Categories
Purple Rain, 1984

Baby I’m a Star

“The MUSIC segues into a fierce BEAT.
The CROWD lets out a ROAR! Prince
strips off his guitar, streaks center-
stage. The Band launches into ‘Baby,
I’m A Star.’

“…And the CROWD laughing, dancing,
shouting and loving. The CLUB is ALIVE!

“And the MUSIC continues…forever…”

Draft screenplay for Purple Rain by Albert Magnoli, 1983

In the spring of 1983, Prince’s contract with managers Cavallo, Ruffalo, and Fargnoli was up for renewal. They had, on the face of it, little reason to worry: the 1999 tour was selling out arenas, “Little Red Corvette” was in the Top 10 of the pop charts, and 1999 was well on its way to Platinum certification by the RIAA. By the end of April, Prince would make the cover of Rolling Stone: a coveted opportunity for which his managers had netted a Richard Avedon photo shoot without granting an interview. “I thought we did an incredible job, we had a creative relationship, I’m sure he’s gonna sign another contract,” Bob Cavallo later told music journalist Alan Light. But Prince sent his main handler, Steve Fargnoli, back to Cavallo with a surprising ultimatum: “he won’t sign with us again unless we get him a movie” (Light 51).

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Patreon Exclusives Reviews

Patreon Exclusive: Review – 1999 Super Deluxe

Hi, friends. It’s taking some time to fully shake off the cobwebs, but I’m feeling myself shift back into gear for the new year; I won’t commit to a date so I don’t have to apologize later, but “Lady Cab Driver” is coming soon. In the meantime, here’s another piece I had been planning to write at the end of last year–my thoughts on the new Super Deluxe edition of 1999. Since we’re all friends here (and since I’m over a month late), I went for less of a formal review and more of a reflection on my personal feelings about the release and the state of the Vault in general. Patrons can read it here:

Patreon Exclusive:
Review – 1999 Super Deluxe

Speaking of patrons, thank you to Snax and Carlos Romero for supporting the blog and giving me some much-needed encouragement this week! Snax and Carlos bring us up to 20 patrons, which is honestly fantastic for my humble little project. More relevant for everyone reading this, they also brought the total monthly support up to $99–a mere dollar less than the threshold for me to start producing the d / m / s / r podcast again. That means that if just one person becomes a patron, the goal will be met! If that sounds like the kind of responsibility you’d like to have on your shoulders, you know what to do.

Categories
What Time is It?, 1982

777-9311

When he wasn’t busy upgrading his home studio and recording his first Top 10 hit, Prince spent the better part of May 1982 soaking up some long-awaited hometown acclaim. On May 12, he attended the inaugural Minnesota Black Music Awards at the Prom Ballroom in St. Paul, where he was honored in the “Rhythm & Blues” category alongside protégés the Time and fellow-travelers including Enterprize, Pierre Lewis and the Lewis Connection, and Sue Ann Carwell. According to biographer Per Nilsen, his acceptance speech was delivered “in such low tones that no one could hear him” (Nilsen 1999 100).

Two weeks later, on May 24, he was back at the Prom–which, the Twin Cities Music Highlights website ominously notes, “refused to turn on the air conditioning”–for the second annual Minnesota Music Awards, sponsored by the alternative weekly City Pages. Prince was nominated, either himself or by proxy, in eight categories: Best 45 or EP (“Controversy,” the Time’s “Get It Up”), Best LP (Controversy, The Time), Best New Act (the Time), Best Electric Guitar (Dez Dickerson), Best Male Vocalist (himself), Best R&B/Funk/Soul/Band (the Time), Best Producer (himself, for Controversy), and Musician of the Year (himself). The night’s big award went to him; this time–maybe because he’d just recorded “Little Red Corvette” four days earlier–he accepted it with a little more swagger, asking, “When do they give the award for best ass?”

Memorable quips aside, Prince didn’t actually perform at the Minnesota Music Awards ceremony; but the Time did, making their first public appearance since the end of the Controversy tour two months earlier. Seeing his side project in action again–and watching them take home the R&B/Funk/Soul award–may have been what prompted Prince to get back to work recording their second album, which he’d left in a state of suspended animation since his sessions at Sunset Sound in January. Those sessions had produced “The Walk,” “Gigolos Get Lonely Too,” and “Wild and Loose,” all of which made it onto the final track list; as well as “Bold Generation,” which did not. An early version of “Jerk Out,” which the group would ultimately re-record for their 1990 album Pandemonium, was also mooted and discarded around the same time. But it was “777-9311,” recorded in late May or early June at Kiowa Trail, that gave the nascent album its linchpin.

Categories
Ephemera, 1981-1982

Turn It Up

Along with the Time tracks and “International Lover,” Prince also cut a few “orphan” songs at Sunset Sound in mid-January 1982. “You’re All I Want,” recorded on January 11 alongside “Gigolos Get Lonely Too,” was a frothy rockabilly jaunt with a synth line he’d later repurpose for “Horny Toad.” “Bold Generation” from the following day would re-emerge almost a decade later as “New Power Generation” on the Graffiti Bridge soundtrack. “Colleen” from January 15, the same day he completed “The Walk,” was a funky but formless instrumental.

Each of these tracks would languish in the Vault and select tape-trading circles for decades, before finally seeing the light of day with the release of 1999 Super Deluxe in 2019. “Turn It Up,” however, has a longer pedigree. Recorded over 13 hours on January 19 and 20, it was the second-to-last track Prince cut before resuming the Controversy tour in Richmond, Virginia. And–before it, too, received an official release on 1999 Super Deluxe–it was in wide circulation as a bootleg: quite possibly the most widely-heard 1999 outtake this side of “Moonbeam Levels.”

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Uncategorized

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

As you may or may not know, Dystopian Dance Party is the other, more irreverent project I do with my sister Callie. We recently launched a physical magazine, the first issue of which is dedicated to art and writing inspired by the music of Prince. On this episode of the DDP podcast, Callie and I are joined by our friend Erika Peterson to talk about her work for the magazine–an exhaustive guide to the 3 Chains O’ Gold film–the most absurd/surreal moments of Celebration 2018, and our ongoing (one-sided) beef with Questlove. It’s definitely a bit looser and sillier than the average d / m / s / r podcast, but if you enjoy my other stuff, you’ll probably enjoy this, too:

Dystopian Dance Party: The Prince Issue Podcast with Guest Erika Peterson

And if you can’t get enough of Erika, remember that she also recently appeared on our friend KaNisa’s excellent Muse 2 the Pharaoh podcast. Take a listen if you haven’t already:

Muse 2 the Pharaoh #1