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).

Continue reading “How Come U Don’t Call Me Anymore?”

Post-Vacation Update: Patreon-Exclusive Originals Review, plus “Sister” on Press Rewind

Post-Vacation Update: Patreon-Exclusive Originals Review, plus “Sister” on Press Rewind

(Featured Image: Cover art for the new Originals compilation; photo by Allen Beaulieu, © NPG Records/Warner Bros.)

Hello again! Last week was quiet on the d / m / s / r front because I was out of town on a family vacation, which was great fun but decidedly light on writing time. I did, however, get one thing done for supporters of the new Patreon: a review of the Originals compilation, which released on TIDAL early this month and on CD and other streaming platforms last Friday.

Patreon Exclusive: Originals Review

As I explained on the Patreon over the weekend, this is just one of the kinds of things I’ll be offering over there, but I’ll probably be keeping the patron exclusives Originals-related for the next month or so; my next exclusive post will be a full-blown song post on “You’re My Love,” which happened to be recorded right around the time I’m currently covering on the blog.

Also while I was out, the second episode I recorded for Jason Breininger’s Press Rewind podcast was released. Check that out if you haven’t already:

Press Rewind: “Sister”

Finally, I am still writing a blog, and I plan on putting up the next post, “3 x 2 =6,” on Thursday. In fact, the Patreon has been doing so well that I wouldn’t be surprised if we reached my $50-a-month goal by next week–meaning that there will be a guaranteed four new posts in July. My sincere thanks to the latest group of patrons for helping make that happen: Cliff Dinwiddie, Marilyn Hinson, Jessica, Darling Nisi, and Kaitlyn. If you want to be the one to put us over the edge toward that first goal, you know what to do:

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As always, thanks for reading! Coming back from vacation is rough, but I’m happy to return to this project.

Press Rewind: “Head”

Press Rewind: “Head”

(Featured Image: Our favorite rude boy; photo by Allen Beaulieu, stolen from Lansure’s Music Paraphernalia.)

It was a stroke of good timing that just as Darren Husted’s Prince: Track by Track podcast was coming to an end, I got the opportunity to guest on another track-by-track podcast, Jason Breininger’s Press Rewind. Similar to my and Darren’s respective projects, Jason’s is to go through the full Prince catalogue song by song, but with a specific focus on lyrics that pleases my inner lit major. It also made for an ideal opportunity to talk about some songs that I didn’t get to talk about on Track by Track, starting with “Head” from Dirty Mind:

Press Rewind: “Head”

It was a pleasure talking to Jason about the second dirtiest song on Dirty Mind. And if you enjoyed it as much as I did, you’re in luck: we also recorded another episode talking about the first dirtiest song on the album, which should be coming out in the next couple of weeks.

While I have you here, I want to thank everyone who has already signed up for my Patreon! Pierre Igot, Caroline S., Oliver A., and Demetrius, your day-one support was extremely heartwarming. If you’re just joining us now and interested in supporting, check out my Patreon page here:

Patreon: dance / music / sex / romance

I’ll have my first patron-exclusive post ready soon–hopefully as soon as tomorrow! And of course, the next “official” post will be here soon as well. Thanks for your patience.