Throughout Prince's career, he has been involved with a succession of protégés and side-projects. This story envelop a fascinating insight into Prince's production and songwriting techniques. Many of the artists have become stars in their own right. Perhaps most famous and successful of all of this musical projects have been ... THE TIME.

Oberheim synthesizer

Sunset Sound

The Idolmaker

Morris Day, Jesse Johnson, Jerome Benton, Monte Moore,Jimmy Jam & Terry Lewis

Jellybean Johnson Lincoln Junior High classmate

Grand Central, Flyte Time,

Sharon Hughes (background vocals)

Sue Ann Carwell, Alexander O'Neal
Lisa Coleman Dez Dickerson Dr Fink Andre Cymone
JJ

The Starr ★ Company

Jamie Starr

It's all about self-respect...to take pride in who you are, the way you dress and groom, and the way you walk & talk. -Morris Day

Party Up

Oh Baby

Cool
Get It Up

Girl

My Stick

the Walk

Wild & Loose
OneDayImGonnaBeSomebody

I Don't Wanna Leave U

777-9311

After Hi School
Gigolos Get Lonely Too

Grace

Jerk Out [What Time Is It? studio sessions]

Colleen [What Time Is It? studio sessions]

2 Friends of mine got lost in the snow

Jungle Love
the Bird

Chili Sauce ie Proposition #17

Tonight, hey, I'm a Movie Star

Ice Cream Castles

My Drawers

If the Kid Can't Make U Come

Cloreen Bacon Skin

Tricky

Chocolate [Ice Cream Castles studio sessions]

My Love Belongs 2 U [Ice Cream Castles studio sessions]

My Summertime Thang [Ice Cream Castles studio sessions]

Velvet Kitty Kat [Ice Cream Castles studio sessions]

Data Bank #1

Once upon a time ... exactly in April 1981 [Prince] creates THE TIME as an outlet for some of his most funky and danceable R&B material. The project was made possible when he signed a contract with Warner Bros. Records, that allowed him to develop and record other acts. After the considerable success the record company had achieved with his 1979 album "Prince" and the hit-single "I wanna be your lover" (which sold more than 1 million copies and hit #1 at the R&B Charts and #11 at the Pop-Charts) in the black marketplace, the record company was very interested when [Prince] presented them with more of the same. By creating THE TIME, [Prince] was able to continue on the path of his 1980 album "Dirty Mind" and explore other musical genres that would not label him as a R&B artist. His ideas about creating an alter-ego group was reinforced by a 1980 motion picture entitled "The Idolmaker". Directed by Taylor Hackford, this movie is a revealing and entertaining glimpse of the process behind the invention of pop stars. It was based on the career of Bob Marcucci, who pulled the strings for Fabian and Frankie Avalon in the '50s.

Sue Ann Carwell did a stint as lead singer before getting a solo contract, and also Alexander O'Neal took over. He was [Prince]'s first choice as lead singer for THE TIME, but he finally declined his offer by saying "If there isn't going to be a bunch of money, then I'm not in.". Alexander O'Neil later released more than 10 albums and collected three gold records - THE TIME released only 4 albums but got three gold and one platinum.

Finally [Prince] envisioned THE TIME as a cool, street-wise funk band, with [Morris Day] as the lead singer. The songs [Prince] tailored for the band were unpretentious and well humored, mostly concerned with love, sex, style, attitude, partying and money. Containing none of the spiritual or socio-political concerns that he dealt with on his own albums. Part of [Prince]'s incentive for involving [Morris Day] in THE TIME was to repay him for the use of his track "Partyup" on [Prince]'s 1980 album "Dirty Mind".

THE TIME's further line-up was basically created around a Minneapolis funk band called Flyte Tyme. This band, named after a song by jazz artist Donald Byrd, was founded by [Jellybean Johnson] (drums) and [Terry Lewis] (bass) and had exist in different incarnations since around 1973. [Monte Moir] and [Jimmy Jam] (both keyboards) had also played with Flyte Tyme many times ago. [Jesse Johnson] (guitar) was finally enlisted by [Morris Day], who remembered him from an audition for his former band Enterprise. Cynthia Johnson was one of Flyte Tyme's early lead singers until she left to sing with Lipps Inc., who had a huge hit with "Funkytown" in 1980.

