Get It Up

Get It Up

(Featured Image: 1981 publicity photo for the Time. L to R: Terry Lewis, Jimmy Jam, Morris Day, Jellybean Johnson, Monte Moir, Jesse Johnson. © Warner Bros.)

As of this writing, there is no public record of the order in which the songs on the Time’s first album were recorded (fingers crossed that Duane Tudahl can scare up some details when he gets around to writing his book on the 1981-82 studio sessions). It’s generally agreed, however, that the song Prince used to get Warner Bros. interested in the project was the one that became its lead single and opening track: “Get It Up.”

As a proof of concept for the Time project, “Get It Up” makes a lot of sense. It is, first of all, familiar territory. According to Bobby Z, the song came out of Prince’s jams with his touring band, and it shows: more than any other song on The Time, “Get It Up” sounds like the missing link between Dirty Mind and Controversy (Nilsen 1999 86). The brittle New Wave funk arrangement and wheedling Oberheim synthesizer, played once again by guest soloist Matt Fink, bear Prince’s immediately identifiable fingerprints–that, and the fact that his backing vocals are clearly audible throughout the track.

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Podcast: Nothing Compares – A Conversation with Marylou Badeaux, Author of Moments… Remembering Prince

Podcast: Nothing Compares – A Conversation with Marylou Badeaux, Author of Moments… Remembering Prince

(Featured Image: Marylou and Prince, 1979; photo from Moments… Remembering Prince by Marylou Badeaux.)

This is the last d / m / s / r podcast of 2017, and I have to say we’re going out on a high note. It was my honor and privilege to speak with Marylou Badeaux: a former Warner Bros. executive who worked closely with Prince for his 17 years with the label, and the author of the newly-released memoir Moments… Remembering Prince. You can probably tell that I was a little nervous at the beginning of the conversation, but we warmed up quickly and had a great chat about Prince and his relationship with the label that, for better or worse, defined his era of peak artistic achievement.

Now, I have one last item of business to conduct before the podcast goes on holiday break. There are actually two winners of my contest for iTunes and Stitcher reviews–one for each platform. The first is Louise Be, for her eloquent and incredibly flattering review on Stitcher; the second is Mafalda Taborda, who not only left a very nice review on iTunes, but was also the first person to review the podcast on any platform. Louise and Mafalda, if you’re reading and/or listening to this, please email me and let me know which of the two recent Prince books you would prefer me to send: Marylou’s Moments, or Duane Tudahl’s Prince and the Purple Rain Era Studio Sessions. And for everyone else who participated–and those who didn’t!–thanks for making the first year of the dance / music / sex / romance podcast such a pleasure to put together. I can’t wait to see where things go in 2018.

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Everybody Dance

Everybody Dance

(Featured Image: Prince and Lisa Coleman on stage at Sam’s Danceteria–later known as First Avenue–March 9, 1981. Photo by Duane Braley of the Minneapolis Star, stolen from the Current blog.)

During the lull between the first and second legs of the Dirty Mind tour, Prince’s relationship with publicist Howard Bloom began to bear fruit. Bloom had been hired by Prince’s manager Bob Cavallo at the end of 1980, in advance of the artist’s first headlining tour. Their goal was to finally achieve what Prince had been trying to do since 1978: break out of the music industry’s R&B “ghetto.”

Bloom, as he would be the first to proclaim, was the right man for the job. At the time, he told biographers Alex Hahn and Laura Tiebert, “it was incredibly unhip for any white person to work with a black artist. There was a wall, and it was segregation to the nth degree” (Hahn 2017). But Bloom, a white man of Jewish descent, had a reputation for flouting this segregation: “I was considered the leading ‘Black’ publicist in the music industry,” he recalled to K Nicola Dyes of the Beautiful Nights blog. “I worked with more Black acts and I learned more about Black culture than anybody else in the PR field” (Dyes 2014). Bloom, then, was one of the few in the music industry who took notice after Prince’s second album went platinum without ever “crossing over” from the R&B charts. Now, all he had to do was harness his client’s obvious star power, and make it impossible for the rest of the world to ignore.

