Do you have the Purple Snow compilation?

http://www.numerogroup.co...lis-sound

Poorlovelycomputer said:

Poorlovelycomputer said:

I read in another thread that the albums For u and his self titled LP are more disco,soul with some rock thrown in the mix. Would most agree the Minneapolis sound came together on the Dirty mind album? [Edited 3/5/17 18:38pm]

For me, the Minneapolis Sound was born at 3:11 in "I Wanna Be Your Lover."

Most of the fundamentals are all over 'Sexy Dancer'.

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'Gotta Broken Heart Again', 'Sister', have virtually no Minneapolis Sound design. 'Do It All Night' is undistinguished late disco or early post-disco, with maybe a hint of Lipps Inc-ish Minneapolis glossing over; 'Why You Wanna Treat Me So Bad' on the previous record already covered every ground better. 'Dirty Mind' itself is more of a Gary Newmanish exercise than Minneapolis, with a strong emphasis and thick, warm synths that burst out as a general trend around late 78/79, but certainly was an important precedent for other shameless raunch efforts in subsequent years. Some Rivkin/Fink/Lipps Inc-ish influences there as well. 'Party Up' is more punk-funk, which he mostly abandoned after Controversy (an argument could be made that it survived a little bit in songs such as 'All the Critics Love U in NY', and maybe in P's doing-his-own-thing screw-you attitude in general). 'When You Were Mine' is more of a late 70s-doing-the-60s throw-back + pseudo-new wave thing, maybe trying to do a bit of a 'Dez' thing without Dez directly involved; probably slightly influential to 'I Could Never Take The Place Of Your Man' and the rockabilly stuff over the next couple of years. The mixing together of all these things on one record, if that is what you mean by the coming together of the Minneapolis Sound, then yes, this is part of that incubator. Other than the focus or presence of some highly sexualized content, I don't necessarily agree with the music critics about this being where P does a 180 in his sound. At odds with this idea are that straightforwardly Minneapolis tropes are already on his previous record, Prince, perhaps even more of them by run length of the album than on Dirty Mind. And he doesn't shake the disco label, even if unfairly pinned to him, completely until 1999 or even (controversially) PR. If DM is different, it's that he's expunged a lot of the soul and allowed his other influences, that were more scattered in the past, to fill up the record. To me, Minneapolis as it became was a production styling and set of techniques in and across a given song, rather than what existed or what hats here tried on across an entire LP.

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[Edited 3/5/17 21:36pm]

TwiliteKid said:

Poorlovelycomputer said:

I read in another thread that the albums For u and his self titled LP are more disco,soul with some rock thrown in the mix. Would most agree the Minneapolis sound came together on the Dirty mind album? [b]

"Read in another thread" meaning you haven't heard those albums?

That's what I'm saying. But considering the O.P..... not surprised.

No..

"SEXY DANCER"

Poorlovelycomputer said:

I read in another thread that the albums For u and his self titled LP are more disco,soul with some rock thrown in the mix. Would most agree the Minneapolis sound came together on the Dirty mind album? [Edited 3/5/17 18:38pm]

I think it started on Prince, the distinctive piano solo on sexy dancer, the extra jam at I wanna be your lover, the heavy metal rock song bambi with the risque topic (then) of banging a lesbian and most of all, the proliferation of great songs, not filler on the whole album. Dirty Mind certainly brought in the shock which made the whole thing together but I personally never really liked the album that much as a whole.