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PrintableGotta keep the thread alive - especially with this sweet Australian exclusive...
A robin sings a masterpiece that lives and dies unheard... | |
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For the record, the Bruce Gowers directed videos are forever etched into my soul - love that whole era visually as well as musically. A robin sings a masterpiece that lives and dies unheard... | |
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"Automatic" is my #1 favorite Prince song.That song is Prince at his absolute best.I love everything about it: the haunting synths,the clever lyrics,the spaceship theme ("fasten your seatbelts,prepare for takeoff"),the part where Lisa and Jill sound like they're crying (moaning?) while Prince plays a killer guitar solo....lol...the whole song is a wild adventure!! | |
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I remember seeing the Automatic video played for the first time on the playboy channel. Mind blown.... A robin sings a masterpiece that lives and dies unheard... | |
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yep  that video is amazing! | |
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It's my favorite Prince album,too.Love all the songs but I would agree that "Delirious" is my least favorite.Still like it,though. | |
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OUTTAKE ExtraLovable The original track was recorded on 3 April, 1982 at Sunset Sound, Hollywood, CA, USA (two days after re-recording Wouldn't You Love To Love Me? and two days before 3 x 2 = 6). The song was considered for inclusion on Vanity 6, but it is not known if a version with vocals by Vanity 6 was recorded. It is possible that the track was worked on further in 1983, as some of the lyrics could be interpreted as referring to Dez Dickerson's departure from the band and Wendy Melvoin's arrival. -PrinceVault
wanna rap a little bit, oh! Baby, U got somethin' that would make CHORUS: Listen. CHORUS Don't U wanna get, don't U wanna get off? Baby, U got something that would make If ever honey U need someone 2 take a shower with mama (There it is) Ooh, sugar baby, U're so fine (Ooh!) I said my daddy might be dead Oh, yeah (2 times, say ooh ooh!) Extra lovable {x3} (Ooh!) This ain't just about your body, baby I'm on the verge of rape I'm sorry, but I'm just gonna have 2 rape U If U don't stop the groove
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6 DELIRIOUS (2:38)
Proving an almost celebratory relief from the hoopla surrounding the previous two albums, 1999 boasted a maturing writer, musician and producer. Among the nine remaining tracks was DELIRIOUS, another Top Ten hit when it was finally issued as a single almost a year later. This rich period also produced several outtakes, including the somewhat coarse HORNY TOAD
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I like it too but it's my least favorite and I find myself skipping it often to get to LPWM and DMSR. 1999 is usually the one Prince album I let play all the way through. I think it's even better than Purple Rain in terms of consistency. | |
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Let's Pretend We're Married is the fourth track on Prince's fifth album 1999, and, 13 months after the album's release, Let's Pretend We're Married was released as the album's sixth single worldwide (although it was the fourth single in all territories where it was released). Initial tracking for Let's Pretend We're Married took place at Sunset Sound, Hollywood, CA, USA on 30 March, 1982 (during the same set of sessions which produced If A Girl Answers (Don't Hang Up), 3 x 2 = 6 and If It'll Make U Happy). The song is notable for being the earliest Prince-related track to be engineered by Peggy McCrear(credited as "Peggy Mac").
