Now on Patreon: Lady Cab Driver (Rearrange)

Now on Patreon: Lady Cab Driver (Rearrange)

(Featured Image: A real-life “Lady Cab Driver,” circa 1919; photo stolen from pastpictures.org.)

Note: The drought is over! This post, as you know, took entirely too long. Part of it was because it’s just a tricky song to talk about; part was garden-variety writer’s block; part was just general burnout and needing a break, but we’ve covered that. I won’t promise it will never happen again–because it will–but for the time being, I’m back on track. As usual, this will be exclusive to my Patreon for about a week before I put the full post up on the main blog. And, while we’re on the subject of patrons, thank you to Hayo Reinders, who joined Snax and Carlos Romero in supporting the blog last week and officially became the person to put it over the top for my $100 goal. That means I’d better get started thinking up podcast ideas; if you have any you’d like to share, hit me up. I will aim to get the podcast up and running again in February.

Of the 11 songs that would eventually make their way onto Prince’s fifth album, “Lady Cab Driver” appears to have had the longest gestation period. The song was completed at Sunset Sound on July 7, 1982, the day after “Moonbeam Levels”; but, as the recent deluxe edition of 1999 revealed, its seeds had been planted during a break in the Controversy tour over half a year earlier on December 8, 1981, in the form of a different song called “Rearrange.”

According to sessionologist Duane Tudahl in the Minneapolis Public Radio documentary The Story of 1999, “Rearrange” was long known to researchers by its title alone: “it was one of those songs that we’d heard existed, but I didn’t think it was actually a song,” he told host Andrea Swensson. “I thought it was just some shuffling of his stuff”–a studio note indicating a literal rearrangement of tapes. As it turned out, of course, it was real–though it was also little more than an admittedly funky sketch: a stark, mid-paced groove with a slick rhythm guitar hook similar to the Time track “The Stick.” Given this similarity–not to mention Prince’s guitar solo, which plays neatly to Jesse Johnson’s combustive style–it seems likely that “Rearrange” was at least provisionally mooted for that group. But this is just speculation; ultimately, says Tudahl, we “don’t know whether it was intended for 1999, whether he was searching for a voice for 1999, or whether he was saying, ‘I gotta record another Time album soon.’ But either way it was something that was not planned. He just thought, ‘I’m in the studio, I gotta record, I’m going to record. This is what I’m gonna do’” (Swensson 2019 Episode 2).

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Press Rewind: “Jack U Off”

Press Rewind: “Jack U Off”

(Featured Image: Prince jacks off at the Palladium in New York, December 1, 1981; photo by Waring Abbott, stolen from WIRED.)

Apparently I’ve found my niche on Jason Breininger’s Press Rewind podcast, because after guesting on his episodes for “Head” and “Sister” in June, I came back to talk about “Jack U Off.” Not much more to say than that, to be honest–just tune in for some decent dad jokes and way more analysis than the average person has ever thought to apply to a goofy rockabilly song about mutual masturbation:

Press Rewind: “Jack U Off”

I also am happy (and a little surprised!) to announce that we’re now 87% of the way to meeting our Patreon goal to bring back the d / m / s / r podcast–so who knows, by this time next month, I could be promoting a new episode of my own! Big thanks to our latest patron, Robin Seewack, for her generous support. If you want to join Robin and the 16 other patrons who are helping me keep d / m / s / r regularly updated, please consider clicking the link below:

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Press Rewind: “Ronnie, Talk to Russia”

Press Rewind: “Ronnie, Talk to Russia”

(Featured Image: Back cover of Controversy, 1981; © Warner Bros.)