Andre Cymone, who played bass in [Prince]'s band, had been very involved in THE TIME project from the beginning. He was also assembling a girl group, called "The Girls", and saw the side projects as an opportunity to supplement his relatively small income from being a band member only. Andre claimed that he came up with many of the ideas for THE TIME before being muscled out of the project, wich led into falling out with [Prince]. The relationship between Andre Cymone and [Prince] had been deteriorating for some time. Andre felt, that he didn't receive enough credits for his input into [Prince]'s music and stage act, even accusing [Prince] of knowing stealing his ideas. He decided to leave [Prince]'s band and embark a solo-career. He accepted to participate in the upcoming european tour, but he left the band immediately afterwards.

Lisa Coleman later also reported, that [Prince] pulled stunts like turning home studio jams with [Morris Day] and her into material for THE TIME and another side-project, Vanity 6

http://production.tweakto...dna/page/6

I was left a photo of the front of my condo—sort of—by Morris Day & The Time, who used my steps as the set for their debut album cover 30 years ago.

This year[7.29.1981] marks the 30th anniversary of Morris Day's first album with the Time, a self-titled effort of synthesizer-driven party-funk written by Prince and members of his Revolution. It sent two singles to the upper reaches of the Billboard R&B charts - "Get It Up," which featured an explosive Prince solo, and "Cool."

Q: This year marks the 30th anniversary of the Time's first album. Was that a good experience working with Prince on that one?

Morris Day: It was a great experience. We were all young and had no idea where the whole thing was going. So all those efforts back then were just innocent creative moments where we were just doing what we do and had no idea that it was going to take off the way it did.

The Time, home studio, April 1981 – album mixed in late April
Get It Up (9:05)*
Girl (5:34)*
After Hi School (4:20)* (Dez Dickerson)
Cool (10:06)* (Prince/Dez Dickerson)
Oh, Baby #2 (4:57)*
The Stick (8:23)* (Lisa Coleman/Prince)

Home studio, autumn-winter 1981
The Second Coming (1:58) (autumn)
Baby I’m A Star #1 (autumn/winter)
Rearrange #1 (7/12)
Baby I’m A Star #2 (7-8/12)
Let’s Work (Dance Remix) (8:02)* (8/12)
Feel U Up #1 (6:38) – segued with
Irresistible Bitch #1 (4:36) (winter)
Jerk Out #1 (late 1981) (Prince/Jimmy Jam/Terry Lewis/Morris Day)

July 29. 1981 rel The Time[self titled album]

1.Get It Up
2.Girl
3.After Hi School After hi school is registered to Morris Day, yet it was actually written and demoed by Dez Dickerson
4.Cool Cool is registered as a collaboration of [Prince] (music) with Desmond "Dez" Dickerson (lyrics).
5.Oh, Baby
6.The Stick:The stick was originally written by Lisa Coleman, but it was registered to Jamie Starr.

.

Prince initiated this album before the band had even been assembled. The record was completed in only two weeks in April 1981 at his home studio in the basement of his house at Lake Riley in Chanhassen, Minneapolis. Only Oh, Baby was recorded in April 1979 at Alpha Studios in Los Angeles during the sessions for his own 1979 album "Prince". The final mixing of the tapes took place at Hollywood Sunset Sound in Los Angeles, from 28th to 30th April 1981. [Prince] himself plays more or less every note on the album. Matt Fink delivers synthesizer solos on Get it up and The stick, while Lisa Coleman provides some backing vocals on Cool and The Stick. Prince's own voice is often audible in the final mix.

.

On 29th July 1981 the first album [The Time] was released by Warner Bros. Records. The credits listed [Morris Day] (lead vocals), [Jesse Johnson] (guitar), [Terry Lewis] (bass), [Jellybean Johnson] (drums) as well as [Monte Moir] and [Jimmy Jam] (both keyboards) as the members of the band. The production credit is shared by [Morris Day] with a guy named Jamie Starr, who had been first introduced as an engineer on [Prince]'s 1980 album "Dirty Mind". Neither record nor sleeve contains any songwriting credits. The music itself bears all the hallmarks of [Prince]'s synth-based Minneapolis-Sound and it didn't take long before stories start to circulating at the press, that [Prince] himself was behind this project - writing all songs, playing mosts instruments and producing the complete album, only utilizing [Morris Day] to add some vocals on the final mix.

