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Patreon Exclusives

Patreon Exclusive Video: June 2022 Patreon Update

Hi, everyone! As promised/threatened a few times recently, I’ve been doing some thinking about how to improve my Patreon content, and this is my first solution: A monthly video update where I can communicate with you all a little more informally than through the standard blog posts and podcasts. As I say in the video, this is an experiment, and I’m open to your feedback. If you don’t care for it, I’m happy to go back to the drawing board; but if you do like this, I’ll plan on it becoming a regular thing. Please let me know what you think–and, if you’re a patron, watch out for an audio version on the private podcast feed!

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Ephemera, 1983

Irresistible Bitch

From his debut through 1999, Prince was releasing albums at the steady clip of one per year–with side projects the Time and Vanity 6 doubling, and then tripling, his output in 1981 and 1982, respectively. But as his attention turned to the development and production of his first feature film, the release schedule inevitably slowed. The year 1983 would be the first in half a decade without a new Prince album on shelves.

As it happened, this arrangement served his record label just fine. “Warner Bros.’ pop department worked really hard to launch Prince to pop radio,” recalled Marylou Badeaux, at that time a marketing executive in Warner’s “Black Music” division. “But there never was time. As soon as something was starting to happen on pop radio, the next album arrived. The fact that we weren’t getting a new album in 1983 ended up being a tremendous blessing because it gave us more time” (Nilsen 1999 119).

For Prince himself, the “blessing” was considerably less tremendous. “Delirious,” the third single from 1999, had released on August 17 paired with “Horny Toad,” an outtake of similar style and vintage. But the fourth single, “Let’s Pretend We’re Married,” wasn’t due out until November; and Prince, who had recorded enough music that year to fill a whole LP and then some, was itching to put out something new. According to sessionographer Duane Tudahl, the hyper-prolific artist spent his time at Sunset Sound on September 16 reviewing two prospective B-sides: “G-Spot,” which he’d tracked in May and would later dust off for protégée Jill Jones; and “Irresistible Bitch,” the latest version of which had been recorded just a day earlier. “Not surprisingly,” Tudahl writes, “he chose his most recent work” (Tudahl 2018 170).

Categories
Podcast The Time, 1981

Podcast: 40 Years of The Time – A Conversation with Darling Nisi and Harold Pride

July 2021 marks the 40th anniversary of the self-titled debut album by the Time; so, I decided to commemorate the occasion by bringing back Darling Nisi and Harold Pride for one of our trademark track-by-track deep dives. As always, the conversation left me thinking about the album in new ways: from KaNisa’s interpretation of it as Prince’s tribute to the funk music of his youth, to Harold’s insight on its significance to the development of electronic dance music. I remain grateful to be able to talk about music with these two brilliant people.

Last time, I promised I’d have another podcast episode ready in less than the almost two-year gap between our Prince (1979) and Dirty Mind episodes; and, technically, I did make good on that promise, since it’s “only” been 10 months since Dirty Mind last September. But for real, I’ll be back much sooner this time–like, probably around this time next month. So, if you haven’t already, subscribe to Dance / Music / Sex / Romance on your podcast provider of choice; and, if the spirit moves you, you can even leave a review! You’ll be hearing from me again very soon.

Categories
Ephemera, 1983

Cloreen Bacon Skin (Tricky)

The sessions for the Time’s third album began during an especially fraught period in their relationship with Prince. On March 21, 1983, just over a week before recording commenced at Sunset Sound in Los Angeles, Prince left the band off the bill at New York’s Radio City Music Hall–an apparently calculated move to keep the spotlight on himself, and off his protégés. A week later, he’d repeat the snub at L.A.’s Universal Amphitheatre. Meanwhile, keyboardist Jimmy Jam and bassist Terry Lewis were on thin ice after missing their flight for a March 24 show in San Antonio. Once Prince discovered the reason for their absence–an unsanctioned Atlanta studio date producing the S.O.S. Band–it would spell the end of their tenure in the group.

Yet, even amidst all this interpersonal strife, there was still room for a little levity. And so it was that, on March 27–just one day before the Universal Amphitheatre show–Prince and the group’s frontman/studio drummer Morris Day cut “Cloreen Bacon Skin”: an improvised, 15-minute funk groove-cum-comedy sketch with a surprisingly long afterlife in the former’s body of work.

Categories
Alternate Timelines

The Dawn: How Prince’s Troubled Followup to 1999 Almost Became His Feature Film Debut

Note: I confess that this piece, a Patreon commission from Darling Nisi, has been a long time coming–so long, in fact, that I’m pretty sure I already owe her a second commission now. Part of the reason why I took so long are the same, much-discussed reasons why I took so long for everything over the past eight months or so; but part of the reason is because her request to imagine a circa-1984 Prince without Purple Rain required a lot of thought. No Purple Rain–which I took to mean the movie as well as the album–means no “When Doves Cry,” “The Beautiful Ones,” or pivot to Top 40 success; it also means no Paisley Park (the recording complex or the vanity record label), no massive renogotiated contract (and thus no “Slave”-era faceoff) with Warner Bros., and no comeback album and greatest-hits tour conveniently timed to the 20th anniversary. So large does Prince’s first film and sixth album loom over the rest of his career, in fact, that I didn’t even try to do justice to every change its absence would have wrought; this may be the first alternate timeline I will have to revisit in the future, just so I can fully think through what the ’90s or 2000s would have looked like to a Prince detached from both the expectations and the opportunities afforded him by Purple Rain.

In inventing an alternative followup to 1999, I ended up setting a few rules for myself: First, I limited myself to the existing timeline of songs recorded between January 1983 and March 1984, so the imaginary album could feasibly share a release date with the real one. Second, I wouldn’t use any track known to have been composed specifically for the movie–so, again, no “When Doves Cry” or “The Beautiful Ones”; I technically could have used “Purple Rain,” but that seemed to go against the spirit of the exercise, so I didn’t. Third, and finally, I tried to make my fake album as distinct from the real one as possible: if what set Purple Rain apart from 1999 was its concision and pop-friendliness, then my alternate-universe version would be more even more sprawling and idiosyncratic than its predecessor. Obviously, the album I reverse-engineered from existing recordings is no replacement for an actual, cohesive project produced, arranged, composed, and performed by Prince; but I do think it’s a fun listen (and yes, I did make a version I could actually listen to).

As always, I will end with the disclaimer that everything after this introduction is completely made up and just for fun, all Photoshops are crudely and hastily done, and all resemblances to actual persons living or dead are, if not coincidental, certainly not to be taken seriously.