Over in these parts, I’m still focusing on my written explorations of Prince’s recorded catalogue; but I’ve kept my hand in the podcast game thanks to Jason Breininger’s Press Rewind podcast. This time, we’re talking about what I think may still be my least favorite song on the Controversy album–though I will say it’s an interesting discussion nevertheless:

Press Rewind: “Ronnie, Talk to Russia”

If you’re someone who misses the days when d / m / s / r had its own semi- regular podcast, remember that that’s my current stretch goal for the Patreon and we’re about halfway there–so, if you’d like to see me start recording monthly podcasts again and you haven’t become a supporter, please do consider tossing a buck a month my way. This will not only allow me to justify the hours spent recording and (especially) editing these podcasts, but it will also help me to pay for the software that allows me to edit in all that legally-dubious music:

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How Come U Don’t Call Me Anymore?

How Come U Don’t Call Me Anymore?

(Featured Image: Grand piano at Sunset Sound; bottle of Asti Spumante not pictured. Photo stolen from Wax Poetics.)

From their first session together in 1981, Peggy McCreary had been Prince’s go-to L.A. recording engineer. McCreary, a.k.a. “Peggy Mac,” was a former waitress at Hollywood hotspot the Roxy Theatre who had worked her way up through the ranks to become the first female staff engineer at Sunset Sound, with credits on records by Little Feat, Kris Kristofferson, Van Halen, and Elton John. When she got the Prince gig, it was “just a fluke,” she recently told Variety. “I was available the weekend that Hollywood Sound called and said, ‘Our board went down, do you have an engineer and room?’” (Aswad 2019). But the artist’s salacious reputation had preceded him: “the receptionist said, ‘Peggy can’t work alone in the studio on the weekend with him. He writes really dirty songs about giving head and stuff,’” McCreary recalled to Pitchfork. “I thought, ‘Oh God. Who’s gonna be walking into the studio?” (Sodomsky 2019).

As it turned out, the person who arrived at Sunset Sound that weekend was “extremely polite, quiet… [and] short”–a far cry from the oversexed libertine of Dirty Mind infamy (Kiene 2019). In fact, Prince was so demure in person that McCreary found him difficult to understand: “He would mumble what he needed from behind a flap of hair,” she recalled. She finally had to confront him directly: “I said, ‘You know what? If you want me to work with you, you’re going to have to talk to me, to my face, so I can hear you!’” (Sodomsky 2019). Sensing that she’d offended him, McCreary assumed that they’d never work together again; but when he returned to the studio the following January, he requested her for the session.

Soon, the no-nonsense engineer and the reticent wunderkind had developed a close, if occasionally dysfunctional, working relationship. Peggy and Prince “were always about to kill each other,” the Time’s guitarist Jesse Johnson told sessionographer Duane Tudahl, “but she got such a great sound on everything.” McCreary continued to bristle at Prince’s aloof manner and workaholic tendencies: “He didn’t appreciate mistakes,” she later recalled. “Nobody does, but mistakes happen. It’s just human error”–something Prince had little patience for (Tudahl 2018 48). But he was also capable of showing his appreciation, albeit in mostly idiosyncratic ways. He christened “Colleen,” an unreleased instrumental possibly intended for the Time, after McCreary’s middle name (Aswad 2019). The next day–McCreary’s birthday–he called her into the studio to record another track. “I was like, God, couldn’t he give me my birthday off? Shit!” she told Pitchfork. But at the end of the session, “he stood there at the door with a little smile on his face and threw the cassette at me and said, ‘Happy birthday’” (Sodomsky 2019). The track, a “rockabilly song” called “You’re All I Want,” remains in her possession to this day.

Perhaps McCreary’s warmest memory of Prince took place on the evening of April 26, 1982, when he asked her out of the blue what she liked to drink. “I said ‘Remy Martin, why?’” McCreary recalled to Variety. “And he said ‘Order a bottle of Remy Martin [and] a bottle of Asti Spumant[e].’ [I] never let my guard down in the studio–you did not f[uck] up around him, it was devastating if you did–so I said, ‘No, Prince, I don’t wanna drink.’” But Prince insisted; and a few drinks later, he was playing the grand piano in Studio 2 of Sunset Sound, singing and keeping time with his feet on the pedals. McCreary remembered “being buzzed and thinking ‘Is this song really as good as I think it is?’” (Aswad 2019).

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