Roundup: Ephemera, 1979-1981

Roundup: Ephemera, 1979-1981

(Featured Image: How have I not used this one already?! 1979 publicity photo; © Warner Bros., stolen from Lansure’s Music Paraphernalia.)

I know I always begin these roundup posts with a reference to the obscene length of time since the last one, but this time I’m drawing attention to chronology for an entirely different reason. I wrote the first post in this roundup in April of 2017; the last one went up a week ago today. That year-and-a-half-long gap speaks to my abysmal writing pace, sure–but it also speaks to the sheer scope of non-album music Prince produced between 1979 and 1981.

When I originally decided to lump together these three years, I was concerned that I was casting too wide a net; but I think the posts collected here ended up telling an interesting story. From the recording of Prince in spring ’79 to the release of Controversy in fall ’81, Prince underwent a transformation–one that can’t entirely be explained by the album, Dirty Mind, that falls in-between. These posts trace the steps of that transformation: from reluctant R&B heartthrob to full-blown Black New Waver. It’s a fascinating journey to say the least. So, with no further ado, here’s how I rank the steps along the way:

13. “Everybody Dance” No surprise here: I said in my original post that “Everybody Dance” is barely a song. But it was a great excuse to write about his legendary debut performance at Sam’s (a.k.a. First Avenue), so I can’t begrudge it too much.

12. “The Loser” The dirty secret about the Rebels “album” is that, for all its importance to Prince’s artistic development, it really isn’t very good. The Gayle Chapman-sung “The Loser” isn’t even my least favorite track; that dubious honor goes to the instrumentals, or if those don’t count, the original version of “If I Love U 2 Nite” (sorry, Gayle, not your fault). But it is my least favorite of the tracks I’ve written about: by no means terrible, but thoroughly unremarkable, except perhaps as an early example of Prince flexing his songwriting muscles by experimenting in unexpected genres.

11. “Kiss Me Quick” This one, which I actually hadn’t heard until soon before I wrote about it, is also a mostly unremarkable genre exercise; but I give it the nod over “The Loser” because the specific genre (disco) happens to be one I think Prince was extremely good at. I can see why this was never properly released, but I also could have seen it ending up as an album track on Prince and being more than passable.

10. “Hard to Get” Another frankly mediocre Rebels track, but one I prefer to “The Loser” if only because my own personal biases lean more toward Stones-esque cock-rock than mild Bonnie Raitt pastiche. If there was a complete recording circulating of the ice-cold 1981 New Wave version, it would have been ranked higher… so, uh, what’s the hold-up, Sony and/or bootleggers?

9. “Broken” A very fun song in Prince’s subcanon of rockabilly/early R&B pastiches, but one that was easily replaced by “Jack U Off,” which was easily replaced by “Delirious,” etc. It isn’t necessarily a song that I reach for, but it’s a nice little bit of ephemera from the Dirty Mind tour.

8. “I Don’t Wanna Stop” This one is ranked as high as it is strictly because of potential: I like the version by Ren Woods enough to know that Prince’s version would surely be better. Maybe someday we’ll finally be able to hear it (ahem, Sony).

7. “Strange Way of Saying I Love You” Is this one too low? Yeah, maybe; it is kind of an earworm, especially now that the version in circulation doesn’t sound like it was recorded from a boom box outside a gymnasium where the song was being played. But I think we’ve officially reached the point in the list where my ranking is more arbitrary than usual.

6. “Rough” Is this one too high? Yeah, maybe; but I’m a sucker for the kinds of songs Prince wrote for the Time, as well as any moment when his Cars influence starts to peek through (listen to the synth bass on “Good Times Roll” at 1:05 and just try to tell me it doesn’t sound like “Rough”). That, and this post about Alexander O’Neal’s brief stint as a Prince protégé was just hella fun to write.

5. “She’s Just a Baby” One of Prince’s more conventional R&B ballads from this era, I’m even more fond of it now that I’ve formulated my theory that it was originally penned for the Time (but if that’s the case, why, oh why did he decide to use fucking “Girl”?!). Besides, whose heart doesn’t skip a beat or two thinking about a young (but not too young!) Susan Moonsie?

4. “The Second Coming” Yes, it’s only about a minute’s worth of multi-tracked a cappella Prince harmonies. But, counterpoint: it’s a whole minute’s worth of multi-tracked a cappella Prince harmonies. I’ve written before about the rapturous qualities of Prince’s falsetto; if that’s your type of thing, then “The Second Coming” might just be your own personal Rapture.

3. “You” Probably the one Rebels song that actually lives up to the hype, and definitely the only one ever covered by Paula Abdul. Coincidence? Probably.

2. “Lisa” An early glimpse of Prince’s synthpop phase dating from mid-1980, it wouldn’t have fit on the guitar-centric Dirty Mind, but boy is it a slapper. Bonus: if you can, try and track down the 1982 rehearsal version that recently entered circulation, with Prince vamping over clavinet-style synthesizer and his Linn LM-1 for damn near 45 minutes. It’s excessive, sure, but it just shows how hypnotic and tensile a groove this is.

