(Featured Image: Prince and band prepare to fight on the 1999 inner sleeve; L to R: Brown Mark, Bobby Z, Prince, Lisa Coleman, Dr. Fink, Dez Dickerson. Photo by Allen Beaulieu, © Warner Bros.)
By mid-July of 1982, Prince had completed work on the album that would become 1999, with just one significant exception: “1999,” the song, was nowhere to be seen. According to a recent tweet by former associate Jeremiah Freed (better known by his nom de podcast Dr. Funkenberry), Prince had originally planned for “Turn It Up” to be the album’s lead single. It’s speculation on my part, but I wouldn’t be surprised if it was also intended to be the title track, given how exhortations to “turn it up” recur throughout the songs recorded for the album: including “All the Critics Love U in New York,” “Lust U Always,” and the early versions of “Feel U Up” and “Irresistible Bitch.” As Josh and Christy Norman of the Mountains and the Sea podcast recently observed, the phrase can even be made out spray-painted behind Prince and the band in a late 1981 photo taken for the “Let’s Work” 12” sleeve.
But whatever its intended title, when Prince played a rough mix of the album for his manager Bob Cavallo, the reception was cooler than anticipated. “‘This is a great album, but we don’t have a first single,’” Cavallo recalled telling Prince in an interview with music journalist Alan Light. “‘We have singles that’ll be hits, but we don’t have a thematic, important thing that can be embraced by everybody, different countries, et cetera.’” In response, Prince “cursed me, and he went away–but he didn’t force me to put it out. Two weeks later, he came back and he played ‘1999,’ and that became the title of the album” (Light 43).
Continue reading “1999”
(Featured Image: A real-life “Lady Cab Driver,” circa 1919; photo stolen from pastpictures.org.)
Of the 11 songs that would eventually make their way onto Prince’s fifth album, “Lady Cab Driver” appears to have had the longest gestation period. The song was completed at Sunset Sound on July 7, 1982, the day after “Moonbeam Levels”; but, as the recent deluxe edition of 1999 revealed, its seeds had been planted during a break in the Controversy tour over half a year earlier on December 8, 1981, in the form of a different song called “Rearrange.”
According to sessionologist Duane Tudahl in the Minneapolis Public Radio documentary The Story of 1999, “Rearrange” was long known to researchers by its title alone: “it was one of those songs that we’d heard existed, but I didn’t think it was actually a song,” he told host Andrea Swensson. “I thought it was just some shuffling of his stuff”–a studio note indicating a literal rearrangement of tapes. As it turned out, of course, it was real–though it was also little more than an admittedly funky sketch: a stark, mid-paced groove with a slick rhythm guitar hook similar to the Time track “The Stick.” Given this similarity–not to mention Prince’s guitar solo, which plays neatly to Jesse Johnson’s combustive style–it seems likely that “Rearrange” was at least provisionally mooted for that group. But this is just speculation; ultimately, says Tudahl, we “don’t know whether it was intended for 1999, whether he was searching for a voice for 1999, or whether he was saying, ‘I gotta record another Time album soon.’ But either way it was something that was not planned. He just thought, ‘I’m in the studio, I gotta record, I’m going to record. This is what I’m gonna do’” (Swensson 2019 Episode 2).
Continue reading “Lady Cab Driver (Rearrange)”
(Featured Image: The Time’s Morris Day and his sparring partner, the Artist Formerly Known as Jamie Starr, circa 1982; photo by Allen Beaulieu.)
The Time’s second album, What Time is It?, was released on August 25, 1982–just two weeks after the self-titled debut by Vanity 6. It easily outperformed both Vanity 6 and the Time’s own debut, and effectively tied with Prince’s previous album Controversy: peaking at Number 26 on the Billboard 200 and Number 2 on the Black Albums (recently renamed from “Soul”) chart.
Despite their success–or, more likely, because of it–Prince was determined to keep the spinoff group in their place. Studio tech Don 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.
Continue reading “I Don’t Wanna Leave You”
(Featured Image: DJ Steve Holbrook in the booth at the Taste Show Lounge in Minneapolis, circa 1983. Note the Time poster on the right. Photo by Charles Chamblis, stolen from the Minnesota Historical Society.)
Beginning with his third album in 1980, Prince had been steadily building up a mythology–occasionally bordering on a philosophy–for himself. Dirty Mind had “Uptown,” a clarion call for hedonism that eradicated all racial and sexual boundaries. 1981’s Controversy, of course, had its epic title track, a declaration of selfhood through the negation of fixed identities; as well as “Sexuality,” a return to the themes of “Uptown” with a new quasi-religious fervor. For his fifth album in 1982, he offered something even more blunt and to the point: a musical manifesto based around the four words, “Dance, Music, Sex, Romance.”
Though it was never released as a single–and, in fact, was left off the original CD release of 1999 due to space constraints–“D.M.S.R.” holds a privileged position in Prince’s discography. Dance Music Sex Romance was of course the title of the 1999 biography and session chronicle by Per Nilsen, long considered definitive by fans of the artist’s early career. It’s also, obviously, the title of this very blog, because I figured if Per’s not going to use it anymore, somebody’s gonna have to. Its attraction to writers on Prince is self-evident: as Dave Lifton writes in his post on the song for Diffuser’s 365 Prince Songs in a Year series, “Dance. Music. Sex. Romance. Add God into the mixture and you’ve more or less got the formula for every song Prince released in his life” (Lifton 2017). Way back when I first started d / m / s / r in 2016, I posited that it would make a great title for a career-spanning collection like Johnny Cash’s Love, God, Murder, with a disc devoted to each theme.
Continue reading “D.M.S.R.”