In the months since Jimmy Jam and Terry Lewis were dismissed from the Time, the group’s morale had reached an all-time low. Singer Morris Day, in particular, was all but fully checked out: “When we started switching musicians,” he later recalled, “it wasn’t my favorite band anymore” (Tudahl 2018 72). Only the promise of a costarring role in Prince’s upcoming film kept him from leaving the camp entirely–that and, he admits in his 2019 memoir, a burgeoning cocaine habit (Day 83).
The powder keg was primed in the summer of 1983, when Day and the rest of the movie’s principal cast were enrolled in mandatory acting lessons with coach Don Amendolia. “He had these exercises,” Day writes. “Pretend you’re a weeping willow tree. Pretend you’re a butterfly lost in the forest. Well, I didn’t wanna be no weeping willow tree. I didn’t wanna be no butterfly lost in the forest. I thought that was some dumb shit and said so.” Eventually, Day’s “cutting up” got back to Prince, who “said this was some serious business and I better not fuck it up or I’d be out on my ass… He’d banish me from his empire” (Day 86).
July 2021 marks the 40th anniversary of the self-titled debut album by the Time; so, I decided to commemorate the occasion by bringing back Darling Nisi and Harold Pride for one of our trademark track-by-track deep dives. As always, the conversation left me thinking about the album in new ways: from KaNisa’s interpretation of it as Prince’s tribute to the funk music of his youth, to Harold’s insight on its significance to the development of electronic dance music. I remain grateful to be able to talk about music with these two brilliant people.
Last time, I promised I’d have another podcast episode ready in less than the almost two-year gap between our Prince (1979) and Dirty Mind episodes; and, technically, I did make good on that promise, since it’s “only” been 10 months since Dirty Mind last September. But for real, I’ll be back much sooner this time–like, probably around this time next month. So, if you haven’t already, subscribe to Dance / Music / Sex / Romance on your podcast provider of choice; and, if the spirit moves you, you can even leave a review! You’ll be hearing from me again very soon.
It’s been a much shorter time than usual since the last roundup post; I won’t pat myself on the back too hard, though, because this one has been a long time coming. Fortunately, the Time’s second album happens to be my favorite of their slender catalogue by a long shot: the perfect crystallization of the project’s lean, mean brand of Minneapolis funk, before the battle of wills between Prince and his reluctant protégés scuttled the whole enterprise. Here’s how I rank the tracks:
6. “Onedayi’mgonnabesomebody” A trifle best remembered for its closing “We Don’t Like New Wave” chant (a raspberry blown in the direction of André Cymone), this nevertheless stands as proof that the Time were getting better: I’d take it over the worst of their first album any day.
5. “I Don’t Wanna Leave You” My brain tends to lump together this one and “Oneday,” its fellow side-closer and filler track. But “I Don’t Wanna Leave You” actually gets stuck in my head once in a while, so it gets the edge.
4. “The Walk” Deservedly considered a signature Time track, this still feels to me like a better comedy sketch than a song. As a comedy sketch, though, it’s the album’s–and the Time’s–peak.
3. “Wild and Loose” Yeah, the jailbait-baiting lyrics are icky, but that jackhammer of a rhythm guitar part gets me every time.
2. “777-9311” I’ll admit, this one dropped a bit in my esteem when I realized Prince had less to do with the drum programming than I originally thought. Still, props to Jellybean for actually figuring out how to play the damn thing.
1. “Gigolos Get Lonely Too” Listening to the Time’s first album, who would have guessed that the best track on their second album would be a ballad? Certainly not me, and yet here we are. If you’re not sold, check out Prince’s original vocal track on this year’s Originals compilation and become a convert.
For those keeping track, my What Time is It? posts averaged 1,377 words: about 40% more than I wrote for The Time, which is fair, because What Time is It? is just about a 40% better album.
A few quick updates before I sign off for the week: if you’re a Patreon supporter at the $5 level or above (or are willing to become one in the next couple of days), you can vote on the next song I cover. We’re still in a dead lock between “Horny Toad” and “Purple Music”–if no one breaks the tie by, say, Monday, I’ll have to break it myself. Also, as I noted yesterday, patrons can expect a review of Morris Day’s new autobiography sometime early-ish next week. And then, of course, we have The Beautiful Ones to look forward to in the next few weeks as well. There have certainly been worse times to be an amateur Prince scholar!
Despite their success–or, more likely, because of it–Prince was determined to keep the spinoff group in their place. Studio techDon Batts recalled him showing up to one of the band’s rehearsals with a rough mix of the finished record: “He threw the cassette at [guitarist]Jesse [Johnson] and said, ‘Hey man, you play really good on your album,’” Batts told biographer Per Nilsen. “That kind of comment, it was like saying, ‘Hey puppets!’” (Nilsen 1999 108).
More than anything, though, Prince kept his grip on the Time’s strings by saving their best material for himself. It’s hard to hear What Time is It?’s underwhelming closing track, “I Don’t Wanna Leave You,” without imagining a stronger alternative in its place: something that would end the album with a bang, rather than a whimper. Something, that is, like “International Lover,” which Prince had originally conceived for his side project back in January before poaching it for the finale of his own forthcoming album.
But it isn’t just its throwaway nature that makes this track feel like a callback to the early days of the Time. It’s also the sound: retro rock’n’roll with a dash of New Wave kitsch, not dissimilar from one of Prince’s formative influences for the group, the BusBoys–and, of course, more than a little reminiscent of his own contemporary material. In particular, “Oneday”’s squiggly main synth line recalls “Horny Toad”–another song recorded around the same time and later released as the B-side for “Delirious”–with all of the rough edges and, frankly, most of the appeal buffed away.