(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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(Featured Image: U.K. picture sleeve for “Little Red Corvette,” 1983; © Warner Bros.)
Last month, I wrote a little more than 3,500 words about Prince’s first Top 10 single, “Little Red Corvette.” Lest you think that’s all I have to say about the song, here’s a little under an hour and a half of me on Jason Breininger’s Press Rewind podcast continuing to sing its praises:
That, at least for the time being, is the last I have to say about “Little Red Corvette”–though, as I note in the podcast, I could have gone on even longer than I did. Back here on the blog, I’ll be wrapping up the Time’s second album in the next couple of weeks. And, if you’ve been missing my beautiful voice, good news: not only am I scheduled to make another guest appearance on Press Rewind in the near future, but I am also a measly eight dollars away from my Patreon goal to relaunch the d / m / s / r podcast. The next person who supports the Patreon could easily be the person to push us over the edge! If you want to be that person, just click the link below:
(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:
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:
(Featured Image: Courtship rituals of early ’80s French rocker gang the Del Vikings; photo by Gilles Elie Cohen, stolen from VICE.)
After a string of songs exploring, to various degrees, the darker side of his emotional spectrum, Prince capped off his late April and early May 1982 sessions at Sunset Sound with something light and frothy. Sonically, “Delirious” is cut from the same cloth as most of its predecessors on the album that would become 1999: from the driving Linn LM-1 beat to the sparse, but infectious synth line. Yet where songs like “Automatic” and “Let’s Pretend We’re Married” assemble these building blocks into complex, ever-shifting structures, “Delirious” offers more straightforward pleasures: it’s a simple eight-bar blues, as pure and elemental as Leiber and Stoller’s “Hound Dog” or Jesse Stone’s “Shake, Rattle and Roll.”
With its solidly retro foundation, “Delirious” is arguably the pinnacle of Prince’s brief, but intense infatuation with 1950s rock ‘n’ roll: an “obsession,” according to guitarist Dez Dickerson, that began when the band caught a show by rockabilly revivalists the Stray Cats while in London on the Dirty Mind tour. “We were all blown away with them,” Dickerson told Nashville Scene magazine in 2014, “the look, [singer] Brian Setzer’s amazing sound, just the sheer authenticity of it.” The experience inspired a handful of songs–most famously “Jack U Off” from 1981’s Controversy, but also tracks like the unreleased “You’re All I Want.” Perhaps even more notably, according to Dickerson, it also inspired both him and Prince to style their choppy punk hairdos into Little Richard-style pompadours (Shawhan 2014).
Continue reading “Delirious”