Horny Toad

Horny Toad

(Featured Image: Engraving of “The Frog King,” a.k.a. “The Frog Prince,” from a presumably 19th- or early-20th-century edition of the Brothers Grimm’s fairy tales; artist unknown.)

August 17, 1983: “Delirious” is released as the third U.S. single (and fourth worldwide) from 1999, an album nearly 10 months in the rearview mirror. Two weeks ago to the day, Prince and his newly-christened band the Revolution had played an epochal show at First Avenue in Minneapolis, where they debuted five songs (three of them master recordings) from his upcoming sixth album, Purple Rain. In less than a year’s time, the album would come out and achieve a level of commercial success which would make Prince’s previous breakout hit, the Number 6 single “Little Red Corvette,” look like a mere prologue. But for now, he’s in victory lap mode: riding the coattails of “Corvette”’s success with a second Top 10 hit, backed by a soundalike B-side recorded in his Kiowa Trail home studio the previous summer.

That B-side, “Horny Toad,” does not rank among Prince’s most renowned work. It’s rarely even singled out as one of the best tracks on The Hits/The B-Sides–the collection where, I’m willing to wager, most contemporary listeners first heard it. The closest thing to an official accolade I can find is its bottom-100 placement on the 500 Prince Songs blog (which seems about right)–unless, that is, you count a 2016 shout-out from Wired magazine’s Brian Raftery, who calls it “rollickingly stupid” (also correct).

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Prince Track by Track Presents Stevie Wonder Classics: “Keep on Running”

Prince Track by Track Presents Stevie Wonder Classics: “Keep on Running”

(Featured Image: Back cover of Music of My Mind, © Motown Records.)

I took a much-needed break from both externally- and self-imposed work on Monday and spent all day yesterday catching up, which means I’m tardy in sharing my latest appearance on Darren Husted’s miniseries of track by track podcasts on the “classic era” of Stevie Wonder. So, for those who are interested, here it is now:

Prince Track by Track Presents Stevie Wonder Classics: “Keep On Running”

For those who aren’t interested–and just simply for everyone’s information–a quick update: “Horny Toad” will be up on the blog tomorrow, with “Lust U Always” (the winner of our Patreon poll) following for patrons on Friday. If you want to read the post on this still-controversial track a week ahead of the general public, consider supporting dance / music / sex / romance on Patreon. I know things got inexcusably quiet in October, but I have some good stuff planned from now through the holidays:

Support dance / music / sex / romance on Patreon

In any case, thanks as always for reading!

Patreon Exclusive: Review – The Beautiful Ones

Patreon Exclusive: Review – The Beautiful Ones

(Featured Image: Cover art for The Beautiful Ones by Prince, from Amazon.)

As promised, I’ve sorted through my thoughts on The Beautiful Ones, the new part-memoir, part-scrapbook from the Prince estate, and have made them available for patrons here:

Patreon Exclusive: Review – The Beautiful Ones

TL;DR version for non-patrons: it is what it is, I’m glad it exists, but it’s inescapably dwarfed by the possibilities of what a completed memoir might have been. On the other hand, this is Prince we’re talking about, so who’s to say that the book would have ever come out even if he’d lived to finish it?

I’m sure a lot of readers have also been digging into The Beautiful Ones this last week, so I’m curious to hear your thoughts. Please leave a comment and let me know how you’re processing the book, what you think of it, what’s most (or least) compelling to you, etc.! And of course, if you haven’t bought the book yet, feel free to do so using my Amazon affiliate link.

A few housekeeping-type notes before I go: first, now that I’m pretty sure I have my shit together again, the blog is moving back to a Patreon-first schedule: I’m hoping to have the next post (on “Horny Toad”) up for patrons tomorrow, to appear on the regular blog next week. After that, I’m once again leaving the next post up to patrons: the choice is between “Lust U Always” and “Don’t Let Him Fool Ya,” and as of this writing the former is winning. If you have a dog in this particular fight and want your voice to be heard, you can become a patron at the $5 level or above and vote–preferably by the end of the weekend, as I’ll need to start writing soon!

Finally, you might have noticed that the blog is now ad-free; this is an intentional choice, both because I’m shilling the Patreon enough without involving other revenue streams and because frankly today’s Internet ad rates are too low to justify the ugliness of advertisements all over the website. Thanks for tolerating them while they were here.

I think that’s it for now. Looking ahead, if I can keep to my current schedule, we’ll be closing out 2019 with a real big one. I can’t wait!

Onedayi’mgonnabesomebody

Onedayi’mgonnabesomebody

(Featured Image: Lil’ Morris Day and Prince Nelson, in a still presumably from the cancelled Morris Babies TV series; photo stolen from Morris Day and the Time’s Facebook.)

The first four tracks recorded for the Time’s second album were all good to great: “The Walk,” “Gigolos Get Lonely Too,” “Wild and Loose,” and “777-9311,” each a highlight of the group’s overall catalogue. So, to truly live up to the legacy of their 1981 debut, they were long overdue for some filler. Recorded around the same time as “777-9311” in late Spring 1982, “Onedayi’mgonnabesomebody” was exactly that: a slight, palate-cleansing trifle to fill out the first side of the album.

But it isn’t just its throwaway nature that makes this track feel like a callback to the early days of the Time. It’s also the sound: retro rock’n’roll with a dash of New Wave kitsch, not dissimilar from one of Prince’s formative influences for the group, the BusBoys–and, of course, more than a little reminiscent of his own contemporary material. In particular, “Oneday”’s squiggly main synth line recalls “Horny Toad”–another song recorded around the same time and later released as the B-side for “Delirious”–with all of the rough edges and, frankly, most of the appeal buffed away.

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