(Featured Image: U.K. picture sleeve for “Little Red Corvette,” 1983; © Warner Bros.)
Last month, I wrote a little more than 3,500 words about Prince’s first Top 10 single, “Little Red Corvette.” Lest you think that’s all I have to say about the song, here’s a little under an hour and a half of me on Jason Breininger’s Press Rewind podcast continuing to sing its praises:
That, at least for the time being, is the last I have to say about “Little Red Corvette”–though, as I note in the podcast, I could have gone on even longer than I did. Back here on the blog, I’ll be wrapping up the Time’s second album in the next couple of weeks. And, if you’ve been missing my beautiful voice, good news: not only am I scheduled to make another guest appearance on Press Rewind in the near future, but I am also a measly eight dollars away from my Patreon goal to relaunch the d / m / s / r podcast. The next person who supports the Patreon could easily be the person to push us over the edge! If you want to be that person, just click the link below:
(Featured Image: Prince jacks off at the Palladium in New York, December 1, 1981; photo by Waring Abbott, stolen from WIRED.)
Apparently I’ve found my niche on Jason Breininger’s Press Rewind podcast, because after guesting on his episodes for “Head” and “Sister” in June, I came back to talk about “Jack U Off.” Not much more to say than that, to be honest–just tune in for some decent dad jokes and way more analysis than the average person has ever thought to apply to a goofy rockabilly song about mutual masturbation:
I also am happy (and a little surprised!) to announce that we’re now 87% of the way to meeting our Patreon goal to bring back the d / m / s / r podcast–so who knows, by this time next month, I could be promoting a new episode of my own! Big thanks to our latest patron, Robin Seewack, for her generous support. If you want to join Robin and the 16 other patrons who are helping me keep d / m / s / r regularly updated, please consider clicking the link below:
(Featured Image: Back cover of Controversy, 1981; © Warner Bros.)
Over in these parts, I’m still focusing on my written explorations of Prince’s recorded catalogue; but I’ve kept my hand in the podcast game thanks to Jason Breininger’s Press Rewind podcast. This time, we’re talking about what I think may still be my least favorite song on the Controversy album–though I will say it’s an interesting discussion nevertheless:
If you’re someone who misses the days when d / m / s / r had its own semi- regular podcast, remember that that’s my current stretch goal for the Patreon and we’re about halfway there–so, if you’d like to see me start recording monthly podcasts again and you haven’t become a supporter, please do consider tossing a buck a month my way. This will not only allow me to justify the hours spent recording and (especially) editing these podcasts, but it will also help me to pay for the software that allows me to edit in all that legally-dubious music:
(Featured Image: Official artwork for the Originals version of “You’re My Love”; © NPG Records/Warner Bros.)
Got something today for the patrons: an exclusive post on “You’re My Love,” the most surprising–and arguably the most controversial–track on last month’s Originals. For those who haven’t yet become patrons, here’s a taste:
Last month’s Originals had plenty of surprises for even dedicated Prince collectors–but none quite as surprising as “You’re My Love,” a track recorded in March 1982 at Prince’s Kiowa Trail home studio and later gifted to, of all people, country music crooner and rotisserie chicken mogul Kenny Rogers. Most reviews of the collection greeted the song with mild (or not-so-mild) bafflement. Paste’s Zach Schonfeld intimated that “there’s a reason” Prince didn’t keep “You’re My Love” for himself. PopMatters’ Chris Ingalls panned it as a “bland-yet-serviceable 1980s pop song” that “sees Prince almost veering into parody with a Vegas-style croon.” In her excellent piece for The Quietus, Soma Ghosh dismissed the song as “schmaltzy.” Even Michael Howe, the A&R professional in charge of Prince’s posthumous Vault releases, described it as a “full-on Holiday Inn lounge vibe” in an interview with The West Australian.
To hear what I have to say about the track, it will cost you a buck a month–but that buck a month also helps make it possible for me to post regular blog posts each week, and will entitle you to more exclusive content in the weeks to come. If that sounds like a good deal to you, then check it out here:
Otherwise, I’ll be posting my next regular piece on “How Come U Don’t Call Me Anymore?” tomorrow, which will cost you–to coin the phrase–not even one lousy dime. See you then.