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Controversy, 1981 Podcast

Podcast: 41 Years of Controversy – A Conversation with Harold Pride and De Angela Duff

Here we are again, my first podcast in more than a year, and I couldn’t have asked for better guests than Harold Pride and De Angela Duff to discuss Prince’s fourth and quite possibly most underrated album, 1981’s Controversy. If you’ve been listening to these deep-dive album retrospectives, Harold needs no introduction; and, since the Prince scholarly community is a pretty small one, De Angela may not need one either. Suffice to say that she’s the biggest advocate of Controversy I know, and she makes a convincing case that it’s not only a great album in its own right, but also the linchpin of Prince’s entire career.

One quick note: you will likely notice that there was a significant drop in audio quality this episode; this was due to a perfect storm of technical issues that, unfortunately, left the low-quality Skype call recording as the only usable audio source from our conversation. I think you’ll get used to it, but I will assure you anyway that I’m taking steps to make sure we sound better next time. And yes, speaking of “next time,” I do have plans for more episodes in the coming months–probably not in October, but maybe one more before the end of the year, and then more to come in early 2023. If you want to hear the episodes as soon as they drop, remember to subscribe on your podcast service of choice using the links above!

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Ephemera, 1984

Manic Monday

Sometimes, the uncanny ease of Prince’s creative process can make it tempting to presume that his songs simply sprang forth from him, like Athena from the forehead of Zeus. This is doubly true when one considers that, in at least a few cases, that’s pretty much exactly what happened. Engineer Peggy McCreary likes to tell the story of when Prince called her back into Sunset Sound on the morning of February 4, 1984, after a typical marathon session the previous night: “I remember going to bed at six in the morning and he called and said, ‘Can you be at the studio at noon?’ because he had dreamed a song,” she told sessionographer Duane Tudahl. “He said if he dreamed a chorus he’d call me, and he did, and it was ‘Manic Monday’” (Tudahl 2018 253).

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Patreon Exclusives

Patreon Exclusive Video: July 2022 Patreon Update

Believe it or not, it’s already time for a July Patreon update! This was a pretty good month for me, writing-wise, so I spent some time reflecting on that, as well as my ongoing Apolloniassance, a preview of my plans for the podcast, and some questions from longtime patron/podcast guest/friend of the blog Snax! On that note: In an effort to make talking to a camera for an hour once a month feel slightly less weird, I would love for more topic suggestions/questions/whatever from patrons. Please leave ’em in the comments (here or on Patreon), send ’em to me via Patreon DM, or hell, even email me at dmsr@dystopiandanceparty.com. Thanks for your support, and I’ll see you in August!

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Apollonia 6, 1984

In a Spanish Villa

Prince’s Sunset Sound session on February 3, 1984 was highly productive, even by his lofty standards: After taking “A Million Miles (I Love You)” from jam session to finished track, he still had time to complete a second number for Apollonia 6. To date, his efforts to write for the group’s namesake had been dogged by her limited range as a singer. “In a Spanish Villa” was his most ingenious solution to the problem yet: Rather than spending another long night building Apollonia’s confidence in the vocal booth, he’d craft a song around one of the bilingual actress’ existing strengths–sounding sexy in Spanish.

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Apollonia 6, 1984

A Million Miles (I Love You)

Like its predecessor Vanity 6, the Apollonia 6 album was something of a community effort, with contributions from Prince’s touring bandmates and others from his circle. One of the most notable new additions to that circle was percussionist Sheila Escovedo, better known as “Sheila E.”

Sheila had actually been on Prince’s radar–and he on hers–for years before they ever set foot in the studio together. Her father, Mexican American percussionist Pete Escovedo, first told her about the “young kid… playing all the instruments and producing and writing by himself” in 1977, while he was recording with Santana and Prince was working on his debut album at the Record Plant in Sausalito. The following year, she told Billboard’s Jem Aswad. “I walked into a record store and saw a poster of him and was like, ‘Oh my God, he’s beautiful’” (Aswad “Sheila” 2016).