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Whatever U heard about me is true
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5 HORNY TOAD (2:12)
If I had your number I'd call you on the phone I don't want your money 'cause I got all I need If I had your address I'd come right to your door If you think I'm nasty, you ain't seen nothin' yet Now watch me dance Run, go tell your boyfriend his lovin' has got too old
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"Prince: The Secret Life of America's Sexiest One-man Band"By Debby Miller
Rolling Stone, April 28, 1983
All cocky, teasing talk about sex, that's Prince. Forget Mr. Look So Good; meet the original Mr. Big Stuff. He's afraid of nothing onstage: ready to take on all the desires of a stadium full of his lusty fans, ready to marry funky black dance music and punky white rock music after their stormy separation through the Seventies, ready to sell his Sex Can Save Us message to anybody who'll give his falsetto a listen. Nor does anything scare him when he's at home alone, composing. Out comes a patean to incest to called "Sister," a song called "Head" about a bride who meets Prince on her way to be wed and says, "I must confess, I wanna get undressed and go to bed," and a song called "Jack U Off." He even advised the president, "Ronnie, Talk to Russia." So bold that half of his material is radio-censored, Prince is wailing, "Guess I should have closed my eyes when you drove me to the place where your horses run free/Cuz I felt a little ill when I saw all the pictures of the jockeys that were there before me" (in "Little Red Corvette"), while Lionel Richie is everywhere on the radio with "Truly, I love you truly." His music, a technofunk and rock blend that many have started to call "the Minneapolis sound" because of the way the Minnesota native's influence is spreading, is the freshest thing around. So Kraftwerk made The Man Machine? This is the Man Sex Machine. He usually plays every instrument on his albums, even sings his own backup most of the time. His upper register can give you gooseflesh when he's singing gospel-style, and he can turn around and hiccup his way through rockabilly like a perfect descendant of Elvis. There just don't seem to be any bounds to Prince's nerve or talent—each album is better than the last (he's made five), each stage show more outrageous. A tour begun in November of last year had grossed almost $7 million before the end of March. Prince's new double album, 1999, has sold almost 750,000 copies, with its hottest single, "Little Red Corvette," closing in on the Top Twenty on Billboard's Hot 100 chart. And two groups he helped form made the black chart's Top Ten this winter: Vanity 6, a coquettish trio that performs in lingerie and whose "Nasty Girls" was a disco smash, and the Time, the tightest, funkiest live band in America.
Prince, just twenty-two, is the father of it all. But just try checking out the lineage. There isn't just a private side to Prince, there's an almost mysterious aspect. While the art of self-promotion has never been alien to rock & roll, it seems only to frustrate Prince. He was fairly outspoken until last fall, when, after his first interview to promote 1999, he walked out of the room and announced that he would never talk to the press again. "He's afraid he might say something wrong or say too much," says a former aide-de-camp. When he did talk, he often contradicted himself. Rumors started to spread, and now his silence feeds them. Is Prince his real name? Is he black or white, straight or gay (questions he himself raised on his 1981 hit-cum-Lord's Prayer recitation, "Controversy")? Is he the Jamie Starr who produced albums by the Time and Vanity 6? Is he a shy little Prince or a despotic king?
"Prince controls the whole scene in Minneapolis," says a local musician who has worked with him. Others who've lived with him or worked alongside him say he loves to surround himself with an air of mystery, to create false identities to tangle the clues that lead to him. Cutting off all but a few close friends, Prince tends to hole up at his huge home, with its modern basement-studio, on a lake twenty miles west of Minneapolis. One member of his band says he's had just one personal conversation with Prince in all the years he's known him. "He's a real 'to himself' kind of person," says Morris Day, the Time's frontman and a longtime friend. "He doesn't like to talk," says Vanity, the awesomely beautiful leader of Vanity 6, who accompanied Prince to the Grammys in February. "Sir Highness," says another friend, "has a way of secluding himself."
pt1 | |
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"Good evening, this is your pilot, Prince, speaking" comes out of the loudspeakers, all softness and breath, full of welcome. It's a flight you may not have taken before. Brace yourself, he ought to say. This is "International Lover," something the globe-conquering Prince claims to be, and this is his live act, which takes place on a grand, two-tiered stage hung with gigantic Venetian blinds. In high-heeled boots, a flouncy ruffled blouse and a purple quasi-Edwardian suit, Prince begins to climb to the higher level, taking long strides that end in a hip-locking sway, a Rita Hayworth sort of walk. "You are flying aboard the Seduction 747," he rasps. "To activate the flow of excitement, extinguish all clothing materials." Standing alone on the upper riser, Prince simply points a finger, and—you imagine this happens every time Prince extends his long index finger—a brass bed materializes. Stripping off his jacket, his shirt, unbuckling his belt so that a long strap hangs between his legs, Prince climbs onto the mattress and begins to undulate over the bed. "We are now making our final approach to satisfaction. Please bring your lips, your arms, your hips into the up and locked position for landing," he says, panting, and lets out a piercing scream that seems to announce the sudden fall from the sky of the flight of Seduction 747—and Prince and the bed disappear.
