Tag: dirty mind tour

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1999, 1982

Lady Cab Driver (Rearrange)

A real-life "Lady Cab Driver," circa 1919; photo stolen from pastpictures.org.

Of the 11 songs that would eventually make their way onto Prince’s fifth album, “Lady Cab Driver” appears to have had the longest gestation period. The song was completed at Sunset Sound on July 7, 1982, the day after “Moonbeam Levels”; but, as the recent Super Deluxe Edition of 1999 revealed, its seeds had been planted during a break in the Controversy tour over half a year earlier on December 8, 1981, in the form of a different song called “Rearrange.”

According to an interview with sessionographer Duane Tudahl for the Minneapolis Public Radio podcast The Story of 1999, “Rearrange” was long known to researchers by its title alone: “it was one of those songs that we’d heard existed, but I didn’t think it was actually a song,” Tudahl told host Andrea Swensson. “I thought it was just some shuffling of his stuff”–a studio note indicating a literal rearrangement of tapes. As it turned out, of course, it was real–though it was also little more than an admittedly funky sketch: a stark, mid-paced groove with a slick rhythm guitar hook similar to the Time track “The Stick.”

Given this similarity–not to mention Prince’s guitar solo, which plays neatly to Jesse Johnson’s combustive style–it seems likely that “Rearrange” was at least provisionally mooted for that group. But this is just speculation; ultimately, says Tudahl, we “don’t know whether it was intended for 1999, whether he was searching for a voice for 1999, or whether he was saying, ‘I gotta record another Time album soon.’ But either way it was something that was not planned. He just thought, ‘I’m in the studio, I gotta record… This is what I’m gonna do’” (Swensson 2019 Episode 2).

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1999, 1982

Delirious

Courtship rituals of early '80s French rocker gang the Del Vikings; photo by Gilles Elie Cohen, stolen from VICE.

After a string of songs exploring, to various degrees, the darker side of his emotional spectrum, Prince capped off his late April and early May 1982 sessions at Sunset Sound with something light and frothy. Sonically, “Delirious” is cut from the same cloth as most of its predecessors on the album that would become 1999: from the driving Linn LM-1 beat to the sparse, but infectious synth line. Yet where songs like “Automatic” and “Let’s Pretend We’re Married” assemble these building blocks into complex, ever-shifting structures, “Delirious” offers more straightforward pleasures: it’s a simple eight-bar blues, as pure and elemental as Leiber and Stoller’s “Hound Dog” or Jesse Stone’s “Shake, Rattle and Roll.”

With its solidly retro foundation, “Delirious” is arguably the pinnacle of Prince’s brief, but intense infatuation with 1950s rock ‘n’ roll: an “obsession,” according to guitarist Dez Dickerson, that began when the band caught a show by rockabilly revivalists the Stray Cats while in London on the Dirty Mind tour. “We were all blown away with them,” Dickerson told Nashville Scene magazine in 2014, “the look, [singer] Brian Setzer’s amazing sound, just the sheer authenticity of it.” The experience inspired a handful of songs–most famously “Jack U Off” from 1981’s Controversy, but also tracks like the unreleased “You’re All I Want.” Perhaps even more notably, according to Dickerson, it also inspired both him and Prince to style their choppy punk hairdos into Little Richard-style pompadours (Shawhan 2014).

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Ephemera, 1981-1982

If It’ll Make U Happy

Prince and Dez Dickerson onstage at First Avenue, March 8, 1982; photo by Michael Reiter.

The majority of Prince’s sessions at Sunset Sound, like the majority of his studio sessions in general, were solo affairs; but while recording at Sunset in early April 1982, he was accompanied by his touring guitarist Dez Dickerson. Dez, as noted previously, played drums on the Vanity 6 track “3 x 2 = 6,” recorded on April 5. He was probably also in the studio for the tracking of “Extraloveable” on April 3: at one point, Prince can be heard taunting, “Hey Dez, don’t you like my band?”–an aside that has been widely interpreted as referring to Dickerson’s departure from the group the following year, but was more likely a simple case of good-natured, competitive ribbing. Last but not least, Dickerson’s backing vocals are clearly audible on “If It’ll Make U Happy,” recorded on April 6.

Between these sessions, the guitarist recalled, Prince also gave him studio time to work on some of his own music (Dickerson 201). This was likely meant as an olive branch, as tensions had emerged between the two bandmates. Like André Cymone before him, Dickerson had no intention of spending his entire career as a sideman; and, like Gayle Chapman, he’d begun to find that Prince’s sexual boundary-pushing was at odds with his own beliefs.

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Reviews

Review: Prince – Before the Rain

Cover art for Prince: Before the Rain by Allen Beaulieu, from Amazon.

