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Podcast

Podcast: All the Critics Love U – A Conversation with Jack Riedy, Author of Electric Word Life

As promised/threatened, we’re back to a monthly schedule on the D / M / S / R podcast! For this month’s episode, it was my pleasure to speak to music writer Jack Riedy (Pitchfork, GQ, VIBE) about his new book Electric Word Life: Writing on Prince 2016-2021. It was a really fun conversation, running through each of the pieces collected in his book and covering everything from Prince’s influence on Chicago house to the degree to which the Batman album goes (spoiler: it’s hard). Check it out, and if you’re so inclined, get yourself a copy of Jack’s book! It’s a great read and highly recommended.

By the way, I caught this too late to mention it “on air,” but thanks so much to cittalente for their review on Apple Podcasts! If you’re interested in reviewing D / M / S / R on your podcast service of choice, please do, and I will read it on the next episode–which, if all goes to plan, should be dropping next month.

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Uncategorized

Press Rewind: “Strange Relationship”

Last week, I made my long-awaited (by somebody, I’m assuming) return to Jason Breininger’s Press Rewind podcast to talk about one of my favorite songs, “Strange Relationship.” Turns out it was actually the 100th episode, so I’m honored to have been able to participate in this milestone. Check it out below–and, if you haven’t been keeping up with Jason’s podcast, check out the other episodes, too. Every Sign “O” the Times episode I’ve listened to so far has been great.

Press Rewind: “Strange Relationship”

Now, here’s the part where I give a general update of where I am with my own stuff. The next post, on “Computer Blue,” is still coming along, but probably won’t be ready this week. In the meantime, I just recorded a podcast with Jack Riedy, author of a really cool new collection of writing about Prince. That will be available (to patrons, anyway) by the end of the week. See you then!

Categories
Ephemera, 1983

Modernaire

The third annual Minnesota Music Awards were held on May 16, 1983, at the Carlton Celebrity Dinner Theater in Bloomington. Prince took home six awards himself–Musician of the Year, Band of the Year, Best Male Vocalist, Best Record Producer (for 1999), 45 or EP of the Year (for “Little Red Corvette”), and Album of the Year (for 1999)–plus, by proxy, Best “R&B, Soul, Ethnic” Band for the Time. According to Jon Bream of the Minneapolis Star and Tribune, he spent most of the evening backstage, watching the Motown 25 special on TV.

Finally, wrote Bream, “the local hero” made his grand entrance: “parad[ing] down the center aisle in a banana-colored satin suit” with bodyguard “Big Chick” Huntsberry in tow. He handed his awards to Chick, “thanked Minnesota for its support,” and brought out his band–along with Vanity 6 and the Time’s Morris Day and Jesse Johnson–for a 10-minute version of “D.M.S.R.” played “on borrowed equipment” (Bream 1984). Dez Dickerson, despite having put in his notice earlier that spring, was in his usual spot on lead guitar; it was the last time he and Prince would share a stage.

Categories
Reviews

Review: Ultimate Rave

Hi again! As promised, I’m back with my review of the new Ultimate Rave collection, which went up today on Spectrum Culture:

Review: Ultimate Rave

I wish I could say that the critics had been wrong all along and this is a buried, misunderstood gem, but quite frankly, it isn’t; even 20 years later, this is still one of (the Artist Formerly Known as) Prince’s most deeply mediocre records. But I find that the additional hindsight, as well as Sony Legacy’s excellent presentation, has made me a lot more affectionate than I may have been otherwise. I look forward to this deluxe treatment being given to more of the albums that deserve it!

In the meantime, if you’re interested in supporting this release but have found the price tag too steep, at time of posting it’s a little less than $16 on Amazon; that’s about $10 less than I paid for it, even lower compared to list price. And if you use my affiliate link, you can support me, too!

Okay, that’s enough shilling for one day. See you tomorrow!

