(Featured Image: Cover art for André Cymone’s epochal 1982 album Livin’ in the New Wave; © Columbia Records.)
Note: Following last month’s post on “Do Me, Baby,” I knew I wanted to give André Cymone another, proper sendoff before he disappears from our pages until 1984. So, here’s the latest in my series of thought experiments, imagining an alternate reality in which André, not Prince, was the Grand Central member who went on to greater solo success. For anyone just dropping in, the idea here is to bring attention to the web of contingencies that shaped Prince’s career; to shake up our sense of inevitability and offer a glimpse at one of the many possible alternatives had things gone even slightly differently. It’s also, in this case, an opportunity to reevaluate Cymone’s legacy beyond his friend’s deceptively long shadow. As always, have fun and don’t take this too seriously. We’ll be back to our regularly scheduled programming next week!
For a brief but significant period in the 1980s, the cutting edge of R&B and pop could be found in the unlikely locale of Minneapolis, Minnesota. Known as the “Minneapolis Sound,” this unique hybrid of funk, rock, and nascent electronic and New Wave styles emerged almost organically from the Twin Cities’ small but vibrant Black communities in the late 1970s. It thus wouldn’t be fair to give a single artist credit for “inventing” the genre; but the fact remains that when most music fans think of Minneapolis, one man in particular comes to mind. I’m talking, of course, about André Cymone.
Continue reading “André Cymone, Godfather of the Minneapolis Sound: A Retrospective from an Alternate Timeline”
(Featured Image: Prince, Kim Upsher, and André Cymone, early 1980s; photo by Sylvia Amos, née Anderson. Stolen from Neon Rendezvous.)
Around the same time that Prince was co-opting Flyte Tyme for his project with Morris Day, he was also falling out with another of his oldest comrades: the co-founder of Grand Central and his closest musical partner, André Cymone.
André’s and Prince’s musical fates had been linked since the moment they first locked eyes in the Bryant Junior High gymnasium. Both were budding multi-instrumentalists, the children of talented jazz musicians: André’s father, Fred Anderson, used to play bass with Prince’s father, John L. Nelson. Both, too, possessed a preternatural drive far beyond the norms of their age and circumstance. “There was a sixth sense between the two of us,” Cymone told Billboard in 2016. “It’s something that doesn’t happen, I don’t think, very often where you find two people come together who are really passionate about what they do at a time when they’re both growing and learning” (Cymone 2016).
Continue reading “Do Me, Baby”
(Featured Image: Grand Central, circa 1974. L to R: Linda Anderson, André Anderson, Morris Day, Terry Jackson, Prince, and William Doughty. Photo by Charles Chamblis, stolen from Housequake.)
In the fall of 1972, André Anderson walked into the new student orientation at Bryant Junior High and locked eyes with a kid who reminded him of himself. “I didn’t know any of these people, and they just looked weird,” he told Wax Poetics in 2012. “I looked down the line, and I saw this kid and I thought, ‘He looks cool.’ I went up to him and said, ‘Hey, how you doin’? My name is André.’ He said, ‘My name is Prince.’ I said, ‘What are you into?’ He said, ‘I’m into music'” (Danois 2012).
André was into music, too. He played horns, guitar, and bass; Prince played piano and guitar. In addition to their mutual talent, both teens were mutually ambitious: André later recalled to Billboard magazine how he “started talking about how [‘]I’m going to be this[’]. And he’s [‘]yeah, me too[’]. Next thing you know we became best friends.” They went back to John Nelson’s house, where Prince was living at the time, and jammed; Prince showed off his expertise with the theme songs from The Man from U.N.C.L.E. and Peanuts. That same day, they learned of a weird coincidence: André’s father, Fred Anderson, used to play in the Prince Rogers Trio with Prince’s father John. Pretty soon–“maybe within the week or month,” according to André–he and Prince had formed a band of their own with Prince’s cousin, Charles Smith (Cymone 2016). The group went through the usual teen-band assortment of quickly-discarded names–“the Soul Explosion,” “Phoenix” –before finally settling on “Grand Central.”
Continue reading “Sex Machine: Grand Central, 1973-1976”