(Featured Image: From the Emancipation CD booklet, 1996; © NPG Records/EMI.)
It’s been a minute since my last appearance on Prince: Track by Track, but I’m back again to chat with host Darren Husted about one of my guilty pleasures from Emancipation:
Also in semi-related news, my other project Dystopian Dance Party has launched our fifth annual celebration of wet, silky ’80s R&B, Jheri Curl June. If you’re a fan of Prince’s ’80s work, you’ll find a lot to like about the stuff we cover. Check out the podcast kicking of the festivities here:
You should also check in on the blog, as we’ll be posting a vintage Jheri Curl track every weekday this month. Some of them, I’m sure, will be Prince-related. Meanwhile, over here I’ll have an end-of-year-two wrap-up post this week, and then it’s on to our next Prince track, “She’s Just a Baby.”
(Featured Image: Cover art for André Cymone’s epochal 1982 album Livin’ in the New Wave; © Columbia Records.)
Note: Following last month’s post on “Do Me, Baby,” I knew I wanted to give André Cymone another, proper sendoff before he disappears from our pages until 1984. So, here’s the latest in my series of thought experiments, imagining an alternate reality in which André, not Prince, was the Grand Central member who went on to greater solo success. For anyone just dropping in, the idea here is to bring attention to the web of contingencies that shaped Prince’s career; to shake up our sense of inevitability and offer a glimpse at one of the many possible alternatives had things gone even slightly differently. It’s also, in this case, an opportunity to reevaluate Cymone’s legacy beyond his friend’s deceptively long shadow. As always, have fun and don’t take this too seriously. We’ll be back to our regularly scheduled programming next week!
For a brief but significant period in the 1980s, the cutting edge of R&B and pop could be found in the unlikely locale of Minneapolis, Minnesota. Known as the “Minneapolis Sound,” this unique hybrid of funk, rock, and nascent electronic and New Wave styles emerged almost organically from the Twin Cities’ small but vibrant Black communities in the late 1970s. It thus wouldn’t be fair to give a single artist credit for “inventing” the genre; but the fact remains that when most music fans think of Minneapolis, one man in particular comes to mind. I’m talking, of course, about André Cymone.
Continue reading “André Cymone, Godfather of the Minneapolis Sound: A Retrospective from an Alternate Timeline”
(Featured Image: Prince and Gayle Chapman on Rick James’ Fire It Up Tour, 1980; photo stolen from Reddit.)
“I can’t believe people are gullible enough to buy Prince’s jive records,” Rick James griped to Britain’s Blues and Soul magazine in 1983. “He’s out to lunch. You can’t take his music seriously. He sings songs about oral sex and incest” (Matos 2015). It was the first public shot across the bow in a years-long, mostly one-sided beef between the godfather of “punk-funk” and the young upstart who first rivaled, then surpassed him. But it was hardly the first time these titans had clashed: James’ comments were transparently rooted in tensions from three years earlier, when Prince was the opening act for his early 1980 Fire It Up tour. And it was just before his tour with James when the “mentally disturbed young man” debuted his most notorious song about oral sex, “Head.”
Continue reading “Head”
(Featured Image: Prince by Robert Mapplethorpe, 1980.)
According to engineer Bob Mockler, “Our competition on [Prince] was Michael Jackson and Kool and the Gang, and I think we looked them right in the eye” (Brown 2010). Indeed, they did: the album went Platinum, peaking at Number 22 on the Billboard 200–just nine spaces below Kool & The Gang’s Ladies’ Night (though it fell significantly short of Jackson’s blockbuster reinvention as a solo artist, Off the Wall). As noted before, debut single “I Wanna Be Your Lover” was also a hit, topping the R&B charts and reaching Number 11 on the Hot 100. After that, Prince lost its momentum: second single “Why You Wanna Treat Me So Bad?” reached Number 13 on Hot R&B Singles, but missed the Hot 100 entirely; “Still Waiting,” released in March of 1980, did even worse, peaking at only Number 65 on the R&B chart. But the album remained an unqualified success; in many ways, it was the bold opening statement For You should have been. And it introduced several of Prince’s most enduring, important songs: not just “I Wanna Be Your Lover” and “Why You Wanna Treat Me So Bad?”, but also “I Feel for You,” even “Sexy Dancer.”
Looking back, however, the most pleasurable moments of Prince, for me at least, are among its least celebrated. As I discussed last week, “Still Waiting” is an overlooked gem; “Bambi,” while backwards in its sexual politics, is among Prince’s finest rockers; and “When We’re Dancing Close and Slow” is another potent early sign that the kid was more than just a raunchier Stones to M.J.’s pop-funk Beatles. But maybe my favorite of them all is the song’s closing track, the majestic “It’s Gonna Be Lonely.”
Continue reading “It’s Gonna Be Lonely”
(Featured Image: Prince, 1979; photo by Jurgen Reisch, © Warner Bros.)
The recording sessions for Prince began in earnest in late April of 1979, with overdubs and mixes completed by June 13: about seven weeks, all told, barely half the time Prince had taken to complete his debut album. Indeed, while For You and Prince are often grouped together by critics, in practice the two albums are a study in contrasts. Rather than the state-of-the-art Record Plant, Prince used Alpha Studios in Burbank, California: a relatively modest facility located in the home of owner and engineer Gary Brandt. And where on For You Prince had seemed determined to use every inch of the studio console, his approach to its successor was markedly scaled back; according to Brandt, Prince deliberately limited himself to only 16 of Alpha’s 24 available tracks (Brown 2010).
Prince’s stripped-down aesthetic was born partly of preference and partly of necessity. In later interviews, Prince would suggest a growing dissatisfaction with For You’s fussy production: he had tried to make “a perfect record,” he told Melody Maker’s Steve Sutherland in 1981, but “it was too scientific” (Sutherland 1981). Working with 16 tracks at Alpha Studios would likely have felt more comfortable to an artist used to the humbler accommodations of Sound 80 and his own home studio in Minneapolis; crucially, it was also much cheaper. For You’s recording budget, you might remember, had ballooned to some $170,000–almost the entire amount Warner Bros. had allotted for Prince’s first three albums. So this time around, Prince told Lynn Norment of Ebony magazine, “I realized that I had to make some money to prove to them that I was a businessman” (Norment 34). By recording quickly and economically, Prince would ensure that the new record came in on time and under budget. “He was really in a hurry,” drummer Bobby Z recalled to biographer Per Nilsen. “There was quite a bit of debt to the label, and he needed a hit. His back was against the wall” (Nilsen 1999 54).
Continue reading “I Wanna Be Your Lover”