Prince’s first side project, the Time, began with a fundamental musical concept: They were a vehicle for the hardcore funk and R&B from which he had mostly steered away in his own career, with an added touch of New Wave rock and roll in the vein of contemporary acts like the BusBoys. Everything else about the group, from their boutique vintage wardrobe to frontman Morris Day’s tongue-in-cheek pimp persona, was an elegant outgrowth of this conceit. By contrast, Prince’s second side project, the Hookers, began with an image, and not an especially sophisticated one–the name pretty much summed it up. So it’s no surprise that the music he composed for the group in mid-to-late 1981 had a distinct whiff of throwing everything against the wall and seeing what stuck: There was minimalist electro-punk (“Drive Me Wild,” “Make-Up”), New Wave-ized girl group pop (“Wet Dream,” “Jealous Girl”), and, with “Money Don’t Grow on Trees,” even a dash of vintage R&B.
“The MUSIC segues into a fierce BEAT.
The CROWD lets out a ROAR! Prince
strips off his guitar, streaks center-
stage. The Band launches into ‘Baby,
I’m A Star.’
“…And the CROWD laughing, dancing,
shouting and loving. The CLUB is ALIVE!
“And the MUSIC continues…forever…”Draft screenplay for Purple Rain by Albert Magnoli, 1983
In the spring of 1983, Prince’s contract with managers Cavallo, Ruffalo, and Fargnoli was up for renewal. They had, on the face of it, little reason to worry: the 1999 tour was selling out arenas, “Little Red Corvette” was in the Top 10 of the pop charts, and 1999 was well on its way to Platinum certification by the RIAA. By the end of April, Prince would make the cover of Rolling Stone: a coveted opportunity for which his managers had netted a Richard Avedon photo shoot without granting an interview. “I thought we did an incredible job, we had a creative relationship, I’m sure he’s gonna sign another contract,” Bob Cavallo later told music journalist Alan Light. But Prince sent his main handler, Steve Fargnoli, back to Cavallo with a surprising ultimatum: “he won’t sign with us again unless we get him a movie” (Light 51).
Before last year’s Super Deluxe Edition of 1999, “Vagina” was known only by its title and its reputation–both of which were among the most tantalizing, and titillating, of any songs in Prince’s Vault. Few outside of Prince’s inner circle at the time of recording had heard it–and those who had, most notably former engineer David Z, simply described it as “obscene.”
It would have been impossible for any song to live up to such a reputation; “Vagina” certainly doesn’t, though it does stand as one of the highlights of 1999 Super Deluxe’s previously-unreleased Vault tracks. Recorded at his Kiowa Trail home studio in November 1981, the song finds Prince in stripped-down punk-rock mode–just him and his Hohner “Madcat” Telecaster; even the “percussion,” such as it is, is simulated with his mouth. As biographer Alex Hahn observed in a Facebook post soon after the passing of musician Andy Gill, Prince’s guitar work here “very much evokes” Gill’s playing with the English post-punk group Gang of Four–particularly when he “bangs the strings of his guitar in a percussive manner at the very outset of the song.” It’s a strikingly different sound from the rest of the music Prince was making ahead of his fifth album, which even in late 1981 was tending more toward synthesizers and drum machines than guitars–see, for example, the early versions of “Feel U Up” and “Irresistible Bitch” recorded in the same month.
The months after Jill Jones joined Prince’s orbit were “one crazy blur,” she recalled in a recently-published interview with writer Miles Marshall Lewis. From the “spring of ‘82 all the way until July, we were pretty much in the studio daily,” working on the Time and Vanity 6 projects alongside his own fifth album. “And who knew what was going to end up where, with who, what. I was just ready for the ride” (Lewis 2020 “Part 1”). Initially, her role was strictly as a backing vocalist: providing support on the 1999 album and tour for both Prince and Vanity 6. But the Artist Formerly Known as Jamie Starr had grander plans: namely, turning his newest protégée into a star in her own right.
Not all of these plans went off without a hitch. Jones resisted Prince’s overtures to change her name to Elektra, after the recently-introduced Marvel Comics character; a decade later, that moniker would of course find a more willing beneficiary in Carmen Electra, née Tara Leigh Patrick (Lewis 2020 “Part 2”). But she did allow him to give her a makeover inspired by prototypical blonde bombshell Marilyn Monroe: “Prince said I looked like every girl with long brown hair and I needed something to stand out,” she told Michael A. Gonzales for Wax Poetics. “He said, ‘When Vanity walks in a room, people know she’s a star. You need your own thing’” (Gonzales 2018 66).
Of the many “orphan” tracks Prince recorded in 1982–enough to fill at least two additional double LPs beyond the one that actually did come out, as the Super Deluxe edition of 1999 demonstrates–“Don’t Let Him Fool Ya” is not the most exciting; nor is it the rarest, the most ambitious, or the most thematically compelling. As the 500 Prince Songs blog noted back in 2017, it’s “barely even a song, more a tantric joy in bass-led repetition.” To say that it’s the kind of thing Prince could have written in his sleep does Prince, and sleep, a disservice; after all, we know by his own admission that “Little Red Corvette” came to him between “3 or 4 catnaps” (Dash 2016).
But for all that, it’s easy to see why “Don’t Let Him Fool Ya” was chosen as a pre-release single to promote Warner Bros.’ aforementioned 1999 reissue, following a live version of the title track from Detroit’s Masonic Temple and the live-in-studio first take of “International Lover.” Simply put, “Don’t Let Him Fool Ya” is a banger, with an infectious bassline and a sparkling, rhythmic keyboard part not unlike the one from the Time’s “I Don’t Wanna Leave You.” And while it’s also clearly a throwaway–the chorus literally goes, “Hey, hey / Hey, hey / Hey, hey, hey, hey”–I defy anyone to get through it without at least a head bob and a smile.