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Ephemera, 1983

Irresistible Bitch

From his debut through 1999, Prince was releasing albums at the steady clip of one per year–with side projects the Time and Vanity 6 doubling, and then tripling, his output in 1981 and 1982, respectively. But as his attention turned to the development and production of his first feature film, the release schedule inevitably slowed. The year 1983 would be the first in half a decade without a new Prince album on shelves.

As it happened, this arrangement served his record label just fine. “Warner Bros.’ pop department worked really hard to launch Prince to pop radio,” recalled Marylou Badeaux, at that time a marketing executive in Warner’s “Black Music” division. “But there never was time. As soon as something was starting to happen on pop radio, the next album arrived. The fact that we weren’t getting a new album in 1983 ended up being a tremendous blessing because it gave us more time” (Nilsen 1999 119).

For Prince himself, the “blessing” was considerably less tremendous. “Delirious,” the third single from 1999, had released on August 17 paired with “Horny Toad,” an outtake of similar style and vintage. But the fourth single, “Let’s Pretend We’re Married,” wasn’t due out until November; and Prince, who had recorded enough music that year to fill a whole LP and then some, was itching to put out something new. According to sessionographer Duane Tudahl, the hyper-prolific artist spent his time at Sunset Sound on September 16 reviewing two prospective B-sides: “G-Spot,” which he’d tracked in May and would later dust off for protégée Jill Jones; and “Irresistible Bitch,” the latest version of which had been recorded just a day earlier. “Not surprisingly,” Tudahl writes, “he chose his most recent work” (Tudahl 2018 170).

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Reviews

A Purple Day in December: The Truth Review

As most of you are no doubt aware, Erica Thompson has been a great friend and supporter of the blog since we met for a podcast to discuss her presentation at the University of Salford Purple Reign conference back in 2017. We’ve been talking for a while about my writing a guest post for her own blog, where she shares updates and research from her own work writing a book about Prince’s spiritual journey. Tomorrow’s special Record Store Day release of the 1998 album The Truth finally gave us the excuse we’d been looking for. So, here’s my review:

A Purple Day in December: “‘What if Half the Things Ever Said Turned Out 2 Be a Lie?’ – One of Prince’s Richest, Weirdest and Most Intimate Albums Gets a Limited Reissue”

While you’re there, you should check out the rest of Erica’s blog, and follow along with what is shaping up to be one of the most compelling projects in the burgeoning world of “Prince studies.” And yes, I’m still writing on here, as well: “Darling Nikki” will be available for patrons by the end of next week. Have a great weekend, and good luck snagging a copy of The Truth tomorrow!

Categories
Welcome 2 America, 2011

Born 2 Die

We now have just under two months to go before the release of Welcome 2 America, the album Prince recorded and shelved before his tour of the same name in 2010 and 2011. So, with the 63rd anniversary of the artist’s birth right around the corner on Monday, the time was ripe for another promotional single; and Sony Legacy has delivered with a track previously teased on 60 Minutes back in April, “Born 2 Die.” In fact, the drop appears to have been timed to commemorate not just one date, but two: Thursday, June 3 would have been the 79th birthday of Curtis Mayfield, whose early-’70s sound was a transparent source of inspiration for the song.

Categories
Ice Cream Castle, 1984

Jungle Love

Prince, as was his wont, had already moved on to his next phase by the time the 1999 tour entered its final stretch in March 1983. The centerpiece of his master plan was, of course, the untitled film project that would become Purple Rain; but he also intended to cement his musical dominance with follow-up albums by the 1999-era “Triple Threat” of himself, the Time, and Vanity 6. Much as he had a year before, he focused on the Time first: booking a few days at Sunset Sound in Los Angeles before playing the Universal Amphitheatre and San Diego Sports Arena on March 28 and 29, respectively.

The Time’s first two albums had been cut primarily by Prince and singer/studio drummer Morris Day alone; for the new project, however, Prince allowed the rest of the band to take on a more active role. “They played on a lot of the stuff,” former Sunset Sound engineer Peggy McCreary told sessionographer Duane Tudahl–though Prince remained the unquestioned “leader of what was going on” (Tudahl 2018 64). The Artist Formerly Known as Jamie Starr was even willing to share songwriting duties, basing “Jungle Love” on an instrumental demo by guitarist Jesse Johnson.

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1999, 1982

1999

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. When Prince played a rough mix of the album for his manager Bob Cavallo that month, he got a cooler reception than he anticipated.

“‘This is a great album, but we don’t have a first single,’” Cavallo recalled telling Prince. “‘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).