July 2021 marks the 40th anniversary of the self-titled debut album by the Time; so, I decided to commemorate the occasion by bringing back Darling Nisi and Harold Pride for one of our trademark track-by-track deep dives. As always, the conversation left me thinking about the album in new ways: from KaNisa’s interpretation of it as Prince’s tribute to the funk music of his youth, to Harold’s insight on its significance to the development of electronic dance music. I remain grateful to be able to talk about music with these two brilliant people.
Last time, I promised I’d have another podcast episode ready in less than the almost two-year gap between our Prince (1979) and Dirty Mind episodes; and, technically, I did make good on that promise, since it’s “only” been 10 months since Dirty Mind last September. But for real, I’ll be back much sooner this time–like, probably around this time next month. So, if you haven’t already, subscribe to Dance / Music / Sex / Romance on your podcast provider of choice; and, if the spirit moves you, you can even leave a review! You’ll be hearing from me again very soon.
This month marks the 40th anniversary of the self-titled debut album by the Time; so, I decided to commemorate the occasion by bringing back Darling Nisi and Harold Pride for one of our trademark track-by-track deep dives. The episode will be available on your podcast service of choice next week; in the meantime, here’s a short preview. And, if you’re a patron, you’ll be able to listen early starting tomorrow!
Speaking of patrons, I wanted to take this opportunity to welcome Kaitlyn, Beau Witcher, and B. Perrier into the fold. Thanks, as always, for your support–it means a lot!
One quick correction, which came up in the chat at the symposium: While Allen Beaulieu was involved in the Controversy poster shoot, the actual image that made it onto the poster was taken by none other than Lisa Coleman! So, Lisa, if you ever want to come on my podcast and spend an entire hour talking about nothing but this photo, consider this your open invitation.
If you can’t get enough of me and my pandemic hair, below is the Q&A I did with Christopher, Steven, Edgar, and C. Liegh:
Finally, I’d like to share a few of my favorite presentations from the symposium. It isn’t an exhaustive list–my real recommendation is that you watch every video on De Angela’s channel!–but if you’re looking for a good place to start, you can’t go wrong with these.
Even after the news was leaked by a French fansite earlier this year, I was still pleasantly surprised when the Prince Estate confirmed the shelved 2011 album Welcome 2 America for official release in July. Up until now, I’ve found the Estate’s posthumous release strategy to be laudable but predictable: alternating between expanded reissues from Prince’s critical and commercial peak (Purple Rain, 1999, Sign “O” the Times) and sure-thing one-offs engineered for mainstream attention (i.e., the Originals compilation of Prince’s versions of the hits he wrote for others). Even the closest thing to an odd one out, 2018’s Piano & A Microphone 1983, had the distinct commercial advantage of coming from the sessions for his most popular album.
Welcome 2 America, however, is something different: a complete album of almost entirely unreleased material, from a period of Prince’s career that even some of his biggest fans neglect. Case in point, well, me; I’d followed along with Prince’s contemporary music for 2004’s Musicology and 2006’s 3121, but fell off after 2007’s Planet Earth and 2009’s Lotusflow3r/MPLSound/Elixer threefer left me cold (for the record, I’ve since come around on Lotusflow3r and, thanks to friend of the blog Darling Nisi, even Elixer; Planet Earth and MPLSound, not so much). When the next album, 20Ten, wasn’t officially released in the U.S., I didn’t even care enough to try and pirate the MP3s. All of which is to say that Welcome 2 America is even newer to me than to many of the active fans who were following the news of its planned release at the time–and while that was my loss in 2011, a decade later it’s now my gain.
When I shared the 1983 Piano Rehearsal post on social media a few weeks ago, I mentioned that March is going to be a “quality-over-quantity month” on the blog. Well, here’s why: This Sunday, March 28, I will be presenting at the latest in De Angela Duff’s series of academic symposia commemorating Prince album anniversaries. This year’s symposium, the aptly-named #1plus1plus1is3, is a three-for-one: celebrating 20 years of 2001’s The Rainbow Children, 30 years of 1991’s Diamonds and Pearls, and 40 years of 1981’s Controversy.
Like last year’s #DM40GB30 symposium, #1plus1plus1is3 is a virtual symposium–so, no masks/vaccines required–and also 100% free (though the organizers do suggest a small donation to the PRN Alumni Foundation). You can register to attend at the link below:
I will, of course, be live-tweeting the event as it happens, and will post a summary of my thoughts early next week. Then, it’ll be back to regularly scheduled programming with what is shaping up to be a very hefty post on “Let’s Go Crazy.” Thank you all for your patience during this quiet month; I hope that the deluge of Prince content coming this weekend, from myself and so many others, will help make up for my radio silence otherwise! Last but not least, thank you to Joseph Swafford for (re-)joining the Patreon last week! There will be plenty more quality and quantity in April.