Prince Track by Track: “My Medallion”

Prince Track by Track: “My Medallion”

(Featured Image: Mark Dacascos and Scott Wolf show off their jointly-owned medallion in the Double Dragon movie, 1994; © Gramercy Pictures.)

I’m still hoping to finish my next proper post by the end of the week–though I have to say that today I’m laid out in bed with what feels depressingly like the flu, which is not the most conducive state for quality or coherent writing. I can, however, crank out a quick post to publicize my latest guest appearance on Darren Husted’s Prince: Track by Track podcast:

Prince Track by Track: “My Medallion”

I believe we have two more of these scheduled before the end of the month, so I’ll be posting them as they become available. Unless, of course, I’m actually dying, in which case, goodbye cruel world!

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Prince Track by Track: “What Do U Want Me 2 Do?”

Prince Track by Track: “What Do U Want Me 2 Do?”

(Featured Image: Prince and (soon-to-be-ex-) wife Manuela Testolini in 2004. Photo by Frank Micelotta, stolen from Heavy.)

As I divide my writing time this week between d / m / s / r and the various year-end list obligations from my other side hustle as a freelance music writer, here’s the latest of my guest appearances on Darren Husted’s Prince: Track by Track podcast, talking about a nice-but-not-beloved song from a nice-but-not-beloved album:

Prince Track by Track: “What Do U Want Me 2 Do?”

Speaking of end-of-year stuff, I suppose now is as good a time as any to give some indication of how I see the rest of the month shaking out. I plan to get at least one or two songs into the Time’s second album–ideally starting this week, though the aforementioned freelancing obligations mean that next week is a safer bet. Before I shut down for the holidays, I also plan to post (by request!) a new installment in my series of alternate universe fan-fics masquerading as serious historical thought experiments.  And I think I’m on the slate for at least two more episodes of Track by Track in 2018. My own podcast is currently dormant, but will return in the new year with, at the very least, another album review. And then we’ll be on to 1999 before we know it in 2019! As always, a heartfelt thanks to everyone who takes the time to read and/or listen to my thoughts–I know you have many choices when it comes to Prince-related commentary, etc., etc.

Prince Track by Track: “Pearls B4 the Swine”

Prince Track by Track: “Pearls B4 the Swine”

(Featured Image: 15th century woodcarving depicting the “pearls before swine” quotation from Matthew 7:6.)

Amidst all of the excitement of actual d / m / s / r content last week, I also quietly made another guest appearance on Darren Husted’s Prince: Track by Track podcast (“quietly” in the sense that I didn’t promote it on the blog, not in the sense that I didn’t talk–we definitely talked for over 20 minutes). If you got through my three-hour podcast on Prince’s second album and somehow still aren’t sick of the sound of my voice, you can subject yourself to it here:

Prince Track by Track: “Pearls B4 the Swine”

I’ll be back later this week with another, mercifully audio-free post. See you soon!

Private Joy

Private Joy

(Featured Image: Prince’s not-so-private joy, the Linn LM-1 Drum Computer; photo stolen from the Analog Synth Museum.)

By June of 1981, Prince had recorded mostly complete versions of “Controversy,” “Annie Christian,” and, possibly, “Sexuality,” at his home studio in Chanhassen. He recorded four more songs that month at Hollywood Sound Recorders in Los Angeles: “Let’s Work,” “Do Me, Baby,” “Ronnie, Talk to Russia,” and “Jack U Off.” The HSR sessions were completed with Bob Mockler, the engineer who had helped put the finishing touches on both Prince and Dirty Mind. According to biographer Per Nilsen, Prince booked a full week at the studio, but completed the songs in a handful of days: “We just worked so fast together,” Mockler recalled. “Prince would just go and put the drum part on the tape, and then he’d put everything to the drums, playing a bass part, then a keyboard part, then a guitar part, background vocals, a rough lead vocal. Once he got the backing tracks down, he did a serious lead vocal. Everything was in his head. We’re out of there in a day with a finished track” (Nilsen 1999 80).

Two months later, Prince returned to Hollywood to finish his fourth album; but equipment problems necessitated that he move operations from HSR to nearby Sunset Sound. He booked Sunset’s largest room, Studio 3, as a “lockout session,” meaning that “he had that studio 24 hours a day for as long as [he] wanted,” engineer Ross Pallone recalled. Pallone would have the studio ready each afternoon around four; Prince “would show up sometime between [eight] and 10, and we would work all night… I remember going home to my house between [four] and [six] in the morning, and sleeping till about [two], then going back to the studio every day” (Brown 2010).

One of the perks of the lockout session was that Prince “could have anything equipment-wise he wanted set up in there–be it outboard gear or musical instruments–and no one could touch it,” Pallone told author Jake Brown (Brown 2010). The artist took this opportunity to record a new song, “Private Joy,” with a brand new toy: the Linn LM-1, a state-of-the-art drum machine designed by musician and engineer Roger Linn. Released in 1980, the LM-1 was the first drum machine to use digital samples of live acoustic drums, rather than the synthesized white noise and sine waves utilized by earlier models. Prince wasn’t the first artist to own an LM-1; Fleetwood Mac, Peter Gabriel, Leon Russell, Boz Scaggs,  Stevie Wonder, and even Daryl Dragon–the “Captain” of Captain & Tennille–all ordered theirs direct from Linn (Vail 292).  But more than any of his contemporaries, it was Prince who would leave an indelible mark on the machine’s prominence in popular music and its expressive possibilities.

Continue reading “Private Joy”

Prince Track by Track: “Deconstruction”

Prince Track by Track: “Deconstruction”

(Featured Image: No, not that deconstruction; photo stolen from the Society for U.S. Intellectual History.)

Allow me to begin this post with the opposite of my usual spiel: I’m actually almost finished with the next song and will post it tomorrow. In the meantime, though, here’s my latest appearance on Darren Husted’s Prince: Track by Track podcast, on the most obscure track I’ve had the pleasure to discuss:

Prince Track by Track: “Deconstruction”

I have a relatively ambitious plan to wrap up with Controversy in the next week or so… wish me luck, and see you tomorrow!