Review: Prince and the Purple Rain Era Studio Sessions – 1983 and 1984

Review: Prince and the Purple Rain Era Studio Sessions – 1983 and 1984

(Featured Image: Cover art for Prince and the Purple Rain Era Studio Sessions – 1983 and 1984 by Duane Tudahl, from Amazon.)

It is no exaggeration to say that without Duane Tudahl, Prince fandom and Prince scholarship would both look very different. In the 1990s and early 2000s, Tudahl was one of the amateur historians behind Uptown, the venerated fanzine that remains the chief source of what we know about Prince’s work beyond the official studio recordings. If you have a dogeared copy of Per Nilsen’s Dance Music Sex Romance or Alex Hahn’s Possessed on your shelf, if you’ve ever consulted Prince Vault for information on a rare outtake, and yes, if you’re reading this very blog, Tudahl is among the people you have to thank.

But Uptown’s research, for all its significance, is getting a little long in the tooth. The magazine has been defunct for well over a decade, during which time new information on Prince’s recording sessions have continued to emerge unabated; so it was with great excitement that many of us learned Tudahl was preparing an update. Prince and the Purple Rain Era Studio Sessions: 1983 and 1984 is the first of, hopefully, many such updates–and I don’t think I need to tell this particular readership that it is absolutely essential.

As the title suggests, Tudahl takes a long view of the “Purple Rain era,” beginning in the middle of the 1999 tour in January 1983 and ending with the completion of Around the World in a Day in December 1984. Obviously, setting firm chronological boundaries on the work of an artist in perpetual motion will always be arbitrary; Tudahl, however, makes a good case for his selection. The 24 months he chose include Prince’s slow ascension to superstardom, and his first post-crossover left turn; the “official” formation of his most iconic band, the Revolution, and the beginning of their expansion with vital auxiliary musicians such as Eric Leeds; the club show that provided the nucleus for much of the Purple Rain film and album, and the stadium performances with which he promoted them. This is, in other words, an era that provides a fascinating microcosm for the various trends, tensions, and themes that would persist throughout Prince’s career.

1983 and 1984 are also where Prince recorded some of his most popular and accomplished music: not only Purple Rain and Around the World in a Day, but also the Time’s Ice Cream Castle, Sheila E’s The Glamorous Life, the eponymous albums by Apollonia 6 and the Family, and many of his most renowned B-sides: “Irresistible Bitch,” “Erotic City,” “She’s Always in My Hair.” Even the songs written for other artists in this period are household names: “Manic Monday,” “Nothing Compares 2 U,” “Sugar Walls” (well, maybe not “Sugar Walls”). Regardless of one’s personal feelings on the “Purple Rain era,” it’s undeniable that this was one of the artist’s richest and most prolific periods, making it the perfect place to start with what could easily have been a dry, pedantic “for fans only” exercise.

That being said, it still takes a special kind of music geek to read a 550-page book about the recording sessions for (give or take) a single album. This is, by its very nature, not a book for casual fans; but it’s to Tudahl’s credit that it is immensely readable, as much of a page-turner as a chronological studio record can possibly be. The author brings to life the heart of his research–work orders obtained from Sunset Sound, Prince’s base of operations in Los Angeles at the time–with judiciously-selected quotes from former engineers, band members, and other collaborators, as well as some (through archival means) from Prince himself. For writers and researchers like myself, of course, Prince and the Purple Rain Era Studio Sessions will be invaluable as a resource for information about this period (I just hope all of us are considerate about citing our sources). But for readers who just want to learn more about an artist working at the peak of his powers, the insight it provides is just as worthy.

I say this a lot in reviews on this blog, but I mean it especially this time: if you read and enjoy dance / music / sex / romance, you need to buy this book. Not just because it will be of interest to anyone with a desire to dig into Prince’s oeuvre song by song, but because, quite frankly, we owe it to Duane for his decades of hard work, without which I know none of my writing on Prince would exist. Plus, I’m dying to get another one of these for 1985-86. Let’s make it happen!