1. “Gotta Stop (Messin’ About)” I am an outspoken stan of New Wave Prince, so it should be no surprise that I highly rate this NWP gem from 1980. Imagine if Devo were sexual beings, or if the Knack weren’t total sleazeballs; then imagine either one of them with about 9,000% more soul. One of Prince’s underrated talents in the early ’80s was his ability to highlight the sexual tension in New Wave’s stiff, nervous grooves; this, one of my favorite B-sides/non-LP singles in his discography, is a shining example of that talent.

Since it’s only been a couple of weeks since my Controversy roundup, I don’t see much point in updating the tag clouds; there’s also nothing new to add to the Spotify playlist, since all but one of these tracks is not currently available for (legal) streaming. So I’ll just say that, while this week was largely occupied with what I hope to be an exciting upcoming project, I’ll be back next week to kick off 1982. See you then!

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The Second Coming

The Second Coming

(Featured Image: Prince and friends, played by Susan Moonsie and Kim Upsher, emerge from the mist in Chuck Statler’s unfinished The Second Coming film, 1982.)

Controversy was released on October 14, 1981, days after Prince’s disastrous experience opening for the Rolling Stones in Los Angeles. The album outperformed both the previous year’s Dirty Mind and (narrowly) 1979’s Prince, reaching Number 21 on the Billboard 200 and Number 3 on the Top R&B Albums chart. A little over a month later, on November 20, the Controversy tour launched at Pittsburgh’s Stanley Theatre with opening act the Time.

After this time spent licking his wounds (and, more importantly, rehearsing), Prince returned with his most grandiose show to date. The tour-opener in Pittsburgh kicked off with the brazen call to arms “Sexuality”–complete with a full recital of the “tourists” speech–before hitting the audience with a turbo-charged version of “Why You Wanna Treat Me So Bad?” “Jack U Off” flourished in front of the sympathetic, largely female crowd, earning squeals rather than jeers; it was followed by the similarly crowd-pleasing “When You Were Mine” and “I Wanna Be Your Lover,” both with glistening new synthpop arrangements. From there the band launched directly into a surgical rendition of “Head”–by then such a live staple that the audience got to take a solo on the chorus. Shifting gears from that song’s masturbatory climax, a punkish “Annie Christian” followed, enlivened by Dez Dickerson’s guitar solos; then it was back to the crowd-pleasers with “Dirty Mind.” Despite being only five weeks old, “Do Me, Baby” had already earned its place as a concert setpiece–a designation helped, no doubt, by Prince’s onstage striptease. Closing out the setlist proper was a rousing rendition of “Let’s Work,” followed by a hat-trick of encores in “Controversy,” “Uptown,” and “Partyup.”

Continue reading “The Second Coming”

Roundup: Controversy, 1981

Roundup: Controversy, 1981

(Featured Image: 1981 promotional poster for Controversy; © Warner Bros.)

It’s a little hard to believe that I posted my Dirty Mind roundup almost exactly one year ago today. The ensuing year has been hectic for mostly day-job-related reasons, but I feel like I’ve finally hit my stride again. As always, thanks for coming along with me on this journey.

I have a weird relationship with the Controversy album; catch me at a moment when I’m wearing my critic hat and I’ll probably tell you it’s Prince’s second-weakest record of the ’80s (sorry, Batman). But it’s also an essential stepping-stone to his more anointed classics of that decade: it’s hard to imagine 1999 or even Purple Rain without Controversy there to lay the groundwork. And while it clearly has lower lows than its more-loved predecessor, it also has higher highs: no single song on Dirty Mind was as epochal as Controversy’s title track.

Anyway, here’s how I rank the Controversy tracks (at least for today):

8. “Ronnie, Talk to Russia” As recently as a couple of months ago, I would have put “Annie Christian” in the bottom spot. But over the summer while listening to Controversy on vinyl, I had an epiphany: “Annie Christian” actually kinda slaps. So I guess that makes “Ronnie, Talk to Russia” the album’s low point by default, and the shoe frankly fits: it’s short, silly, and pretty right-wing to boot. I kinda like the demented pace and delivery, though.

7. “Annie Christian” Look, I only said it “kinda” slaps. Still feels like a rough draft for better songs–namely “Something in the Water” from 1999, as frequent commenter Arno sagely pointed out–but it’s peak New Wave Prince, which means I’ll always have a soft spot for it.

6. “Jack U OffLet me be clear that I have affection for this song because: a) I love all of Prince’s rockabilly moments, and b) it is so goddamn stupid. But as much as I don’t condone throwing garbage at performers, I can kind of understand why the crowd at the Rolling Stones shows reacted the way they did. On the other hand, I can totally imagine Mick Jagger singing this song and killing it. Can Mick Jagger please sing this song?

