Delirious

Delirious

(Featured Image: Courtship rituals of early ’80s French rocker gang the Del Vikings; photo by Gilles Elie Cohen, stolen from VICE.)

After a string of songs exploring, to various degrees, the darker side of his emotional spectrum, Prince capped off his late April and early May 1982 sessions at Sunset Sound with something light and frothy. Sonically, “Delirious” is cut from the same cloth as most of its predecessors on the album that would become 1999: from the driving Linn LM-1 beat to the sparse, but infectious synth line. Yet where songs like “Automatic” and “Let’s Pretend We’re Married” assemble these building blocks into complex, ever-shifting structures, “Delirious” offers more straightforward pleasures: it’s a simple eight-bar blues, as pure and elemental as Leiber and Stoller’s “Hound Dog” or Jesse Stone’s “Shake, Rattle and Roll.”

With its solidly retro foundation, “Delirious” is arguably the pinnacle of Prince’s brief, but intense infatuation with 1950s rock ‘n’ roll: an “obsession,” according to guitarist Dez Dickerson, that began when the band caught a show by rockabilly revivalists the Stray Cats while in London on the Dirty Mind tour. “We were all blown away with them,” Dickerson told Nashville Scene magazine in 2014, “the look, [singer] Brian Setzer’s amazing sound, just the sheer authenticity of it.” The experience inspired a handful of songs–most famously “Jack U Off” from 1981’s Controversy, but also tracks like the unreleased “You’re All I Want.” Perhaps even more notably, according to Dickerson, it also inspired both him and Prince to style their choppy punk hairdos into Little Richard-style pompadours (Shawhan 2014).

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Jack U Off

Jack U Off

(Featured Image: Prince and Dez Dickerson face an unruly crowd opening for the Rolling Stones, October 1981; photo by Allen Beaulieu, from his forthcoming book Prince: Before the Rain.)

In January 1981, after the first leg of the Dirty Mind tour, Prince’s publicist Howard Bloom sent an exuberant memo to his manager, Steve Fargnoli: “The verdict from the press is clear,” Bloom wrote. “Prince is a rock and roll artist! In fact, the press is saying clearly that Prince is the first black artist with the potential to become a major white audience superstar since Jimi Hendrix” (Hill 82). Nine months later, with his fourth album, Controversy, days away from release, Prince faced the biggest test of his crossover potential to date: two shows opening for the Rolling Stones at the massive, 94,000-capacity Los Angeles Memorial Coliseum.

The booking was a major coup for Prince, who had made it his mission to break rock music’s de facto color line and even, according to guitarist Dez Dickerson, described his early vision for his band as a kind of “multiracial Rolling Stones” (Dickerson 95). “The one thing he talked to me about a number of times in the early going was he wanted he and I to be the Black version of the Glimmer Twins,” Dez elaborated to cultural critic Touré. “To have that Keith and Mick thing and have a rock ‘n’ roll vibe fronting this new kind of band. That’s what he wanted” (Touré 15). As keyboardist Lisa Coleman recalled to biographer Matt Thorne, “We were so excited, we’d rehearsed our little booties off, our funky black asses. This is it, we’re gonna make the big time” (Thorne 2016). But like so many of Prince’s earlier potential big breaks, things did not go according to plan.

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