Well, another week has come and gone, and I still haven’t finished my next post. Fortunately, I have this piece I wrote about off-and-on Prince associate Jesse Johnson for my other blog, Dystopian Dance Party, to kick off our annual celebration of early-to-mid-’80s R&B, Jheri Curl June:
Three years ago (and again six months ago), I tried to predict the contents of the new deluxe edition of Purple Rain. So, now that we have an official track list, I thought it would be fun to use my weekly guest post on Andresmusictalk as an opportunity to “grade” myself on my predictions. You can see the results here:
This seems like an appropriate time to remind everyone that the deluxe and “Deluxe Expanded” versions of Purple Rain are available for preorder, and you can support the blog by using my affiliate link to purchase them (or anything else) from Amazon. In less sales-pitchy news, this week I’m writing about the final circulating Prince song of 1979; you can also expect the last installment of my podcast with Jane Clare Jones by the end of the week. See you again soon!
Note: Just in case there is any confusion, the below is entirely made up, albeit with perhaps an excess of dedication to historical plausibility. See my previous “Alternate Timeline” post on For Youfor a better explanation of the concept. And have fun!
The late 1970s and early 1980s punk scene in Minneapolis and St. Paul played host to a number of noteworthy groups: Hüsker Dü, the Replacements, the Suburbs. But none were as eclectic, or as underrated, as the multi-racial, gender- and genre-bending act known as the Rebels. A far cry from a conventional “punk” band, the Rebels were a motley crew of disaffected Northside funksters, suburban bar-band escapees, and even a few seasoned pros, whose wild live performances made them the first group from the Twin Cities underground to be signed by a major label. Their self-titled 1980 debut for Warner Bros. was both critically acclaimed and hugely influential for a generation of genre-agnostic musical provocateurs, but internal tensions kept them from fulfilling their full potential. Still, almost four decades later, the mark of the Rebels remains evident across the contemporary pop landscape, from alternative rock to electronic music and hip-hop.
Yesterday, I spent an unbelievably self-indulgent six hours on Skype with Jane Clare Jones, preparing and recording a podcast to mark the first anniversary of Prince’s death (because of our unbelievable self-indulgence, it will actually be several podcasts). The first installment of our conversation should be ready to post by Friday; but in the meantime, here’s another conversation from last year with my sister Callie, which ran on our blog Dystopian Dance Party just over a week after we heard the terrible news. In case you’re concerned–I know emotions are raw this week–it’s mostly a joyous discussion, focusing on Prince and what he means to us rather than the tragic conditions of his end. I thought now was as good a time as any to share it with a wider audience. Show notes are here, and I’ll be back tomorrow with a review of another recent addition to the canon of Prince literature.