If you want to support Duane and d / m / s / r in one fell swoop, please feel free to preorder Prince and the Purple Rain Era Studio Sessions using our Amazon affiliate link. The book comes out next Wednesday, November 15.

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Podcast: Vous êtes très belle – Joni Todd and Karen Turman on the Salford Purple Reign Conference

Podcast: Vous êtes très belle – Joni Todd and Karen Turman on the Salford Purple Reign Conference

(Featured Image: Prince in French Dandy Mode, Under the Cherry Moon, 1986; © Warner Bros.)

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 a little 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 possibly give.

As usual, if you like what you hear, you can subscribe to d / m / s / r on your podcast app of choice: iTunes, Stitcher, or Google Play. If you want to help, you can also leave a review, which will make it easier for new listeners to find us. See you (hopefully) next week!

Continue reading “Podcast: Vous êtes très belle – Joni Todd and Karen Turman on the Salford Purple Reign Conference”

Review: Purple Rain, Deluxe Expanded Edition

Review: Purple Rain, Deluxe Expanded Edition

(Featured Image: Purple Rain “Deluxe Expanded Edition” cover; © Warner Bros./NPG Records)

I have to admit: it feels a little surreal to be writing about the deluxe edition (or “Deluxe Expanded edition,” as the case may be) of Purple Rain. This is a project I’ve been anticipating, conservatively speaking, since it was first announced over three years ago; more accurately, though, it’s something I’ve dreamed about for decades, since those not-so-distant days when the likelihood of Prince and Warner Bros. coming to an agreement over expanded reissues seemed to fall somewhere between the proverbial flying pigs and the proverbial Hell freezing over. So, I’ll admit, my perspective is biased: for me, the fact that this thing exists is in itself a kind of miracle. Any complaints I might have are colored indelibly by the knowledge that the last official collection of vintage Prince outtakes, 1998’s Crystal Ball, is older than many artists’ full discographies. Bands have formed, made it big, broken up, and reunited between now and the last time we got a peek inside the Vault; I think it’s important not to lose sight of that.

It is, of course, also important to call out the collection for its missteps, something I’ve seen many on social media doing. The most egregious of these, from my perspective, is the failure to credit Jill Jones for her backing vocals on “We Can Fuck”: whether made out of malice or plain sloppiness, it’s a damning omission. There are also the unavoidable track-listing quibbles that emerge any time the boundlessness of fan expectations come into contact with the restraints of physical media. Where, for example, is Prince’s version of “Wednesday,” or “G-Spot”–both songs known to have been considered for the Purple Rain album? Where is that extended version of “17 Days” that allegedly exists? And did anyone really need all of those single edits on Disc 3? If nothing else, the imperfections of the deluxe Purple Rain are a timely reminder that hardcore fans still need a healthy ecosystem of bootlegs beyond what’s made available to the mass market; indeed, as if to underscore that point, a trio of outtakes leaked the same day as the official release, including “Wednesday” and a version of “Our Destiny” with the aforementioned Jones on lead vocals. They’re well worth a listen (though, for what it’s worth, I wouldn’t trade them for any of the tracks currently on the deluxe edition).

As important as bootlegs are, however, we still need official releases, too–and, for all its imperfections, this remains the best official archival release of Prince’s music to date. Leaving aside for a moment the question of what’s not on Disc 2, let’s reflect on what is: a full-length version of “The Dance Electric,” sounding better than on any circulating recording I’ve heard; “Love and Sex,” a storied outtake previously unheard by the vast majority of collectors; the extended “Hallway Speech” version of “Computer Blue,” again sounding better than ever; the studio version of “Electric Intercourse,” which until this year even the most respected Prince experts didn’t know existed. Not every track is an auditory gem: “Our Destiny,” “Roadhouse Garden,” and “Velvet Kitty Cat,” as many have observed, seem to come from the same, slightly hissy sources as the unofficial recordings that leaked last year. But the versions of “Possessed” and “We Can Fuck” here–hell, “We Can Fuck” alone!–are well worth the $25 current asking price on Amazon. Throw in a great-sounding “Wonderful Ass,” the extremely rare “Katrina’s Paper Dolls,” and an extended, almost Vangelis-esque “Father’s Song,” and we have an impressive overview of the scope of Prince’s musical output in 1983 and 1984. It may not be enough to placate the most hardcore fans and collectors, but it comes as close as any mass-market product can be expected to.

