Categories
Ephemera, 1984 Lacunae

Lacuna: The Dawn

While shooting Purple Rain in the last two months of 1983, Prince had uncharacteristically little time to spend in the studio. But as production wound down in late December, he dove back in, returning to Sunset Sound to work on new material for his manifold projects. On December 27, he recorded the basic track for “The Glamorous Life”–originally intended for Apollonia 6, but later given to (and made famous by) Sheila E. The following day, he added vocals and cut another track that would end up on Sheila’s album, “Next Time Wipe the Lipstick Off Your Collar”; as well as a song yet to be released anywhere, “Blue Love.” The day after that, he completed his first version of “She’s Always in My Hair.” Finally, on December 31, he rang in the New Year with an enigmatic new number, listed on the studio work order as “The Dawn.”

As readers of Duane Tudahl’s Prince and the Purple Rain Era Studio Sessions are no doubt aware, though, the last song Prince recorded in 1983 was not “The Dawn.” It was, in fact, “We Can Fuck,” a title deemed too explicit for an official Sunset Sound document; it would also be known by the euphemisms “Moral Majority” (not to be confused with the actual recording by that title) and, anecdotally, “Sex” (also not to be confused with the 1989 song later released as the B-side for “Scandalous”). But Prince clearly thought the dummy title was too good to waste on an act of self-censorship; because just a week later, on January 7-8, 1984, he recorded a new song bearing the same name.

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Podcast

Podcast: All the Critics Love U – A Conversation with Jack Riedy, Author of Electric Word Life

As promised/threatened, we’re back to a monthly schedule on the D / M / S / R podcast! For this month’s episode, it was my pleasure to speak to music writer Jack Riedy (Pitchfork, GQ, VIBE) about his new book Electric Word Life: Writing on Prince 2016-2021. It was a really fun conversation, running through each of the pieces collected in his book and covering everything from Prince’s influence on Chicago house to the degree to which the Batman album goes (spoiler: it’s hard). Check it out, and if you’re so inclined, get yourself a copy of Jack’s book! It’s a great read and highly recommended.

By the way, I caught this too late to mention it “on air,” but thanks so much to cittalente for their review on Apple Podcasts! If you’re interested in reviewing D / M / S / R on your podcast service of choice, please do, and I will read it on the next episode–which, if all goes to plan, should be dropping next month.

Categories
Purple Rain, 1984

Purple Rain (Verse 3)

Note: This is my third and last post on “Purple Rain”: a song of such monumental importance to Prince’s creative arc that I’ve opted to split my analysis into parts. If you haven’t already, please read Parts 1 and 2 first.

Categories
Welcome 2 America, 2011

Hot Summer

We’re now exactly one week out from the release of Prince’s shelved 2011 album Welcome 2 America–i.e., just enough time for Sony Legacy to push out one last promotional single to streaming services and, uh, TikTok. As a certified Old, I don’t have much to say about the last bit; but I can certainly share my thoughts about the song itself.

“Hot Summer” is one of a handful of tracks on Welcome 2 America that stretches the definition of “previously unreleased.” Prince premiered the song on Minnesota Public Radio station 89.3 The Current on his 52nd birthday, June 7, 2010, shortly after a heat wave pushed the temperature in Minneapolis to a record-breaking 95 °F on May 24. Initial reactions were, to put it kindly, mixed. Music blog Stereogum compared the song variously to Rick Springfield’s “Jessie’s Girl” (!) and Hanna-Barbera mascot-suit bubblegum act the Banana Splits (!!), before concluding, “At least the lyrics are positive.” A 35-page thread on prince.org began with tepid praise but swiftly descended into mayhem, with arguments over whether the woman singing the hook was Janelle Monae (it’s Liv Warfield) and much hand-wringing over Prince’s “decline in writing ability.” Perhaps the most trenchant burn came a little less than two years later, when ex-Family frontman Paul Peterson responded to a subliminal swipe from Prince by remixing the track into a parody ad for Midwestern home improvement chain Menards.

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Ephemera, 1983 Patreon Exclusives

Patreon Exclusive Bonus Track: 1983 Piano Rehearsal

At this point, it’s customary to marvel at the sheer, staggering amount of music Prince recorded. His finished recordings number in the hundreds, if not the thousands: enough, to borrow a cliché that became ubiquitous after the Vault was cracked open in 2016, to fill an album a year for the next 100 years; or, to put it in more personally meaningful terms, enough to keep me working on this goddamn blog until roughly the end of my natural life. But the mind truly boggles when one considers that those “finished recordings” are only the tip of the iceberg. Beneath the surface are hundreds more hours of rehearsals and rough sketches recorded for private use–only a fraction of which are ever likely to see the light of day.

By this reckoning, the solo piano rehearsal officially released in 2018 as Piano & A Microphone 1983 is not, in itself, remarkable; it’s just one of countless other “work tapes,” as former Revolution keyboardist Lisa Coleman describes them in her liner notes, by an artist for whom making music was an avocation as much as a vocation (Coleman 3). Prince Estate lead archivist Michael Howe told Newsweek that when he found the recording–a standard, consumer-grade TDK SA-60 cassette with two tracks, “Cold Coffee & Cocaine” and “Why the Butterflies,” listed in Prince’s handwriting–it was in a box with “[l]iterally thousands” of other tapes (Schonfeld 2018). But what it lacks in uniqueness, it makes up for in historical importance: capturing, with near-unrivaled intimacy, a snapshot of Prince’s creative process on the very cusp of the career-defining success of Purple Rain.