Wet Dream (Wet Dream Cousin)

Wet Dream (Wet Dream Cousin)

(Featured Image: “The Dream of the Fisherman’s Wife” (“蛸と海女”), Hokusai, 1814.)

Of the three Vanity 6 songs originally recorded for the Hookers project in mid-1981, “Wet Dream” sets itself apart in a few key ways. First, unlike “Make-Up” and “Drive Me Wild,” it isn’t a hard proto-techno dance track, but a glistening synthpop confection in the “Private Joy” vein. And second, rather than Susan Moonsie, it features vocals by Denise Matthews–better known as the woman who put the “Vanity” in Vanity 6.

The singer on the original Hookers version of “Wet Dream” isn’t documented. Prince Vault assumes Jamie Shoop, which is as good a guess as any; it’s also possible that Prince simply laid down his own guide vocals, or cut the basic track as an instrumental. But whatever the specifics, he returned to the song in the spring of 1982 to add vocal overdubs by Vanity and Brenda Bennett. The results, like most Vanity vocal tracks, were mixed.

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Drive Me Wild

Drive Me Wild

(Featured Image: Susan and friend in the music video for “Drive Me Wild,” 1983; © Warner Bros.)

Much as he had with his first backing group, Prince wanted each member of Vanity 6 to have a well-defined persona; but where the band dynamic held at least a veneer of egalitarianism, his vision for the girl group was unfettered by matters of subjectivity or nuance. He thus drew their characters straight out of porno archetypes: Vanity, the sensitive harlot whose tough exterior masks a heart of gold; Brenda, the chain-smoking, no-nonsense madam figure; and Susan, the jailbait. Only 18 at the time of their debut, the group’s youngest member shaved off two more years in early interviews–another trick borrowed from Prince’s early career–while projecting an aura of fetishized, all-too-corruptible innocence.

At the core of this dirty-schoolgirl persona was “Drive Me Wild,” another of the handful of songs originally recorded for the proto-Vanity 6 Hookers project in 1981. The story goes that Susan had written the song herself, and recited the lyrics to Prince in a chance meeting at a Minneapolis nightclub (one, apparently, that served teenagers). “He was just standing there drinking orange juice and we started talking,” she told Jet magazine. “I told him that I wrote songs, then gave him a sample of my lyrics: ‘Ooh, look at me. I’m a Cadillac. I’m a brand new convertible child, I’ve never been driven. You’re the first. Come on baby; drive me wild’” (Jet 1983 60).

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Prince Track by Track: “BOYTROUBLE”

Prince Track by Track: “BOYTROUBLE”

(Featured Image: Lizzo pays tribute to Prince in the music video for “Boys,” 2018; © Atlantic Records.)

It’s crazy to think about, but I’m nearing the end of my guest appearances on Darren Husted’s Prince: Track by Track podcast: just three more to go, one track each from ART OFFICIAL AGE and HITnRUN Phases One and Two. In the meantime, though, the topic is “BOYTROUBLE” from 2014’s PLECTRUMELECTRUM:

Prince Track by Track: “BOYTROUBLE”

This episode is serendipitously well-timed, since Lizzo–one of the featured artists on the track, who has really blown up in the last few years–is releasing her highly-anticipated third studio album Cuz I Love You next week. If all goes according to plan, I’ll be sharing a review of that album soon. And if all goes even more according to plan, I’ll have another track from Vanity 6 posted before then. Stay tuned!

Nasty Girl

Nasty Girl

(Featured Image: “D.D. Winters,” a.k.a. Denise Matthews, a.k.a. Vanity, in Tanya’s Island, Alfred Sole, 1980; © Jef Films International.)

While Prince wasn’t nominated for any American Music Awards in 1982, the night of the ceremony would turn out to be fortuitous for another reason. It was at an AMAs after-party on January 25 when he first met Denise Matthews: a 23-year-old model who, under another name, would soon become the most infamous of his 1980s paramours.

Born in Niagara Falls, Ontario to a German Jewish mother and an African American father, Matthews shared with Prince a tumultuous childhood: her parents divorced when she was young, and she and her six siblings grew up without their mother in their lives. In Matthews’ case, however, the trauma also extended to sustained physical and, it’s been alleged, sexual abuse at the hands of her father, who died when she was only 15. “For 15 years, he beat me badly,” she later told Aldore Collier of Jet magazine (Collier 1993 58). “I wish I could see my father in heaven, but I won’t. He’s in Hell” (59).

Despite–or perhaps because of–the low self-esteem she suffered as a result of this troubled upbringing, the stunningly beautiful Matthews went on to pursue a career in modeling: winning the Miss Niagara Hospitality pageant in 1977, and competing for the Miss Canada title the following year. She signed with New York’s Zoli Agency and appeared in a few ad campaigns in the U.S. and Japan. Under the pseudonym “D.D. Winters,” she acted in the 1980 Canadian slasher film Terror Train, starring Jamie Lee Curtis, and had the dubious honor of playing the title role in Tanya’s Island: a truly bizarre erotic fantasy about a model embroiled in a violent love triangle with her painter boyfriend and a bestial, apelike creature (no, seriously, see photo above).

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Prince Track by Track: “Sticky Like Glue”

Prince Track by Track: “Sticky Like Glue”

(Featured Image: “She’s got him now, boys!” 19th century “trade card” for Le Page’s glue; photo stolen from the Boston Public Library’s Flickr.)

Yes, I know, three Prince: Track by Track posts in a row isn’t exactly a testament to my productivity, but I’m still aiming to get “Nasty Girl” out by the end of the week. Meanwhile, here’s me and Track by Track host Darren Husted on a nice little tune from Prince’s underrated 20Ten album:

Prince Track by Track: “Sticky Like Glue”

Thanks for your patience as I continue to work on the next proper chapter!