Amidst the flood of music Prince recorded in the lead-up to his 1984 magnum opus, Purple Rain, “My Love Belongs to You” barely registers as a ripple. A rough-hewn, seven-minute-long instrumental, it isn’t even the most fully-realized track from its recording date: April 20, 1983, a 10-hour session at Sunset Sound in Los Angeles that also produced “Velvet Kitty Cat,” overdubs for “If the Kid Can’t Make You Come,” and multiple takes of another studio jam called “Sleazy.” But my mission, quixotic as it may be, is to chronicle every circulating studio recording by Prince; and if there’s one thing I’ve learned in my almost five years (!) of doing this, it’s that every recording by Prince has something to say about his musical development.
After unceremoniously ousting Jimmy Jam and Terry Lewis from the Time, Prince tried to continue work on the group’s third album; somehow, though, the remaining members didn’t share his enthusiasm. According to sessionographer Duane Tudahl, on April 20, 1983–just two days after sending Jam and Lewis packing–he jammed on a new song called “Sleazy” with Morris Day on drums, Jesse Johnson on guitar, and himself on bass. “Using his old man/Jamie Starr… voice, Prince tried to work in elements from ‘Cloreen Bacon Skin,’” Tudahl writes; “but tensions were higher than usual,” and “it was obvious that none of them were completely committed to the track” (Tudahl 2018 74). The song, by all accounts, went unfinished.
Luckily, Prince wasn’t exactly short on side projects to write for; so he turned to Vanity 6, his other supporting act on the 1999 tour and prospective co-stars in his as-yet-untitled film project. During the 10-hour session at Los Angeles’ Sunset Sound on April 20–alongside several takes of “Sleazy,” overdubs for “If the Kid Can’t Make You Come,” and another seemingly unfinished instrumental titled “My Love Belongs to You”–the ever-prolific artist found time to demo a new track for the girl group: an appropriately lithe, slinky little ditty called “Velvet Kitty Cat.”
The sole ballad recorded for the Time’s third album, “If the Kid Can’t Make You Come” is also a rare example of a “proper” song seemingly inspired by a comedic sketch, rather than the other way around. According to sessionographer Duane Tudahl, basic tracking for “Kid” (then titled “If the Boy Can’t Make You Come”) began on Saturday, April 16, 1983: two days into the laborious Sunset Sound sessions that also produced the extended skit “Chili Sauce.” That track featured Time frontman Morris Day subjecting his date to a series of 17 propositions, the last and most successful of which was, “Baby, if the kid can’t make you come, nobody can.” “Kid,” then, picks up where “Chili Sauce” left off–right down to the return appearance of actress Sharon Hughes as the aforementioned date, who finally gets to show off the full extent of her breathy moaning chops here.
It’s tempting to assume that the filler tracks Prince penned for the Time–of which there was at least one on every album–were dashed off quickly, without the level of care and attention he reserved for his own music. But, while that may have been the case sometimes (looking at you, clumsy edit at the end of “I Don’t Wanna Leave You”), it wasn’t always. See, for example, “Chili Sauce”: my personal vote for the most egregious filler in the group’s discography, and yet also the subject of a staggering five nights of sessions at Sunset Sound in Los Angeles.
According to Duane Tudahl’s essential studio chronicle, Prince and the Purple Rain Era Studio Sessions: 1983 and 1984, Prince started work on the unnamed instrumental that would become “Chili Sauce” at 9:30 p.m. on Thursday, April 14, 1983, after completing a mix for the ill-fated “My Summertime Thang.” He began with a sleek, sinuous Linn LM-1 pattern, reminiscent of the one he’d used on “Electric Intercourse” in January–or, for that matter, the one he would later use on “The Beautiful Ones” in September. From there, he layered on more tracks, before ultimately deciding that the song needed live strings–a sound that had been absent from his discography since “Baby” on his 1978 debut album.
The sessions for the Time’s third album began during an especially fraught period in their relationship with Prince. On March 21, 1983, just over a week before recording commenced at Sunset Sound in Los Angeles, Prince left the band off the bill at New York’s Radio City Music Hall–an apparently calculated move to keep the spotlight on himself, and off his protégés. A week later, he’d repeat the snub at L.A.’s Universal Amphitheatre. Meanwhile, keyboardist Jimmy Jam and bassist Terry Lewis were on thin ice after missing their flight for a March 24 show in San Antonio. Once Prince discovered the reason for their absence–an unsanctioned Atlanta studio date producing the S.O.S. Band–it would spell the end of their tenure in the group.
Yet, even amidst all this interpersonal strife, there was still room for a little levity. And so it was that, on March 27–just one day before the Universal Amphitheatre show–Prince and the group’s frontman/studio drummer Morris Day cut “Cloreen Bacon Skin”: an improvised, 15-minute funk groove-cum-comedy sketch with a surprisingly long afterlife in the former’s body of work.