Podcast: 40 Years of For You

Podcast: 40 Years of For You

(Featured Image: Cover art for For You, 1978; photo by Joe Giannetti, © Warner Bros.)

dance / music / sex / romance is fast approaching its third year, so to celebrate, we’re going…backwards? That’s right, to mark the 40th anniversary of Prince’s debut album, I thought now was the perfect time to go ahead with an idea I’ve been toying with for a while: our own sub-series of review podcasts looking at each of Prince’s albums in isolation.

I’m doing this for a few reasons. First, it’s a way to bring those of you who have been listening to the podcasts but not reading the blog into the loop on my chronological Prince project–and also a way for me to work through some of these albums before I can get to it with my glacially paced writing schedule.

Second, I’ve known from the beginning of this project that if I really wanted to do Prince’s catalogue justice, I would need to incorporate more voices and perspectives than just my own. We all have our biases and blind spots, and as a Prince fan I am acutely aware that one person’s sentimental favorite can be another’s unlistenable mess (and vice versa). That’s why I asked my friends Harold and KaNisa, both of whose encyclopaedic knowledge of Prince’s career dwarfs my own, to join me. I think you’ll find that our tastes and opinions both intersect and diverge in a lot of interesting ways, which allowed us–and hopefully, will allow you–to take a different perspective on some of these songs and the context in which they were created.

I hope you enjoy this new approach to an album that remains underappreciated in Prince’s catalogue. If you do, I hope you’ll subscribe to the podcast on your streaming app of choice (iTunes, Stitcher, or Google Play), and if you’re so inclined, leave a review! No matter what, thanks for listening, and see you again soon.

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Lisa

Lisa

(Featured Image: Lisa–and André–on the Dirty Mind inner sleeve, 1980; © Warner Bros.)

While Prince was starting work on the album that would become Dirty Mind, 19-year-old Lisa Coleman was in Los Angeles, working on the shipping dock of a documentary film company and teaching classical piano part-time. Lisa, born in the San Fernando Valley in 1960, was as much a product of L.A. as Prince was of Minneapolis. Her father, Gary L. Coleman, was a percussionist for the legendary session team the Wrecking Crew, with credits most notably including the Beach Boys’ 1966 single “Good Vibrations.” When she was 12 years old, Lisa played keyboard in a bubblegum pop band, Waldorf Salad, alongside her younger brother David, older sister Debbie, and another Wrecking Crew kid: Jonathan Melvoin, whose own younger sister, Wendy, would form the other half of Lisa’s longest-lasting creative partnership. The band was a little like the Partridge Family, Lisa later told journalist Neal Karlen, except “we all actually played our instruments” (Karlen 1986). As a teenager, Lisa attended Hollywood High and appeared in a bit part as a teenage pianist in the 1975 made-for-TV drama Sarah T. – Portrait of a Teenage Alcoholic, starring Linda Blair and Mark Hamill.

According to the official narrative, it was 1979 when Lisa heard from a friend in the offices of Cavallo, Ruffalo, and Fargnoli that Prince was looking for a new keyboardist. But this date seems off, for a couple of reasons: first, because in 1979 Gayle Chapman was still very much a part of Prince’s band, and there are no other accounts from that period to suggest she was being replaced; and second, because Steve Fargnoli wasn’t made a partner in Cavallo’s and Ruffalo’s firm until 1980. Whatever the year, however, Lisa submitted a tape, and was summoned to Prince’s home in Wayzata, Minnesota for an in-person audition. “When I got to Prince’s house,” she told Karlen, “he sent me downstairs and said he was going to change clothes. There was a piano down there, and I just started playing, trying to relax. I got the feeling he was eaves-dropping at the top of the stairs, so I whipped out my best Mozart. He finally came back downstairs, picked up his guitar, and we started jamming. From the first chord, we hit it off” (Karlen 1986).

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My Life with You I Share: An Alternate Timeline Review of For You

My Life with You I Share: An Alternate Timeline Review of For You

(Featured Image: Warner Bros. press photo, 1978; stolen from Lansure’s Music Paraphernalia.)

Note: In the last several weeks of writing about the songs on Prince’s debut album, I’ve been struck by the many contingencies that exist around For You, and Prince’s early career in general. If things had gone even slightly differently; if his label–or, for that matter, Prince himself–had shown even a little less confidence in his artistic development; then we would be looking at a very different musical landscape in 2016. There’s also the fact that, as I’ve noted several times in my track-by-track posts, it’s difficult to look at For You in retrospect without seeing it as just the first, not-entirely-successful glimpse at a talent and vision that would find its full expression in years to come. But what if that perspective wasn’t the default? What if For You wasn’t the first step in a long career by Prince, but in fact his first and last album? This post is my attempt to think my way through this situation: think of it as a look back at For You from a possible alternate timeline. I don’t know if I will do this for other albums in the future–or, like, ever again–but I thought it was an interesting exercise to examine Prince’s earliest days as a recording artist through a completely different lens. I hope you find it interesting, too.

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