Sexuality

Sexuality

(Featured Image: Prince in the music video for “Sexuality,” 1981; © Warner Bros.)

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 immediately after “Controversy” leaves off–scarcely a beat goes by between the former song’s final synth glissando and the ecstatic yelp with which Prince opens the latter–“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.”

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Podcast: The Most Beautiful – Part 3 of a Conversation with Jane Clare Jones

Podcast: The Most Beautiful – Part 3 of a Conversation with Jane Clare Jones

(Featured Image: Mayte and SymbolSmallerBlue.png in their wedding program, 1996; © Noelle-Elaine Media Consultants.)

Way back in mid-April, I spoke with writer, philosopher, and fellow Prince obsessive Jane Clare Jones for so long that our conversation ended up being split into four parts; but by the end of that conversation, we were also talking around things more often than we were talking about them. So, last week, we got together for a redo. The resulting podcast is a Frankenstein’s monster–but a fun, interesting Frankenstein’s monster!–of our original discussion on Mayte’s The Most Beautiful (placed, for maximum confusion, at the end) and some setup for the things we were talking around–which we’ll finally address in our episode next week. We also take advantage of the passage of time by discussing some of the major developments in the Princeverse last month: the Celebration, “Deliverance,” and that godawful TV movie.  I promise it’s all a lot more coherent than it sounds.

You can listen to the podcast here or on any of the major aggregators: iTunes, Stitcher, and Google Play; feel free also to subscribe and leave a review on the service of your choice. We should have it up on Mixcloud soon, too. If you’re just coming in now, you can–and should!–check out the first and second episodes here. As always, thanks for listening!

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With You

With You

(Featured Image: Found photo from Atlanta high school prom, circa 1970s; stolen from Found Photo Atlanta.)

Along with “If You Feel Like Dancin’,” “One Man Jam,” and “I Feel for You,” Prince, André Cymone, and Pepé Willie demoed a handful of other tracks at New York’s Music Farm Studios on February 17, 1979. André recorded an early version of his song “Thrill You or Kill You,” as well as a slow jam that would later emerge credited to Prince alone: “Do Me, Baby” (more on that later, obviously). And Prince took the opportunity to lay down an early take of another song that would end up on his second album, the downbeat ballad “With You.”

I’m gonna level with you guys: I don’t like this song. I’ve written about some songs for this blog that I like less than others, but this is the first one I’ve genuinely disliked; the one I either skip or zone out for when I’m listening to the album, then promptly forget about after it’s finished. Obviously, “With You” won’t be the last song we cover that I don’t like–again, Carmen Electra–but it will be the last for a while. And I suppose that, in itself, is remarkable.

The other remarkable thing about “With You” is its placement on the Prince album. Not only is it the second consecutive ballad on the record (after the far superior “When We’re Dancing Close and Slow”), but it’s also the Side B opener–a truly baffling choice. It takes the following track, “Bambi,” to finally kick the record back into gear. “With You” is the slow dance at homecoming no one asked for–particularly since it’s following a song that is literally about slow dancing (and, um, ejaculating, but we’re getting ahead of ourselves).

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