Categories
Dirty Mind, 1980

Do It All Night

As we’ve noted before, when Prince began recording in the spring of 1980, he had no specific project in mind. “The previous albums were done in California, where they have better studios,” he told Andy Schwartz of New York Rocker. “I’d never wanted to do an album in Minneapolis” (Schwartz 1981). But after less than a month of work, he’d decided that his new “demos” were good enough to release as his next proper album. “I was so adamant about it, once I got to the label, that there was no way they could even say ‘we won’t put this out,’” he told the Los Angeles Herald Examiner. “I believed in it too much by that time” (Wilen 1981).

Prince’s resolute belief in the album that would become Dirty Mind played like a repeat of the bold position he took during the making of For You. But without an Owen Husney in his corner, this time even his management needed to be convinced. Prince brought his home recordings to Los Angeles to play for Cavallo, Ruffalo, and Fargnoli. As he recalled to Schwartz, “They said, ‘The sound of it is fine. The songs we ain’t so sure about. We can’t get this on the radio. It’s not like your last album at all.’ And I’m going, ‘But it’s like me. More so than the last album, much more so than the first one’” (Schwartz 1981). The managers “thought that I’d gone off the deep end and had lost my mind,” Prince told Chris Salewicz of New Musical ExpressIt was only after some “long talks” with the artist that they finally relented (Salewicz 1981)–with the caveat that he have the tapes remixed at a professional studio.

Categories
Ephemera, 1977-1978

We Can Work It Out

In the three-sided bidding war that ignited over Prince in Los Angeles, Warner Bros. held the edge. As noted last time, Prince’s manager Owen Husney had a prior association with Russ Thyret, at that time the label’s Vice President and Director of Promotion. Husney told biographer Dave Hill that he considered Thyret “a friend and a man of heart” (Hill 41). “While everybody was wining, dining, giving us lunches, and promising us homes in Beverly Hills, Russ was the man who took us back to his house, sat on the floor, and talked music with us,” he later elaborated to Per Nilsen’s Uptown fanzine. “And in the back of my mind I was always going toward Warner Bros., because of Russ” (Nilsen 1999 33).

Sure enough, it was with Russ, and Warner, that Prince ultimately signed on June 25, 1977. Personal connections aside, the decision made sense. Warner had a reputation in the industry as an artist-friendly label: its chief executive, Mo Ostin, encouraged a culture of receptiveness to artists’ creative development that would have been appealing to Prince and his management, who insisted on not only a long-term deal, but also the ability for Prince to produce his own records. On the latter point, as we’ll discuss next week, Ostin would need a little convincing; but he was willing to invest a considerable amount of time and money in Prince, and that was most important. “Columbia would only give him a two-LP deal, so we decided that we would give him a three-LP deal because we believe[d] in him so strongly,” Ostin recalled to Billboard earlier this year (Aswad 2016).

The actual dollar amount of the contract Prince signed with W.B. has been disputed, and indeed exaggerated: in his interview with Hill, for example, Husney called it “a multi-million dollar deal,” with an initial sum “well into six figures” (Hill 41). The truth, as Nilsen reported it, was quite a bit more modest: an $80,000 advance, with an additional $225,000 if Prince delivered three albums within 27 months. There was also a second option for renewal, entitling the artist to a quarter million for another two albums, delivered within one year. The promised recording budget for the initial, two-year period was $180,000: $60,000 per album. It was, according to Warner Bros. representatives, the biggest recording contract to date for a solo artist–with the exception, randomly, of Texas blues guitarist Johnny Winter (Nilsen 2004 18).

Categories
For You, 1978

Just as Long as We’re Together

In early April, 1977, Owen Husney and Gary Levinson flew with Prince to Los Angeles, armed with their new press kits and a fully-formed persona for their artist. Most dramatically–and, for future biographers, confoundingly–the managers fudged the date of Prince’s birth, passing him off as a year younger than he really was. “I knew if he was worth so much at 18, he was worth that much more at 17,” Husney later explained to the Minneapolis Star Tribune. In all aspects of their presentation, Husney and Levinson took pains to set themselves apart from the competition: “L.A. at that time was jeans; open, untucked shirts, and cowboy boots,” Husney recalled. “We were all wearing three-piece suits; we had one made for Prince, too. And we sent the tape on a silver reel” (Star Tribune 2004).

Much as Chris Moon had done for Prince in New York, Husney also engaged in a little subterfuge to get their foot in the door. “I lied my way in everywhere,” he told biographer Per Nilsen. He started with Russ Thyret, Vice President and Director of Promotion at Warner Bros., with whom he’d had a previous business association: “I said to Russ, ‘Listen, CBS is flying us out for a presentation on this kid that can play all the instruments. He’s 17 years of age. Do you want to take a meeting with him?’ And he said, ‘Sure!’” Only then did he get an appointment with CBS–by informing them that he was being flown out by Warner. “And then I called A&M Records, ‘Listen, CBS and Warner Bros. are flying us out. Would you like to be part of this presentation?’ They were like, ‘Yeah, well, call us when you get here’” (Nilsen 1999 32).

In the end, Prince and American Artists met with five labels in L.A.: Warner, CBS, A&M, RSO (home of the Bee Gees), and ABC/Dunhill. Of those five, the first three put in serious bids–but all were taken aback, to varying degrees, by the extravagant terms proposed by this semi-professional Midwestern management team and their teenage client. As Husney put it to biographer Dave Hill, “We wanted three albums, because it was gonna take that long for him to develop. We wanted him to be his own producer, and to play all the instruments.” A&M, Hill wrote, “stalled on the three-album commitment” (Hill 41). For the others, Prince’s demand to produce his own work was the sticking point. “Not one of the labels wanted him to be his own producer,” Husney said to Nilsen. “They felt that he was just a young kid who had to learn. And I kept saying that I wanted him to be his own producer, and everybody said, ‘Gosh, you’re crazy’” (Nilsen 1999 32).