Well, another month has come and gone, so I’m back with another Patreon video update! August wasn’t as eventful a month for me as July, but I still have some extended thoughts on my last two posts on “Manic Monday” and “Ooo She She Wa Wa,” as well as an updated timeline for the next few months and (despite my stated intention to keep my mouth shut) some very off-the-cuff thoughts about the incoming Prince Estate. If there’s anything you’d like me to address next month, just let me know–otherwise, thanks for watching, and I’ll see you again soon!
By mid-July of 1982, Prince had completed work on the album that would become 1999, with just one significant exception: “1999,” the song, was nowhere to be seen. When Prince played a rough mix of the album for his manager Bob Cavallo that month, he got a cooler reception than he anticipated.
“‘This is a great album, but we don’t have a first single,’” Cavallo recalled telling Prince. “‘We have singles that’ll be hits, but we don’t have a thematic, important thing that can be embraced by everybody, different countries, et cetera.’” In response, Prince “cursed me, and he went away–but he didn’t force me to put it out. Two weeks later, he came back and he played ‘1999,’ and that became the title of the album” (Light 43).
Along with the Time tracks and “International Lover,” Prince also cut a few “orphan” songs at Sunset Sound in mid-January 1982. “You’re All I Want,” recorded on January 11 alongside “Gigolos Get Lonely Too,” was a frothy rockabilly jaunt with a synth line he’d later repurpose for “Horny Toad.” “Bold Generation” from the following day would re-emerge almost a decade later as “New Power Generation” on Graffiti Bridge. “Colleen” from January 15 (the same day he completed “The Walk”) was a funky but formless instrumental.
Each of these tracks would languish in the Vault and select tape-trading circles for decades, before finally seeing the light of day with the release of 1999 Super Deluxe in 2019. “Turn It Up,” however, has a longer pedigree. Recorded over 13 hours on January 19 and 20, it was the second-to-last track Prince cut before resuming the Controversy tour in Richmond, Virginia. And–before it, too, received an official release on 1999 Super Deluxe–it was in wide circulation as a bootleg: quite possibly the most widely-heard 1999 outtake this side of “Moonbeam Levels.”
Just under two weeks ago, I had the pleasure of speaking with two more presenters from the University of Salford’s interdisciplinary Prince conference: Joni Todd and Karen Turman, who you may know by reputation as the “esoteric French panel.” But if all that sounds too highbrow, don’t worry; we mostly talked about Prince’s impeccable fashion sense and uncompromising artistic vision, just with a lot of references to Charles Baudelaire and Marcel Duchamp. It’s probably the only Prince podcast you’ll hear that mentions both “Pussy Control” and Walter Benjamin, and that’s the best endorsement I can give.