One of the most fascinating things about the 1981 debut album by the Time is the way that, if you listen to the tracks in a certain order, you can practically hear the band’s classic sound take shape in real time. As we established in the last post, however, “Oh, Baby” was not an example of that classic sound. Morris Day, the group’s drummer turned lead singer, was still tentative in the role, his voice too strained to sell a seductive ballad.
“Girl,” the second and (blessedly) only other ballad on The Time, is not an improvement–if anything, it’s worse. Morris sounds whiny and adenoidal, like a teenage boy whose voice is in the middle of changing. Prince’s backing vocals–even more audible here than on the rest of the album–hit a piercing, dog-whistle tone in the chorus that cuts through the rest of the mix like a knife, and only gets more annoying the more you turn down the volume. Morris, meanwhile, just gets louder: as on “Oh, Baby,” he starts the song at a whimper and ends at a bellow. The whole thing feels like bad karaoke, an impression that is only enhanced by the bland, lifeless arrangement. It’s the weakest Prince song since “With You,” but without even that track’s competent performance.
As warned/promised last month, I have been up to my neck in drafting my chapter for the upcoming Prince and the Minneapolis Soundanthology (which is now two days late as of this writing–sorry, editors). As always, however, my much more consistent colleague in chronological Prince studies Darren Husted has come to the rescue with another episode of his podcast Prince: Track by Track featuring yours truly:
As usual, I picked a track that I consider a bit of a dark horse favorite. I hope you enjoy listening as Darren somehow manages to reference an obscure Michael Cera coming-of-age film, and I spend a solid minute and a half clearly describing a vagina without actually saying the word “vagina.”
We’ll be back to our regular schedule (I hope) next week, assuming I finish my chapter and/or my editors don’t kill me first. Have a great weekend!
Yesterday, I spent an unbelievably self-indulgent six hours on Skype with Jane Clare Jones, preparing and recording a podcast to mark the first anniversary of Prince’s death (because of our unbelievable self-indulgence, it will actually be several podcasts). The first installment of our conversation should be ready to post by Friday; but in the meantime, here’s another conversation from last year with my sister Callie, which ran on our blog Dystopian Dance Party just over a week after we heard the terrible news. In case you’re concerned–I know emotions are raw this week–it’s mostly a joyous discussion, focusing on Prince and what he means to us rather than the tragic conditions of his end. I thought now was as good a time as any to share it with a wider audience. Show notes are here, and I’ll be back tomorrow with a review of another recent addition to the canon of Prince literature.
(Featured Image: Playboy, November 1976; photo stolen from the Huffington Post.)
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 Mindalbum to Vanity 6 to the Purple Rainfilm. 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).