Category Archives: Jerome Benton

Andre’s Amazon Archive: ‘Condensate’ by The Time (Credited As The Original 7ven)

During the 2008 50th Grammy Award presentation,the original seven members of The Time appeared for a performance along with Rihanna. In the coming years,members such as Jesse Johnson began making some serious noise about a reunion tour and album. Of course nothing had come from the band since 1990. Only a Morris Day project featuring different members and a semi reunion on the Rosie O’Donnell show in the late 90’s.

Finally this album dropped in 2011,apparently independently distributed. It was credited to The Original 7ven-apparently at the bands own choice seeing as they didn’t want to keep delaying an album release simply due legal complications between them and Warner Brothers over their name The Time. The question was what would this album have to offer musically.

The album begins (and eventually continues) with an interlude where Morris Day is asked first by the band and by a mock news reporter if he’s “lost his cool” in terms of attitude. The musical response to this is “Strawberry Lake”-full on arena friendly Minneapolis style synth funk admirers of The Time should already know well. “#Trendin” uses a similar template and a lyrical theme humorously revolving around online social networking and the trendy phenomenon of hash tagging.

“Toast To The Party Girl” melds both the post punk guitar based new wave and hard JB style Minneapolis synth funk styles of the Time’s salad years perfectly together. The title song comes out with a heavier live band JB style bass and rhythm section while “If I Was Yo Man” is more a melodic pop/rock number with chiming,bell like percussion throughout.

“Role Play” brings out a far slower grinding bluesy funk flavor about it-with it’s witty fetish setup. “Sick” has a straight up hard rock flavor while “Lifestyle” has the flavor of a modern R&B ballad…inspired somewhat by Minneapolis though…melodically not quite as interesting. “Lifestyle” is another bluesier piece again in a modern setting while “Cadillac” comes at the music with some powerfully live band oriented funk.

“Aydkmn” brings back out the bluesy hard rock guitar groove again while “One Step” brings out a stomping juke joint style shuffle that actually goes perfectly with Morris Day’s funky gigolo persona. “Gohometoyoman” is a classic slow shuffling soul ballad to close out the album. Only “Hey Yo” seems like a very stereotypical contemporary R&B type of song from this album to me,anyway.

Overall? My impression of this album is that many of the tracks do keep the funk alive. In fact,the band add elements of the Afro futurist types of funk,which seeks to reconcile the past,present and continuing journey of the funk/soul music spectrum together,on many of these songs. In fact a lot of them sound as if they could come out of a Janelle Monae right now more than anything the Time were once associated with. The only quality about this album that drops it a bit in quality is that the handful of attempts to modernize their sound.

This modernization really drag the grooves and instrumentation of the album down a lot. I doubt many will remember the popular dance/R&B/hip-hop styles of say 2004-2008 as being any wondrous contributions to funk. And frankly? It just doesn’t seem like something a band of this caliber,whose members have been so responsible for key developments in funk based dance music in the last three decades,need to be at all concerned with. Aside from this,a decent album to get if you can still locate it inexpensively.

Adapted from my original Amazon.com review from December 13th,2014

Link to original review here!

 

 

Advertisements

Leave a comment

Filed under 2011, Amazon.com, Jellybean Johnson, Jerome Benton, Jesse Johnson, Jimmy Jam & Terry Lewis, Minneapolis, Minneapolis Sound, Monte Moir, Morris Day, Music Reviewing, synth funk, Terry Lewis, The Time

Prince (Protege) Summer: “Chocolate” by The Time (1990)

The Time’s story was covered last month extremely well by my newest blogging partner Zach Hoskins. Today is the birthday of Jerome Benton. He has not only been a member of every lineup of The Time (including the Original7even) but was also part of The Family-the protege band of a protege band. The story of The Time itself is complex and intricate. But in 1989,they were planning a comeback with Prince for an album entitled  Corporate World. That album was never released. But The Time did actually make that comeback a year later with a reworked version of that album entitled Pandemonium.

Pandemonium, along with its newer songs,contained a number of tunes that had actually been recorded long ago. This kind of goes with Prince’s tendency in the year 1990 of dipping into his vault a great deal. One of these songs was recorded in the spring of 1983 for The Time’s Ice Cream Castles. It originally featured Prince playing all the instruments. But for this album,the song was reworked to feature some instrumental participation from the band members. Happily in any case,it was among the funkiest songs on the album as well. It was called “Chocolate”.

