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Ephemera, 1983

Modernaire

The third annual Minnesota Music Awards were held on May 16, 1983, at the Carlton Celebrity Dinner Theater in Bloomington. Prince took home six awards himself–Musician of the Year, Band of the Year, Best Male Vocalist, Best Record Producer (for 1999), 45 or EP of the Year (for “Little Red Corvette”), and Album of the Year (for 1999)–plus, by proxy, Best “R&B, Soul, Ethnic” Band for the Time. According to Jon Bream of the Minneapolis Star and Tribune, he spent most of the evening backstage, watching the Motown 25 special on TV.

Finally, wrote Bream, “the local hero” made his grand entrance: “parad[ing] down the center aisle in a banana-colored satin suit” with bodyguard “Big Chick” Huntsberry in tow. He handed his awards to Chick, “thanked Minnesota for its support,” and brought out his band–along with Vanity 6 and the Time’s Morris Day and Jesse Johnson–for a 10-minute version of “D.M.S.R.” played “on borrowed equipment” (Bream 1984). Dez Dickerson, despite having put in his notice earlier that spring, was in his usual spot on lead guitar; it was the last time he and Prince would share a stage.

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Ephemera, 1983

Vibrator

After returning to Minnesota from Los Angeles at the end of April 1983, Prince continued work on a prospective second album for Vanity 6. On Saturday, April 30, he cut the initial basic tracks for “Sex Shooter” and “Promise to be True,” both of which would be reworked extensively before eventually seeing release (or, in the later case, not seeing it). The following day, he revisited “No Call U”–a holdover from the 1999 sessions of the previous year–and recorded a new song called “Moral Majority.”

The latter, named after the notorious Christian Right movement led by televangelist Jerry Falwell, is described by sessionographer Duane Tudahl as “a synth-based track about nonconformity with lines like[,] ‘don’t want to be like anyone, I want them all to stare.’” While not in circulation, it reportedly features a gang vocal recorded by Vanity, Brenda Bennett, Susan Moonsie, manager Jamie Shoop, and Brenda’s husband Roy, while crammed into the bathroom of Prince’s Chanhassen home. “I remember… sitting on the handle of the toilet, right in the middle of the session,” Roy recalled to Tudahl. “It gave away where we were” (Tudahl 2018 81).

Later that month, Prince would record two other potential Vanity 6 tracks containing a similar cocktail of topical vulgarity. “G-Spot,” later recorded by backing singer Jill Jones for her 1987 solo album, was inspired by the so-called “Gräfenberg spot”: a (likely apocryphal) erogenous zone of the vagina that had captured the popular imagination through the 1982 bestseller The G Spot and Other Recent Discoveries About Human Sexuality. Meanwhile, “Vibrator” commemorated a popular sex toy during a watershed year in its own journey to the American mainstream.

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Ephemera, 1983

Velvet Kitty Cat

After unceremoniously ousting Jimmy Jam and Terry Lewis from the Time, Prince tried to continue work on the group’s third album; somehow, though, the remaining members didn’t share his enthusiasm. According to sessionographer Duane Tudahl, on April 20, 1983–just two days after sending Jam and Lewis packing–he jammed on a new song called “Sleazy” with Morris Day on drums, Jesse Johnson on guitar, and himself on bass. “Using his old man/Jamie Starr… voice, Prince tried to work in elements from ‘Cloreen Bacon Skin,’” Tudahl writes; “but tensions were higher than usual,” and “it was obvious that none of them were completely committed to the track” (Tudahl 2018 74). The song, by all accounts, went unfinished.

Luckily, Prince wasn’t exactly short on side projects to write for; so he turned to Vanity 6, his other supporting act on the 1999 tour and prospective co-stars in his as-yet-untitled film project. During the 10-hour session at Los AngelesSunset Sound on April 20–alongside several takes of “Sleazy,” overdubs for “If the Kid Can’t Make You Come,” and another seemingly unfinished instrumental titled “My Love Belongs to You”–the ever-prolific artist found time to demo a new track for the girl group: an appropriately lithe, slinky little ditty called “Velvet Kitty Cat.”

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Ice Cream Castle, 1984

Jungle Love

Prince, as was his wont, had already moved on to his next phase by the time the 1999 tour entered its final stretch in March 1983. The centerpiece of his master plan was, of course, the untitled film project that would become Purple Rain; but he also intended to cement his musical dominance with follow-up albums by the 1999-era “Triple Threat” of himself, the Time, and Vanity 6. Much as he had a year before, he focused on the Time first: booking a few days at Sunset Sound in Los Angeles before playing the Universal Amphitheatre and San Diego Sports Arena on March 28 and 29, respectively.

The Time’s first two albums had been cut primarily by Prince and singer/studio drummer Morris Day alone; for the new project, however, Prince allowed the rest of the band to take on a more active role. “They played on a lot of the stuff,” former Sunset Sound engineer Peggy McCreary told sessionographer Duane Tudahl–though Prince remained the unquestioned “leader of what was going on” (Tudahl 2018 64). The Artist Formerly Known as Jamie Starr was even willing to share songwriting duties, basing “Jungle Love” on an instrumental demo by guitarist Jesse Johnson.

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Ephemera, 1983

Katrina’s Paper Dolls

A little over a year after their first meeting in January 1982, Prince and Denise Matthews (better known as Vanity) had cultivated an image as pop music’s sexiest power couple: the royal bride and groom of his imminent purple reign. Early in 1983, the pair posed for fashion photographer Richard Avedon in a shot that would make the cover of Rolling Stone that April. Looking like mirror reflections–or incestuous twins–they fixed the camera with identical, kohl-blackened stares: she embracing him from behind, two fingers tucked suggestively down the front of his jeans. In the coming months, Prince would plan to take their relationship to an even larger venue, slating Vanity to play the leading lady in his forthcoming motion picture debut.

But there was trouble in paradise. The strong-willed couple clashed frequently–not least because Prince insisted on seeing other women at the same time as Matthews, including her Vanity 6 bandmate Susan Moonsie and his backing singer Jill Jones. A song inspired by their relationship from around this time, “Wonderful Ass,” pokes fun at the disconnect between their undeniable sexual chemistry and their equally undeniable emotional incompatibility: “My sensibilities you aggravate,” Prince croons, but “you got a wonderful ass.” Another, “Strange Relationship,” opts for a more trenchant self-critique: “Baby, I Just Can’t Stand 2 See U Happy / More Than That[,] I Hate 2 See U Sad.”

Jones, who shared a dressing room with Vanity 6 during the 1999 tour, recalled Prince giving a cassette tape with both songs on it to Matthews: “She’d play it before the show while me, Susan, and all of us [were] getting dressed,” she told sessionographer Duane Tudahl. “It wasn’t discreet.” Prince and Vanity, she added, actually did have a “Strange Relationship”: “It was really true that he didn’t want to see her happy and he didn’t want to see her sad. Because she started dating other people… and he got pissed. She was like, ‘I’m moving away from him. Fuck him. I’m really famous. People love me.’ So she was getting something and that was the only thing he had to yank her back in” (Tudahl 2018 40).