Ephemera, 1975-1976 Roundup Posts

Roundup: Ephemera, 1975-1976

Hi, everyone! In an effort to break up the flow of this blog a bit, I’d like to insert the occasional “Roundup” post whenever we come to the close of a particular phase of Prince’s musical career. So, now that we’re officially finished with 1976 ephemera and moving into For You territory, here are the songs so far. And hey, since everyone loves a totally subjective ranking–this is the Internet, is it not?–I’ll give them to you in ascending order of my personal preference:

9. Home Recordings, 1976 These probably shouldn’t even be on the list, as it’s a little unfair to consider them “songs.” What can I say, though, I dig some of ’em.

8. “If You See Me (Do Yourself a Favor)” Sorry, Pepé; Prince’s and Jesse’s versions both blow yours out of the water.

7. Moonsound Instrumentals The first time I posted this, I thought the legitimately funky “Jelly Jam” was recorded at Moonsound; it wasn’t, and as a result these recordings have dropped a bit in my esteem. Still, they show promise.

6. “Nightingale” Historically interesting and poignant, but so very twee.

5. “Don’t You Wanna Ride?” More sexist than sexy, but also sort of endearingly dorky. It’s nice to know that at least 17-year-old Prince wasn’t smoother than 31-year-old me.

4. “I Spend My Time Loving You” Like “Nightingale,” this one’s a little on the twee side, but the vocal and guitar performances are moving beyond Prince’s years.

3. “Leaving for New York Like I said in the post, probably Prince’s most musically accomplished song to date. I slept on this one for ages, then I listened to it in the car and it just came alive. A sublime indication of a blossoming talent.

2. “Rock Me, Lover” It’s slight, sure, but like I said in the article, it offers a valuable glimpse of Prince’s future as a more feminist (or at least submissive) brand of lover. As teenage masturbatory fantasies go, I’ll take this over “Don’t You Wanna Ride?” any day. Also, great discussion with writer Jane Clare Jones in the comments.

1. “Sweet Thing” To be perfectly honest, this is the only song we’ve discussed so far that I really go out of my way to listen to. A beautiful, delicate cover version that I may even prefer to the original by Chaka Khan and Rufus. On a more personal note, this was the post that made Chaka retweet me and blow my blog the fuck up (at least for a couple of days). For that reason, it will always have a special place in my heart.

Also, let’s not forget the two introductory posts that fill in a few early gaps in Prince’s recorded oeuvre. I obviously can’t rank these because I haven’t heard any of the songs (though I’m sure the one of five-year-old Skipper banging rocks together was dope):

Funk Machine: Prehistory, 1965-1968
Sex Machine: Grand Central, 1973-1976

Tomorrow, we continue with the next chapter of our journey: the series of studio recordings that ultimately resulted in Prince’s first album. If you’ve been rocking with me so far, I mean this sincerely: thank you so much. The response to this blog–especially these early, obscure entries–has honestly been beyond anything I dared to hope for. It’s so gratifying to hear from people who enjoy what I’ve been doing. Just stick around, because it’s going to get better.

Ephemera, 1975-1976


We’ve already mentioned in passing how Prince’s celebrated musical heterogeneity–that genre- and race-agnostic blend of funk, soul, rock, and pop influences that would come to be known as the “Minneapolis Sound”–was at least in part a product of unique historical and geographic circumstances. It may be hard to believe today, when radio playlists are as standardized as they are irrelevant, but broadcasting in the pre-Clear Channel era was a highly localized industry. This not only made it possible for your proverbial Alan Freeds and Wolfman Jacks to wield an influence as tastemakers in their respective territories, but it also created a highly segregated musical landscape based on the perceived demands of regional audiences–which, let’s face it, often translated to the racist preconceptions of the advertising industry. In the business parlance of the times, an area populated primarily with White listeners was known as a “vanilla market.” And, with a mere 1.7 percent African American population as of the 1970 census, the Twin Cities were about as “vanilla” a market as they came.

