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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If You See Me (Do Yourself a Favor)

If You See Me (Do Yourself a Favor)

(Featured Image: 94 East, circa 1975, from the cover of their 2013 7″ release of “If You See Me”;  Pepé Willie is second from right. © Numero Group.)

Visit the website of Pepé Music Inc. and you’ll find an entire subpage dedicated to what they call the “Prince Connection.” “We want to set the record straight!” the copy reads, and proceeds to outline the “enormous contributions” made by a man named Pepé Willie to Prince’s success: presenting its claims alongside a large and byzantine flow chart that purports to illustrate “the intimate involvement” between Willie and Prince, but, to be frank, only manages to dramatize a confusing intersection of music industry and family relationships. Yet the “Prince Connection” page also makes a trenchant point about its subject–one that will become something of a recurring theme in the early years of Prince’s musical progression. “No one,” the copy declares, “makes it completely on their own!”

Willie’s own career is a testament to that adage. He made his entrée into the music industry via his uncle, Clarence Collins, a founding member of the Brooklyn Rhythm & Blues vocal group Little Anthony and the Imperials. Willie spent his teen years in New York and Las Vegas in the 1960s, working as a valet and road manager for the Imperials. During those years, he encountered the likes of Jimi Hendrix, Ray Charles, Stevie Wonder, and Elvis Presley; he also learned a little about the business and craft of songwriting. After a stint in the armed forces, Willie then moved out to Minneapolis in the early 1970s and married a woman named Shauntel Mandeville–who happened to be the first cousin of Prince Rogers Nelson.

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