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Roundup: Dirty Mind, 1980

Roundup: Dirty Mind, 1980

(Featured Image: Outtake from the Dirty Mind cover photo sessions, 1980; photo by Allen Beaulieu.)

It’s been a long six months since my last roundup post, but this time I’m not going to make any promises about picking up the pace: my inherent slothfulness aside, Dirty Mind also marks the beginning of my personal favorite era for Prince, and I want to do it justice. Hopefully, with this latest batch of posts, I’m off to a good start; as always, I’m looking forward to the rest!

Here’s my ranking of the songs from Dirty Mind:

8. “Do It All Night” First, let me be clear: I consider Dirty Mind to be Prince’s first set of wall-to-wall classics, so when I say “Do It All Night” is my least favorite track, it’s barely a criticism. It’s just that on an album that introduced a bolder, rawer Prince, this was one of the few tracks that sounded like it could have been held over from his previous record. It’s still a jam, though–and, as I noted in the post, it really came to life in concert.

7. “Sister” Again, no disrespect intended to what remains Prince’s most literal interpretation of the punk aesthetic. It’s just that “Sister” is less a great song than it is a great segue: doubling down on “Head”’s gleeful vulgarity, before getting political with “Partyup.” I never really listen to “Sister” on its own, but I can’t imagine the album without it.

6. “Gotta Broken Heart Again” I’ve already confessed my love for Prince’s early, simple R&B ballads, and this is one of the simplest and purest of the bunch. Sometimes I think I might even like it more than “How Come U Don’t Call Me Anymore” (don’t tell anyone I said that, though).

5. “UptownThis might be blasphemy, but for me this song is significant mostly for what it represents: the first of Prince’s grand utopian visions, an idealized multicultural Minneapolis invented out of sheer willpower, and an early example of the intersectional identity-fucking he’d perfect in the years to come. As a song, it doesn’t do much for me that “Controversy” wouldn’t improve upon later; but that doesn’t stop me from singing along when it comes on in the car.

4. “Dirty Mind” Like “Do It All Night,” this isn’t breaking as much new ground as you might expect, subject matter-wise; but in this case, the sound is pure throbbing future erotica, pointing the way to even deeper New Wave and electronic indulgences to come.

3. “When You Were Mine” Prince’s best pop song to date, and one of his catchiest ever; plus, it’s the one track on Dirty Mind I can (somewhat) comfortably listen to with my five-year-old, so that scores it a few bonus points.

2. “Head” Yeah, it’s “just” a funky song about blowjobs, but it’s hard to overstate the importance of this song to Prince’s oeuvre. So much of the rest of his 1980s, from the literal and musical miscegenation to the “Filthy Fifteen” explicit lyrics, can be traced directly back to “Head.” In its own way, this is Prince’s “Brown Sugar”: an unfiltered, borderline obscene id dump that nevertheless says something deeply significant about rock and roll.

1. “Partyup” My favorite track on Dirty Mind is also quite possibly the least “dirty”; in my opinion, though, this sudden album-closing pivot toward conventional politics gives the other songs an even more liberatory charge. On his next album, of course, Prince would deal even more explicitly with current events, but not with anywhere near this level of ease, concision, or panache.

Now let’s take a look at those tags:

tagcloud-1979dirtymind-tagcloud

Obviously things are skewed a bit by the podcast, but there are some interesting trends to be observed: old collaborators (Owen Husney, Pepé Willie) are beginning to recede, while new ones (Dez Dickerson, Lisa Coleman) are starting to emerge. In case anyone had any doubts, this was also the longest series of posts I’ve done so far: 1,653 words on average, vs. 1,383 for Prince and 1,379 for For You.

I’m hoping to jump into the brave new post-Dirty Mind world next week; first, though, I need to deliver that podcast episode that was supposed to come out today. New ETA is Monday. In the meantime, here’s the Spotify playlist!