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Ephemera, 1986

Cosmic Day

Whenever I explain why I’m writing about every Prince song in order–a hobby, believe it or not, that does still warrant explanation in some circles–one of my go-to lines is that Prince, almost uniquely in popular music, is an artist with effectively three or four different canons. There is of course the primary canon of the big ’80s hits (“1999,” “Kiss,” “Little Red Corvette,” basically all of Purple Rain), f0llowed by the subcanon of later singles, “deep cut” album tracks, and B-sides–the latter of which is large enough that we could potentially make it a subcanon all its own. But what makes Prince special is the fact that he also has a sub-subcanon–either his third or fourth, depending on how we count the above–which includes tracks that never saw official release, but are still treated with reverence by collectors and fans. Prince isn’t the only artist with a deep and multilayered catalogue, of course–Bob Dylan and Neil Young both come to mind as potential peers–but I would argue that he is the only artist whose “sub-subcanon” rivals the quality and notoriety of his “official” body of work. In short, for fans of rabbit holes (and I clearly am one), they don’t come any deeper than this.

For years, “Cosmic Day” was one of those fabled cuts languishing in the depths of the purple rabbit hole: one of many proverbial “holy grails.” Recorded on November 15, 1986, in the midst of the blur of activity that led to the Crystal Ball triple-LP and its truncated sibling, Sign “O” the Times, it was seemingly never intended for either project; like “Moonbeam Levels,” another fixture of Prince’s subterranean canon, it’s at once essential to the era in which it was recorded and wholly detached from it. But unlike “Moonbeam Levels,” it has also tantalized fans by staying out of the hands of most collectors, with only two-to-three-minute fragments in wide circulation–until, that is, yesterday’s release of the full recording in advance of Sign “O” the Times Super Deluxe.

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DM40GB30: Pandemonium Roundtable Panel

Last Friday, July 10, was the 30th anniversary of the Time’s fourth and (technically) final album, Pandemonium; so, to mark the occasion, the fantastic De Angela Duff has shared the Pandemonium roundtable from last month’s DM40GB30 symposium with myself, Darling Nisi, and Ivan Orr and Ricky Wyatt of the Grown Folks Music podcast.

I think it’s obvious from the conversation that we all had a great time (and if you’re looking for an extra great time, try taking a drink every time De Angela–whose favorite Time album is famously Pandemonium–pops into the live stream to interject). It was extremely flattering to be asked to share the “stage” with folks as knowledgeable about the Time and their place in the R&B scene as Ivan and Ricky, and KaNisa did a stellar job as always moderating. Can’t wait to do this again next year!

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Ephemera, 1981-1982 Patreon Exclusives

Patreon Exclusive: You’re My Love

Last month’s Originals compilation had plenty of surprises for even the most dedicated Prince collectors–but none quite as surprising as “You’re My Love,” a track recorded in March 1982 at Prince’s Kiowa Trail home studio and gifted to, of all people, country music crooner and rotisserie chicken mogul Kenny Rogers. Most reviews of Originals greeted the song with mild (or not-so-mild) bafflement. Paste’s Zach Schonfeld intimated that “there’s a reason” Prince didn’t keep “You’re My Love” for himself. PopMatters’ Chris Ingalls panned it as a “bland-yet-serviceable 1980s pop song” that “sees Prince almost veering into parody with a Vegas-style croon.” In her excellent piece for The Quietus, Soma Ghosh dismissed the song as “schmaltzy.” Even Michael Howe, the A&R professional in charge of Prince’s posthumous Vault releases, described it as a “full-on Holiday Inn lounge vibe” in an interview with The West Australian.

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Prince Track by Track: “Crystal Ball”

My recent run of guest appearances on Prince: Track by Track has taken me out of my comfort zone, into some albums that I frankly don’t care much for. But now we’ve finally reached Crystal Ball, allowing me to return–however briefly–to the warm embrace of 1986. But first, Darren Husted and I had to address the elephant in the room that is Crystal Ball’s disastrous 1998 release. As I note, there may be a lesson to be learned in this for those who want Prince’s estate to be run “the way he would have done it.” Listen to both episodes below:

Prince Track by Track:
Crystal Ball Album Introduction

Prince Track by Track: “Crystal Ball”

I’ll be back on Track by Track to discuss another epic from Crystal Ball later this month; before then, you can expect another track or two from Controversy. It’s taken some time, but I’m finally getting back to the grind!

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Ephemera, 1984

Nothing Compares 2 U

Last week, I made my long-awaited, surreal, exhausting pilgrimage to the Twin Cities to attend the Prince from Minneapolis conference and Paisley Park’s Celebration 2018. I have complicated feelings, which I’m still processing–and will continue to do so, with the help of some other people who were there, on the podcast in the coming weeks. For now, though, I have some basic reactions to Celebration, and to the newly-released Prince song that was debuted on the event’s first day.

I wasn’t sure what to expect from Celebration coming in–reports of last year’s event suggested a combination music festival, fan convention, and cult indoctrination–but in my experience, it was basically a corporate retreat for hardcore Prince fans. There were hours of panel discussions with ex-band members Gayle Chapman, Dez Dickerson, Matt Fink, and Bobby Z; photographers Allen Beaulieu, Nancy Bundt, Terry Gydesen, and Nandy McLean; and dancers Tomasina Tate and, um, Wally Safford. There were screenings of Prince concerts from the Piano & A Microphone, HitnRun 2015, and–via the associated “Prince: Live on the Big Screen” event at the Target Center–Welcome 2 America tours. There were live performances by Sheila E, fDeluxe (née the Family), and a (fantastic) new supergroup of New Power Generation alumni dubbed the Funk Soldiers. And, of course, there was the debut of the music video for Prince’s previously-unreleased studio version of his pop standard “Nothing Compares 2 U.”