Since the official release of “Moonbeam Levels” in November 2016, the Prince fan community has been clamoring for more unreleased music. The results to date, however, have been more of a trickle than the flood many would prefer. Last June’s deluxe Purple Rain reissue got mixed reviews from the hardcore for its track selection and 2016-ized mix (just for the record, I liked it). Since then, there have been rumors of a remastered edition of Prince and the Revolution’s August 1983First Avenue debut, an expanded version of 1999, and an official release of Prince’s final “Piano & A Microphone” shows at Paisley Park–none of which have come to fruition. It was only with the single release of “Nothing Compares 2 U” this April that the drought showed any real signs of ending. Shortly thereafter, representatives of the Prince Estate (whatever that means at this point) announced two full-length projects featuring unreleased material: one from the Warner Bros. years and coming this September, the other of more recent vintage and premiering, at least initially, on TIDAL in 2019.
While the latter project remains a mystery, today–the 60th anniversary of Prince’s birth–Warner and the estate finally revealed what to expect from the former: a long-circulating collection of 1983 piano rehearsals, cleverly retitled Piano & A Microphone 1983. For better or worse, it’s on brand with the posthumous releases we’ve seen to date: tasteful, collector-approved, and dating from the 1982–85 zenith of Prince’s primacy in the pop market. It’s so on brand, in fact, that for the first time in the last 18 months of Prince releases, I actually caught myself feeling a slight tinge of disappointment. The Vault has been open for almost two years; isn’t it about time we got something that hasn’t already leaked?
Last week, I made my long-awaited, surreal, exhausting pilgrimage to the Twin Cities to attend the Prince from Minneapolis conference and Paisley Park’s Celebration 2018. I have complicated feelings, which I’m still processing–and will continue to do so, with the help of some other people who were there, on the podcast in the coming weeks. For now, though, I have some basic reactions to Celebration, and to the newly-released Prince song that was debuted on the event’s first day.
I wasn’t sure what to expect from Celebration coming in–reports of last year’s event suggested a combination music festival, fan convention, and cult indoctrination–but in my experience, it was basically a corporate retreat for hardcore Prince fans. There were hours of panel discussions with ex-band members Gayle Chapman, Dez Dickerson, Matt Fink, and Bobby Z; photographers Allen Beaulieu, Nancy Bundt, Terry Gydesen, and Nandy McLean; and dancers Tomasina Tate and, um, Wally Safford. There were screenings of Prince concerts from the Piano & A Microphone, HitnRun 2015, and–via the associated “Prince: Live on the Big Screen” event at the Target Center–Welcome 2 America tours. There were live performances by Sheila E, fDeluxe (née the Family), and a (fantastic) new supergroup of New Power Generation alumni dubbed the Funk Soldiers. And, of course, there was the debut of the music video for Prince’s previously-unreleased studio version of his pop standard “Nothing Compares 2 U.”
This episode, it’s 2 Zacks United 4 Prince Conference (sorry) as your usual host, Zach Hoskins, talks to Zack Stiegler, Associate Professor in Communications Media Studies at Indiana University of Pennsylvania. As in my last episode with Jane Clare Jones, we’re here to talk about Zack’s time at the University of Salford’s interdisciplinary Prince conference back in May; but we also touch upon a lot of other interesting subjects, including Prince’s ever-shifting attitudes toward the Internet, his racial consciousness, and the subtle (/sometimes not-so-subtle) current of Afrofuturism in his work.
Again, I’ll be posting more of these conversations in the weeks to come–already have another one in the can, in fact!–and would love to speak to anyone else who attended the conference and wants to chat. If you enjoyed this and would like to hear more, remember to subscribe and (if you want!) review the podcast on any of the major services: iTunes, Stitcher, or Google Play. I’ll also be adding the episode to Mixcloud, but frankly I’m not always as good at doing that in a timely fashion. See you again soon!
It’s been a long five months since the release of 4Ever, the first posthumous compilation of Prince’s work, and “Moonbeam Levels,” the first “new” track to be officially released since his death last April. Many of us, I think, were expecting Paisley Park’s “Celebration,” a four-day event marking the first anniversary of his passing, to be the end of this drought. Certainly, with the long-promised Purple Rain reissue looming in the near future, the time felt ripe for some more concrete information, if not an actual release.
And, as it turned out, we did get new music that week–but not from Paisley Park, and not from the Purple Rain era. Instead, a former engineer named Ian Boxill surprise-released an EP of six previously unheard 2006 recordings–including the gorgeous, gospel-flavored “Deliverance”–implying that he had the blessing of Prince’s estate to do so. This turned out not to be true: within hours of the announcement, the estate had filed suit, and a United States District Court Judge had granted a temporary restraining order to halt the sale of the EP. Meanwhile, the Celebration came and went with no official mention of the Purple Rain set. Even after a fan group leaked what turned out to be an accurate track list, both Warner Bros. and NPG Records remained mum–until the following Friday, that is, when the announcement we’d been expecting finally came through, along with the second “official” posthumous track, “Electric Intercourse.”
