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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.”

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Podcast

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

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 more coherent than it sounds.

Categories
Prince, 1979

With You

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 album. Not only is it the second consecutive ballad on Prince (after the 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).