(Featured Image: Cover art for the “Let’s Work” 12″, 1982; L to R: Dr. Fink, Brown Mark, Bobby Z, Prince, Dez Dickerson, Lisa Coleman. © Warner Bros.)
Mid-1981 was the first great period of prolificacy for Prince. In astonishingly little time, he completed work on his own fourth album, a full-length debut for protégés the Time, and several other assorted odds and ends, including a handful of songs for the Hookers (“Drive Me Wild,” “Make-Up,” “Wet Dream,” “Gym Class,” “I Need a Man,” “Jealous Girl,” “Mink Kitty Cat,” and “Pizza”), as well as other tracks with tantalizing titles like “Delivery Boy,” “Friction,” “Heart Attack,” “Hump You,” “Poppa Grooves,” “The Rain and You,” “Rearrange,” and “See U Dead.” One of those odds and ends would even end up on the album: the taut, New Wave-inflected funk of “Let’s Work.”
According to legend, “Let’s Work” began life as “Let’s Rock”: Prince’s version of a ’60s-style dance craze song, like “The Twist” or “The Loco-Motion.” The song, inspired by a dance Prince had seen in Minneapolis clubs called “the Rock,” had been kicking around as early as 1979; its title appears in one of Prince’s notebooks in what appears to be an early, handwritten tracklist for the Prince album, alongside “I Wanna Be Your Lover,” “Bambi,” “Why You Wanna Treat Me So Bad?”, “When We’re Dancing Close and Slow,” “With You,” “Still Waiting,” “It’s Gonna Be Lonely,” “Sexy Dancer,” and “Darling Marie.” When it didn’t make it onto the album, Prince allegedly tried to release it as a non-LP single; but Warner Bros. didn’t bite, a minor setback that, in retrospect, foreshadowed more serious conflicts with the label to come.
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(Featured Image: Prince in 1978; photo by Darlene Pfister, Minneapolis Star Tribune.)
One thing Prince established very early on was a near-constant rate of musical productivity: as we observed way back at the beginning of this blog, he spent the vast majority of his day-to-day adult life–not to mention a good amount of his childhood–participating in some form of songwriting, recording, rehearsal, or performance. So it should come as no surprise that when Prince moved into his first house in the summer of 1978, the otherwise-unassuming 5215 France Avenue in Edina, Minnesota brought with it another first: his first home studio. Indeed, according to his cousin and former Grand Central drummer Charles Smith, the rest of the house was mostly an afterthought for Prince: “The basement was full of equipment but he didn’t have any furniture in the house,” Smith told biographer Per Nilsen. “He didn’t have any carpets. He just had a rocking chair and a little TV for his games.” Eventually Prince’s girlfriend at the time, Kim Upsher, would help decorate and make the place “look like a home” (Nilsen 1999 43). But it’s clear that creature comforts placed a distant second for Prince, below his ability to create whenever the muse struck him. The lifelong blurring of the lines between studio and living space that he’d set into motion while still living in the Andersons’ basement was, by mid-1978, in full swing.
The France Avenue “studio” wasn’t exactly Paisley Park, of course: just a basement space with instruments and a portable TEAC four-track reel-to-reel. But it did the job, giving Prince an opportunity to flesh out new ideas without booking expensive studio time–which, after the hefty $170,000 recording cost of For You, probably came as a relief to the bean counters at Warner Bros. Many of the demos for Prince’s second album were reportedly recorded at home, and a few of the tracks that ended up on 94 East’s infamous Minneapolis Genius compilation (more on that to come). There were also several songs known only by their titles: “Darlene Marie” (also known as “Darling Marie”), “Do It Again,” “Gypsy,” “I am You,” “I Met a Virgin Queen,” “I’m Leaving L.A.,” “Love Affair,” “Love of Mine,” “Rocking Chair,” and “We Would Like to See You Again,” as well as a re-recording of the 1976 demo “Rock Me, Lover.” And then there are the circulating recordings: starting with today’s six untitled instrumentals.
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