O F F I C I A L A L B U M C R E D I T S

R E A L A L B U M C R E D I T S

1.) Morris 2.)William Doughty 3.) Andre 'Cymone' Anderson 4.) Linda Anderson

Pepé moved to Minneapolis and began working with Prince in 1974-75. It wasn't long before he realized that Prince was more than good, he was a phenomenal musician, and a singer as well. He also showed a deep desire and serious determination to make it. It was at this point that Pepé committed himself to passing the THE KNOWLEDGE to Prince; and Prince listened and listened.

Like Prince and the group he was in, Grand Central (a.k.a. Grand Central Station), most local musicians were performing cover tunes and not even thinking about writing and recording original material. Prince was about to change all that. He was about to start the ripple in the water that eventually grew to become internationally recognized as the "Minneapolis Sound."
Pepé had been working with Grand Central on a regular basis. He remembers some of the rehearsals they held in an attic in South Minneapolis:

Prince was on guitar, André Anderson (now known as André Cymone), was on bass, Morris Day (later of The Time) was on drums, Linda Anderson (André's sister) was on keyboard and William Doughty was on Percussion. I remember asking them to play one of their original songs. It was a disaster. Of course, there was raw talent there, but when they began to sing, everyone was singing something different. Prince was singing "she", André was singing "he", the rest of the group was singing something else; and the name of the song was You Remind Me of Me (written by André). I couldn't believe they didn't take the time as a group to learn the words. So I had them put down their instruments and start learning the lyrics. You know , it was like Song Construction 101 had begun. Of course, my No. 1 student was Prince.

Prince and Pepé spent the next several months working intensely with Grand Central. As Pepé recalls it . . .

I taught them about song construction, singing together, the best ways to rehearse together, but I didn't have to tell Prince anything more than once. Even though the members of Grand Central were talented musicians, they were still 'kids' and they often acted like it. These guys would laugh and tell jokes all the time. Prince would show-off doing gymnastics in our living room. Man, that was great! They especially loved to tease Wendell Thomas, the bass player from 94 East by writing funny little names and comments about him on the chalkboard.

Grand Central had made quite a bit of progress when Pepé decided to bring them into Cookhouse Recording Studios in 1975. Prince was so excited! Arrangements had been made for Grand Central to play for a co-owner of Cookhouse. He was fairly impressed with their original material, but then asked them to do one of their cover songs, an Earth, Wind and Fire tune. Unfortunately, they played Earth, Wind and Fire better than they played Grand Central. They were not ready. Back to practice

Prince(keyboards) Andre Cymone(bass) Morris(drums

Cool" is a song by The Time, released as the second single from their eponymous debut album. Like most of the album, the song was recorded in Prince's home studio in April 1981, and was produced, arranged, and performed by Prince with Morris Day later adding his lead vocals. The song was co-written with Revolution guitarist Dez Dickerson and contains background vocals by keyboardist Lisa Coleman, however both were uncredited.

The classic video for the song is directed by Chuck Statler, who is best known for directing the early Devo videos

-Wiki

Cool

I got a penthouse in Manhattan
2 more in Malibu
I bought a '87 Cadillac Seville
Girl, I got a Mazerati 2
I wear diamonds on my fingers
I got a couple on my toes
I wear the finest perfume money can buy
It keeps me smellin' like a rose
If U wonder how I do it
There's just one simple rule
I'm just cool (Cool)
Oh oh - Honey, baby can't U see?
Girl, I'm so cool (Cool)
Ain't nobody bad like me, hey

(C-O-O-L) What's that spell?
(C-O-O-L)

I might dine in San Francisco
Dance all night in Rome
I go any freakin' place I want 2
And my lear jet brings me home (Listen darlin')
I got ladies by the dozens
I got money by the ton
Just ain't nobody better
Heaven knows that I'm the one

And it's all because of something
That I didn't learn in school
I'm just cool (Cool)
Cool - Honey, baby can't U see?
Girl, I'm so cool (Cool)
Cool - Ain't nobody bad like me

Sing it, baby
(C-O-O-L) What's that spell?
(C-O-O-L) That spell cool

(Cool) Cool
Sweeter than sex
(Cool) That spell cool
(Cool) Cool
So what U think?
(Cool) Cool

What time is it? Ooh

Listen baby, it takes a lot of lovin' and a little money
2 be a friend of mine
But baby, if U know how 2 shake that thing
I'll try 2 squeeze a little time
Cuz I make love, love every mornin'
2 who's ever by my side
Well, U might say that I'm a nymphomaniac
But it keeps me satisfied

When I look into the mirror
It just tells me something I already know
I'm so cool (Cool)
Cool - Honey, baby can't U see?
Girl, I'm so cool (Cool)
Cool - Ain't nobody bad like me

Sing it
(C-O-O-L) What's that spell?
(C-O-O-L) What time is it?