Not include on the HITS
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I don't think there's any getting around the fact that this (1982-1983) is probably his peak period.
I mean, the 1981-82 tours were incredible (album, Controversy, was good), and then he drops 1999. In the summer '82 run-up to this one, he wrote so many great songs besides the ones on the LP, including some that wouldn't appear until 1987 or 1990 (for example, 'I Could Never Take the Place of Your Man' dates from 1982).
The album comes out and does well, then 'Little Red Corvette' takes off and the album starts climbing the charts fast. The tour is huge. '1999' (song) is re-released and charts well. Tour gets bigger, album hits top-10. 'Delirious' is yet another big hit. Prince on the cover of Rolling Stone. Tour ends, and immediately Prince and band are rehearsing for Purple Rain, the songs for which Prince is writing. Then they start filming the movie. In August '83, the famous First Avenue show where 4 Purple Rain songs are debuted... and recorded for the album.
Dude was on fire in 1982-1983. | |
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PRINCE PONDERS THE FUTURE OF THE PLANET
1999
BY MICHAEL HIL
After the critical success of his Dirty Mind LP in 1980 and the subsequent notoriety of the last jear's Controversy, Prince, at the tender age of twenty-two, has become the inspiration for a growing renegade school of Sex & Funk & Rock & Roll that includes his fellow Minneapolis hipsters Andre Cymone, the Time and Vanity 6. Yet regardless of the jive that he hath wrought, Prince himself does more than merely get down and talk dirty. Beneath all his kinky propositions resides a tantalizing utopian philosophy of humanism through hedonism that suggests once you've broken all the rules, you'll find some real values. All you've got top do is act naturally.
Prince's quasi-religious faith in this vision of social freedom through sensual anarchy maken even his most preposterous utterances sound earnest. On the title track of 1999, which opens this two-LP set of artfully arranged synthesizer pop, Prince ponders no less than the future of the entire planet, shaking his booty disapprovingly at the threat of nuclear annuhilation. Although that one exuberant dance-along raises mor big questions than Prince can answer on the other three and a half sides combined, the entire enterprise is charged with his unflaggin will to survive - and a feisty determination to eat, drink and be merry, for tomorrow, given the daily news, we may die.
Before "1999" whooshes into life, Prince assumes an electronically altered, basso-profundo voice and impersonates the imagined authoritative tone of God himself, creator of libidos as well as souls, prefacing the song's Judgment Day scenario with this reassurance: "Don't worry, I won't hurry you. I only want you to have some fun." This intro serves Prince well, since 1999 lacks the tight focus of Dirty Mind, his best and most concise LP, which had the feel of emotionally volatile autobiography disquised as vividly descriptive sexual fantasy. Yet the new album doesn't fall prey to the conceptual confusion that plagued the second side of Controversy, during which Prince raced from politics to passion, funk groove to rock blitz, as if there weren't room enough for all his inspiration. This time there is, and then some.
Prince develops eleven songs, basically a single album's worth of material, over the four sides of 1999, with each side comprising two or three extended tracks. Both discs are distinguished by palpably individual moods - the first contains the funkiest, most playful cuts, while the second is made up of slower, more introspective pieces. Two tracks, "D.M.S.R." and "All the Critics Love U in New York," qualify as unadulterated filler, and gone are any attempts at the classic three-minute pop song - Dirty Mind's "When You Were Mine" was the last word on that, I guess. On 1999, size counts.
Having graduated in record time form postdisco, garage rock to high-tech studieo wizardry, Prince works like a colorblind technician who's studied both Devo and Afrika bambaataa and the Soul Sonic Force, keeping the songs constantly kinetic with an inventive series of shocks and surprises. As "1999" proceeds, for example, he geometrically increases the overdubs until there's a roomful of Princes partying almost out of bounds, then deftly brings it down to rhythm guitar and percussion while a childlike chorus asks, "Mommy, why does everybody have a bomb?" until -boom!- the groove disappears at its hottest.
