But it isn’t just its throwaway nature that makes this track feel like a callback to the early days of the Time. It’s also the sound: retro rock’n’roll with a dash of New Wave kitsch, not dissimilar from one of Prince’s formative influences for the group, the BusBoys–and, of course, more than a little reminiscent of his own contemporary material. In particular, “Oneday”’s squiggly main synth line recalls “Horny Toad”–another song recorded around the same time and later released as the B-side for “Delirious”–with all of the rough edges and, frankly, most of the appeal buffed away.
As I continue to work on my next proper post, I’m happy to share another collaborative effort I had the opportunity to participate in with popular YouTubers Prince’s Friend, Nightchild-Ethereal, and Mr. Ant. We discussed the eight main drummers Prince worked with during his career–Bobby Z, Sheila E, Michael B, Kirk Johnson, Cora Coleman-Dunham, John Blackwell, and Hannah Welton–and ranked them based on our performances. I hope you enjoy it, even if for some reason I was not looking at the camera in the first clip! Thanks to Prince’s Friend for the opportunity, and to Darling Nisi for recommending me.
(Featured Image: Prince by Neal Preston, circa 1984.)
Last week, Duane Tudahl’s long-awaited book Prince and the Purple Rain Era Studio Sessions: 1983 and 1984was finally published, and I was lucky enough to speak to him about it. If you haven’t read the book yet, you need to listen to this podcast: Duane is a knowledgeable and passionate Prince fan-turned-scholar, and his enthusiasm for the project is infectious. And if you have read the book, you should still listen, because he has a lot to share not only about his research and writing process, but also about his experiences with the celebrated Uptown fanzine and his ideas for preserving Prince’s legacy moving forward. NPG/Comerica/Warner Bros., if you’re out there, give this man some consulting work; we can all benefit from someone with his dedication and expertise steering the ship.
Now, for those of you who haven’t read the book yet, allow me to sweeten the pot: I’ve already bought my copy, but I am planning to secure another one (hopefully signed by the author!) and gift it to a lucky listener who reviews d / m / s / r on their podcast app of choice (iTunes, Stitcher, or Google Play). If you’ve never done this before, it’s easy: just subscribe, give the podcast a rating, and leave a short review, then leave a comment on the blog so I know you did it. In about a month, I’ll send my extra copy of Duane’s book to whoever wrote my favorite review. Note that this doesn’t mean your review has to be positive–if you hate my podcast and want to drag me, knock yourself out! As long as you leave a review and tell me where to look for it (and are willing to send me your mailing address, of course), you’re eligible to receive the book.
For now, I hope you enjoy this interview, and I hope you’ll check out Duane’s book–it really is phenomenal. Thanks for listening, and see you again soon!
Well, folks, the podcast episode I promised yesterday isn’t going to happen until early next week; I simply didn’t have enough time to finish editing. Luckily, though, Warner Bros. has my back, because last night they surprise-released another advance track from the new Purple Rainreissue: the studio-recorded medley of “Our Destiny” and “Roadhouse Garden.” So, rather than completely skip a post today, let’s take a short look at these songs and how they fit into the grander scheme of Prince’s work.
Like the previously-discussed “Electric Intercourse,” “Our Destiny”/”Roadhouse Garden” has advance notoriety among hardcore fans and collectors–though, in this case, its connection to the Purple Rain project is much less clear. Prince and the Revolution performed the song only once, at his 26th birthday celebration at Minneapolis’ First Avenue on June 7, 1984: the same concert that yielded the basic track for Jill Jones’ “All Day, All Night.” And as all of us Prince obsessives know, that might as well have been a decade after the previous year’s August 3 First Avenue date, which similarly provided the majority of Purple Rain’s second side. By summer of 1984, Prince was already hard at work on his next project(s), including tracks that would end up on 1985’s Around the World in a Day.
Adding to the confusion, RoadhouseGarden would later become the title of an aborted late-’90s compilation of refurbished Revolution tracks by the artist then-formerly known as Prince–most of which seemed to date from what Princeologists would consider to be the “Dream Factory era” of 1985-1986. This, in turn, appears to have transformed in many fans’ reckonings into a whole other album between Purple Rain and Around the World in a Day, possibly also called Roadhouse Garden. Basically, the song’s provenance is a mess, and I’ve seen more than a few people cry foul over its and its sister song’s inclusion in what “should” be a compilation of outtakes specifically related to Purple Rain.