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Jamie Starr & the Time 1980-1984 Somewhere in Uptown
The Starr ★ Company Just because I love this group of guys and this block of Uptown!! . Ain't got time for politics, we never fight no war (Never fight no war)
Makin' love and music is the only thing worth fighting for Bold Generation, we wanna change the world
The only thing that's in our way is you Change the world, gotta change the world Bold Generation, your old ideas We're sick and tired of you telling us what to do Don't tell us what to do Bold Generation Okay
Onedayi'mgonnabesomebodyThe Time
One day I'm gonna be somebody
One day I'm gonna be rich I'm gonna say my prayers and work real hard So that I never have to dig a ditch The only way I'd work at a car wash
Is if I owned the whole damn place But if gettin' to the top means washin' a car I'd be scrubbin' with a smile on my face One day I'm gonna be somebody
Gonna stand out in a crowd One day I'm gonna be somebody Gonna make somebody proud One day I'm gonna be somebody
Gonna stand out in a crowd One day I'm gonna be somebody Gonna make somebody proud One day I'm gonna be a star
I'm gonna do whatever it takes Why should I starve when I could be elsewhere Makin' what the rich man makes If I should die before I'm rich
I pray the Lord my soul to keep But if I'm rich before I die I wanna work 'cause nothin' comes cheap One day I'm gonna be somebody
Gonna stand out in a crowd One day I'm gonna be somebody Gonna make somebody proud One day I'm gonna be somebody
Gonna stand out in a crowd One day I'm gonna be somebody Gonna make somebody proud Somebody bring me a mirror
So I can look at my cash Somebody bring me a mirror So I can look at my cash We don't like new wave!
Jamie Starr's a thief
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After hi school (4:22) After Hi SchoolSeems 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 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 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? 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
Morris Day, Jamie Shoop, Jellybean Johnson, Jerome Benton, Prince, Monte Moores hand and shoe
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this is pretty cool
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OldFriends4Sale said:
this is pretty cool
Would it be illegal to make that into a t shirt? not to sell..to wear | |
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I wud buy it! The Estate shud release a Jamie Starr boxset and use all this thread for the marketing ideas. | |
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no it wouldn't. | |
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I cannot answer that for you.
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OldFriends4Sale said:
no it wouldn't. | |
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Jamie Starr Music Produce...irt | eBay
Jamie Starr Music Produce...irt | eBay
New ‘Jamie Starr - Music Producer’ T-Shirts.
A 1980s retro design look, with distressed wash effect. Variety of colors & styles available.
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"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
Just before 1980, O'Neal became the lead singer in Minneapolis band Flyte Tyme, which featured Jimmy Jam on keyboards, Terry Lewis on bass, Monte Moir on keyboards, Jellybean Johnson on drums and Jesse Johnson on guitar. Prince, now famous and signed to Warner Brothers Records, told childhood friend and former Grand Central bandmate Morris Day that he could get a new band with Day a record deal. Day and Prince decided the band would be Flyte Tyme and they would kick out Jellybean Johnson and Day could play drums. That changed after a fateful dinner with O'Neal, the new band's singer. Jam told Blues and Soul magazine in 1992 that Prince got angry with O'Neal when he started asking questions about money. "Alex wanted a bunch of money and a new car and new clothes. He was outrageous, and we're all sitting there telling him to shut up," Jam told the magazine. So Prince kicked out O'Neal and made Day the singer. The rest is history. "It was hard to be back home in Minneapolis and watch all these guys, your friends and bandmates, on national television becoming so famous," O'Neal said.
Prince hired, fired '80s ...edger.com)
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Side 1:
Side 2:
Al Beaulieu - photography
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The Time, home studio, April 1981 – album mixed in late April
Home studio, autumn-winter 1981
July 29. 1981 rel The Time[self titled album]
1.Get It Up . 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.
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10.7.1981 @ Sam's(First Avenue) in Minneapolis the Time's DEBUT Concert
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.
