Purple Music (Welcome 2 the Freedom Galaxy)

Purple Music (Welcome 2 the Freedom Galaxy)

(Featured Image: Languishing on the inner sleeve of 1999, 1982; photo by Allen Beaulieu, © Warner Bros.)

It’s difficult to pin down exactly when the color purple took on the deep significance it would come to hold in Prince’s creative universe. The reference to a “purple lawn” in his 1976 song “Leaving for New York” was an interesting piece of trivia, but it felt more like an early attempt at Joni Mitchell-esque lyrical impressionism than the genuine birth of a motif. It wasn’t until much later, after the pastel pinks and blues of 1979’s Prince and the stark monochrome of 1980’s Dirty Mind, when the color began to show up in earnest. The album cover for 1981’s Controversy featured a lavender font, with Prince sporting one of his trademark studded trenchcoats in a matching color. And of course, at some point after he moved into his house on Kiowa Trail in Chanhassen, Prince had the exterior painted from its original cream color to an electric purple.

Whether the color’s private importance to Prince was a recent development or a long-simmering fixation, however, it was on his fifth album in 1982 that he finally shared it with the world. 1999 is rife with lyrical references to purple: it’s the color of the title track’s apocalyptic sky; the “rock” he invites listeners to “take a bite of” in “D.M.S.R.”; the “star in the night supreme” to which he compares his lover in “Automatic”; the promised “love-amour” and the “high” he craves in “All the Critics Love U in New York.” The album’s artwork, too, is dominated by purples of all shades: from the deep royal purple of the background to the phallic, red-tinged shades of the lettering, to the cool violet tones of the inner sleeve photo of Prince with his backing band. Yet not even this veritable explosion of purple makes as clear a statement as another song, recorded at some point during the 1999 sessions and titled simply “Purple Music.”

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Drive Me Wild

Drive Me Wild

(Featured Image: Susan and friend in the music video for “Drive Me Wild,” 1983; © Warner Bros.)

Much as he had with his first backing group, Prince wanted each member of Vanity 6 to have a well-defined persona; but where the band dynamic held at least a veneer of egalitarianism, his vision for the girl group was unfettered by matters of subjectivity or nuance. He thus drew their characters straight out of porno archetypes: Vanity, the sensitive harlot whose tough exterior masks a heart of gold; Brenda, the chain-smoking, no-nonsense madam figure; and Susan, the jailbait. Only 18 at the time of their debut, the group’s youngest member shaved off two more years in early interviews–another trick borrowed from Prince’s early career–while projecting an aura of fetishized, all-too-corruptible innocence.

At the core of this dirty-schoolgirl persona was “Drive Me Wild,” another of the handful of songs originally recorded for the proto-Vanity 6 Hookers project in 1981. The story goes that Susan had written the song herself, and recited the lyrics to Prince in a chance meeting at a Minneapolis nightclub (one, apparently, that served teenagers). “He was just standing there drinking orange juice and we started talking,” she told Jet magazine. “I told him that I wrote songs, then gave him a sample of my lyrics: ‘Ooh, look at me. I’m a Cadillac. I’m a brand new convertible child, I’ve never been driven. You’re the first. Come on baby; drive me wild’” (Jet 1983 60).

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Broken

Broken

(Featured Image: Dirty Mind-era promo photo, 1980; © Warner Bros.)

Despite a strong start on the East Coast, the Dirty Mind tour lost momentum in the Southern states. Dates in Charleston, Chattanooga, Nashville, Atlanta, and Memphis saw disappointing ticket sales, failing to attract the mainstream R&B audience who had seen Prince open for Rick James earlier in 1980. Only in Detroit–where he, astonishingly, nearly sold out the 12,000-seat Cobo Hall–was Prince building a substantial audience.

Meanwhile, according to drummer Bobby Z, the album sales just “kind of sat” (Nilsen 1999 74). The machinations of P.R. mastermind Howard Bloom, brought on by Prince’s management at the beginning of December, had not yet taken hold. After a final date at Chicago’s Uptown Theatre (no relation), the tour ground to a halt; for the third time in his brief career, Prince’s attempt to get out on the road had been vexed, and he was sent back to Minneapolis to lick his wounds.

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Roundup: Ephemera, 1975-1976

Roundup: Ephemera, 1975-1976

(Featured Image: Prince by Robert Whitman, 1977.)

Hi, everyone! In an effort to break up the flow of this blog a bit, I’d like to insert the occasional “Roundup” post whenever we come to the close of a particular phase of Prince’s musical career. So, now that we’re officially finished with 1976 ephemera and moving into For You territory, here are the songs so far. And hey, since everyone loves a totally subjective ranking–this is the Internet, is it not?–I’ll give them to you in ascending order of my personal preference:

9. Home Recordings, 1976 These probably shouldn’t even be on the list, as it’s a little unfair to consider them “songs.” What can I say, though, I dig some of ’em.

8. “If You See Me” Sorry, Pepé; Prince’s and Jesse’s versions both blow yours out of the water.

7. Moonsound Instrumentals The first time I posted this, I thought the version I’d heard of the legitimately funky “Jelly Jam” was recorded at Moonsound; it wasn’t, and as a result these recordings have dropped a bit in my esteem. Still, they show promise.

6. “Nightingale” Historically interesting and poignant, but so twee.

5. “Don’t You Wanna Ride?” More sexist than sexy, but also sort of endearingly dorky. It’s nice to know that at least 17-year-old Prince wasn’t smoother than 31-year-old me.

4. “I Spend My Time Loving You” Like “Nightingale,” this one’s a little on the twee side, but the vocal and guitar performances are moving beyond Prince’s years.

3. “Leaving for New York Like I said in the post, probably Prince’s most musically accomplished song to date. I slept on this one for ages, then I listened to it in the car and it just came alive. A sublime indication of a blossoming talent.

2. “Rock Me, Lover” It’s slight, sure, but like I said in the article, it offers a valuable glimpse of Prince’s future as a more feminist (or at least submissive) brand of lover. As teenage masturbatory fantasies go, I’ll take this over “Don’t You Wanna Ride?” any day. Also, great discussion with Jane Clare Jones in the comments.

1. “Sweet Thing” To be perfectly honest, this is the only song we’ve discussed so far that I really go out of my way to listen to. A beautiful, delicate cover version that I may even prefer to the original by Chaka Khan and Rufus. On a more personal note, this was the post that made Chaka retweet me and blow my blog the fuck up (at least for a couple of days). For that reason, it will always have a special place in my heart.

Also, let’s not forget the two introductory posts that fill in a few early gaps in Prince’s recorded oeuvre. I obviously can’t rank these because I haven’t heard any of the songs (though I’m sure the one of five-year-old Skipper banging rocks together was dope):

Funk Machine: Prehistory, 1965-1968
Sex Machine: Grand Central, 1973-1976

Finally, because I’m weirdly fascinated by tag clouds, here’s a snapshot of the tags I’ve used so far and their relative frequency. The data isn’t perfect because of a few crossposts that have fucked with the chronology, but it should still be interesting to see how the people, places, and songs we discuss change over time. To me, I mean. It will be interesting to me.

tagcloud1

Tomorrow, we continue with the next chapter of our journey: the series of studio recordings that ultimately resulted in Prince’s first album. If you’ve been rocking with me so far, I mean this sincerely: thank you so much. The response to this blog–especially these early, obscure entries–has honestly been beyond anything I dared to hope for. It’s so gratifying to get the feedback from people who enjoy what I’ve been doing. Just stick around, because it’s going to get better.