More (Cool)
I'm so cool (Cool)
Cool (Cool)
And I'm so cool (Cool)
Band

(C-O-O-L) {x2}
Cool, that's right
I'm cooler than Santa Claus, baby
Oh, mm hmm
Ain't nobody bad like me
Somebody pinch me
I must be dreamin'
I know that's right, honey
Cuz there ain't nobody bad like me
What time is it?
Is it time 2 get my hair done yet?
I said, "What time is it?"
Time 2 just walk and shake my head
I'm cool 'til I'm dead
Enough has been said
Come on, baby, let's go 2 bed
Everybody
Walk, shake my head
Cool 'til I'm dead
Enough has been said
Let's go 2 bed

When I look into the mirror
It just tells me something I already know
I'm so cool (Cool)
Ain't nobody bad like me
Oh, I'm so cool (Cool)
I said ain't nobody bad like me

All 2gether now
(C-O-O-L) What's that spell?
(C-O-O-L)

Band? (Yes!)
Is anybody hot? (No!)
U know why? (Why?)
Cuz we're cool (Cool!)

Oh, I'm so cool

The classic video for the song is directed by Chuck Statler, who is best known for directing the early Devo videos

-Wiki

November 14th, 1981 • Soul Train

TV-Show Details

Line-Up

The stick was originally written by Lisa Coleman, but it was registered to Jamie Starr.

initial tracking took place in April, 1981 at Prince's Kiowa Trail Home Studio, Chanhassen, MN,

Matt Fink delivers synthesizer

Lisa Coleman (listed as "various girlfriends")background vocals))

Terry Lewis (background vocals)

all other known instruments by Jamie Starr

Lead vocals/Drums by Morris Day

My stick, I just love my stick
Mmm, my stick, I just love my stick

Girl, your ride is bad but U can't compare
2 my baby black Cadillac, oh so rare
Take a vacation, I don't care
Cuz I can get some simulation anywhere

U just come 2 quick, I'd rather work my stick
Get a little satisfaction, work the stick in my ride
U just come 2 quick, I'd rather work my stick
Get a little satisfaction, work the stick in my ride

Girl, U come 2 quick, much, much 2 quick
Girl, U come 2 quick, I'll just work the stick

Offer me your body, I have 2 pass
Cuz every time we make love, U run out of gas
Girl, my car's so bad it runs on H2O (Oh)
No, U can't compete, it's got the cruise control (No)

U just come 2 quick, I'd rather work my stick
Get a little satisfaction, work the stick in my ride
U just come 2 quick, I'd rather work my stick
Get a little satisfaction, work the stick in my ride {x2}
Everybody
Get a little satisfaction, work the stick in my ride

Girl, U come 2 quick, much, much 2 quick
Girl, U come 2 quick, I have 2 work the stick

I've been drivin', baby, since the age of 13
I'm the baddest driver U've ever seen (Oh)
U know I like it fast and I like it slow
Sometimes I let the top down when I wanna let go
(Oh, everybody sing the song now)

U just come 2 quick, I'd rather work my stick
Get a little satisfaction, work the stick in my ride
Everybody
Get a little satisfaction, work the stick in my ride
Break down

What time is it?
(Well, your car's 2 slow, baby)
I said "What time is it?"
Oh
Band
Yeah, that's right
Oh
Oh no

U just come 2 quick, I'd rather work my stick

Somebody bring me a mirror so I can uh...
What song we on?

U just come 2 quick, I'd rather work my stick
Get a little satisfaction, work the stick in my ride (Oh)

What time is it?
I'm just alright, oh no
Yeah ooh, oh
I don't need U, baby, I'll just work the stick in my ride, yeah ooh
I don't need your action, baby
Get a little satisfaction, work the stick in my ride
Sing it
Get a little satisfaction, work the stick in my ride
Everybody

U just come 2 quick, I'd rather work my stick

It's about time 2 go (No)
I said I don't need U girl, hey
Somebody bring me a mirror
So I can look at my stick, hey
Alright
U wanna see it?
Should I take it out?
Take it out, man
Hey
Later y'all

If anyone knows of or has any interviews with the Time or any of the members from the 1980-1984 period or pieces where a member talks about that time please do share...

