Nothing Compares 2 U

Nothing Compares 2 U

(Featured Image: Cover art for “Nothing Compares 2 U,” 2018; photo by Nancy Bundt, © NPG Records/Warner Bros.)

Last week, I made my long-awaited, surreal, exhausting pilgrimage to the Twin Cities to attend the Prince from Minneapolis conference and Paisley Park’s Celebration 2018. I have complicated feelings, which I’m still processing–and will continue to do so, with the help of some other people who were there, on the podcast in the coming weeks. For now, though, I have some basic reactions to Celebration, and to the newly-released Prince song that was debuted on the event’s first day.

I wasn’t sure what to expect from Celebration coming in–reports of last year’s event suggested a combination music festival, fan convention, and cult indoctrination–but in my experience, it was basically a corporate retreat for hardcore Prince fans. There were hours of panel discussions with ex-band members Gayle Chapman, Dez Dickerson, Matt Fink, and Bobby Z; photographers Allen Beaulieu, Nancy Bundt, Terry Gydesen, and Nandy McLean; and dancers Tomasina Tate and, um, Wally Safford. There were screenings of Prince concerts from the Piano & A Microphone, HitnRun 2015, and–via the associated “Prince: Live on the Big Screen” event at the Target Center–Welcome 2 America tours. There were live performances by Sheila E, fDeluxe (née the Family), and a (fantastic) new supergroup of New Power Generation alumni dubbed the Funk Soldiers. And, of course, there was the debut of the music video for Prince’s previously-unreleased studio version of his pop standard “Nothing Compares 2 U.”

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Do It All Night

Do It All Night

(Featured Image: The mass seduction begins; Prince at Cobo Hall, Detroit, December 1980. Photo by Leni Sinclair.)

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.

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Lisa

Lisa

(Featured Image: Lisa–and André–on the Dirty Mind inner sleeve, 1980; © Warner Bros.)

While Prince was starting work on the album that would become Dirty Mind, 19-year-old Lisa Coleman was in Los Angeles, working on the shipping dock of a documentary film company and teaching classical piano part-time. Lisa, born in the San Fernando Valley in 1960, was as much a product of L.A. as Prince was of Minneapolis. Her father, Gary L. Coleman, was a percussionist for the legendary session team the Wrecking Crew, with credits most notably including the Beach Boys’ 1966 single “Good Vibrations.” When she was 12 years old, Lisa played keyboard in a bubblegum pop band, Waldorf Salad, alongside her younger brother David, older sister Debbie, and another Wrecking Crew kid: Jonathan Melvoin, whose own younger sister, Wendy, would form the other half of Lisa’s longest-lasting creative partnership. The band was a little like the Partridge Family, Lisa later told journalist Neal Karlen, except “we all actually played our instruments” (Karlen 1986). As a teenager, Lisa attended Hollywood High and appeared in a bit part as a teenage pianist in the 1975 made-for-TV drama Sarah T. – Portrait of a Teenage Alcoholic, starring Linda Blair and Mark Hamill.

According to the official narrative, it was 1979 when Lisa heard from a friend in the offices of Cavallo, Ruffalo, and Fargnoli that Prince was looking for a new keyboardist. But this date seems off, for a couple of reasons: first, because in 1979 Gayle Chapman was still very much a part of Prince’s band, and there are no other accounts from that period to suggest she was being replaced; and second, because Steve Fargnoli wasn’t made a partner in Cavallo’s and Ruffalo’s firm until 1980. Whatever the year, however, Lisa submitted a tape, and was summoned to Prince’s home in Wayzata, Minnesota for an in-person audition. “When I got to Prince’s house,” she told Karlen, “he sent me downstairs and said he was going to change clothes. There was a piano down there, and I just started playing, trying to relax. I got the feeling he was eaves-dropping at the top of the stairs, so I whipped out my best Mozart. He finally came back downstairs, picked up his guitar, and we started jamming. From the first chord, we hit it off” (Karlen 1986).

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