And, let’s face it: like Prince 4Ever before it, this package isn’t really for “us.” The people reading this blog, or posting on prince.org or any of the innumerable fan groups on Facebook, don’t need to be sold on Prince’s genius: quite frankly, they don’t need to buy another copy of Purple Rain, the new remaster of which sounds good (particularly on a phone or in the car), but is hardly essential. There is, however, a market for this collection, and I think it’s well-served overall. People who love the album Purple Rain, but haven’t heard any of the outtakes, are poised to have their mind blown by Disc 2; hell, there are some people who haven’t heard the 12″ version of “Erotic City,” and that’s mind-blowing in itself. And while I respect the fact that a lot of paisley heads still covet their VHS copies of Prince and the Revolution: Live!, let’s keep in mind that there are also multiple generations of fans for whom it’s a whole new experience–and, while the video remaster isn’t ideal, it’s still completely watchable, and a great addition to the set.

I’m not trying to be a corporate Pollyanna here–far from it, I’m a realist. And I also remember the first time I heard “Possessed,” and was transformed from a casual Prince fan into the kind of frothing-at-the-mouth lunatic who writes blog posts about all of his circulating recordings. This new edition of Purple Rain is going to cause that transformation in a lot more people (though, hopefully, not all of them will start blogs–I don’t need the competition). And if we want access to more Prince music, an expanded fanbase–one that is both wide and deep–should be important to everyone.

That’s why I recommend anyone reading this post to support, on some level, the release of Purple Rain deluxe. Obviously, no one should spend money on anything they don’t want to. If you don’t care about the single edits–and really, who can blame you?–go for the “regular” deluxe instead of the “Deluxe Expanded.” If you want some of the bonus tracks but not all, download the individual MP3s. Or, hell, stream them via your service of choice–whatever fraction of a penny NPG Records is paid per stream is still better than nothing. But whatever you decide, the sad truth of our capitalist society is that art, especially popular art, can’t exist on merit alone. If you want more of Prince’s catalogue to receive the archival treatment it deserves–even if you’re disappointed by this first attempt–then on some level, you’re going to have to vote with your dollar and support what we have. It’s not perfect, but it’s a great first step.

If you want to support this blog–which, in defiance of our capitalist society, does exist on merit alone–you can buy the Deluxe Expanded edition of Purple Rain (or anything else!) using our Amazon affiliate links.

Welcome 2 the Dawn: Grading the Purple Rain Deluxe Edition against My Own Expectations

Welcome 2 the Dawn: Grading the Purple Rain Deluxe Edition against My Own Expectations

(Featured Image: The new, shiny Purple Rain cover; © Warner Bros./NPG Records)

Three years ago (and again six months ago), I tried to predict the contents of the new deluxe edition of Purple Rain. So, now that we have an official track list, I thought it would be fun to use my weekly guest post on Andresmusictalk as an opportunity to “grade” myself on my predictions. You can see the results here:

Welcome 2 the Dawn: Grading the Purple Rain Deluxe Edition against My Own Expectations

This seems like an appropriate time to remind everyone that the deluxe and “Deluxe Expanded” versions of Purple Rain are available for preorder, and you can support the blog by using my affiliate link to purchase them (or anything else) from Amazon. In less sales-pitchy news, this week I’m writing about the final circulating Prince song of 1979; you can also expect the last installment of my podcast with Jane Clare Jones by the end of the week. See you again soon!