Prince's funniest and slyest effects are reserved for "Let's pretend We're Married," a string of offhandedly vulgar suggestions transformed with the most basic tools into a quintessential Princeian comic - erotic peci. He first employs minimal but propulsive synthe riffs to conjure the atmosphere of a computer-age arcade, pickup bar or, maybe, a space-station lounge. Then he chooses his most angelic falsetto to lure a prospectieve partner ("My girl's gone and she don't care at all/And if she did..."), suddenly switching to his gruffest lower register to complete the couplet: "...So what? C'mon, baby, let's ball!")
Between his ever nastier entreaties, e breezy non sequitur of a chorus ("Ooh we sha sha coo coo yeah/All the hippies sing together") rushes by like a snatch of transmission from another galaxy, until most everything drops out except a pulsing synthetic bass and Prince himself, desperately aroused, liberally sprinkloing his come-ons with the f word. But before his pleas fade into lonely space, he pulls out one last gimmick, a phalanx of cloned voices testifying that he is indeed the Prince of Uptown U.S.A. in a rap wildly mixing the sacred and profane: "Haven't you heard about me? it's true/I change the rules and do what I want to do?I'm in love with God, he's the only way/'Cause you and I know we gotta die someday/You might think I'm crazy and you're probably right/But I'm gonne have fun every motherfucking night....."
1999 reaches its climax, however, with Prince's shortest and sweetest offering, "Free," which concludes the moody, dub-style third side without any electronic pyrotechnics whatsoever. Prince steps form behind the clinking machinery like a sentimental Wizard of Oz to remind us that "if you take your life for granted, your beating heart will go." More important, he restates his utopian vision in hte most inspirational terms, as if all the battles had been won and he could finally be a lover, nog a fighter. "Free" reeks of skewed patriotism, describing the state of the union as much as a stage of mind, its march-of-history grandiosity recalling Patti Smith's "Broken Flag." Like Smith, Prince is not afraid to be misunderstood - or wrong.
But I think Prince can separate a vision of lige from a version of it, as the disturbing postscript "Lady Cab Driver" illustrates. A sequel to Controvery's "Annie Christian," in which Prince tried to duck fate by living "my life in taxicabs," "Lady Cab Driver" finds him bidding his cabbie to oll up the windows and take him away because "trouble winds are blowin", hard and/I didn't know if I can last." But midway through the song, the pain of both personal and public injustice wells up inside him, bursting out in an angry litany of verbal thrusts - "This is for the cab you have to drive for no money at all/This is for why I wasn't born like my brother, handsome and tall/This is for politicians who are bored and believe in war" - suggesting an ugly backseat orgy of sex or violence. Prince, the lover, not the fighter, then retreats to the demilitarized zone of the bedroom, where he can safely bid us goodbye under the guise of "International Lover." A natural goodbye for Prince, but hardly as powerful as the final moments of Dirty Mind, when, during the antidraft "Partyup," he challenged, "All lies, no truth/Is it fair to kill the youth?" before defiantly commanding, "Party up!" Just as Prince must face the contradiction of creating music that gracefully dissolves racial and stylistic boundaries yet fits comfortably into no one's playlist, he must also decide whether he can "dance my life away" when everybody has a bomb. All you need is love?
December 9, 1982 | |
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"Don't Worry I Won't Hurry U?"
Isn't it "Hurt U?" | |
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where are your reading that from? | |
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Post above mine. From teha rticle. 2nd paragraph | |
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2.1.1983 @ the Civic Center in Lakeland
1. Controversy 2. Let's Work 3. Do Me Baby 5. Lisa's Keyboard Solo 6. How Come U Don't Call Me Anymore 7. Lady Cab Driver 8. I Wanna Be Your Lover 9. Little Red Corvette 10. International Lover 11. 1999
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I agree,and this was my favorite Prince era. | |
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Prince's sketched design's for Brown Mark's trenchcoat for the 1999 tour (1982)
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1999 Radio City Music Hall, March 21, 1983
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