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but it was like Maple syrup and jam | |
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one of the rare occasions of Prince playing keyboard/piano live between 1978-1981
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OldFriends4Sale said:
but it was like Maple syrup and jam Ham sandwiches. Ew. What? | |
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Possessed the Rise & Fall of Prince chapt 3 RUDE
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While specific recording dates are not known, the album sessions took place from May to June, 1980, in Prince's Lake Minnetonka Home Studio, Minnetonka, MN, USA (credited as "Somewhere in Uptown"), and completed in June, 1980 at Hollywood Sound Recorders, Los Angeles, CA, USA. -PrinceVault
I've gotta broken heart again
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^^at the end of "Gotta Broken Heart Again",is that a gunshot that we hear?
or is just a door slamming? | |
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There's no one there to slam a door on (like in I Hate U). Gunshot, I say. What? | |
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 If you find a note like that from a friend, go find their crazy ass immediately! Do not fuck off and go shopping for new shoes!What? | |
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The song "Sister", only 90 seconds long
While specific recording dates are not known, the album sessions took place from May to June, 1980, in Prince's Lake Minnetonka Home Studio, Minnetonka, MN, USA (credited as "Somewhere in Uptown"), and completed in June, 1980 at Hollywood Sound Recorders, Los Angeles, CA, USA. -PrinceVault
I was only sixteen but I guess that's no excuse My sister never made love to anyone else but me Oh, sister I was only sixteen and only half a man Oh, sister | |
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CHAPTER THREE RUDE
pg 32
In addition, at the very time Prince was struggling to find his voice as a rock artist, this genre was itself entering a period of great change. While the blues-rock paradigm of groups like the Stones and Led Zeppelin remained dominant a new segment of fans that came of age in the mid- and late 1970s - many of them young, male, and alienated-sought alternatives. These listeners became the core audience for punk, which started in England with groups like the Clash adn the Sex Pistols, and quickly migrated to America. Soon, punk matured and diversified into a loose movement known as post-punk or New Wave, which included Talking Heads, the Police, Devo, Gang of Four, Television, the Cars, and others.
This atmosphere of upheaval in rock and pop provided a backdrop as work began on his third album. Settling into his new residence, wired with a sixteen-track studio for use -Prince began laying down rough-draft versions of songs that he planned to later rerecord in a professional studio. This new environment was full of technical imperfections - the home studio was a jury-rigged affair, and the drum booth frequently became waterlogged as a result of seepage from an abandoned cesspool near the huse - but Prince thrived there. He felt much more comfortable in Minneapolis, without Warner Bros. officials looking over his shoulder. Most of the time, the only other person present in the studio was an affable engineer named Don Batts.
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CHAPTER THREE RUDE
pg 33 continued
As he wrote new material, it became apparent that Prince's goal was nothing short of redefining himself. Composing primarily on guitar rather than keyboards, he created songs that were much rawer than anyting on his first two albums. New Wave textures started to permeate his sound. For the first time, Prince was creating a genuine synthesis of styles, rather than simply imitating the dynamics and bmbast of rock. His facility with structure and pop melody also improved; instead of just laying down grooves, he was fashioning songs. . Among the many strong new numbers he taped was "When U Were Mine," a taut pop song with an infectious melody, which had been composed in a hotel room on tour. Prince has described the song as influenced by John Lennon, and the Beatles flavor is apparent. As with Lennon's best love songs (such as "Norwegian Wood" and "You've Got To Hide Your Love Away"), it features lyrics tinged with anger and sarcasm, as Prince laments how he lost his girlfriend by letting her sleep with other men. . Another new number, the New Wave-influenced "Dirty Mind," emerged from a keyboard riff composed by Matt Fink at rehearsal. Prince added a bridge section during a lengthy session at the Lake Minnetonka home, and by midnight they had completed the instrumentation. Prince told Fink he was free to go, and the keyboardist left for bed. The next day at rehearsal, Prince brought in a cassette of "Dirty Mind," complete with vocals and other overdubs; he had labored on it all night. Prince announced to the band that it would be the title of the next album.
