(Featured Image: “This one goes to 11”; Nigel Tufnel’s custom Marshall stack in This is Spinal Tap, Rob Reiner, 1984. © MGM Home Entertainment.)
Along with the Time tracks and “International Lover,” Prince also cut a few orphan songs at Sunset Sound in mid-January 1982. The first, “You’re All I Want,” was recorded on January 16: the day after an unreleased Time song called “Colleen,” and three days before “Wild and Loose.” The recording has never leaked into wide circulation, though Prince Vault reports that its synth line would later be repurposed for the 1983 B-side “Horny Toad.” Prince reportedly gave a tape to Sunset Sound engineer Peggy McCreary as a birthday present; later, the song would reemerge (retitled “U’re All I Want”) as a potential track for his and Eric Leeds’ jazz fusion project Madhouse.
The second orphan had a shorter, but arguably more fruitful history. Prince recorded “Turn It Up” on January 20, the day after “Wild and Loose”; it was the second-to-last track he recorded in Los Angeles before resuming the Controversy tour in Richmond, Virginia. And, while it also hasn’t received an official release at the time of this writing, it is in circulation as a bootleg: quite possibly the most widely-heard 1999-era outtake this side of “Moonbeam Levels.”
(Featured Image: Notorious “baby groupies” Lori Mattix and Sable Starr; photo stolen from Miss Pandora.)
As noted earlier, Prince began work on the Time’s second album during a three-week break from the Controversy tour, where the group was serving as his opening act and occasional thorn in his side. It thus makes sense that what would become the album’s opening track, “Wild and Loose,” centered around one of the most prevalent scenarios in the life of a touring musician: the backstage (and back-of-bus) dalliances between the band and their young, female admirers.
Just as he had with the Time’s earlier song, “Cool,” Prince tapped his own band’s guitarist, Dez Dickerson, to help write the song: “Prince called me on the phone with a song title,” he told the alt-weekly Nashville Scene in 2014, “and about 15 minutes later, I called him back with lyrics based on the title” (Shawhan 2014). Dez, who had spent years touring in journeyman rock groups before linking up with Prince, had more familiarity with the rock ‘n’ roll lifestyle than anyone else in the camp. But his take on the song “kept the content rated G,” as he later recalled, so “Prince altered it somewhat from my original version” (Dickerson 205). The final lyrics, when viewed from a contemporary lens, seem calculated to shock and titillate: “Hangin’ by the backstage door, decked out like a queen / Your body’s sayin’ 21, but your face says 17.”
(Featured Image: “There’s never been more love in the air!” Early 1970s Southwest Airlines ad; stolen from Flashbak.)
Following a month and a half of dates in the Mid-Atlantic, South, and Midwest, Prince took a break from the Controversy tour in mid-January 1982. He spent the majority of this time in Los Angeles: attending the American Music Awards and laying down tracks at his new favorite studio, Sunset Sound. Most of the songs he recorded in these weeks were intended for his protégés (and budding rivals) the Time: “Gigolos Get Lonely Too,” “The Walk,” and “Wild and Loose” would all end up on their second album, What Time is It? But the sessions also yielded what would become the closing track on Prince’s fifth album: a seductive ballad in the “Do Me, Baby” vein called “International Lover.”
In fact, according to Per Nilsen’s studio sessions Bible The Vault, “International Lover” very nearly ended up on What Time is It? as well. Recorded just a few days after “Gigolos Get Lonely Too” (January 11) and on the same day as overdubs for “The Walk” (January 14), its place in the chronology clearly suggests Prince had it in mind as a Time song; there’s very likely a tape somewhere with vocals by Morris Day. But in what would become a pattern for Prince with his spinoff acts, he ended up liking the song so much that he took it back for himself.
Continue reading “International Lover”
(Featured Image: The Hookers, 1981; L to R: Jamie Shoop, Susan Moonsie, Loreen Moonsie. Photo stolen from Denise Vanity Matthews–the Tumblr, not the person.)
The Time’s first album was completed quickly, even by Prince’s ever-increasing standards: recorded in April 1981, mixed (at Hollywood Sound Recorders in Los Angeles) by the end of the month, and released another three months later. In the meantime, the man behind the curtain was already devising a second group of protégés: an all-female counterpart to his first group’s male pimp aesthetic, charmingly named the Hookers.
In order to recruit his stable of Hookers, Prince stayed even closer to home than he had for the Time. He drafted his personal assistant, Jamie Shoop, who then-engineer Don Batts described as “a good-looking blonde… kind of a ballsy woman in a man’s world” (Nilsen 1999 63). The other two spots were filled by his girlfriend at the time, Susan Moonsie, and her sister Loreen.
Continue reading “She’s Just a Baby”
(Featured Image: Cover art for What Time is It? by the Time, 1982; © Warner Bros.)
Hi everyone! While I drag my feet on actually updating this goddamn blog, here’s some Prince-related writing of mine from elsewhere on the Internet: a piece I wrote for the online magazine published by record-of-the-month club Vinyl Me, Please. Thanks very much to VMP for making this happen!
This week we’ll have at least a new podcast for your listening pleasure–maybe more. Stay tuned! (And, by the way, if you’re interested in joining Vinyl Me, Please, use this link so I can get $10.)