Categories
Ephemera, 1983

Vibrator

After returning to Minnesota from Los Angeles at the end of April 1983, Prince continued work on a prospective second album for Vanity 6. On Saturday, April 30, he cut the initial basic tracks for “Sex Shooter” and “Promise to be True,” both of which would be reworked extensively before eventually seeing release (or, in the later case, not seeing it). The following day, he revisited “No Call U”–a holdover from the 1999 sessions of the previous year–and recorded a new song called “Moral Majority.”

The latter, named after the notorious Christian Right movement led by televangelist Jerry Falwell, is described by sessionographer Duane Tudahl as “a synth-based track about nonconformity with lines like[,] ‘don’t want to be like anyone, I want them all to stare.’” While not in circulation, it reportedly features a gang vocal recorded by Vanity, Brenda Bennett, Susan Moonsie, manager Jamie Shoop, and Brenda’s husband Roy, while crammed into the bathroom of Prince’s Chanhassen home. “I remember… sitting on the handle of the toilet, right in the middle of the session,” Roy recalled to Tudahl. “It gave away where we were” (Tudahl 2018 81).

Later that month, Prince would record two other potential Vanity 6 tracks containing a similar cocktail of topical vulgarity. “G-Spot,” later recorded by backing singer Jill Jones for her 1987 solo album, was inspired by the so-called “Gräfenberg spot”: a (likely apocryphal) erogenous zone of the vagina that had captured the popular imagination through the 1982 bestseller The G Spot and Other Recent Discoveries About Human Sexuality. Meanwhile, “Vibrator” commemorated a popular sex toy during a watershed year in its own journey to the American mainstream.

Categories
Alternate Timelines

The Dawn: How Prince’s Troubled Followup to 1999 Almost Became His Feature Film Debut

Note: I confess that this piece, a Patreon commission from Darling Nisi, has been a long time coming–so long, in fact, that I’m pretty sure I already owe her a second commission now. Part of the reason why I took so long are the same, much-discussed reasons why I took so long for everything over the past eight months or so; but part of the reason is because her request to imagine a circa-1984 Prince without Purple Rain required a lot of thought. No Purple Rain–which I took to mean the movie as well as the album–means no “When Doves Cry,” “The Beautiful Ones,” or pivot to Top 40 success; it also means no Paisley Park (the recording complex or the vanity record label), no massive renogotiated contract (and thus no “Slave”-era faceoff) with Warner Bros., and no comeback album and greatest-hits tour conveniently timed to the 20th anniversary. So large does Prince’s first film and sixth album loom over the rest of his career, in fact, that I didn’t even try to do justice to every change its absence would have wrought; this may be the first alternate timeline I will have to revisit in the future, just so I can fully think through what the ’90s or 2000s would have looked like to a Prince detached from both the expectations and the opportunities afforded him by Purple Rain.

In inventing an alternative followup to 1999, I ended up setting a few rules for myself: First, I limited myself to the existing timeline of songs recorded between January 1983 and March 1984, so the imaginary album could feasibly share a release date with the real one. Second, I wouldn’t use any track known to have been composed specifically for the movie–so, again, no “When Doves Cry” or “The Beautiful Ones”; I technically could have used “Purple Rain,” but that seemed to go against the spirit of the exercise, so I didn’t. Third, and finally, I tried to make my fake album as distinct from the real one as possible: if what set Purple Rain apart from 1999 was its concision and pop-friendliness, then my alternate-universe version would be more even more sprawling and idiosyncratic than its predecessor. Obviously, the album I reverse-engineered from existing recordings is no replacement for an actual, cohesive project produced, arranged, composed, and performed by Prince; but I do think it’s a fun listen (and yes, I did make a version I could actually listen to).

As always, I will end with the disclaimer that everything after this introduction is completely made up and just for fun, all Photoshops are crudely and hastily done, and all resemblances to actual persons living or dead are, if not coincidental, certainly not to be taken seriously.

Categories
Patreon Exclusives Reviews

Post-Vacation Update: Patreon-Exclusive Originals Review, plus “Sister” on Press Rewind

It’s a well-known fact that when Prince gave songs to other artists, he would cut his own recordings with guide vocals–not “demos” in the traditional sense so much as complete alternate takes, with production values in many cases equal to the versions that saw release. Almost as well-known, at least among bootleg enthusiasts, is the fact that Prince’s versions of these songs tended to be better than the “covers.” That makes the latest posthumous release by Warner Bros. Records and the Prince Estate, Originals, something of a no-brainer: here are 15 songs we already know and (mostly) love, preserved as they might have been had Prince decided to keep them for himself.

Categories
Uncategorized

Vinyl Me, Please: The 10 Best Prince Protégé Albums to Own on Vinyl

Hi everyone! While I drag my feet on actually updating this goddamn blog, here’s some Prince-related writing of mine from elsewhere on the Internet: a piece I wrote for the online magazine published by record-of-the-month club Vinyl Me, Please. Thanks very much to VMP for making this happen!

Vinyl Me, Please: The 10 Best Prince Protégé Albums to Own on Vinyl

This week we’ll have at least a new podcast for your listening pleasure–maybe more. Stay tuned! (And, if you’re interested in joining Vinyl Me, Please, use this link so I can get $10.)

Categories
Uncategorized

More Guest Posts on Andresmusictalk

Well, folks, it’s Saturday afternoon, and that means another guest post about Prince protégés on Andresmusictalk. This week, I’m digging in to the short, widely-misunderstood discography of Vanity and Apollonia 6. As with last Saturday’s post on the Time, there’s a lot left to say, but just consider it a preview for a more extended discussion on this blog:

Prince (Protégé) Summer: Vanity/Apollonia 6

You can also check out the bonus guest post from yesterday, in which Andre and I discuss our favorite 12″ Prince singles. I think my favorite might be “Mountains”; what’s yours?

Grooves on Wax, Prince Summer Edition

On Tuesday, I’ll be back with our first piece of ephemera from the For You era. Have a great weekend!