The sound of a car screeching to a halt,along with Morris Day’s trademark scream. Then the drum solo comes in-somewhat similar to The Jacksons “State Of Shock” in tone actually. After the first few beats,the 10 note bass line comes in. The main chorus of the song rushes in after that. This consist of fast paced synth brass interlocking  with a similarly paced,deep rhythm guitar. This strips down a bit for the refrains. For sections where Morris Day does some of his comic raps,a thick chicken scratch guitar takes over. Morris and the synth brass all come to their own halt again at the songs conclusion.

“Chocolate” is one of those funk jams where it is clearly out of the school of the synth brass heavy,stripped down funk sound of Prince’s early 80’s jams. Including the musical touches added by people such as guitarist Jesse Johnson,Jimmy Jam and Terry Lewis,the reworked song really brings out how much,in a manner similar to “Housequake”,how much of a modern day James Brown funk sound it all is. In this one,the JB approach is even more overt overall. Still its the funky instrumental personality and The Time’s humor that really bring this song to life.

 

 

 

Leave a comment

Filed under 1990s, chicken scratch guitar, drums, Funk Bass, Jam & Lewis, Jerome Benton, Minneapolis, Minneapolis Sound, Morris Day, naked funk, Prince, rhythm guitar, synth brass, The Time

Prince (Protégé) Summer: The Family

thefamily

Unlike Sheila E., the Time, or even Vanity/Apollonia 6, the Family aren’t exactly household names (unless, that is, your household still has a subscription to the NPG Music Club). Among those in the know, however, their self-titled 1985 album is a buried gem. It’s certainly of interest to fans of the group’s svengali, Prince: with its mix of post-psychedelic whimsy, sweeping Classical Hollywood glamour, and organic jazz-flavored funk, it’s effectively the missing link between His Purple Majesty’s 1985-1986 albums Around the World in a Day and Parade.

As I mentioned a few weeks ago, the Family were born out of the Time‘s acrimonious mid-1984 split: Andre has aptly described them as the Led Zeppelin to the Time’s Yardbirds. With the majority of the band now fired or resigned, Prince retained drummer Jellybean Johnson and dancer/comedic foil Jerome Benton, promoting “St. Paul” Peterson, who had joined the group less than a year earlier on keyboards, to the role of co-lead singer. The other frontperson was none other than the twin sister of Revolution guitarist Wendy (and Prince’s then-fiancée), Susannah Melvoin. Finally, the lineup was rounded out with saxophonist Eric Leeds, with additional support by Sheila E.’s guitarist Miko Weaver.

Arguably the real star of the Family, however, was never actually part of the group–and, in fact, never even shared the same room with them. Prince had long been a fan of jazz keyboardist, composer, and arranger Clare Fischer: specifically, his more pop-oriented work with Chaka Khan and Rufus from the mid-to-late 1970s. And though they would share a fruitful partnership of their own throughout the rest of the ’80s and into the ’90s, it was The Family that marked their first-ever collaboration. Fischer’s orchestrations add a layer of musical sophistication to the album, particularly on slower, dreamier tracks like first single “The Screams of Passion” and the Bobby Z.-penned “River Run Dry.”

Elsewhere, more conventional funk tracks like “High Fashion” and “Mutiny” betray the Family’s origins in the Time; while two instrumentals co-written by Eric Leeds, “Yes” and “Susannah’s Pajamas,” prefigure Prince’s growing interest in jazz fusion, to be explored more thoroughly in side projects the Flesh and Madhouse. Today, probably the best-remembered track on the album is “Nothing Compares 2 U“: the original recording of the classic Prince ballad later made famous by Sinead O’Connor. I go back and forth on which version I prefer, but I can definitely say that the Family’s is the more “Prince-like”–and Fischer’s arrangement, of course, is gorgeous.

