Hi, everyone! As promised/threatened a few times recently, I’ve been doing some thinking about how to improve my Patreon content, and this is my first solution: A monthly video update where I can communicate with you all a little more informally than through the standard blog posts and podcasts. As I say in the video, this is an experiment, and I’m open to your feedback. If you don’t care for it, I’m happy to go back to the drawing board; but if you do like this, I’ll plan on it becoming a regular thing. Please let me know what you think–and, if you’re a patron, watch out for an audio version on the private podcast feed!
As promised/threatened, we’re back to a monthly schedule on the D / M / S / R podcast! For this month’s episode, it was my pleasure to speak to music writer Jack Riedy (Pitchfork, GQ, VIBE) about his new book Electric Word Life: Writing on Prince 2016-2021. It was a really fun conversation, running through each of the pieces collected in his book and covering everything from Prince’s influence on Chicago house to the degree to which the Batman album goes (spoiler: it’s hard). Check it out, and if you’re so inclined, get yourself a copy of Jack’s book! It’s a great read and highly recommended.
By the way, I caught this too late to mention it “on air,” but thanks so much to cittalente for their review on Apple Podcasts! If you’re interested in reviewing D / M / S / R on your podcast service of choice, please do, and I will read it on the next episode–which, if all goes to plan, should be dropping next month.
July 2021 marks the 40th anniversary of the self-titled debut album by the Time; so, I decided to commemorate the occasion by bringing back Darling Nisi and Harold Pride for one of our trademark track-by-track deep dives. As always, the conversation left me thinking about the album in new ways: from KaNisa’s interpretation of it as Prince’s tribute to the funk music of his youth, to Harold’s insight on its significance to the development of electronic dance music. I remain grateful to be able to talk about music with these two brilliant people.
Last time, I promised I’d have another podcast episode ready in less than the almost two-year gap between our Prince (1979) and Dirty Mind episodes; and, technically, I did make good on that promise, since it’s “only” been 10 months since Dirty Mind last September. But for real, I’ll be back much sooner this time–like, probably around this time next month. So, if you haven’t already, subscribe to Dance / Music / Sex / Romance on your podcast provider of choice; and, if the spirit moves you, you can even leave a review! You’ll be hearing from me again very soon.
It’s been about two and a half years since news first broke of an official Prince documentary, to be produced by Netflix in collaboration with the artist’s estate. Since that time, the project has been mostly radio-silent–with the notable exceptions of the 2019 departure of original director, Ava DuVernay (13th), and her (still officially unconfirmed) replacement by Ezra Edelman (O.J.: Made in America) last year. So, I was intrigued to learn about Mr. Nelson on the North Side: another, independently-produced documentary which premiered online last weekend. If nothing else, the film’s focus on the beginnings of Prince’s life and artistic development in North Minneapolis promised to be an interesting change of pace–covering territory (both literal and figurative) that remains underexplored in Prince biographies across all media.
It’s a well-known fact that when Prince gave songs to other artists, he would cut his own recordings with guide vocals–not “demos” in the traditional sense so much as complete alternate takes, with production values in many cases equal to the versions that saw release. Almost as well-known, at least among bootleg enthusiasts, is the fact that Prince’s versions of these songs tended to be better than the “covers.” That makes the latest posthumous release by Warner Bros. Records and the Prince Estate, Originals, something of a no-brainer: here are 15 songs we already know and (mostly) love, preserved as they might have been had Prince decided to keep them for himself.