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Ephemera, 1983 Roundup Posts

Roundup: Ephemera, 1983

I know I say this every time, but hoo boy, has it ever been a while since I wrote one of these: one year, four months, and 30 days, to be precise. In my defense, though, the sprawl of the Purple Rain era has meant that I’ve been concurrently working on two albums (soon to be four!), all of which were completed within a few months of each other–so, when it finally (purple) rains later this year, expect it to pour. In the meantime, we’ve officially reached the end of 1983 in our chronology, and I’d say that calls for a little celebration.

Before we raise our glasses, though, a caveat: as eagle-eyed readers of Duane Tudahl’s Studio Sessions and/or Prince Vault and/or VaultCurator’s studio recordings spreadsheet have no doubt already noticed, we haven’t actually covered every Prince song recorded in that annus mirabilis. A few of these missing numbers (e.g., “Wonderful Ass,” “Strange Relationship,” “My Summertime Thang,” “Promise to Be True,” “Possessed,” “17 Days,” “We Can Fuck”) will be considered alongside later versions in the months and years to come; a few (e.g., “Chocolate,” “G-Spot,” “Mia Bocca,” “The Glamorous Life,” “Next Time Wipe the Lipstick Off Your Collar,” “She’s Always in My Hair”) have been held back for editorial purposes until we get closer to their final destinations in Prince’s discography; and a few (e.g., “My Sex,” “Moral Majority,” “Electrocution,” “Money,” “I am Five”) will have to wait until I can, y’know, hear them. Last but not least, I’m currently working on my post about “Sex Shooter,” completed for Apollonia 6 in November 1983.

But still! Here we have 11 recordings–at least two of which, in my opinion, number among the finest in Prince’s career–and they aren’t even a third of what he actually wrote that year. At times like these, it’s tempting to ask what the hell I got myself into; but there’s also the other side of that coin, which is to marvel at the exciting things still ahead. In the meantime, here’s my ranking:

11. “Wednesday Musical Theatre Prince has never been my favorite of his modes, so this ranking should come as little surprise. Still, it would have been nice to see Jill get her closeup in Purple Rain… I guess there’s always 2024?

10. “My Love Belongs to You A footnote, albeit one with lots of historical interest: as I noted in my post, I hear traces here of “The Bird,” “Chocolate,” “Possessed,” even “Kiss.”

9. “Modernaire I have it on reasonably good authority that this is even more of a Prince song (.org) than I originally thought, so I’m extra glad I wrote about it. But, well, you can see why he gave it to Dez. Still great fun, and if you need a laugh today, rewatch the performance in Purple Rain and just pay attention to Joe Hunt on (conspicuously unplugged) guitar.

8. “Vibrator A tricky one to rank, because a hefty percentage of my affection for this song is directly tied to the skits in the latter half. A fun little tune, but it’s no “Nasty Girl.”

7. “Velvet Kitty Cat Another tricky one to rank, because I’m pretty sure I’m being contrarian by placing it so high: This was near-universally considered a weak link on the Purple Rain expanded set, but I’ve always dug it. So, any other “Velvet Kitty Cat” defenders out there? Anyone?

6. “Cloreen Bacon Skin Now this one should arguably be placed higher, but I had to make room for some more hobby horses in the top five. Still, if you want to make a case for Prince as a capital-“F” funk artist, I can think of no better exemplar.

5. “Father’s Song Maybe it’s recency bias, or maybe a wistful, vaguely cyberpunk instrumental is better suited to my early-2022 pandemic vibes than a sweaty 15-minute funk jam. Like I said in the post, this one would have made a killer B-side.

4. 1983 Piano Rehearsal One of those hobby horses I warned you about. I may no longer be able to call Piano & A Microphone 1983 the best posthumous Prince release–Sign “O” the Times Super Deluxe has taken that title by brute force–but it’s still the one I revisit most. Detractors (you know who you are) may not need to check your ears, but you should probably check your souls.

3. “Katrina’s Paper Dolls Hobby horse number two! The fact that I never saw much praise for this ditty from the expanded Purple Rain suggests a surprising lack of crossover between hardcore Prince fans and synthpop lovers. Well, if I have to be the one to claim that sliver of the Venn diagram, so be it.

2. “Electric Intercourse Yes, we’ve officially reached the two tracks that “number among the finest of Prince’s career.” It’s been said many times before, but the fact that this stayed in the Vault because he came up with a better ballad? Mind-boggling.

