October 19, 2018 marks the 39th anniversary of Prince’s self-titled second album–not the most glamorous occasion, perhaps, but reason enough to reassemble the review panel from our For You podcast for a reappraisal. Once again, Zach is joined by Harold and KaNisa for a track-by-track discussion of this underappreciated album, its resonances throughout Prince’s career, and why it still matters.
If you want to keep in the loop for our forthcoming Dirty Mindpodcast, you can subscribe to dance / music / sex / romance on your aggregator of choice (iTunes, Stitcher, or Google Play); and if you like what we’re doing and want to spread the word, please leave us a review! In the meantime, the d / m / s / r blog will return next week with one last track from 1981.
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.
Note: Following last month’s post on “Do Me, Baby,” I knew I wanted to give André Cymone another, proper sendoff before he disappears from our pages until 1984. So, here’s the latest in my series of thought experiments, imagining an alternate reality in which André, not Prince, was the Grand Central member who went on to greater solo success. For anyone just dropping in, the idea here is to bring attention to the web of contingencies that shaped Prince’s career; to shake up our sense of inevitability and offer a glimpse at one of the many possible alternatives had things gone even slightly differently. It’s also, in this case, an opportunity to reevaluate Cymone’s legacy beyond his friend’s deceptively long shadow. As always, have fun and don’t take this too seriously. We’ll be back to our regularly scheduled programming next week!
For a brief but significant period in the 1980s, the cutting edge of R&B and pop could be found in the unlikely locale of Minneapolis, Minnesota. Known as the “Minneapolis Sound,” this unique hybrid of funk, rock, and nascent electronic and New Wave styles emerged almost organically from the Twin Cities’ small but vibrant Black communities in the late 1970s. It thus wouldn’t be fair to give a single artist credit for “inventing” the genre; but the fact remains that when most music fans think of Minneapolis, one man in particular comes to mind. I’m talking, of course, about André Cymone.
“I can’t believe people are gullible enough to buy Prince’s jive records,” Rick James griped to Britain’s Blues and Soul magazinein 1983. “He’s out to lunch. You can’t take his music seriously. He sings songs about oral sex and incest” (Matos 2015). It was the first public shot across the bow in a years-long, mostly one-sided beef between the godfather of “punk-funk” and the young upstart who first rivaled, then surpassed him. But it was hardly the first time these titans had clashed: James’ comments were transparently rooted in tensions from three years earlier, when Prince was the opening act for his early 1980 Fire It Up tour. And it was just before his tour with James when the “mentally disturbed young man” debuted his most notorious song about oral sex, “Head.”