Categories
Ephemera, 1983

Vibrator

After returning to Minnesota from Los Angeles at the end of April 1983, Prince continued work on a prospective second album for Vanity 6. On Saturday, April 30, he cut the initial basic tracks for “Sex Shooter” and “Promise to be True,” both of which would be reworked extensively before eventually seeing release (or, in the later case, not seeing it). The following day, he revisited “No Call U”–a holdover from the 1999 sessions of the previous year–and recorded a new song called “Moral Majority.”

The latter, named after the notorious Christian Right movement led by televangelist Jerry Falwell, is described by sessionographer Duane Tudahl as “a synth-based track about nonconformity with lines like[,] ‘don’t want to be like anyone, I want them all to stare.’” While not in circulation, it reportedly features a gang vocal recorded by Vanity, Brenda Bennett, Susan Moonsie, manager Jamie Shoop, and Brenda’s husband Roy, while crammed into the bathroom of Prince’s Chanhassen home. “I remember… sitting on the handle of the toilet, right in the middle of the session,” Roy recalled to Tudahl. “It gave away where we were” (Tudahl 2018 81).

Later that month, Prince would record two other potential Vanity 6 tracks containing a similar cocktail of topical vulgarity. “G-Spot,” later recorded by backing singer Jill Jones for her 1987 solo album, was inspired by the so-called “Gräfenberg spot”: a (likely apocryphal) erogenous zone of the vagina that had captured the popular imagination through the 1982 bestseller The G Spot and Other Recent Discoveries About Human Sexuality. Meanwhile, “Vibrator” commemorated a popular sex toy during a watershed year in its own journey to the American mainstream.

Categories
Controversy, 1981

Sexuality

With the title track of his fourth album, Prince cogently summarized his many complexities–so many, in fact, that it took me three full-length posts to even attempt to untangle them. But Controversy was about more than just self-analysis and myth-building. It was also, more than any other Prince album to date, engaged with the outside world: using the artist’s increasingly well-defined persona as the basis for a distinctive–if not always coherent–worldview.

The centerpiece of this new worldview was the album’s second track, “Sexuality.” Picking up with an ecstatic yelp, scarcely a beat after the final synth glissando of “Controversy,” “Sexuality” addresses the listener with a direct call to arms. “Stand up everybody / This is your life,” the singer announces. “Let me take you to another world, let me take you tonight.” His language draws deliberately on the gospel tradition: like the allegorical train in the Impressions’ “People Get Ready,” “you don’t need no money”–or, indeed, clothes; you just get on board. It becomes clear that this is no conventional hymn, however, once the chorus hits: “Sexuality is all you’ll ever need / Sexuality, let your body be free.”