(Featured Image: “This Main Course is Finger Lickin’ Great!” Poster for the BFI-acknowledged cinema classic Hot Lunch, 1981; © Essex Pictures.)
The completed Vanity 6 album, like the previous year’s debut by the Time, was a slim thing: a mere eight tracks, just over 30 minutes of music. But its slimness was not, as Brenda Bennett observed, “for lack of material” (Nilsen 1999 106). Among the songs that were at one point considered for the album, but didn’t make the cut, were five tracks recorded for the Hookers project in mid-1981 (“Gym Class,” “I Need a Man,” “Jealous Girl,” “Mink Kitty Cat,” and “Pizza”); two from late 1981 or early 1982 (“Money Don’t Grow on Trees” and “Vagina,” the latter of which may have been a reference to Vanity’s short-lived original stage name); and at least two more from the same March and April 1982 sessions that spawned the bulk of the album (“Too Much” and “Extraloveable”). “He spews songs so fast,” Bennett recalled, but “he didn’t want to over-expose the public to too much stuff… It was under-exposure for over-exposed girls!” (106).
In the end, while the majority of the album was written by Prince himself, a couple of tracks came from elsewhere in the camp: “He’s So Dull,” written and produced by guitarist Dez Dickerson, and “Bite the Beat,” co-written by the Time’s Jesse Johnson. Credited on the album to Johnson and Bennett, “Bite the Beat” would be the guitarist’s first published song–though it wasn’t his first attempt at one. During the early days of the Time, Johnson told Michael A. Gonzales for Wax Poetics, “I would play tapes of my songs for him, and Prince would literally start laughing… He’d call Morris [Day] over and be like, ‘Listen to this, listen to this’ and they both laughed” (Gonzales 38).
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(Featured Image: Cover art for the “Let’s Work” 12″, 1982; L to R: Dr. Fink, Brown Mark, Bobby Z, Prince, Dez Dickerson, Lisa Coleman. © Warner Bros.)
Mid-1981 was the first great period of prolificacy for Prince. In astonishingly little time, he completed work on his own fourth album, a full-length debut for protégés the Time, and several other assorted odds and ends, including a handful of songs for the Hookers (“Drive Me Wild,” “Make-Up,” “Wet Dream,” “Gym Class,” “I Need a Man,” “Jealous Girl,” “Mink Kitty Cat,” and “Pizza”), as well as other tracks with tantalizing titles like “Delivery Boy,” “Friction,” “Heart Attack,” “Hump You,” “Poppa Grooves,” “The Rain and You,” “Rearrange,” and “See U Dead.” One of those odds and ends would even end up on the album: the taut, New Wave-inflected funk of “Let’s Work.”
According to legend, “Let’s Work” began life as “Let’s Rock”: Prince’s version of a ’60s-style dance craze song, like “The Twist” or “The Loco-Motion.” The song, inspired by a dance Prince had seen in Minneapolis clubs called “the Rock,” had been kicking around as early as 1979; its title appears in one of Prince’s notebooks in what appears to be an early, handwritten tracklist for the Prince album, alongside “I Wanna Be Your Lover,” “Bambi,” “Why You Wanna Treat Me So Bad?”, “When We’re Dancing Close and Slow,” “With You,” “Still Waiting,” “It’s Gonna Be Lonely,” “Sexy Dancer,” and “Darling Marie.” When it didn’t make it onto the album, Prince allegedly tried to release it as a non-LP single; but Warner Bros. didn’t bite, a minor setback that, in retrospect, foreshadowed more serious conflicts with the label to come.
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(Featured Image: The Hookers, 1981; L to R: Jamie Shoop, Susan Moonsie, Loreen Moonsie. Photo stolen from Denise Vanity Matthews–the Tumblr, not the person.)
The Time’s first album was completed quickly, even by Prince’s ever-increasing standards: recorded in April 1981, mixed (at Hollywood Sound Recorders in Los Angeles) by the end of the month, and released another three months later. In the meantime, the man behind the curtain was already devising a second group of protégés: an all-female counterpart to his first group’s male pimp aesthetic, charmingly named the Hookers.
In order to recruit his stable of Hookers, Prince stayed even closer to home than he had for the Time. He drafted his personal assistant, Jamie Shoop, who then-engineer Don Batts described as “a good-looking blonde… kind of a ballsy woman in a man’s world” (Nilsen 1999 63). The other two spots were filled by his girlfriend at the time, Susan Moonsie, and her sister Loreen.
Continue reading “She’s Just a Baby”
(Featured Image: Back cover of The Glow by Bonnie Raitt, 1979; © Warner Bros.)
In addition to providing a creative outlet for his backing band, the Rebels project also offered Prince an opportunity to experiment with different styles outside the context of his official albums. For the most part, that meant hard rock and New Wave: as we discussed last week, “Hard to Get” was as straightforward a Rolling Stones rip as Prince ever recorded; songs like his “You” and Dez Dickerson’s “Disco Away,” meanwhile, bore the influence of Boston FM rock/New Wave act the Cars, whose sophomore album Candy-O was reportedly in heavy rotation at the group’s mid-1979 tour rehearsals (Thorne 2016). But in two of his compositions for keyboardist Gayle Chapman, Prince explored less familiar territory–with admittedly mixed results.
The more substantial of the pair was “If I Love You Tonight,” a soft rock ballad distinguished mainly by its oddly theatrical conceit: Chapman playing the role of a woman on the brink of suicide and desperate for connection, apparently inspired by Kris Kristofferson’s “Help Me Make It Through the Night” (Thorne 2016). The track would be revised thoroughly in the years to come–so much that I’m waiting until one of the later versions to discuss it in depth. The other song, “The Loser”–long mislabeled by bootleggers as “Turn Me On”–seems to have been recorded only once, making it unique among Prince’s Rebels songs; and the version that does exist is little more than a stylistic pastiche of his late-1970s labelmate, roots rock singer-guitarist Bonnie Raitt.
Continue reading “The Loser”