(Featured Image: Jill Jones and Lisa Coleman act out Prince’s sapphic S&M fantasies in the too-hot-for-TV “Automatic” video; © Warner Bros.)
By the beginning of May 1982, Prince had recorded more than enough quality new material to fill a single LP; but he was still only a little more than halfway finished with the album that would become 1999. “I didn’t want to do a double album, but I just kept writing and I’m not one for editing,” he later explained to Robert Hilburn of the Los Angeles Times. “I like a natural flow. I always compare songwriting to a girl walking in the door. You don’t know what she’s going to look like, but all of a sudden she’s there” (Hilburn 1982).
The “girl” that walked in the door of Sunset Sound on May 2 was “Automatic”: the third–and, at nine and a half minutes, longest–of 1999’s extended electro-funk jams. Like its siblings “Let’s Pretend We’re Married” and “D.M.S.R.,” “Automatic” unfolds over a rigid, knocking Linn LM-1 beat and a deceptively simple synthesizer hook–in this case, a sing-song four-note pattern perfectly honed to penetrate the cerebral cortex. But with its lyrical themes of emotion as technology, the song is ultimately closer in spirit to its more introspective neighbor on the album, “Something in the Water (Does Not Compute).” The key difference is that, while “Something in the Water” is all about (perceived) malfunction, “Automatic” finds both pleasure and unease in the machine working exactly as designed.
Continue reading “Automatic”
(Featured Image: A family picnics with giraffes in a 1982 ad for the Soviet VAZ 2101; photo stolen from Soviet Visuals.)
In late April 1982, the majority of the tracks Prince had completed for his fifth album fell under one of two categories: extended electro-funk grooves (“All the Critics Love U in New York,” “Let’s Pretend We’re Married,” “D.M.S.R.”) and slippery R&B slow jams (“International Lover”). But the song he recorded on April 25, just five days after “D.M.S.R.,” was an outlier both on the album and in his career to date: a theatrical rock ballad with vaguely propagandistic undertones called “Free.”
From its opening moments, “Free” lays on the grandiosity, with the sound of a heartbeat overlaid by marching footsteps and waves crashing on the shore–clips raided from Sunset Sound’s library of sound effects, the same source as the traffic noise from “Lady Cab Driver” and “All the Critics.” Just as these sounds fade away, Prince enters the mix, his gossamer falsetto accompanied by a crystalline piano line. Bass and drums slip softly into formation, followed by dramatic guitar chords when he hits the chorus: “Be glad that U are free, free to change your mind / Free to go most anywhere anytime / Be glad that U are free, there’s many a man who’s not / Be glad for what U had baby[,] what you’ve got.”
Freedom, of course, was an emerging theme of Prince’s long before he’d decided to dedicate a full song to it. “It’s all about being free” had been the mantra of “Uptown”; “Sexuality” had exhorted the listener to “let your body be free.” Then there were the songs that preached freedom without using the word–notably “D.M.S.R.,” with its calls to “screw the masses” and “[d]o whatever we want.” But something about “Free” feels fundamentally different. Rather than an exhilarating promise of liberation, here Prince describes freedom as a solemn duty, more in keeping with the “freedom isn’t free” bromides of American conservatism than with the radical traditions that informed his earlier work.
Continue reading “Free”
(Featured Image: Vanity 6–L to R: Brenda, Vanity, Susan–circa 1983; photo stolen from Law and Order Party.)
Just as he’d done for his own Controversy, Prince put the finishing touches on Vanity 6 at Sunset Sound in Los Angeles. The last song he recorded for the album, on April 5, 1982, was also the last song on the track list: a gauzy synthpop ballad titled “3 x 2 = 6.”
More than any other song on the album, “3 x 2 = 6” reflects the personal relationship between Prince and Vanity (née Denise Matthews), which had blossomed in the months since their first meeting. “Prince became like a father to me,” Matthews later recalled. “He loves playing dad. The first thing he did when we met was to nurse me, take care of me. I was very dependent on him, [‘]cause I needed a father because of the terrible insecurity I had experienced as a child” (Nilsen 1999 105).
Continue reading “3 x 2 = 6”
(Featured Image: Cover art for the new Originals compilation; photo by Allen Beaulieu, © NPG Records/Warner Bros.)
Hello again! Last week was quiet on the d / m / s / r front because I was out of town on a family vacation, which was great fun but decidedly light on writing time. I did, however, get one thing done for supporters of the new Patreon: a review of the Originals compilation, which released on TIDAL early this month and on CD and other streaming platforms last Friday.
As I explained on the Patreon over the weekend, this is just one of the kinds of things I’ll be offering over there, but I’ll probably be keeping the patron exclusives Originals-related for the next month or so; my next exclusive post will be a full-blown song post on “You’re My Love,” which happened to be recorded right around the time I’m currently covering on the blog.
Also while I was out, the second episode I recorded for Jason Breininger’s Press Rewind podcast was released. Check that out if you haven’t already:
Finally, I am still writing a blog, and I plan on putting up the next post, “3 x 2 =6,” on Thursday. In fact, the Patreon has been doing so well that I wouldn’t be surprised if we reached my $50-a-month goal by next week–meaning that there will be a guaranteed four new posts in July. My sincere thanks to the latest group of patrons for helping make that happen: Cliff Dinwiddie, Marilyn Hinson, Jessica, Darling Nisi, and Kaitlyn. If you want to be the one to put us over the edge toward that first goal, you know what to do:
As always, thanks for reading! Coming back from vacation is rough, but I’m happy to return to this project.
(Featured Image: Our favorite rude boy; photo by Allen Beaulieu, stolen from Lansure’s Music Paraphernalia.)
It was a stroke of good timing that just as Darren Husted’s Prince: Track by Track podcast was coming to an end, I got the opportunity to guest on another track-by-track podcast, Jason Breininger’s Press Rewind. Similar to my and Darren’s respective projects, Jason’s is to go through the full Prince catalogue song by song, but with a specific focus on lyrics that pleases my inner lit major. It also made for an ideal opportunity to talk about some songs that I didn’t get to talk about on Track by Track, starting with “Head” from Dirty Mind:
It was a pleasure talking to Jason about the second dirtiest song on Dirty Mind. And if you enjoyed it as much as I did, you’re in luck: we also recorded another episode talking about the first dirtiest song on the album, which should be coming out in the next couple of weeks.
While I have you here, I want to thank everyone who has already signed up for my Patreon! Pierre Igot, Caroline S., Oliver A., and Demetrius, your day-one support was extremely heartwarming. If you’re just joining us now and interested in supporting, check out my Patreon page here:
I’ll have my first patron-exclusive post ready soon–hopefully as soon as tomorrow! And of course, the next “official” post will be here soon as well. Thanks for your patience.