1. “Irresistible Bitch I remember hearing this for the first time on The Hits/The B-Sides, thinking I had my head wrapped around what made Prince great, and then getting it busted open in a whole new way. Almost four decades old and still sounds like the future. As a producer of electronic music, he would reach this peak again, but I’m not sure he ever bested it.

Next up, as noted above, is “Sex Shooter”; I think it will be good, but it’s shaping up to be another long one, so no promises on when it’s coming (I will, however, try to have it ready for patrons before February). I’m also acutely aware that I’m long overdue for a new podcast; again, no promises re: timeline, but now that I’ve finished another batch of posts I think I can start turning my eye in that direction. In the meantime, a belated Happy New Year (whatever that’s worth these days), and thanks for reading!

For those about to stream, we salute you:

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Ephemera, 1983 Patreon Exclusives

Patreon Exclusive Bonus Track: My Love Belongs to You

Amidst the flood of music Prince recorded in the lead-up to his 1984 magnum opus, Purple Rain, “My Love Belongs to You” barely registers as a ripple. A rough-hewn, seven-minute-long instrumental, it isn’t even the most fully-realized track from its recording date: April 20, 1983, a 10-hour session at Sunset Sound in Los Angeles that also produced “Velvet Kitty Cat,” overdubs for “If the Kid Can’t Make You Come,” and multiple takes of another studio jam called “Sleazy.” But my mission, quixotic as it may be, is to chronicle every circulating studio recording by Prince; and if there’s one thing I’ve learned in my almost five years (!) of doing this, it’s that every recording by Prince has something to say about his musical development.

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Ice Cream Castle, 1984

If the Kid Can’t Make You Come

The sole ballad recorded for the Time’s third album, “If the Kid Can’t Make You Come” is also a rare example of a “proper” song seemingly inspired by a comedic sketch, rather than the other way around. According to sessionographer Duane Tudahl, basic tracking for “Kid” (then titled “If the Boy Can’t Make You Come”) began on Saturday, April 16, 1983: two days into the laborious Sunset Sound sessions that also produced the extended skit “Chili Sauce.” That track featured Time frontman Morris Day subjecting his date to a series of 17 propositions, the last and most successful of which was, “Baby, if the kid can’t make you come, nobody can.” “Kid,” then, picks up where “Chili Sauce” left off–right down to the return appearance of actress Sharon Hughes as the aforementioned date, who finally gets to show off the full extent of her breathy moaning chops here.

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Ice Cream Castle, 1984

Chili Sauce

It’s tempting to assume that the filler tracks Prince penned for the Time–of which there was at least one on every album–were dashed off quickly, without the level of care and attention he reserved for his own music. But, while that may have been the case sometimes (looking at you, clumsy edit at the end of “I Don’t Wanna Leave You”), it wasn’t always. See, for example, “Chili Sauce”: my personal vote for the most egregious filler in the group’s discography, and yet also the subject of a staggering five nights of sessions at Sunset Sound in Los Angeles.

According to Duane Tudahl’s essential studio chronicle, Prince and the Purple Rain Era Studio Sessions: 1983 and 1984, Prince started work on the unnamed instrumental that would become “Chili Sauce” at 9:30 p.m. on Thursday, April 14, 1983, after completing a mix for the ill-fated “My Summertime Thang.” He began with a sleek, sinuous Linn LM-1 pattern, reminiscent of the one he’d used on “Electric Intercourse” in January–or, for that matter, the one he would later use on “The Beautiful Ones” in September. From there, he layered on more tracks, before ultimately deciding that the song needed live strings–a sound that had been absent from his discography since “Baby” on his 1978 debut album.

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Ephemera, 1983

Cloreen Bacon Skin (Tricky)

The sessions for the Time’s third album began during an especially fraught period in their relationship with Prince. On March 21, 1983, just over a week before recording commenced at Sunset Sound in Los Angeles, Prince left the band off the bill at New York’s Radio City Music Hall–an apparently calculated move to keep the spotlight on himself, and off his protégés. A week later, he’d repeat the snub at L.A.’s Universal Amphitheatre. Meanwhile, keyboardist Jimmy Jam and bassist Terry Lewis were on thin ice after missing their flight for a March 24 show in San Antonio. Once Prince discovered the reason for their absence–an unsanctioned Atlanta studio date producing the S.O.S. Band–it would spell the end of their tenure in the group.

Yet, even amidst all this interpersonal strife, there was still room for a little levity. And so it was that, on March 27–just one day before the Universal Amphitheatre show–Prince and the group’s frontman/studio drummer Morris Day cut “Cloreen Bacon Skin”: an improvised, 15-minute funk groove-cum-comedy sketch with a surprisingly long afterlife in the former’s body of work.