I have, I’ll admit, been lax in covering the Prince photo books released since I launched this blog in mid-2016. This is no reflection on their quality: I’ve heard nothing but good things about Steve Parke’s Picturing Prince: An Intimate Portrait, and I was lucky enough to receive Afshin Shahidi’s (very good) Prince: A Private View for Christmas last year. But while I am no more immune to Prince’s visual appeal than the next heterosexual man, up until now I’ve put my focus on covering new music and books that are directly related to my research. I’m making an exception, however, for Allen Beaulieu’s Prince: Before the Rain.

If you’ve been reading this blog, it should come as no surprise that I am a huge fan of Allen Beaulieu’s work. Beaulieu’s iconic photographs for Dirty Mind,  Controversy, and (especially) 1999 were almost as important as the music in shaping my relationship with Prince as an artist, and they remain among the images I associate with him most. So, when Parke’s book came out in 2017, I’ll admit that my first thought was, “When is Beaulieu’s coming out?” And when Before the Rain was finally announced early this year, I preordered it on sight.

Given my predilection for Beaulieu’s photos, it should come as no surprise that I found his book to be entirely worth the wait. Before the Rain includes a wealth of shots from the photographer’s most stunning sessions with Prince: including the album cover photos mentioned above, as well as images originally printed on tour merchandise or in magazines. If there’s a picture of Prince that you love dating from between 1980 and 1983, the chances are very good that it’s in here. But there are also plenty of shots you probably haven’t seen, most of which are equally incredible–and many of which capture a more intimate side of the artist that the previously-released photos only hinted at.

Among the less familiar shots are dozens from the Dirty Mind, Controversy, and 1999 tours, capturing Prince, the band, and opening acts the Time and Vanity 6 both onstage and off. By his own admission, Beaulieu was less confident and skilled as a candid photographer than he was in a more controlled environment, and the comparative quality of the tour photos bears out his self-assessment as a “studio cat.” But what these images lack in polish, they make up for with sheer magnetism; it’s a thrill to see Prince in these formative years, relaxed and often in a playful mood with people like his bandmates, Vanity, and the Time’s Morris Day.

Also worth the price of admission are the book’s surprisingly meaty written sections, which include historical passages by Minneapolis-based journalist Jim Walsh, as well as album reviews by Eloy Lasanta, a.k.a. YouTube personality Prince’s Friend. These sections aren’t completely without flaw: there are a few niggling factual errors–most notably a couple of shots from Prince’s October 5, 1981 date at Sam’s, which are mislabeled as coming from his March 9 date; and one perplexing case where a 1986 photo of the Revolution credits his early ’90s band, the New Power Generation. But the stories in Before the Rain transcend these relatively minor faults, shedding valuable light on the creation of many of Beaulieu’s most enduring images and sharing personal stories about a formative period in Prince’s career.

Again, it should come as no surprise that I loved Before the Rain: more than any other photo book to date, it sits directly in my wheelhouse. But I also can’t imagine it failing to impress anyone currently reading this blog. For fans of Prince, particularly his pre-Purple Rain work, this is as essential a purchase as any of the other books I’ve recommended to date. And if Beaulieu happens to have any material left for a sequel, I’ll be the first in line to buy a copy.

You can provide some modest support to dance / music / sex / romance by using my Amazon affiliate link to purchase Prince: Before the Rain (or anything else in the encroaching holiday season).

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Ephemera, 1979-1981 Roundup Posts

Roundup: Ephemera, 1979-1981

How have I not used this one already?! 1979 publicity photo; © Warner Bros., stolen from Lansure's Music Paraphernalia.

I know I always begin these roundup posts with a reference to the obscene length of time since the last one, but this time I’m drawing attention to chronology for an entirely different reason. I wrote the first post in this roundup in April of 2017; the last one went up a week ago today. That year-and-a-half-long gap speaks to my abysmal writing pace, sure–but it also speaks to the scope of non-album music Prince produced from 1979 to 1981.

When I originally decided to lump together these three years, I was concerned that I was casting too wide a net; but I think the posts collected here ended up telling an interesting story. From the recording of Prince in spring 1979 to the release of Controversy in fall 1981, Prince underwent a transformation–one that can’t entirely be explained by the album, Dirty Mind, that falls in-between. These posts trace the steps of that transformation: from reluctant R&B heartthrob to full-blown Black New Waver. It’s a fascinating journey to say the least. So, without further ado, here’s how I rank the steps along the way:

13. “Everybody Dance” No surprise here: I said in my original post that “Everybody Dance” is barely a song. But it was a great excuse to write about his legendary debut performance at Sam’s (a.k.a. First Avenue), so I can’t begrudge it too much.