Categories
Reviews

Review: Prince and the Purple Rain Era Studio Sessions – 1983 and 1984

It is no exaggeration to say that without Duane Tudahl, Prince fandom and Prince scholarship would both look very different. In the 1990s and early 2000s, Tudahl was one of the amateur historians behind Uptown, the venerated fanzine that remains the chief source of what we know about Prince’s work beyond the official studio recordings. If you have a dogeared copy of Per Nilsen’s Dance Music Sex Romance or Alex Hahn’s Possessed on your shelf; if you’ve ever consulted Prince Vault for information on a rare outtake; and yes, if you’re reading this very blog; Tudahl is among the people you have to thank.

But Uptown’s research, for all its significance, is getting a little long in the tooth. The magazine has been defunct for well over a decade, during which time new information on Prince’s recording sessions have continued to emerge unabated; so it was with great excitement that many of us learned Tudahl was preparing an update. Prince and the Purple Rain Era Studio Sessions: 1983 and 1984 is the first of, hopefully, many such updates–and I don’t think I need to tell this particular readership that it is absolutely essential.

As the title suggests, Tudahl takes a long view of the “Purple Rain era,” beginning in the middle of the 1999 tour in January 1983 and ending with the completion of Around the World in a Day in December 1984. Obviously, setting firm chronological boundaries on the work of an artist in perpetual motion will always be arbitrary; Tudahl, however, makes a good case for his selection. The 24 months he chose include Prince’s slow ascension to superstardom, and his first post-crossover left turn; the “official” formation of his most iconic band, the Revolution, and the beginning of their expansion with vital auxiliary musicians such as Eric Leeds; the club show that provided the nucleus for much of the Purple Rain film and album, and the stadium performances with which he promoted them. This is, in other words, an era that provides a fascinating microcosm for the various trends, tensions, and themes that would persist throughout Prince’s career.

1983 and 1984 are also where Prince recorded some of his most popular and accomplished music: not only Purple Rain and Around the World in a Day, but also the Time’s Ice Cream Castle, Sheila E’s The Glamorous Life, the eponymous albums by Apollonia 6 and the Family, and many of his most renowned B-sides: “Irresistible Bitch,” “Erotic City,” “She’s Always in My Hair.” Even the songs written for other artists in this period are household names: “Manic Monday,” “Nothing Compares 2 U,” “Sugar Walls” (well, maybe not “Sugar Walls”). Regardless of one’s personal feelings on the “Purple Rain era,” it’s undeniable that this was one of the artist’s richest and most prolific periods, making it the perfect place to start with what could easily have been a dry, pedantic “for fans only” exercise.

That said, it still takes a special kind of music geek to read a 550-page book about the recording sessions for (give or take) a single album. This is, by its very nature, not a book for casual fans; but it’s to Tudahl’s credit that it is immensely readable, as much of a page-turner as a chronological studio record can possibly be. The author brings to life the heart of his research–work orders obtained from Sunset Sound, Prince’s base of operations in Los Angeles at the time–with judiciously-selected quotes from former engineers, band members, and other collaborators, as well as some (through archival means) from Prince himself. For writers and researchers like myself, of course, Prince and the Purple Rain Era Studio Sessions will be invaluable as a resource for information about this period (I just hope all of us are considerate about citing our sources). But for readers who simply want to learn more about an artist working at the peak of his powers, the insight it provides is just as worthy.

I say this a lot in reviews on this blog, but I mean it especially this time: if you read and enjoy d / m / s / r, you need to buy this book. Not just because it will be of interest to anyone with a desire to dig into Prince’s oeuvre song by song, but because, quite frankly, we owe it to Duane for his decades of hard work, without which I know none of my writing on Prince would exist. Plus, I’m dying to get another one of these for 1985-86. Let’s make it happen!

If you want to support Duane and d / m / s / r in one fell swoop, please feel free to preorder Prince and the Purple Rain Era Studio Sessions using our Amazon affiliate link. The book comes out next Wednesday, November 15.