(Featured Image: Cover art for the “Super Deluxe” edition of 1999; © Warner Bros./NPG Records.)
Hi, friends. It’s taking some time to fully shake off the cobwebs, but I’m feeling myself shift back into gear for the new year; I won’t commit to a date so I don’t have to apologize later, but “Lady Cab Driver” is coming soon. In the meantime, here’s another piece I had been planning to write at the end of last year–my thoughts on the new Super Deluxe edition of 1999. Since we’re all friends here (and since I’m over a month late), I went for less of a formal review and more of a reflection on my personal feelings about the release and the state of the Vault in general. Patrons can read it here:
Speaking of patrons, thank you to Snax and Carlos Romero for supporting the blog and giving me some much-needed encouragement this week! Snax and Carlos bring us up to 20 patrons, which is honestly fantastic for my humble little project. More relevant for everyone reading this, they also brought the total monthly support up to $99–a mere dollar less than the threshold for me to start producing the d / m / s / r podcast again. That means that if just one person becomes a patron, the goal will be met! If that sounds like the kind of responsibility you’d like to have on your shoulders, you know what to do.
(Featured Image: Prince and Dez Dickerson onstage at First Avenue, March 8, 1982; photo by Michael Reiter, available for purchase on Etsy.)
The majority of Prince’s sessions at Sunset Sound, like the majority of his studio sessions in general, were solo affairs; but while recording at Sunset in early April 1982, he was accompanied by his touring guitarist Dez Dickerson. Dez, as noted previously, played drums on the Vanity 6 track “3 x 2 = 6,” recorded on April 5. He was probably also in the studio for the tracking of “Extraloveable” on April 3: at one point, Prince can be heard taunting, “Hey Dez, don’t you like my band?”–an aside that has been widely interpreted as referring to Dickerson’s departure from the group the following year, but was more likely a simple case of good-natured, competitive ribbing. Last but not least, Dickerson’s backing vocals are clearly audible on “If It’ll Make U Happy,” recorded on April 6.
Between these sessions, the guitarist later recalled, Prince also gave him studio time to work on some of his own music (Dickerson 201). This was almost certainly meant as an olive branch, as tensions had emerged between the two bandmates. Like André Cymone before him, Dickerson had no intention of spending his entire career as a sideman; and, like Gayle Chapman, he’d begun to find that Prince’s sexual boundary-pushing was at odds with his own beliefs.
Continue reading “If It’ll Make U Happy”