12. “The Loser” The dirty secret about the Rebels “album” is that, for all its importance to Prince’s artistic development, it really isn’t very good. The Gayle Chapman-sung “The Loser” isn’t even my least favorite track; that dubious honor goes to the instrumentals, or if those don’t count, the original version of “If I Love U 2 Nite” (sorry, Gayle, not your fault). But it is my least favorite of the tracks I’ve written about: by no means terrible, but thoroughly unremarkable, except perhaps as an early example of Prince flexing his songwriting muscles by experimenting in unexpected genres.

11. “Kiss Me Quick” This one, which I actually hadn’t heard until soon before I wrote about it, is also a mostly unremarkable genre exercise; but I give it the nod over “The Loser” because the specific genre (disco) happens to be one I think Prince was extremely good at. I can see why this was never properly released, but I also could have seen it ending up as an album track on Prince and being more than passable.

10. “Hard to Get” Another frankly mediocre Rebels track, but one I prefer to “The Loser” if only because my own personal biases lean more toward Stones-esque cock-rock than mild Bonnie Raitt pastiche. If there was a complete recording circulating of the ice-cold 1981 New Wave version, it would have been ranked higher… so, uh, what’s the hold-up, Sony and/or bootleggers?

9. “Broken” A very fun song in Prince’s subcanon of rockabilly/early R&B pastiches, but one that was easily replaced by “Jack U Off,” which was easily replaced by “Delirious,” etc. It isn’t necessarily a song that I reach for, but it’s a nice little bit of ephemera from the Dirty Mind tour.

8. “I Don’t Wanna Stop” This one is ranked as high as it is strictly because of potential: I like the version by Ren Woods enough to know that Prince’s version would surely be better. Maybe someday we’ll finally be able to hear it (ahem, Sony).

7. “Strange Way of Saying I Love You” Is this one too low? Yeah, maybe; it is kind of an earworm, especially now that the version in circulation doesn’t sound like it was recorded from a boom box outside a gymnasium where the song was being played. But I think we’ve officially reached the point in the list where my ranking is more arbitrary than usual.

6. “Rough” Is this one too high? Yeah, maybe; but I’m a sucker for the kinds of songs Prince wrote for the Time, as well as any moment when his Cars influence starts to peek through (listen to the synth bass on “Good Times Roll” at 1:05 and just try to tell me it doesn’t sound like “Rough”). That, and this post about Alexander O’Neal’s brief stint as a Prince protégé was just hella fun to write.

5. “She’s Just a Baby” One of Prince’s more conventional R&B ballads from this era, I’m even more fond of it now that I’ve formulated my theory that it was originally penned for the Time (but if that’s the case, why, oh why did he decide to use fucking “Girl”?!). Besides, whose heart doesn’t skip a beat or two thinking about a young (but not too young!) Susan Moonsie?

4. “The Second Coming” Yes, it’s only about a minute’s worth of multi-tracked a cappella Prince harmonies. But, counterpoint: it’s a whole minute’s worth of multi-tracked a cappella Prince harmonies. I’ve written before about the rapturous qualities of Prince’s falsetto; if that’s your type of thing, then “The Second Coming” might just be your own personal Rapture.

3. “You” Probably the one Rebels song that actually lives up to the hype, and definitely the only one ever covered by Paula Abdul. Coincidence? Probably.

2. “Lisa” An early glimpse of Prince’s synthpop phase dating from mid-1980, it wouldn’t have fit on the guitar-centric Dirty Mind, but boy is it a slapper. Bonus: if you can, try and track down the 1982 rehearsal version that recently entered circulation, with Prince vamping over clavinet-style synthesizer and his Linn LM-1 for damn near 45 minutes. It’s excessive, sure, but it just shows how hypnotic and tensile a groove this is.

1. “Gotta Stop (Messin’ About)” I am an outspoken stan of New Wave Prince, so it should be no surprise that I highly rate this NWP gem from 1980. Imagine if Devo were sexual beings, or if the Knack weren’t total sleazeballs; then imagine either one of them with about 9,000% more soul. One of Prince’s underrated talents in the early ’80s was his ability to highlight the sexual tension in New Wave’s stiff, nervous grooves; this, one of my favorite B-sides/non-LP singles in his discography, is a shining example of that talent.

Since it’s only been a couple of weeks since my Controversy roundup, there’s nothing new to add to the Spotify playlist; all but one of these tracks is not currently available for (legal) streaming. So I’ll just say that, while this week was largely occupied with what I hope to be an exciting upcoming project, I’ll be back next week to kick off 1982. See you then!