There are, it’s been advertised, 45 previously-unissued studio tracks on next month’s Super Deluxe Edition of Sign “O” the Times; and Warner Bros. appears to be hell-bent on issuing as many of them as possible to digital platforms before the box set’s release. By last Thursday’s surprise drop of an “early vocal run-through” of the album track “Forever in My Life,” I was starting to feel like I’d been opening all my Christmas presents early. But hey, it’s not like I have the self-control to not listen to a newly-unveiled Prince outtake as soon as it comes out, so let’s tear off that wrapping paper and get to it.
As has become tradition for Warner’s posthumous Prince collections, last month’s Sign “O” the Times Super Deluxe announcement was accompanied by the release of a “new” song from the Vault. “Witness 4 the Prosecution (Version 1)” was recorded on March 14, 1986–one of the first recordings at Prince’s new home studio at Galpin Blvd. in Chanhassen, where he had moved in November of 1985. The stripped-down blues-rock number featured Prince on all instruments, including live drums and some decidedly Hendrixian guitar.
Lyrically, “Witness” finds Prince in a metaphorical courtroom, testifying against a “heinous love affair” in which he claims to be “guilty of nothin’ but always wantin’ you to be there.” “Whatever it is you think that I did,” he argues passionately, “You’re wrong, I wouldn’t even dare.” Susan Rogers, Prince’s home studio engineer from 1983–1987, told Per Nilsen’s Uptown fanzine that the song was written “as a direct result” of his tumultuous relationship with Susannah Melvoin, his live-in partner at the time and the twin sister of Revolution guitarist Wendy (Nilsen 1999 214). “He had gone further with her than anybody else,” Rogers recalled. “She was wearing his ring, he loved her and didn’t want to lose her, but he didn’t think that he could carry out his commitment. They were fighting a lot, and it was sort of over nothing” (195).
My recent run of guest appearances on Prince: Track by Track has taken me out of my comfort zone, into some albums that I frankly don’t care much for. But now we’ve finally reached Crystal Ball, allowing me to return–however briefly–to the warm embrace of 1986. But first, Darren Husted and I had to address the elephant in the room that is Crystal Ball’s disastrous 1998 release. As I note, there may be a lesson to be learned in this for those who want Prince’s estate to be run “the way he would have done it.” Listen to both episodes below:
I’ll be back on Track by Track to discuss another epic from Crystal Ball later this month; before then, you can expect another track or two from Controversy. It’s taken some time, but I’m finally getting back to the grind!
As listeners are no doubt aware, next week will be a big one for Prince fans in Minneapolis: Monday through Wednesday is Prince from Minneapolis, the second-ever (and first in the States) academic symposium devoted to papers about Prince; then, from Thursday to Sunday, Paisley Park will open its doors for its second annual posthumous Celebration event. I will be there for both, so I thought now was the perfect opportunity to talk to Stuart Willoughby, whose book Minneapolis Reign: A Guide to Prince’s Hometown documented his own trip to last year’s Celebration 2017. Stuart and I had a really fun conversation, which will hopefully give everyone else out there planning their own pilgrimages some pointers about where to go and what to do in Prince’s hometown.
As always, remember to subscribe to the d / m / s / r podcast on your service of choice (iTunes, Stitcher, or Google Play), and to leave us a review if the spirit moves you. I look forward to meeting some of you in Minneapolis next week!
I’ve been trying to squeeze in at least one guest spot per album on Darren Husted’s Prince: Track by Track podcast, and for The Black Album I couldn’t resist taking on what is arguably its goofiest track, “Dead on It.” Listen to Darren and I dissect Prince’s skills on the mic here: