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Prince Track by Track Presents Stevie Wonder Classics: “If You Really Love Me”

I know, this isn’t what you want from me right now–but I recorded this podcast with Darren Husted of Prince: Track by Track fame a couple months ago and I wanted to share it here for anyone who might be interested. If you’ve listened to any of my appearances on Track by Track, this will be familiar territory–with the obvious exception that we’re talking about Stevie Wonder, an artist with whom I am less familiar than I am with Prince, but who I obviously still appreciate on account of my functioning ears:

Prince Track by Track Presents
Stevie Wonder Classics:
“If You Really Love Me”

If you enjoy this, there’s more on the way: I’ve already recorded an episode for each of Wonder’s albums from 1972’s Music of My Mind to 1976’s Songs in the Key of Life. Also, while we’re on the subject of stuff I’ve done recently that is only vaguely Prince-related, my other project Dystopian Dance Party released a podcast the other week about George Clinton’s 2014 memoir Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?, co-written by Prince book author Ben Greenman (and if you remember my review of said Prince book, rest assured that this one is better):

Dystopian Book Club vs. George Clinton’s Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?

That concludes my shilling for this week! The next time you hear from me, it will be with a full post for “Purple Music.”

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For You, 1978 Podcast

Podcast: 40 Years of For You

(Featured Image: Cover art for For You, 1978; photo by Joe Giannetti, © Warner Bros.)

dance / music / sex / romance is fast approaching its third year, so to celebrate, we’re going…backwards? That’s right, to mark the 40th anniversary of Prince’s debut album, I thought now was the perfect time to go ahead with an idea I’ve been toying with for a while: our own sub-series of review podcasts looking at each of Prince’s albums in isolation.

I’m doing this for a few reasons. First, it’s a way to bring those of you who have been listening to the podcasts but not reading the blog into the loop on my chronological Prince project–and also a way for me to work through some of these albums before I can get to it with my glacially paced writing schedule.

Second, I’ve known from the beginning of this project that if I really wanted to do Prince’s catalogue justice, I would need to incorporate more voices and perspectives than just my own. We all have our biases and blind spots, and as a Prince fan I am acutely aware that one person’s sentimental favorite can be another’s unlistenable mess (and vice versa). That’s why I asked my friends Harold and KaNisa, both of whose encyclopaedic knowledge of Prince’s career dwarfs my own, to join me. I think you’ll find that our tastes and opinions both intersect and diverge in a lot of interesting ways, which allowed us–and hopefully, will allow you–to take a different perspective on some of these songs and the context in which they were created.

I hope you enjoy this new approach to an album that remains underappreciated in Prince’s catalogue. If you do, I hope you’ll subscribe to the podcast on your streaming app of choice (iTunes, Stitcher, or Google Play), and if you’re so inclined, leave a review! No matter what, thanks for listening, and see you again soon.

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Controversy, 1981

Do Me, Baby

Around the same time that Prince was co-opting Flyte Tyme for his project with Morris Day, he was also falling out with another of his oldest comrades: the co-founder of Grand Central and his closest musical partner, André Cymone.

André’s and Prince’s musical fates had been linked since the moment they first locked eyes in the Bryant Junior High gymnasium. Both were budding multi-instrumentalists, the children of talented jazz musicians: André’s father, Fred Anderson, used to play bass with Prince’s father, John L. Nelson. Both, too, possessed a preternatural drive far beyond the norms of their age and circumstance. “There was a sixth sense between the two of us,” Cymone told Billboard in 2016. “It’s something that doesn’t happen, I don’t think, very often where you find two people come together who are really passionate about what they do at a time when they’re both growing and learning” (Cymone 2016).

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Prince, 1979

Still Waiting

In late 1979, an interview with Prince appeared in the African American teen magazine Right On! The interviewer, Cynthia Horner, was one of the up-and-coming artist’s earliest champions in the media, yet even she was not spared the usual quirks of his interactions with the press; to her growing exasperation, Prince spent most of the article deflecting her questions with flirtatious evasions. But then, just as Horner seemed about to give up and asked him the hoariest teen-mag question in the book–does he have a girlfriend?–Prince gave a response that feels disarmingly real: “I had one but she left me. I wrote some songs about it on the album.” At her expression of disbelief–“Do you know how many young ladies would love to fill her shoes?”–he replied,  “That’s why she left me” (Horner 1979).

It’s perhaps a tribute to Prince’s growing facility as a pop songwriter that I never suspected the songs of love and heartbreak on his second album were inspired by real women; they feel much too universal in their vagueness, like the dozens of songs for imaginary girls by Lennon and McCartney. Yet, Prince suggested to Horner–and the various biographies agree–that several of his songs from around this period were inspired by his early girlfriend, Kim Upsher. Upsher, you might recall, was probably Prince’s first “serious” relationship; when he moved into his house on France Avenue, she was the one who helped decorate and made it feel like a home, rather than a glorified studio space. Due to the deliberate fudging of Prince’s age around this time, she’s often assumed to have been his high-school sweetheart; biographers Alex Hahn and Laura Tiebert, however, have clarified that they didn’t begin dating until around the time he signed to Warner Bros.–though he did apparently nurse an intense crush for her in high school, while she was seeing his close friend Paul Mitchell (Hahn 2017).

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Prince, 1979

Why You Wanna Treat Me So Bad?

Like its predecessor, Prince’s second album was recorded almost entirely solo, with the singer, songwriter, and multi-instrumentalist serving as his own producer. Also like the first album, though, the liner note credit “Produced, Arranged, Composed and Performed by Prince” was a slight exaggeration. Just as he had on the For You sessions, Prince’s bassist and longtime musical partner André Cymone accompanied him to California–along with his second most veteran bandmate, drummer Bobby Z. And while their full contributions to the album are unclear–they’re listed in the liner notes as “Heaven-sent Helpers,” whatever that means–it does seem that André played a significant role in shaping one song in particular: the second track–and, in early 1980, second single–“Why You Wanna Treat Me So Bad?

Years later, after André had left the band and revealed his contributions to this and other Prince songs, his old friend did give him some credit–albeit with his usual mix of deflection and pique. “He sang a small harmony part that you really couldn’t hear,” Prince told Rolling Stone’s Neal Karlen, but a “typo” kept him from receiving any credit. “I tried to explain that to him, but when you’re on the way up, there’s no explaining too much of anything. People will think what they want to” (Karlen 1985). Charles Smith, Prince’s and André’s former Grand Central bandmate, offered an alternative explanation: “Prince started shaping the second album when he moved to the house on France Avenue,” he told Per Nilsen. “I watched Prince and André do the work for the album, ‘Bambi,’ ‘Still Waiting,’ and all that stuff. André came up with the end of ‘Why You Wanna Treat Me So Bad?’ and a lot of the bass lines were André’s” (Nilsen 1999 54-55).