'church' organ playing

Ya'll have 2 excuse me

I was going to mention this earlier

But I forgot
I'm not above that

But what we are going to do right here

right now

No not yet not yet just relax, this is my show

We are going to take up a collection, ya know

like they do in church

So as U C the fellas assembling behind me

we're going 2 take advantage of your kind generous hearts

And take a collection

I'll take anything

Money

Phone Numbers

Credit Cards

Your Momma

U don't want her? But the bitch in in the hat

Fella go on out there and take advantage of these kind hearts

That's right bring the house lights up, I like it like that

that way I can see who is giving and who ain't

Now as we know

Brother Prince played here a week or 2 ago

and from what they tell me

he charged $25 a head

I don't know about U but I stayed home that night

that is just a little steap\

No serious that's steap
I got money and everything
But I'd like 2 keep it that way

I want U 2 bear 1 thing in mind

as those hat's come in front of U

And that is

GIVE

GIVE until your heart

until it hearts

Mike Jones I see U out there

I see U laughing

I want 2 C U with your hands in your pocket

What Time Is It?

It's time to put something in that hat

U know what time it is

Come on

Don't throw it at me cause I'll be out there on your ass

Don't throw the shit at me put it in the hat

Alright fellas that's quite enough
We got a show 2 do and we realize that

Thank U so much

Jerome Jerome where u at I need U Jerome

Anyone C Jerome
If they do send him back up to the stage

I know u....

Prince R U out there, did U give?

U took, Did U give?
Jerome where U at, I need U brother

Morris is waiting

I don't have all night

This is my show, this is my stage

Jerome did I get some phone numbers
tell me what I got

lol somebody stole em...

The Time... hmmm. Don't know that I've heard of them. I'll have to check them out--I mean, if there's a Prince connection, they might be okay.

Actually, I liked that pic of Grand Central--I'd never actually seen it before, so nice inclusion. Though the couple on stage didn't seem to fully appreciate what the three would eventually be. Probably just hearing what they were actually playing instead of the future. Short-sighted people.

.

Also, is there an easy way to find all of these "period" or "project" retrospective threads that you do, OF4S? It'd be nice if there were a list somewhere.

.

Anyway, I like them, but since I often don't have any thing really to add, I've never said anything much about them. They're a nice addition to Prince.org.

Dapper brand of 'cool' still suits Time

Inspired by zoot suits, bygone Hollywood glamour and underworld cool, the band scoured hand-me-down shops for designer castoffs to enhance their image as swaggering funk kingpins. Porkpie hats, pleated trousers, wide-shouldered long coats, Morris Day's gold jacket with the tiger-print lapels. OK, not every outfit screamed panache. Some just screamed.

Little has changed, except now they can afford new threads.

"Our first clothing budget was $100," Jesse Johnson remembers. "For all of us."

Sporting flashy suits, shades and fedoras, The Time continues to pride itself on fashion sense. And in typical Time fashion, the band is still behind the times, opting for a Godfather vibe over today's sloppy chic.

It all started with sprees at Minneapolis vintage shops Ragstock and Tatters Clothing.

"We were interested in being cool," Jimmy Jam says. "It was about attitude and feeling good about ourselves, even though we didn't have the money."

Morris had to overcome his retail snobbery. "I ain't going to lie: I was a little apprehensive about going into a used-clothing store," he says. "But that original Presley (suit) came out of Tatters, and I wore it till it fell off."

No designers or stylists played a role in The Time's flamboyant early press photos or videos.

At concerts during the first tour, "every kid was dressed like us, because they could do it cheap," Jesse says. "The prices at Ragstock went way up."

The Time's dapper-duds scheme soon backfired.

