Category Archives: Denise Matthews

Prince (Protegé) Summer: Vanity/Apollonia 6

VANITY-6

Toward the end of last week‘s post, I called the Time “arguably the most highly-regarded of Prince’s various side projects.” So allow me to start this post with another superlative: if the Time was the most highly-regarded of the purple protegés, then their “girl group” sister project, Vanity 6, was perhaps the most underrated and misunderstood.

To be fair, though, the very concept behind the group encouraged such misreadings. Originally conceived shortly after the Time as “the Hookers”–because the Time were pimps, geddit?–Vanity 6 appeared at first and maybe even second glance to be little more than a cynical play on pornographic tropes. Every member was an obvious “type”: Vanity, born Denise Matthews (and almost, disastrously, rechristened “Vagina”), was the vampish seductress; Brenda (Bennett) was the saucy, chain-smoking “bad girl”; and Susan (Moonsie) was, most problematically, the thumb-sucking, teddy bear-toting jailbait. The “6” in their name, if you haven’t already guessed, was a sophomoric reference to their total number of breasts.

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If the lowest-common-denominator pandering wasn’t enough, there was also a severely diminished emphasis on musical talent. Prince, while stingy about allowing the Time to play on their own albums, had nevertheless stocked the group with the hottest musicians in the Twin Cities. Vanity, on the other hand, was a Canadian B-movie actress, and Susan was Prince’s on-and-off girlfriend; only Brenda was a professional musician, having performed as a backing vocalist with the blues-rock group Tombstone in the mid-1970s. By many accounts, this led to dissension even within Prince’s camp: there was a prevailing sense that he was wasting time on a glorified burlesque act, when he could have been spending it with a more conventionally qualified group.

These criticisms would have held more water, however, if the trio (/sextet’s) self-titled 1982 debut wasn’t legitimately great. Vanity 6 is not only a stronger debut than the Time’s (yeah, I said it), but also one of the quirkiest and most interesting records in the whole extended Prince canon. In an earlier post, Andre already mentioned the funk workout “If a Girl Answers (Don’t Hang Up)“–featuring a campy vocal cameo by Mr. Jamie Starr himself–as well as the immortal “Nasty Girl,” which prefigured the sounds of everyone from the Neptunes to Peaches to Beyoncé (who, incidentally, has recently taken to covering the song in concert). But there’s also “Make Up” and “Drive Me Wild,” two of the most futuristic-sounding cuts from the Purple One’s electro period; the Dez Dickerson-penned “He’s So Dull,” a.k.a. the best song the Go-Gos never recorded; and the New Wave-flavored “Bite the Beat,” which was co-written by Jesse Johnson of the Time.

Vanity 6 joined Prince and the Time on the Triple Threat tour in 1982 and 1983, and were meant to appear in Purple Rain; as with the other group, however, relations with Prince hit the skids soon before shooting was to commence. There are a variety of possible reasons for Vanity’s falling out with Prince, including disputes over royalties and romantic turmoil; her growing dependency on cocaine was also a likely factor. Whatever the specific reason, however, she left the group for a solo career with Motown in late 1983, leaving Prince in the peculiar situation of having to recast both the female lead for his film and the frontwoman for his group. Her replacement, another unknown actress named Patricia Kotero, was hired after responding to a casting call. But “Patrica 6” would have been an even dumber name than “the Hookers,” and so Kotero adopted the nom de Prince Apollonia.

Due in large part to these inauspicious beginnings, Apollonia has gotten a bit of a raw deal from the Prince fanbase; I’ll be the first to admit that I was overly dismissive of her when I recorded my podcast on Prince’s side projects last month. If fronting Vanity 6 was already a thankless job, then filling in for Vanity–who Prince remembered as “the finest woman in the world” after her passing early this year–was even more so. Nor did it help that Prince seemed to be losing interest in the Apollonia 6 project by mid-1984, stripping the proposed album of many of its most promising songs: he gave “The Glamorous Life” to Sheila E., “Manic Monday” to the Bangles, and even his own “17 Days” still has Brenda’s original backing vocals clearly audible on the chorus. I guess what I’m trying to say is, yes, the Apollonia 6 record is an inarguably inferior clone of its predecessor; but the group’s signature song, “Sex Shooter,” remains a Minneapolis Sound classic in its own right, and Apollonia’s Purple Rain performance will forever be iconic (ask any person who came of age in the 1980s and has a sexual interest in women about the “Lake Minnetonka” scene, and watch them get misty-eyed with nostalgia).

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Like the Time, Apollonia 6 dissolved quickly after the release of Purple Rain; unlike the Time, however, there was no triumphant aftermath, no series of high-profile reunions–though three of the groups’ former members, at least, seem to be leading happy and fulfilling lives. Brenda Bennett took time off from the music industry, returning only fairly recently as an independent artist. Susan Moonsie quit the entertainment business entirely. Apollonia went back primarily to minor film and television roles–though she did release one, forgettable solo album in 1988.