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PARTYUP
We don't give a damn, we just want to jam
While specific recording dates are not known, the album sessions took place from May to June, 1980, in Prince's Lake Minnetonka Home Studio, Minnetonka, MN, USA (credited as "Somewhere in Uptown"), and completed in June, 1980 at Hollywood Sound Recorders, Los Angeles, CA, USA. The song was based on a groove created by Morris Day. In return for using the groove, Prince offered a choice of $10,000 or help in getting a record deal. Day rejected the money, and instead, Prince helped to create The Time for Day in early 1981. Although it was not released as a single in the USA, Partyup reached position 5 in the Billboard Disco Top 100, indicating the track was a DJ favorite in US clubs. -PrinceVault
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CHAPTER THREE RUDE
pg 33
The lyrics of "Dirty Mind," which recount a sexual encounter in a car, indicated a trend in Prince's work toward graphic imagery. While sex and seduction had been at the forefront of his music since 'Soft & Wet," Prince's treatment of these themes now become explicit and at times sensationalistic. The hard-rocking "Sister," for example, explored the taboo incest, while the funky workout "Head" told of a bride-to-be who fellates another man on the way to her wedding. These lyrics, reflecting his fascination with deviant sexuality, helped imbue the music with a newfound urgency.
Prince's creativity was also fostered by the comfort he felt with his band members. Although they were again minimally involved in the recording process, he saw them nearly every day at rehearsals. He, Matt Fink, and Andre Cymone also spent free time exercising together-lifting weights at Minneapolis gyms, swimming at a YMCA, and roller skating around Lake Minnetonka. They sometimes visited a roller rink in Saint Louis Park, Fink remembered, "to try to meet girls."
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OldFriends4Sale said:
CHAPTER THREE RUDE
pg 33
The lyrics of "Dirty Mind," which recount a sexual encounter in a car, indicated a trend in Prince's work toward graphic imagery. While sex and seduction had been at the forefront of his music since 'Soft & Wet," Prince's treatment of these themes now become explicit and at times sensationalistic. The hard-rocking "Sister," for example, explored the taboo incest, while the funky workout "Head" told of a bride-to-be who fellates another man on the way to her wedding. These lyrics, reflecting his fascination with deviant sexuality, helped imbue the music with a newfound urgency.
Prince's creativity was also fostered by the comfort he felt with his band members. Although they were again minimally involved in the recording process, he saw them nearly every day at rehearsals. He, Matt Fink, and Andre Cymone also spent free time exercising together-lifting weights at Minneapolis gyms, swimming at a YMCA, and roller skating around Lake Minnetonka. They sometimes visited a roller rink in Saint Louis Park, Fink remembered, "to try to meet girls." After 3 albums? What?  What? | |
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Possessed: the Rise & Fall of Prince Chapter 4: PAWNS page 44
When Prince offered to build a band around Morris Day in exchange for the song "Partyup" in the summer of 1980, it was the latest shift in a long and complex relationship. For years, Day had shadowed Prince along the road to stardom. When they were teenagers, Day joined Prince's first band, Champagne, on drums, replacing Charles Smith. They developed a strong friendship, and Day's mother, LaVonne Daugherty, helped manage the group. Prince, Day and bassist Andre Cymone(then using his last name Anderson) functioned as a team, sharing leadership responsibilities as they competed with other Minneapolis groups. ... In the summer of 1980, during the recording of Dirty Mind, Day found his way back, albeit in a less glamorous capacity; he became a "runner" for Prince's band, picking up sandwiches and drinks during rehearsals. But Prince continued to respect Day's musicianship, as his interest in "Partyup" showed. When the deal for the song was struck, events finally seemed to have shifter back in Day's favor.
. Let's Work The song was completed at Sunset Sound, Hollywood, CA, USA, between 14 and 23 August, 1981. Prince and Morris Day worked on the Dance Remix of the track on 8 December, 1981, two months after the track's initial release, also at Sunset Sound. It was revealed in November 2003 on the NPG Music Club website that Morris Day plays drums on the extended portion of the Dance Remix, and that Prince and Morris Day switched drumming duties live as the tape was running. The Dance Remix contains sampled clips from Private Joy, Annie Christian and Controversy, the first time a Prince song sampled another of his songs (something he has done often ever since). -PrinceVault
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PARTY UP ie Somewhere in Uptown We don't give a damn Party, uh, uh, got to party down, babe Because of their half-baked mistakes (Party up, got to party up)
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The section of this live show where he spends a good 10 minutes jacking that guitar off is still the best and hottest most subversive dirtiest thing I have ever seen | |
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