Free

Free

(Featured Image: A family picnics with giraffes in a 1982 ad for the Soviet VAZ 2101; photo stolen from Soviet Visuals.)

In late April 1982, the majority of the tracks Prince had completed for his fifth album fell under one of two categories: extended electro-funk grooves (“All the Critics Love U in New York,” “Let’s Pretend We’re Married,” “D.M.S.R.”) and slippery R&B slow jams (“International Lover”). But the song he recorded on April 25, just five days after “D.M.S.R.,” was an outlier both on the album and in his career to date: a theatrical rock ballad with vaguely propagandistic undertones called “Free.”

From its opening moments, “Free” lays on the grandiosity, with the sound of a heartbeat overlaid by marching footsteps and waves crashing on the shore–clips raided from Sunset Sound’s library of sound effects, the same source as the traffic noise from “Lady Cab Driver” and “All the Critics.” Just as these sounds fade away, Prince enters the mix, his gossamer falsetto accompanied by a crystalline piano line. Bass and drums slip softly into formation, followed by dramatic guitar chords when he hits the chorus: “Be glad that U are free, free to change your mind / Free to go most anywhere anytime / Be glad that U are free, there’s many a man who’s not / Be glad for what U had baby[,] what you’ve got.”

Freedom, of course, was an emerging theme of Prince’s long before he’d decided to dedicate a full song to it. “It’s all about being free” had been the mantra of “Uptown”; “Sexuality” had exhorted the listener to “let your body be free.” Then there were the songs that preached freedom without using the word–notably “D.M.S.R.,” with its calls to “screw the masses” and “[d]o whatever we want.” But something about “Free” feels fundamentally different. Rather than an exhilarating promise of liberation, here Prince describes freedom as a solemn duty, more in keeping with the “freedom isn’t free” bromides of American conservatism than with the radical traditions that informed his earlier work.

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D.M.S.R.

D.M.S.R.

(Featured Image: DJ Steve Holbrook in the booth at the Taste Show Lounge in Minneapolis, circa 1983. Note the Time poster on the right. Photo by Charles Chamblis, stolen from the Minnesota Historical Society.)

Beginning with his third album in 1980, Prince had been steadily building up a mythology–occasionally bordering on a philosophy–for himself. Dirty Mind had “Uptown,” a clarion call for hedonism that eradicated all racial and sexual boundaries. 1981’s Controversy, of course, had its epic title track, a declaration of selfhood through the negation of fixed identities; as well as “Sexuality,” a return to the themes of “Uptown” with a new quasi-religious fervor. For his fifth album in 1982, he offered something even more blunt and to the point: a musical manifesto based around the four words, “Dance, Music, Sex, Romance.”

Though it was never released as a single–and, in fact, was left off the original CD release of 1999 due to space constraints–“D.M.S.R.” holds a privileged position in Prince’s discography. Dance Music Sex Romance was of course the title of the 1999 biography and session chronicle by Per Nilsen, long considered definitive by fans of the artist’s early career. It’s also, obviously, the title of this very blog, because I figured if Per’s not going to use it anymore, somebody’s gonna have to. Its attraction to writers on Prince is self-evident: as Dave Lifton wrote on the song for Diffuser’s 365 Prince Songs in a Year series, “Dance. Music. Sex. Romance. Add God into the mixture and you’ve more or less got the formula for every song Prince released in his life” (Lifton 2017). Way back when I first started d / m / s / r in 2016, I posited that it would make a great title for a career-spanning collection like Johnny Cash’s Love, God, Murder, with a disc devoted to each theme.

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Press Rewind: “Head”

Press Rewind: “Head”

(Featured Image: Our favorite rude boy; photo by Allen Beaulieu, stolen from Lansure’s Music Paraphernalia.)

It was a stroke of good timing that just as Darren Husted’s Prince: Track by Track podcast was coming to an end, I got the opportunity to guest on another track-by-track podcast, Jason Breininger’s Press Rewind. Similar to my and Darren’s respective projects, Jason’s is to go through the full Prince catalogue song by song, but with a specific focus on lyrics that pleases my inner lit major. It also made for an ideal opportunity to talk about some songs that I didn’t get to talk about on Track by Track, starting with “Head” from Dirty Mind:

Press Rewind: “Head”

It was a pleasure talking to Jason about the second dirtiest song on Dirty Mind. And if you enjoyed it as much as I did, you’re in luck: we also recorded another episode talking about the first dirtiest song on the album, which should be coming out in the next couple of weeks.

While I have you here, I want to thank everyone who has already signed up for my Patreon! Pierre Igot, Caroline S., Oliver A., and Demetrius, your day-one support was extremely heartwarming. If you’re just joining us now and interested in supporting, check out my Patreon page here:

Patreon: dance / music / sex / romance

I’ll have my first patron-exclusive post ready soon–hopefully as soon as tomorrow! And of course, the next “official” post will be here soon as well. Thanks for your patience.

Prince Track by Track: “3121”

Prince Track by Track: “3121”

(Featured Image: Prince tries to make “3121” happen on the 3121 album cover; © NPG Records.)

Things have gotten quiet again around here, both because I’ve been feeling under the weather and because I’ve been buried in other writing assignments. I’m working on the latter and crossing my fingers that the former is on its way out, but in the meantime, here’s an episode of Darren Husted’s Prince: Track by Track podcast I recorded late last year:

Prince Track by Track: “3121”

Also! YouTuber Prince’s Friend was kind enough to ask me back on his channel to talk about the blog, which we did over the weekend. Please check out the video and everything else he’s doing below:

As I alluded to in the Prince’s Friend interview, I will be posting about the Time’s “Wild and Loose” very soon. Thanks for your patience!

The Second Coming

The Second Coming

(Featured Image: Prince and friends, played by Susan Moonsie and Kim Upsher, emerge from the mist in Chuck Statler’s unfinished The Second Coming film, 1982.)

Controversy was released on October 14, 1981, days after Prince’s disastrous experience opening for the Rolling Stones in Los Angeles. The album outperformed both the previous year’s Dirty Mind and (narrowly) 1979’s Prince, reaching Number 21 on the Billboard 200 and Number 3 on the Top R&B Albums chart. A little over a month later, on November 20, the Controversy tour launched at Pittsburgh’s Stanley Theatre with opening act the Time.

After this time spent licking his wounds (and, more importantly, rehearsing), Prince returned with his most grandiose show to date. The tour-opener in Pittsburgh kicked off with the brazen call to arms “Sexuality”–complete with a full recital of the “tourists” speech–before hitting the audience with a turbo-charged version of “Why You Wanna Treat Me So Bad?” “Jack U Off” flourished in front of the sympathetic, largely female crowd, earning squeals rather than jeers; it was followed by the similarly crowd-pleasing “When You Were Mine” and “I Wanna Be Your Lover,” both with glistening new synthpop arrangements. From there the band launched directly into a surgical rendition of “Head”–by then such a live staple that the audience got to take a solo on the chorus. Shifting gears from that song’s masturbatory climax, a punkish “Annie Christian” followed, enlivened by Dez Dickerson’s guitar solos; then it was back to the crowd-pleasers with “Dirty Mind.” Despite being only five weeks old, “Do Me, Baby” had already earned its place as a concert setpiece–a designation helped, no doubt, by Prince’s onstage striptease. Closing out the setlist proper was a rousing rendition of “Let’s Work,” followed by a hat-trick of encores in “Controversy,” “Uptown,” and “Partyup.”

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