And then, of course, there was Vanity. Hers is one of the saddest stories in popular music: though she went on to some measure of success as a solo recording artist and (especially) an actress in the latter half of the 1980s, she also developed a crippling addiction to crack cocaine. Finally, after suffering a near-fatal renal failure in 1994, she experienced a conversion as a born-again Christian and dedicated the rest of her life to evangelism, renouncing her stage name and her past as a secular entertainer. It’s a strange feeling, to be a fan of Denise Matthews’ work as Vanity with the knowledge of the pain she was in at the time. It seems, however, that she was able to find peace later in her life; I only hope that she realized how much authentic joy she brought to the world, even in her darker moments.

So what else is there to say about Vanity and Apollonia 6? If the Time was the Prince spinoff act that threatened to upstage the headliner, then the “6” represented Prince in full puppetmaster mode: putting together a singing group comprised of two-thirds non-singers, then underlining just how disposable they were by seamlessly slotting a different frontwoman in the lead. And yet, the group had undeniable personality: one listen to Vanity and Brenda tearing “Jamie Starr” a new one in “If a Girl Answers” is more than enough to demonstrate that. And the original incarnation in particular gave Prince and his collaborators a framework in which to create some of their most unique genre experiments of the early 1980s; making them, in their own way, a precursor to more “respectable” side projects like the Family. Finally, if nothing else, the ladies could definitely fill out a camisole.

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Next Saturday, Prince (Protegé) Summer continues with an artist who stretches the definition of “protegé”: Ms. Sheila E. In the meantime, you can read more of my writing about Prince on my chronological Prince blog, dance / music / sex / romance; and more about whatever else crosses my mind on Dystopian Dance Party. See you soon!

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Filed under 1980's, Apollonia, Denise Matthews, Dez Dickerson, Jesse Johnson, Minneapolis Sound, Prince, Purple Rain, Sheila E., Time, Vanity

Anatomy Of THE Groove For The Brothers And Sisters Who Aren’t Here: “Mechanical Emotion” by Vanity

Only a few moments ago,I received the official word from my friend Henrique that Denise Matthews,better known as Vanity passed away today. It was very likely to do with the kidney dialysis she lived with for years that derived from her drug use during the 80’s. It isn’t always the best move to talk about someone the moment they pass away. But Vanity is someone I’ve been wanting to talk about for some time. In a similar fashion to the also late Rick James, there was a time when I used to get the singer confused with the song with Vanity. Her romantic complexities with Prince,her troubled life and her cooing vocals often got in the way of the excellent Minneapolis grooves that she was involved with.

I first heard the Vanity 6’s “Nasty Girl” through the soundtrack for the Spike Lee Joint Girl 6 in in the late 90’s. It was right around the time I was heavily studying Princ and the Minneapolis sound’s history. While crate digging one day,I located a Vanity solo album from 1984 entitled Wild Animal. It was her first solo album,and was released on Motown. The album itself had the new wave/dance friendly grooves of Minneapolis. But there was a good dose of funk on it too. One track however caught my ears at the time. And it’s wonderful to have some further understanding of it today. And apparently the song was a decent hit too. It was called “Mechanical Emotion”.

A brittle,heavily percussive drum machine rhythm opens the song and keeps up without a break throughout the song. The melodic content of the song consists of several layers of heavily orchestrated synthesizers. The first is a flowing,low toned string tone. The other is a classic Minneapolis horn line tickling the rhythm while the last one is a rather jazzy synth bass line. Vanity’s lead vocals of the song are soon joined by the Time’s Morris Day,who sings the chorus of the song. Following each refrain,the lead synth plays scaling arpeggios while the next to last chorus features a synthesized rock guitar solo. Than Morris’s extends on his chorus along with this as the song fades out.

Multi instrumentalist Bill Wolfer gave this song an interesting take on the Minneapolis sound. As I often find the case looking back on different music, he combined rhythmically brittle electro funk with Gothic European classical melodic content. Vanity’s vocals are very operatic in this song-in the manner of a yearning cabaret diva. Morris Day’s vocals add the soulfully funky vocal flavor to this compelling combination of structured orchestration and controlled,funky rhythm. Wolfer had previously worked with Stevie Wonder,Teena Marie,Michael Jackson,Diana Ross and Shalamar. And the combination of approaches he utilized here made this a compelling number for Vanity.

 

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Filed under 1980's, Bill Wolfer, Denise Matthews, drum machine, electro funk, Minneapolis, Morris Day, Prince, synth bass, synth brass, synth funk, Uncategorized, Vanity