1999

1999

(Featured Image: Prince and band prepare to fight on the 1999 inner sleeve; L to R: Brown Mark, Bobby Z, Prince, Lisa Coleman, Dr. Fink, Dez Dickerson. Photo by Allen Beaulieu, © Warner Bros.)

By mid-July of 1982, Prince had completed work on the album that would become 1999, with just one significant exception: “1999,” the song, was nowhere to be seen. According to a recent tweet by former associate Jeremiah Freed (better known by his nom de podcast Dr. Funkenberry), Prince had originally planned for “Turn It Up” to be the album’s lead single. It’s speculation on my part, but I wouldn’t be surprised if it was also intended to be the title track, given how exhortations to “turn it up” recur throughout the songs recorded for the album: including “All the Critics Love U in New York,” “Lust U Always,” and the early versions of “Feel U Up” and “Irresistible Bitch.” As Josh and Christy Norman of the Mountains and the Sea podcast recently observed, the phrase can even be made out spray-painted behind Prince and the band in a late 1981 photo taken for the “Let’s Work” 12” sleeve.

But whatever its intended title, when Prince played a rough mix of the album for his manager Bob Cavallo, the reception was cooler than anticipated. “‘This is a great album, but we don’t have a first single,’” Cavallo recalled telling Prince in an interview with music journalist Alan Light. “‘We have singles that’ll be hits, but we don’t have a thematic, important thing that can be embraced by everybody, different countries, et cetera.’” In response, Prince “cursed me, and he went away–but he didn’t force me to put it out. Two weeks later, he came back and he played ‘1999,’ and that became the title of the album” (Light 43).

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Dance to the Beat

Dance to the Beat

(Featured Image: The Time at Sam’s, October 7, 1981. L to R: Jimmy Jam, Terry Lewis, Morris Day, Jesse Johnson, Monte Moir. Photo stolen from prince.org.)

During the weeks leading up to the release of their debut album in July 1981, Prince had honed the Time into a formidable live unit. “He brought stuff out of us that we didn’t think we could do,” keyboardist Jimmy Jam later recalled. Left to their own devices, the band would “rehearse for like four hours and think we were tired. We’d go through the set twice and sit around and talk for two hours.” But with Prince as taskmaster, “we’d work five or six hours straight, over and over, no breaks… He would give us keyboard parts that were impossible. We would be like, ‘We can’t play these.’ He would be like, ‘Yeah, you can, and while you’re playing them I want you to do this step of choreography and sing this note of harmony.’ Couple of days later we’d be doing it. A month later we’d be on tour and it would be automatic. He was a great motivator and the thing that made him a great motivator was that he works so hard himself. He’s always squeezing the most out of everything” (Nilsen 1999 87).

That summer, the Time made their live debut in a showcase for Warner Bros. executives at S.I.R. Studios on Sunset Boulevard–the same venue where, three years earlier, Prince had held auditions for his own backing band. “It was just 10 or 12 of us,” Marylou Badeaux, at that time a marketing executive in the label’s “Black Music” division, told biographer Per Nilsen. “We went down there after work one day to be shown this new Warner Bros. group that was produced by Jamie Starr. No one knew who Jamie Starr was. They turned off all the lights, and this diminutive little character with a veil walked in to stand behind the console and mix it. Somebody says, ‘That’s Jamie Starr!’ And I looked and said, ‘No, that’s Prince!’” (Nilsen 1999 87).

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d / m / s / r Year Two in Review

d / m / s / r Year Two in Review

(Featured Image: My quick ‘n’ dirty d / m / s / r logo, apologies to Warner Bros. and Andy Warhol.)

It’s hard to believe that it’s been a whole two years since I launched dance / music / sex / romance. I want to thank everyone who’s been following along thus far; many of you, I know, have been here pretty much from the beginning. If you need a refresher on (most of) what’s happened since the last year-end round-up, here you go:

Dirty Mind, 1980
The Time, 1981

And for those who are just stumbling upon it now, here’s where I recommend you start (all of the posts in chronological order):

The Story So Far

Last but not least, here are the podcast episodes released since last June. First, the miniseries on the University of Salford’s Purple Reign conference:

Welcome to the New Story: Jane Clare Jones
The Evolution Will Be Colorized: Zack Stiegler
It’s Time Someone Programmed You: Leah McDaniel
Everybody Shut Up, Listen to the Band: Felicia Holman and Harold Pride
Something Wrong with the Machinery: Carmen Hoover
Vous êtes très belle: Joni Todd and Karen Turman
I Know That the Lord is Coming Soon: Erica Thompson
I am Something That You’ll Never Understand: Chris Aguilar-Garcia and Natalie Clifford
Yes: Chambers Stevens

Then the miscellaneous episodes, including a few with noted authors in the Prince community:

Am I Straight or Gay: Snax
24 Feelings All in a Row: Duane Tudahl
Nothing Compares: Marylou Badeaux
The Crazy Things You Do: Kimberly C. Ransom
Paisley Park is in Your Heart: Stuart Willoughby

And finally, the first installment of what I hope to be another miniseries offering alternate perspectives on Prince’s studio albums:

40 Years of For You

So, what have we done in the last 12 months? A little less than I promised this time last year, but also a lot more. If you look purely at the number of songs covered on the blog, my progress has slowed significantly: a mere 20, versus last year’s 45. If I keep up this pace, the 2036 end point I semi-jokingly offered last year just might become a reality. But I’ve also been doing a lot more than I was doing in June 2017. The podcast has taken on a life of its own; I’ve become a regular guest on another podcast, Prince: Track by Track; I wrote an essay about Prince and New Wave for publication in an anthology on Prince and the Minneapolis Sound; I presented on two panels at the Prince from Minneapolis conference; I launched my own magazine, thanks in large part to the support and goodwill of a small but dedicated group of readers.

I’m not gonna lie, I have more plans for extracurricular activities in 2018-19. Some of them depend on external forces outside my control; some of them you’ll probably be hearing about in the near future. But I also think that the next 12 months of d / m / s / r will be a little bit of a “back to basics” move. I really want to get through more than two albums by next June; I really want to go back to my weekly post routine. I have some thoughts about how to make this possible with my other commitments, which I’ll be sharing in the near future. For now, if you’ve been reading this blog, thanks for hanging in there for the lean times and thanks for your support. And if you’ve just started reading, welcome! I hope you enjoy this labor of love as much as I continue to.

Get It Up

Get It Up

(Featured Image: 1981 publicity photo for the Time. L to R: Terry Lewis, Jimmy Jam, Morris Day, Jellybean Johnson, Monte Moir, Jesse Johnson. © Warner Bros.)

As of this writing, there is no public record of the order in which the songs on the Time’s first album were recorded (fingers crossed that Duane Tudahl can scare up some details when he gets around to writing his book on the 1981-82 studio sessions). It’s generally agreed, however, that the song Prince used to get Warner Bros. interested in the project was the one that became its lead single and opening track: “Get It Up.”

As a proof of concept for the Time project, “Get It Up” makes a lot of sense. It is, first of all, familiar territory. According to Bobby Z, the song came out of Prince’s jams with his touring band, and it shows: more than any other song on The Time, “Get It Up” sounds like the missing link between Dirty Mind and Controversy (Nilsen 1999 86). The brittle New Wave funk arrangement and wheedling Oberheim synthesizer, played once again by guest soloist Matt Fink, bear Prince’s immediately identifiable fingerprints–that, and the fact that his backing vocals are clearly audible throughout the track.

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