I Don’t Wanna Leave You

I Don’t Wanna Leave You

(Featured Image: The Time’s Morris Day and his sparring partner, the Artist Formerly Known as Jamie Starr, circa 1982; photo by Allen Beaulieu.)

The Time’s second album, What Time is It?, was released on August 25, 1982–just two weeks after the self-titled debut by Vanity 6. It easily outperformed both Vanity 6 and the Time’s own debut, and effectively tied with Prince’s previous album Controversy: peaking at Number 26 on the Billboard 200 and Number 2 on the Black Albums (recently renamed from “Soul”) chart.

Despite their success–or, more likely, because of it–Prince was determined to keep the spinoff group in their place. Studio tech Don Batts recalled him showing up to one of the band’s rehearsals with a rough mix of the finished record: “He threw the cassette at [guitarist] Jesse [Johnson] and said, ‘Hey man, you play really good on your album,’” Batts told biographer Per Nilsen. “That kind of comment, it was like saying, ‘Hey puppets!’” (Nilsen 1999 108).

More than anything, though, Prince kept his grip on the Time’s strings by saving their best material for himself. It’s hard to hear What Time is It?’s underwhelming closing track, “I Don’t Wanna Leave You,” without imagining a stronger alternative in its place: something that would end the album with a bang, rather than a whimper. Something, that is, like “International Lover,” which Prince had originally conceived for his side project back in January before poaching it for the finale of his own forthcoming album

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Little Red Corvette

Little Red Corvette

(Featured Image: Sales brochure for the 1982 Chevrolet Corvette; stolen from the GM Heritage Center.)

Upon his return to Chanhassen from Los Angeles in May of 1982, Prince’s first task was to upgrade the basement studio in his home on Kiowa Trail: replacing the original 16-track console with a new 24-track Ampex MM1200 machine. According to biographer Per Nilsen, this project took about two weeks, overseen by Prince’s go-to home studio tech and engineer, Don Batts. Astonishingly, within hours of the new studio’s setup, Prince had recorded the basic track for one of his most enduring songs, “Little Red Corvette.” “It was incredible to build the studio in that short time and then come up with that tune so quickly,” Batts recalled. But, as he also acknowledged, “That’s how fast it generally went” (Nilsen 1999 100).

Indeed, much about “Corvette” seemed to emerge with almost supernatural ease, as if Prince had merely plucked it from the ether fully-formed. According to legend–and like other 20th-century pop standards, the Beatles’ “Yesterday” and the Rolling Stones’ “Satisfaction”–the song first came to him in a dream, while he was dozing off in the front seat of keyboardist Lisa Coleman’s 1964 Mercury Montclair Marauder. “I bought this vintage pink Mercury at a car auction,” Coleman told The Guardian in 2008. “It was so bitching-looking that Prince used to borrow it and dent it, which I’d make him feel bad about. He slept in it one time and came up with ‘Little Red Corvette’… even though it was a pink Mercury” (Elan 2008). Prince wrote in his unpublished liner notes for the 1993 compilation The Hits that he “always considered the song a dream because it was written between 3 or 4 catnaps and he was never fully awake” (Dash 2016).

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Strange Way of Saying I Love You

Strange Way of Saying I Love You

(Featured Image: Prince, Lisa, and friends in a 1980 poster from the Dirty Mind tour; photo by Allen Beaulieu, stolen from Lansure’s Music Paraphernalia.)

Over the last several months, we’ve covered most of the extant material Prince recorded during a much shorter period in 1981: two full albums–one for himself, one for the Time–and the beginnings of a third project for the Hookers. Most artists would consider this more than enough to rest on their laurels for at least a year; but Prince created music as much for recreation and communication as he did for a vocation. One of the most famous stories from his early career is about the origins of “Strange Way of Saying I Love You”: a song he recorded, for all intents and purposes, as an apology to keyboardist Lisa Coleman.

Lisa, as we’ve noted, was the first non-local to join Prince’s band: she’d relocated from Los Angeles to prepare for the Dirty Mind tour in mid-1980. When the second leg of the tour ended the following year, she was still without a fixed abode of her own, so she moved in with Prince in Chanhassen. The arrangement worked for a while: during the recording of The Time, Lisa came in handy as Prince’s live-in session musician and part-time engineer. But at some point that year, she told Vulture, “he started talking to me about getting my own place and having my own life in Minneapolis. Like, Now you’re here, Lisa, so what are you gonna do? He was giving me a talking to about moving out, but I didn’t quite understand that was what the conversation was about. It just felt tense” (Marchese 2017).

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She’s Just a Baby

She’s Just a Baby

(Featured Image: The Hookers, 1981; L to R: Jamie Shoop, Susan Moonsie, Loreen Moonsie. Photo stolen from Denise Vanity Matthews–the Tumblr, not the person.)

The Time’s first album was completed quickly, even by Prince’s ever-increasing standards: recorded in April 1981, mixed (at Hollywood Sound Recorders in Los Angeles) by the end of the month, and released another three months later. In the meantime, the man behind the curtain was already devising a second group of protégés: an all-female counterpart to his first group’s male pimp aesthetic, charmingly named the Hookers.

In order to recruit his stable of Hookers, Prince stayed even closer to home than he had for the Time. He drafted his personal assistant, Jamie Shoop, who then-engineer Don Batts described as “a good-looking blonde… kind of a ballsy woman in a man’s world” (Nilsen 1999 63). The other two spots were filled by his girlfriend at the time, Susan Moonsie, and her sister Loreen.

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Mary Don’t You Weep

Mary Don’t You Weep

(Featured Image: Cover art for the forthcoming Piano & A Microphone 1983. Photo by Allen Beaulieu, © the Prince Estate.)

Since the official release of “Moonbeam Levels” in November 2016, the Prince fan community has been clamoring for more unreleased music. The results to date, however, have been more of a trickle than the flood many would prefer. Last June’s deluxe Purple Rain reissue got mixed reviews from the hardcore for its track selection and 2016-ized mix (just for the record, I liked it). Since then, there have been rumors of a remastered edition of Prince and the Revolution’s August 1983 First Avenue debut, an expanded version of 1999, and an official release of Prince’s final “Piano & A Microphone” shows at Paisley Park–none of which have come to fruition. It was only with the single release of “Nothing Compares 2 U” this April that the drought showed any real signs of ending. Shortly thereafter, representatives of the Prince Estate (whatever that means at this point) announced two full-length projects featuring unreleased material: one from the Warner Bros. years and coming this September, the other of more recent vintage and premiering, at least initially, on TIDAL in 2019.

While the latter project remains a mystery, today–the 60th anniversary of Prince’s birth–Warner and the estate finally revealed what to expect from the former: a long-circulating collection of 1983 piano rehearsals, cleverly retitled Piano & A Microphone 1983. For better or worse, it’s on brand with the posthumous releases we’ve seen to date: tasteful, collector-approved, and dating from the 198285 zenith of Prince’s primacy in the pop market. It’s so on brand, in fact, that for the first time in the last 18 months of Prince releases, I actually caught myself feeling a slight tinge of disappointment. The Vault has been open for almost two years; isn’t it about time we got something that hasn’t already leaked?

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