Says Jerome Benton, "By the end of the tour, used suits at Aardvark's (in L.A.) were $300."

http://usatoday30.usatoda...side_N.htm

rel 6.26.1981

Get it up (9:08)
recorded april 1981 by [Prince] at his home studio [1] •

performed by [Prince] (all instruments & vocals) with

[Morris Day] (additional lead vocals)

& Matt Fink (synthesizer solos)

• final mixing 28th-30th april 1981 at Sunset Sound [7]
written by [Prince] (uncredited)

• registered to [Prince] (as Jamie Starr)
finally released 1981 on the Album [The Time]

• 1981 on the promo 12"-Single [Get it up]

• 1984 on the 12"-Single [Ice cream castles]

Get it up (edit / mono) (3:05)
finally released 1981 on the promo 7"-Single [Get it up]

Get it up (edit) (3:05)
finally released 1981 on the promo 7"-Single [Get it up]

• 1981 on the 7"-Single [Get it up]

• 1981 on the promo 12"-Single [Get it up]

Get it up, get ready for a real good time. I'm gonna try to blow your mind.
Can't you see? You and me. It sounds so nasty.

Get it up, let your hair hang down. We could fool around.
Don't you know? I want you so. Make me happy.

Get it up, there's nothin' wrong. We're freakin' all night long.
Me and you. We need a groove. It feels good, do it.

Get it up, leave your cares behind. Let me try to find.
Find the spot. That gets you hot. Let me do ya.

What time is it?

Get it up, get ready for a real good time. I'm gonna try to blow your mind.
Can't you see? You and me. It sounds so nasty.

Get it up, let your body drip. Let me take you on a trip.
Can't you see? You're killin' me. You're so freaky.

Get it up. Get it up. I'll work you all night.

Get it up. Get it up. All night.

The Time Opening 4 Prince

01.30.1982

@ the Capitol Theatre

1. The Stick

2. Dance 2 the Beat

3. Oh Baby

4. Get It Up

5. Cool

Prince & band

1. Uptown

2. Why U Wanna Treat Me So Bad?

3. I Wanna Be Your Lover

4. Head

5. Dirty Mind

6. Do Me Baby

7. Controversy

8. Let's Work

9. Jack U Off

After hi school (4:22)
recorded april 1981 by [Prince] at his home studio [1] • performed by [Prince] (all instruments & vocals) with [Morris Day] (additional lead vocals) • final mixing 28th-30th april 1981 at Sunset Sound [7]
written by Dez Dickerson (uncredited) • registered to [Morris Day]
finally released 1981 on the Album [The Time] • 1981 on the 7"-Single [Get it up]

Seems like nothing's ever gonna change in my world.
Every day is more the same old thing.
But in the spring, I'm gonna graduate from hi school.
Then I won't have to live by anybody else's rules.
Everybody tells me things don't stay the same.
If you wanna live, you gotta play the game.

(chorus)
And they say: Hey you, what you gonna do after hi school?
Hey you, what you, what you gonna do?
And they say: Hey you, what you gonna do after hi school?
Hey you, what you, what you gonna do?

But there's a lot of stuff that I could learn to do in my world.
Learn to drive a truck or maybe even join a band.
My parents tellin' me I got to go to college.
I won't get anywhere if I don't have the knowledge.
Uncle Sam keeps sending letters in the mail.
If you don't register, you're gonna go to jail, gonna go to jail.

(repeat chorus)

Listen to me, listen to me!
Hey you, what you gonna do?
Hey you, what you gonna do after hi school?

I'm talkin' to ya, you stupid slob!
Get a job you bum!

I'm talkin to you.

Jet: March 1, 1982

http://www.eurweb.com/2015/03/steven-ivory-before-uptown-funk-there-was-the-time-watch/

*

*“Uptown Funk,” that Mark Ronson/Bruno Mars collaboration you hear everywhere, is glossy, funk-from-concentrate that uses so many meat by-products from other funk songs—a rhythm guitar lick similar to Roger Troutman and Zapp’s “More Bounce to the Ounce” here; a strategically inserted “Sayyy Whaaaaat?” synonymous with a million funk and hip hop recordings, there—that I’d be surprised if Ronson, when he finished producing the track (with Mars, Jeff Bhasker and Philip Lawrence), didn’t step back from the recording console and declare, a’la Dr. Frankenstein, “It’s Alive!”

However, Ronson reserves the most obvious pinching for the song’s video (he’s the white cat in most of the frames). Indeed, most kiddies today don’t know Mars and his band’s bumptious video antics were no doubt inspired by a band that debuted more than thirty years ago, The Time.

Don’t believe me, just watch…the video: Ronson’s clip features Mars being primped and fussed over by right hand man Philip Lawrence, similar to how The Time’s onstage “valet” Jerome Benton spruces up Time lead singer Morris Day.