What this meant, essentially, was a paucity of the kind of urban Black radio on which most of Prince’s peers from the rest of the country were raised: as biographer Dave Hill put it, “the people who controlled the airwaves of Minneapolis and St. Paul virtually declared that blacks did not exist” (Hill 18). The one station in the area that regularly played music by African American artists, KUXL, only broadcast from sunrise to sundown–keeping in mind that in the dead of winter, that could mean as early as 5:30 p.m.–and even then, it was predominantly a gospel station. Prince thus grew up on a musical diet that was a lot closer to what one might imagine for a White artist of his generation, tuning in after hours to the “progressive” FM rock station KQRS. “KQ after midnight, that was the bomb station,” he recalled to Minnesota Monthly in 1997. “That’s where I discovered Carlos Santana, Maria Muldaur, and Joni Mitchell” (Keller 1997). And if that sounds like an odd list of favorites for a Black teenager in the mid-’70s, their influence is clearly borne out in Prince’s music.

Ephemera, 1975-1976

Rock Me, Lover

In our last post, I invoked that reliable old standby of pornographic schlock, the Penthouse Forum letter, as a point of comparison for Prince’s early 1976 song “Don’t You Wanna Ride?” Since we’re treading in similar thematic waters today, I guess now is as good a time as any to talk about the roots of the porn aesthetic in Prince’s musical persona.

Cultural critic Touré has written convincingly about how Prince’s rise to infamy coincided with the mainstreaming of pornographic imagery in American society in the 1970s and 1980s (Touré 72). As we’ll see in the weeks and months to come, porn aesthetics figured heavily in Prince’s developing persona, from the Dirty Mind album to Vanity 6 to the Purple Rain film. But its influence also (allegedly) went back much earlier, to his childhood–the proverbial “origin myth.” There’s a recurring story of a nine- or ten-year-old Prince coming across his mother‘s collection of pornographic literature; in some versions, she left it out deliberately, in a kind of passive-aggressive effort to teach him about the “birds and the bees.” “I think there was some kind of plan to initiate me heavy and quick,” Prince recalled in a 1997 television interview with comedian Chris Rock, “so I was given Playboy magazines, and there was erotic literature laying around that was very easily picked up… it was pretty heavy at the time. I think it really affected my sexuality a great deal” (VH1 1997).

Ephemera, 1975-1976

Don’t You Wanna Ride?

A couple of weeks ago, I mentioned the “deep symbolic significance” of André Anderson’s basement in what we might describe as Prince’s origin myth. At the time, I was referring to its importance as a stable home for Prince in his late teens–the first he’d had since his early childhood–as well as its function as an early incubator of his musicianship and songwriting talent. But the Andersons’ house on Russell Avenue was also important for more prurient reasons: it was there, so the stories go, that Prince began to put into practice the theories of sexual liberation he’d spend the next decade-plus codifying into something between an artistic canon and a secular religion.

The roots of this part of the “origin myth” seem to lie in a 1981 interview with journalist Barbara Graustark that ran in Musician magazine two years later, in September of 1983, after his crossover hit “Little Red Corvette” had introduced him to a larger audience eager to find out what made the little purple-clad libertine from MTV tick. Speaking about his foster mother Bernadette Anderson, Prince claimed that she “would let me do anything I wanted to” as long as he finished school. Graustark gamely asked how much one can do in a basement; “Well, it depends on how many people are there,” came the deliberately eyebrow-raising reply. He then went on to vaguely describe a scenario where Bernadette “came down and saw a lot of us down there, and we weren’t all dressed, and stuff like that. It kind of tripped her out, and we got into a semi-argument, and whatever, but it was… you know…” (Graustark 117). In her introduction to the interview, Graustark added fuel to the fire, referring to Prince’s “sexual excesses in a dank, dark Minneapolis basement with his confidant and companion André Cymone and a host of neighborhood girls” (110).