Hoping to have another Vanity 6 post up by the end of the week–and, of course, it being Celebration week, I’d be surprised if there wasn’t a “new” track to write about sometime in the next couple of days. We’ll see what happens!
(Featured Image: Cover art for For You, 1978; photo by Joe Giannetti, © Warner Bros.)
dance / music / sex / romance is fast approaching its third year, so to celebrate, we’re going…backwards? That’s right, to mark the 40th anniversary of Prince’s debut album, I thought now was the perfect time to go ahead with an idea I’ve been toying with for a while: our own sub-series of review podcasts looking at each of Prince’s albums in isolation.
I’m doing this for a few reasons. First, it’s a way to bring those of you who have been listening to the podcasts but not reading the blog into the loop on my chronological Prince project–and also a way for me to work through some of these albums before I can get to it with my glacially paced writing schedule.
Second, I’ve known from the beginning of this project that if I really wanted to do Prince’s catalogue justice, I would need to incorporate more voices and perspectives than just my own. We all have our biases and blind spots, and as a Prince fan I am acutely aware that one person’s sentimental favorite can be another’s unlistenable mess (and vice versa). That’s why I asked my friends Harold and KaNisa, both of whose encyclopaedic knowledge of Prince’s career dwarfs my own, to join me. I think you’ll find that our tastes and opinions both intersect and diverge in a lot of interesting ways, which allowed us–and hopefully, will allow you–to take a different perspective on some of these songs and the context in which they were created.
I hope you enjoy this new approach to an album that remains underappreciated in Prince’s catalogue. If you do, I hope you’ll subscribe to the podcast on your streaming app of choice (iTunes, Stitcher, or Google Play), and if you’re so inclined, leave a review! No matter what, thanks for listening, and see you again soon.
(Featured Image: Ooh wee baby, your body’s like no other; photo stolen from Darling Nisi’s Tumblr.)
As warned/promised last month, I have been up to my neck in drafting my chapter for the upcoming Prince and the Minneapolis Sound anthology (which is now two days late as of this writing–sorry, editors). As always, however, my much more consistent colleague in chronological Prince studies Darren Husted has come to the rescue with another episode of his podcast Prince: Track by Track featuring yours truly:
As usual, I picked a track that I consider a bit of a dark horse favorite. I hope you enjoy listening as Darren somehow manages to reference an obscure Michael Cera coming-of-age film, and I spend a solid minute and a half clearly describing a vagina without actually saying the word “vagina.”
We’ll be back to our regular schedule (I hope) next week, assuming I finish my chapter and/or my editors don’t kill me first. Have a great weekend!
(Featured Image: Cover art for Prince and the Purple Rain Era Studio Sessions – 1983 and 1984 by Duane Tudahl, from Amazon.)
It is no exaggeration to say that without Duane Tudahl, Prince fandom and Prince scholarship would both look very different. In the 1990s and early 2000s, Tudahl was one of the amateur historians behind Uptown, the venerated fanzine that remains the chief source of what we know about Prince’s work beyond the official studio recordings. If you have a dogeared copy of Per Nilsen’s Dance Music Sex Romance or Alex Hahn’s Possessed on your shelf, if you’ve ever consulted Prince Vault for information on a rare outtake, and yes, if you’re reading this very blog, Tudahl is among the people you have to thank.
But Uptown’s research, for all its significance, is getting a little long in the tooth. The magazine has been defunct for well over a decade, during which time new information on Prince’s recording sessions have continued to emerge unabated; so it was with great excitement that many of us learned Tudahl was preparing an update. Prince and the Purple Rain Era Studio Sessions: 1983 and 1984 is the first of, hopefully, many such updates–and I don’t think I need to tell this particular readership that it is absolutely essential.
As the title suggests, Tudahl takes a long view of the “Purple Rain era,” beginning in the middle of the 1999 tour in January 1983 and ending with the completion of Around the World in a Day in December 1984. Obviously, setting firm chronological boundaries on the work of an artist in perpetual motion will always be arbitrary; Tudahl, however, makes a good case for his selection. The 24 months he chose include Prince’s slow ascension to superstardom, and his first post-crossover left turn; the “official” formation of his most iconic band, the Revolution, and the beginning of their expansion with vital auxiliary musicians such as Eric Leeds; the club show that provided the nucleus for much of the Purple Rain film and album, and the stadium performances with which he promoted them. This is, in other words, an era that provides a fascinating microcosm for the various trends, tensions, and themes that would persist throughout Prince’s career.
1983 and 1984 are also where Prince recorded some of his most popular and accomplished music: not only Purple Rain and Around the World in a Day, but also the Time’s Ice Cream Castle, Sheila E’s The Glamorous Life, the eponymous albums by Apollonia 6 and the Family, and many of his most renowned B-sides: “Irresistible Bitch,” “Erotic City,” “She’s Always in My Hair.” Even the songs written for other artists in this period are household names: “Manic Monday,” “Nothing Compares 2 U,” “Sugar Walls” (well, maybe not “Sugar Walls”). Regardless of one’s personal feelings on the “Purple Rain era,” it’s undeniable that this was one of the artist’s richest and most prolific periods, making it the perfect place to start with what could easily have been a dry, pedantic “for fans only” exercise.
That being said, it still takes a special kind of music geek to read a 550-page book about the recording sessions for (give or take) a single album. This is, by its very nature, not a book for casual fans; but it’s to Tudahl’s credit that it is immensely readable, as much of a page-turner as a chronological studio record can possibly be. The author brings to life the heart of his research–work orders obtained from Sunset Sound, Prince’s base of operations in Los Angeles at the time–with judiciously-selected quotes from former engineers, band members, and other collaborators, as well as some (through archival means) from Prince himself. For writers and researchers like myself, of course, Prince and the Purple Rain Era Studio Sessions will be invaluable as a resource for information about this period (I just hope all of us are considerate about citing our sources). But for readers who just want to learn more about an artist working at the peak of his powers, the insight it provides is just as worthy.
I say this a lot in reviews on this blog, but I mean it especially this time: if you read and enjoy dance / music / sex / romance, you need to buy this book. Not just because it will be of interest to anyone with a desire to dig into Prince’s oeuvre song by song, but because, quite frankly, we owe it to Duane for his decades of hard work, without which I know none of my writing on Prince would exist. Plus, I’m dying to get another one of these for 1985-86. Let’s make it happen!
If you want to support Duane and d / m / s / r in one fell swoop, please feel free to preorder Prince and the Purple Rain Era Studio Sessions using our Amazon affiliate link. The book comes out next Wednesday, November 15.