1. INTRO 'church' organ playing -Morris Day talking Ya'll have 2 excuse me I was going to mention this earlier But I forgot 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 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 Thank U so much Jerome Jerome where u at I need U Jerome Anyone C Jerome I know u.... Prince R U out there, did U give? U took, Did U give? Morris is waiting I don't have all night This is my show, this is my stage Jerome did I get some phone numbers lol somebody stole em... 2.The Stick 3. Dance 2 the Beat 4. Oh Baby 5. Get It Up 6. Cool
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jfenster said: OldFriends4Sale said:
no it wouldn't. Got it...thanx | |
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The Man Who Shot All of Minneapolis’ Sounds
After 35 years as the Twin Cities’ go-to music photographer, Daniel Corrigan looks back with the collection Heyday, previewed here alongside an interview with First Avenue’s in-house shooter.
You didn’t shoot every single Prince show, but did you shoot as many as you could?
Yes, as many as I could. I think I shot Prince five shows, maybe six. I was lucky I got to see him. He liked to be in control. Part of his vision of what control was, was having control of your [own] images; I completely understand that. I was shooting him at the Orpheum [Theater], not First Avenue. I had to shoot from the aisles; we couldn’t shoot from the front. I was crouched down on the mid-side aisles, and there were probably four or five photographers there. I saw somebody point and I saw Chick, the bodyguard, come grinding up the aisle, and I thought, “Well, I did something wrong.” I think I’m about to get thrown out, and he walks past me and grabs the photographer right behind me who was doing, as far as I can tell, nothing different than I was doing, grabs him by the collar, and drags him out. I thought, “Well, I’m next.” And he never came back.
What was the Time like to shoot?
They were colorful and action-packed; they didn't stand in the same place. So they were a blast to shoot. You can shoot [a band like] Son Volt—whom I love—and they just stand there, right? There's nothing. Or you can do Morris Day, where he's back and forth across the stage. The keyboards are in place, but everyone else is mad dancing. I remember very colorful sets. With Son Volt, they just set their stuff up on the stage and stand there and play, and that's their thing, and I love them for it. It's some of my favorite music. But it's a different experience when it's the Time.
Photography is such now that I'm starting to believe it isn't really a photograph until it's a print. Because I ran into these Polaroids that Dave Pirner and I made in the Netherlands, on tour with Soul Asylum. We found a box of Polaroids from Husker Du’s Warehouse shoot. I remember the pictures; they weren't a surprise. But physically seeing the objects was cool.
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I don't see an image. There are some of your other posts where I don't see an image either. |
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idk, I see it | |
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I just listened to the remasted Debut album on spotify. Some songs are a revelation! Get it up sounds great. I hear a few guitar lines that Ive never noticed. The vocals also hit a litlle differently. Def an improvement.
The main drawbacks are the waaaaay too loud handclaps in the 1st half of "cool" and the entirety of "the stick".
In general, the remast is def an improvemnt on the original IMO
This is what you want...This is what you get. | |
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Not sure why you'd emphasize that particular sound/frequency to the point of annoyance, but hey... here we are.
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the 'muted' effect of those made them stand out for me originally. too loud and it's like having a background singer singing over Prince | |
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Monte Moore Bobby Z Vanity Big Chick Jesse Johnson
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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.
While specific recording dates are not known, the album sessions took place from May to June 1980, @ Prince's North Arm Drive home studio (in Orono, Minnesota) "Somewhere in Uptown", and completed in June 1980 at Hollywood Sound Recorders in Los Angeles, California. 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. Morris Day rejected the money, and instead, Prince helped to create The Time for Morris... [PrinceVault]
Hollywood Sound RecordersRecording studio in Hollywood, Los Angeles, California,
established in 1965 by Jesse Hodges, and afterwards owned by his son Jonathan Hodges.
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For a sec there I thought the cover of the magazine was Janet...
"You know, this is funky but I wish he'd play like he used to, old scragglyhead son of a...*smack* OOH!"
"Who's the foo singing will it's would" |
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