, to join me. I think you’ll find that our tastes and opinions both intersect and diverge in a lot of interesting ways, which allowed us–and hopefully, will allow you–to take a different perspective on some of these songs and the context in which they were created.

I hope you enjoy this new approach to an album that remains underappreciated in Prince’s catalogue. If you do, I hope you’ll subscribe to the podcast on your streaming app of choice (iTunes, Stitcher, or Google Play), and if you’re so inclined, leave a review! No matter what, thanks for listening, and see you again soon.

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Dirty Mind, 1980

Do It All Night

The mass seduction begins; Prince at Cobo Hall, Detroit, December 1980. Photo by Leni Sinclair.

As we’ve noted before, when Prince began recording in the spring of 1980, he had no specific project in mind. “The previous albums were done in California, where they have better studios,” he told Andy Schwartz of New York Rocker. “I’d never wanted to do an album in Minneapolis” (Schwartz 1981). But after less than a month of work, he’d decided that his new “demos” were good enough to release as his next proper album. “I was so adamant about it, once I got to the label, that there was no way they could even say ‘we won’t put this out,’” he told the Los Angeles Herald Examiner. “I believed in it too much by that time” (Wilen 1981).

Prince’s resolute belief in the album that would become Dirty Mind played like a repeat of the bold position he took during the making of For You. But without an Owen Husney in his corner, this time even his management needed to be convinced. Prince brought his home recordings to Los Angeles to play for Cavallo, Ruffalo, and Fargnoli. As he recalled to Schwartz, “They said, ‘The sound of it is fine. The songs we ain’t so sure about. We can’t get this on the radio. It’s not like your last album at all.’ And I’m going, ‘But it’s like me. More so than the last album, much more so than the first one’” (Schwartz 1981). The managers “thought that I’d gone off the deep end and had lost my mind,” Prince told Chris Salewicz of New Musical Express. It was only after some “long talks” with the artist that they finally relented (Salewicz 1981)–with the caveat that he have the tapes remixed at a professional studio.

Tags 1980, 1981, allen beaulieu, amsterdam, andy schwartz, andy warhol, bob cavallo, bob mockler, bob regher, bruce springsteen, buffalo, chic, cobo hall, cole porter, detroit, dez dickerson, dirty mind, dirty mind tour, do it all night, gene simmons, gotta broken heart again, head, hollywood sound recorders, i feel for you, joe ruffalo, kees tabak, kiss band, labelle, leni sinclair, lenny waronker, let's do it, los angeles, marylou badeaux, minneapolis, mo ostin, new york city, nile rodgers, nona hendryx, owen husney, partyup, paul stanley, prince, raleigh, ritz, roy bennett, russ thyret, sexy dancer, sister, sos band, steve fargnoli, still waiting, take your time, uptown, warner bros records, washington dc, wayzata, when you were mine

Prince, 1979

Sexy Dancer

"GG’s Barnum Room, 'Ava'," Bill Bernstein, 1979.

“To me, disco was always very contrived music,” Prince told NME’s Chris Salewicz in 1981. “It was all completely planned out for when the musicians were recording it in the studios.” In contrast, he claimed, “what I do is just go in and play” (Salewicz 1981). I don’t know if Prince had his own 1979 song, “Sexy Dancer,” in mind when he gave this interview. Most likely he did not; the two years between the song’s recording and his conversation with Salewicz, after all, represent basically an eternity in Prince time. But his comments are nevertheless instructive for understanding the song’s approach to what is–sorry, Prince–clearly an engagement with disco, if not strictly a disco track.

His stated distaste for the genre aside, Prince was clearly no stranger to disco in 1979. In his interview with Martin Keller of the Twin Cities Reader early that year, he mentioned that he “used to hang out at the Infinity,” a dance club in suburban St. Louis Park (Keller 1979). What he shared with many other musicians of the era, however, was a healthy skepticism for disco’s emphasis on the role of the producer. Disco, Prince told Salewicz, “was filled with breaks that a studio musician would just play and fill up when his moment came.” But Prince was his own producer–and, for that matter, his own studio musicians. “It’s easy for me to work in the studio,” he claimed, “because I have no worries or doubts about what the other musician’s going to play because that other musician is almost always me!” So, rather than playing to “fill up the breaks” in a producer’s master plan, Prince would “just play along with the other guy”–himself (Salewicz 1981).