*

At some point, Mars purposefully checks his wrist watch to see what time it is—a trademark move of Day (as in, “What Time Is It?” The Time—get it?). Ronson’s clip artfully uses an old Lincoln Continental as a prop; on the cover of Ice Cream Castles, The Time’s third album, members pose sitting on a bright yellow Cadillac.

*

Okay, perhaps I’m reaching with that last one, but I’m convinced Ronson’s title, “Uptown Funk,” was inspired by “Uptown,” the 1980 song (and state of mind) by Prince, The Time’s creator and producer.

All the swaggering Mars and band sing about in “Uptown Funk”, The Time personified in their second single back in the day, the title of which said it all: “Cool.”

I remember how excited people were about the debut of The Time. It was 1980 and the R&B band genre, after dominating the mid-late ‘70s–think Earth, Wind and Fire, Ohio Players, Commodores, Isleys 3+3, Parliament/Funkadelic and Rufus featuring Chaka Khan and bands like the Bar-Kays, New Birth, B.T. Express, Brass Construction, Brick and thumping bass legend Larry Graham’s steamrolling Graham Central Station–was now being represented by a revised Kool and the Gang, the Brothers Johnson and the S.O.S. Band. Earth, Wind & Fire and the Isleys were winding down. Larry Graham was singing ballads.

*

The Time, on the other hand, had the vibe of an underground thing that had a light cast on it by this young cat catching fire out of Minneapolis named Prince. Warner Brothers, for whom both Prince and The Time recorded, issued a press release with the band’s eponymously titled 198l debut LP, claiming for PR sake that Prince stumbled onto the band when he walked into a Minneapolis nightclub while they were onstage.

*

The truth is that he and Morris Day, a drummer, were friends, and Prince himself assembled The Time by recruiting musicians he knew from local Minneapolis area bands. For the first two Time albums, Prince wrote most of the songs, played most of the instruments—synthesizers, guitars, bass and drum machines—and with Day developed the lead singer’s braggadocious lady’s man persona.

*

The studio was one thing, but onstage, The Time (Day, guitarist Jesse Johnson, Jimmy “Jam” Harris and Monte Moir, keyboards; bassist Terry Lewis, Jellybean Johnson, drums; Jerome Benton, percussion, vocals) was real. At Hollywood’s Roxy Theater, scene of the band’s first L.A. performance in 1981, the anticipation was palpable.

They nearly burned down the 500-seat club with a funky, turtleneck-tight set that featured all the irreverence and rebellion that, along with the music, gave The Time its public identity. When Jesse Johnson stepped from the stage and onto the table of a patron sitting at the front of the stage to blaze a guitar solo, we were taken aback. The gall! The attitude! We love this band!

Years later I’d tell Terry Lewis what a great performance the Roxy show was. “Aw, man, that was one of the weakest shows on that tour,” he said. “Most of us had the flu or something that night, and we were feeling miserable.”

After the show, Warner Brothers hosted a private reception for the band, press and assorted VIPs at a restaurant across the street from the club. There, in a corner of the room, was Prince, in that animal print coat and scarf ensemble he often wore before the real money came, standing among Warner execs and people from Cavallo & Ruffalo, the firm that managed Prince and The Time, discussing the show.

*

Prince being the band’s professional mentor didn’t deter him or Morris Day and company, when touring together, from attempting to obliterate one another onstage. When The Time opened the show, their blistering grooves often made it difficult for Prince, whose set was more musically eclectic, to pull the audience back in.

*

During Prince’s 1982/’83 tour, The Time did double duty, playing behind the curtain to supply music for the boss’ girl group, Vanity 6, before performing their own set. Prince got to play behind the curtain, too, for a different reason: when bad weather in Atlanta kept Lewis and Jimmy Jam, moonlighting as independent songwriters/producers, from making a flight to a show in Texas, Prince had Time member Benton–half-brother to Lewis–strap on a bass guitar and pretend to be playing during The Time set, while Prince played the actual bass parts from backstage. Jam and Lewis were fired from the band shortly thereafter, in 1983.

*

Since then, there have been several Time configurations, including short-term reunions of the original members (sometimes performing as the Original 7even, since Prince owns rights to The Time moniker), most of whom launched successful careers as songwriters, producers and bandleaders in their own right.

*

Despite their onstage prowess—and signature songs, “The Bird” and “Jungle Love”–the band biggest single was the 1990 song, “Jerk Out,” which reached #9 on the Billboard pop charts.