I recount all of this, in part, to note that the more things change, the more they stay the same. Prince may no longer be with us physically, but his spirit clearly lives on in the capricious, contested, and scattershot handling of his music. In a weird way, this is also the most relevant Prince has been to the contemporary recording industry in decades: a drama-filled album launch, botched in part by the vagaries of online music services, puts him in the rarefied (if, in this case, dubious) company of 21st century pop titans like Rihanna and Kanye West.
But all facetiousness aside, I also want to explain why I’m writing about “Electric Intercourse” right now, and not about “Deliverance.” It isn’t necessarily that I disapprove of the EP’s release: I’m glad Boxill leaked it, just as I’m glad that more anonymous sources have leaked the hundreds of other non-sanctioned songs I continue to enjoy. But I broke my chronology with “Moonbeam Levels” last fall because it was an official and easily accessible release; and, while “Deliverance” as of this writing is still available for purchase on the iTunes store, the legal grappling around its parent EP doesn’t give me much confidence for the future. Besides that, I remain skeptical of Boxill’s claims that the majority of the proceeds for the song/EP will go to Prince’s estate: I’m no lawyer, but I can’t think of many cases where an individual successfully paid royalties to a group in the process of pursuing legal action against him. So, basically, I’m treating “Deliverance” like a bootleg: I’ll write about it, of course, but not until I reach the proper point in the chronology–so, at my current pace, our grandchildren should be able to enjoy it, provided we all survive the impending Third World War.
I’m not gonna lie, folks: this “chapter” of the blog wasn’t always easy to get through. I mentioned before that For Youis my least favorite album of Prince’s “classic period,” and his outtakes from that time are, well, outtakes. If nothing else, however, this was valuable training for when I have to trudge through the parts of his discography I like even less; the other day I realized that at some point I’m going to need to spend a couple of months on Carmen Electra’s album, and I promptly broke into a cold sweat.
So, in addition to my usual “thank-yous” for reading, I’d like to also thank my readers for being so patient in the five months (!) between this and the last roundup post. I’m sure this won’t be the last time I feel some burnout on a project that, I’m well aware, will be a part of my life for the next several years. All I can do is continue to do my best and try to do the material justice, even when it doesn’t especially excite me.
And hey, in case you were wondering what songs excited me least, here’s the ranking:
10. “Baby, Baby, Baby” Another one for the Devotees Only list: basically just a couple minutes’ worth of Prince strumming and scatting, and yet here I am writing about it 40 years later like it’s the Holy Fucking Grail. If this was just some guy in a coffee shop, it would be unbearable; but it’s Prince, and somehow that makes all the difference.
9. “Donna” A cute, if clearly unfinished little ditty. Also gave me an excuse to share a pretty dope photo of Donna Summer.
8. “Down a Long Lonely Road” The fact that this is ranked so high is proof that I’m being as subjective as possible: it’s barely a song, but what can I say, I like the pure and simple gospel feel. Would have loved to hear this develop into something more.
7. “Make It Through the Storm” I know this is a popular outtake, but it’s not my favorite. Still, an interesting reminder that even in the For You era, Prince didn’t sound quite like anyone else: this is the exception that proves the rule.
6. “Nadeara” I bet he writes songs like this for all the girls.
5. “Miss You” My favorite of the post-For You demos by default: it’s the only one that really holds up as a complete song. Well, with one exception…
3. Loring Park SessionsWould I care about this if it wasn’t by Prince? Probably not; like I said in the original post, it’s perfectly good jazz-funk in the Herbie Hancock vein, but nothing earth-shattering on its own merits. The fact that it is by Prince, though–recorded before his first album!–makes it a fascinating listen. I also feel like I’ve seen someone on the Internet share a link to Prince’s “mind-blowing early jazz sessions” at least once a week since last April, so if nothing else these should be easy to track down.
2. “Just Another Sucker” I never really bothered digging into 94 East before I wrote this blog, so “Just Another Sucker” is one of my favorite new discoveries. It’s no masterpiece, but it would have fit Prince’s self-titled second album like a glove.
1. “We Can Work It Out” As a blogger used to toiling in obscurity, I can appreciate an idea like this: a superbly-crafted disco-funk-pop-rock opus only meant to be heard by a handful of people; an elaborate private joke that could have been a legitimate hit. Oh, and check out the handwritten lyrics! These were acquired late last year by the Minnesota Historical Society; I hope they don’t mind me sharing the image below. I’ve also added it to the original post for posterity’s sake. Gotta love that racy doodle.
In case you missed it, I also just wrote a rather lengthy post discussing Prince’s first band and his live debut as a solo artist:
Finally, here’s a song without a home for the time being. I wanted to write about “Moonbeam Levels,” the first officially-released outtake since Prince’s passing, while it was still relevant. I’m sure I will revise this post by the time we get to 1982 in our official chronology, but here it is for now:
And of course, it wouldn’t be a roundup post without a snapshot of the ol’ tag cloud:
Next week, we’re finally making the leap into 1979 with a post on one of Prince’s early classics: “I Feel for You.” I’m looking forward to it! In the meantime, remember that you can always see the full chronological index of songs right here.