5. “Sexuality” I suspect this may be my most surprising placement on this list, as I know it’s well-loved; I love it too, for its futuristic synthpop pulse and its introduction of the signature “Prince scream” (“IOWA,” as he memorably spelled it on Twitter). I guess I just feel like the “tourists” sermon, delightfully weird as it is, takes a little bit of the wind out of its sails. Anyway, anything in the top five is splitting hairs–it’s a great track.

4. “Let’s WorkBased on the album version alone, this probably would swap places with “Sexuality”; I’m giving it the nod for the 1982 12″ mix, which is 110% My Shit. “Hard dick and bubblegum is all you get!”

3. “Private Joy” Okay, maybe this one is my most surprising placement, and I can’t promise that it isn’t partly reactionary; it’s just that I so often see this song being dismissed as candyfloss filler, and it’s so much more than that. Not only the introduction of Sunset Sound and the Linn LM-1, two cornerstones of Prince’s mid-’80s peak, but also just a weird, densely-arranged pop concoction that only Prince could have made. Listen to all of the voices he uses in the mix! A low-key art-pop masterpiece and a preview of even better, weirder things to come.

2. “Do Me, Baby” The opposite of “Let’s Work,” this one would probably be lower if it weren’t for the completely bonkers denouement of the album version, in which Prince self-pleasures and self-soothes alone in the studio at Sunset Sound. This is a song that really separates the men from the boys, as it were: if you can’t hang with Prince after hearing him whimper, “I’m so cold… hold me,” then you probably can’t hang with Prince. Keep in mind, this is only track three of the album… he’s already come (at least) once, and there’s still a whole vinyl side to go!

1. “Controversy” (Parts 1, 2, & 3I guess I kinda showed my hand by citing it at the beginning of the post, but then, I’m sure the fact that I wrote a combined total of over 6,500 words on “Controversy” was a clue to my affection. If you want to know who Prince was–at least in the first half of the ’80s–just listen to this song. Preferably loud.

As always, I’ve captured the tag cloud for posterity:

timeroundupcontroversy-cloud

Not much change from The Time roundup back in May, though I did notice that Gayle Chapman snuck back in! Meanwhile Owen Husney (whose book I still need to read) and Pepé Willie (who should probably write a book) are still hanging on for dear life. We haven’t heard the last of either of them, incidentally. Also, to no one’s surprise,  Controversy was my most loquacious series of posts yet: approximately 1,758 words per song (counting “Controversy” as three) vs. 1,653 for Dirty Mind, 1,383 for Prince, 1,379 for For You, and a mere 833 for The Time.

Next week, I’ll be jumping back into Controversy-era ephemera with a quick post on a widely-bootlegged cut from 1981. Also, another review podcast with Harold and KaNisa! See you then.

Also, whoops, almost forgot the Spotify playlist!

Jack U Off

Jack U Off

(Featured Image: Prince and Dez Dickerson face an unruly crowd opening for the Rolling Stones, October 1981; photo by Allen Beaulieu, from his forthcoming book Prince: Before the Rain.)

In January 1981, after the first leg of the Dirty Mind tour, Prince’s publicist Howard Bloom sent an exuberant memo to his manager, Steve Fargnoli: “The verdict from the press is clear,” Bloom wrote. “Prince is a rock and roll artist! In fact, the press is saying clearly that Prince is the first black artist with the potential to become a major white audience superstar since Jimi Hendrix” (Hill 82). Nine months later, with his fourth album, Controversy, days away from release, Prince faced the biggest test of his crossover potential to date: two shows opening for the Rolling Stones at the massive, 94,000-capacity Los Angeles Memorial Coliseum.

The booking was a major coup for Prince, who had made it his mission to break rock music’s de facto color line and even, according to guitarist Dez Dickerson, described his early vision for his band as a kind of “multiracial Rolling Stones” (Dickerson 95). “The one thing he talked to me about a number of times in the early going was he wanted he and I to be the Black version of the Glimmer Twins,” Dez elaborated to cultural critic Touré. “To have that Keith and Mick thing and have a rock ‘n’ roll vibe fronting this new kind of band. That’s what he wanted” (Touré 15). As keyboardist Lisa Coleman recalled to biographer Matt Thorne, “We were so excited, we’d rehearsed our little booties off, our funky black asses. This is it, we’re gonna make the big time” (Thorne 2016). But like so many of Prince’s earlier potential big breaks, things did not go according to plan.

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Prince Track by Track: “Dead on It”

Prince Track by Track: “Dead on It”

(Featured Image: “Master Rapper” Barney Rubble, an MC at least slightly wacker than Prince circa 1987; photo stolen from Overthinking It.)

I’ve been trying to squeeze in at least one guest spot on Darren Husted’s Prince: Track by Track podcast per album, and for The Black Album I couldn’t resist taking on what is arguably its goofiest track, “Dead on It.” Listen to Darren and I dissect Prince’s skills on the mic here:

Prince Track by Track: “Dead on It”

I’ll be posting another podcast–one of my own–by the end of the week, then it’s off to Minneapolis!