No matter. The Time’s musical and visual style influenced countless R&B bands during the ’80s, including The Deele, from which the R&B production team of Antonio “L.A.” Reid and Kenny “Babyface” Edmonds emerged.

*

I like Ronson’s “Uptown Funk.” I believe all the biting in that video is in conscious, humble homage to The Time. In any case, Ronson’s conceptualized dance music serves to expose a new generation to traditional funk. And that’s always cool, no matter what time it is.

Steven Ivory, veteran journalist, essayist and author, writes about popular culture for magazines, newspapers, radio, TV and the Internet. Respond to him via STEVRIVORY@AOL.COM

Read more at http://www.eurweb.com/201...mIeYR8k.99

OldFriends4Sale said:

http://production.tweakto...dna/page/6

I was left a photo of the front of my condo—sort of—by Morris Day & The Time, who used my steps as the set for their debut album cover 30 years ago.

So damn cool

I love this stuff. Especially since I was ten at the time and I had to wait to get a ride to the record stores just to look at an album or cassette tape to see what bands looked like. I(we) had no clue.

Keep it up!

Although they hadn't yet really played together as a group in the studio, in August 1981 THE TIME performed their first live appearance at a showcase for a small group of executives from Warner Bros. Records at the S.I.R. Studio in Los Angeles, with Prince overseeing the proceedings by the soundboard. During rehearsals for the upcoming "Controversy"-Tour with Prince, THE TIME incorporated Jerome Benton into their acts to be Morris Day's on-stage valet. The band warmed-up in autumn 1981 by playing a small number of low-key gigs around the Minneapolis aera.

THE TIME made their public live debut on 7th October 1981 at Sam's, a music club in Downtown, Minneapolis, with Prince digging the show back by the soundboard again. A few weeks later they embarked as the main supporting act on Prince's 1981/1982 "Controversy"-Tour.

1982 Cntroversy "Tour
March 2 Tower Theater , New Orleans
March 3 Orpheum Theater , Philadelphia
March 5 Metro Center , Rockford
March 7 Met Center , Bloomington (SB)
March 11 Coliseum , Hampton
March 12 Raleigh, NC
March 14 Riverfront Coliseum , Cincinnati

p 48 chapter 4 Pawns Possessed: the Rise & Fall of Prince

The hostilities burst to the surface during the last show of the tour at Riverfront Stadium in Cincinnati. During their opening set, the Time found themselves being pelted by eggs from offstage. Gradually, they realized that Prince and some of his band members were the culprits. The barrage increased, and, toward the end of the set, Prince and his accomplices abducted Jerome Benton, a dancer for the group, from the stage and poured honey all over him. They they pelted hims with garbage. "They tarred and feathered him, basically," recalled Fink, who did not participate and insisted to the Time members that he wanted no part of the battle.

Then, as the Time's set ended, Chick Huntsberry grabbed Jesse Johnson and hauled him to Prince's dressing room. There, Huntsberry handcuffed Johnson to a horizontal coat rack bolted into a brick wall. Prince came in and began taunting Johnson and tossing Doritos chips and other pieces of food at him. "This is what you get for talking about my mama!" Prince shouted.

The various members of Prince's band and crew in the room looked on with horror as the episode continued. "It was a cruel thing to do," observed Bennett. Fink recalled, "I just sat there and said to myself, this is getting out of hand."
Humiliated and frightened, Johnson writhed in his cuffs. Finally, to the amazement of the onlookers, he managed to rip the entire twelve-foot-long coat rack out of the wall. His hands were still cuffed to the rack, which he began swinging wildly. "Jesse was uncontrollable," Fink said. "He just lost it. Chick had to contain the situation before someone got hurt."

Morris Day & Jimmy Jam

Date: February 14th, 1982
Venue: Civic Auditorium • 99 Grove Street, San Francisco, CA 94102, USA
Show: Supporting-Act at [Prince]'s "Controversy"-Tour

1. Concert intro + The Stick
2. After hi school
2. Oh baby
4. Get it up
5. Cool

• [Morris Day] lead vocals
• [Jerome Benton] stage valet & percussion
• [Jesse Johnson] guitar
• [Terry Lewis] bass
• [Jellybean Johnson] drums
• [Monte Moir] keyboards
• [Jimmy Jam] keyboards

Gosh I love entire 1982-83 pimp-in-pink/purple era where Prince was his funkiest. The imagery, music, side projects, etc..