Even in the volatile world that was Paisley Park in the mid-’80s, the Family were especially short-lived. Sales for the album were weak compared to Prince’s other projects at the time–it reached only number 14 on the Billboard R&B chart, missing the “mainstream” charts entirely–and St. Paul chafed under Prince’s micro-management, opting to ditch the group for a solo career in late 1985. In the end, the original incarnation of the Family played only one live show, at Minneapolis‘ First Avenue in August of 1985. Perhaps that’s why, more than any of the other “spinoff” acts, the Family tends to be thought of more as an extension of Prince’s solo work than as a separate entity. Certainly, that’s a point of view Prince encouraged when he absorbed Susannah, Jerome, Eric, and Miko into an expanded version of the Revolution in 1986, even performing his own version of “Mutiny” onstage–not to mention reappropriating the group’s whole velvet-jacketed aesthetic for his film Under the Cherry Moon.

Still, like their evolutionary ancestors the Time, the Family would later return for a second act without Prince’s involvement. A one-off charity gig in late 2003 eventually blossomed into a full-blown reunion, as “fDeluxe,” in 2009; since then, they’ve released two studio albums, a disc of remixes, and a live recording from Dakota Jazz Club in Minneapolis. The fDeluxe records obviously aren’t up to quite the same standard as The Family, but still well worth listening to for anyone who wants to hear more of their uniquely baroque take on the Minneapolis Sound. Most recently, like Sheila E., the Family/fDeluxe have found new vitality in the wake of their onetime mentor’s death: on May 4, 2016–exactly seven hours and thirteen days after Prince passed away–they reunited once again to record a new version of “Nothing Compares 2 U.”

Next week…well, to be honest I haven’t 100% made up my mind about what to tackle next week. It’s between Mazarati–more of a “Prince protégé protégé,” I suppose, but one with an interesting history–and Jill Jones. Any preferences out there? Let me know. And as always, you can see more of my writing on Prince at dance / music / sex / romance, and more of my writing in general at Dystopian Dance Party.

2 Comments

Filed under 1980's, 1985, 1986, 2010's, 2016, Eric Leeds, Jerome Benton, Miko Weaver, Minneapolis, Minneapolis Sound, Paisley Park, Prince, Prince & The Revolution, Susannah Melvoin, The Time, Time, Uncategorized, Wendy Melvoin

Grooves on Wax, Prince Summer Edition-Zach & Andre’s 12″ inch Prince Singles Collection

Normally I guest post on Saturdays, but Andre wanted to do a Grooves on Wax of all Prince 12-inches and I was only too happy to participate. So below are some highlights from both of our collections. I’ll be back tomorrow, as previously promised, with a post on Vanity/Apollonia 6!

Zach’s Wax

letspretendweremarried

The last single released from the 1999 album in November 1983, “Let’s Pretend We’re Married” isn’t actually a “maxi cut” in the traditional sense; just a repackaging of the seven-and-a-half-minute album version, in all its filthy electro-funk glory. But the real reason to own this is the B-side, “Irresistable Bitch”: an amazing (if just a tad misogynist) quasi-rap with a cavernous drum sound that clearly inspired the likes of the Egyptian Lover. Plus, it marks the earliest recorded appearance on a Prince track of Wendy Melvoin, who had replaced Dez Dickerson as the Revolution‘s second guitarist just a few months earlier.

iwoulddie4u

Now this one is all about the A-side. “I Would Die 4 U” has always been my choice for the funkiest song ever written about Jesus, but the 12″ version’s extended rehearsal jam (featuring percussion by Sheila E., with her band members Eddie M on sax and Miko Weaver on guitar) takes you straight to church. At ten minutes and 15 seconds, it’s actually edited down by about two-thirds (!) from the uncut version circulating on bootlegs; that one’s for devotees only, but in the right frame of mind, it’s an appropriately religious experience.

mountains

1986’s Parade is one of my favorite Prince albums and eras, and part of the reason for that is the amazing run of 12″ singles it produced. The best of the bunch, in my opinion, is “Mountains,” which gives the funkiest song on the album ample room to breathe. Once you hear it, there’s no going back. This is also the only place to hear the extended version of “Alexa de Paris,” a grandiose instrumental from the Under the Cherry Moon soundtrack that stands as one of Prince’s most successful experiments with jazz fusion.

anotherloverholenyohead

Another Parade cut, “Anotherloverholenyohead” is actually one of the few Prince singles where I prefer the regular version to the extended (another one, actually, is “Kiss”). I just think the tighter construction of the album version works better for the song’s wiry funk-rock, and the closing jam (“there’s gonna be a riot if you don’t clap yo’ hands…”) doesn’t really take off on the 12″ like I wanted it to. Still, it’s worth picking up if you can–if only for this dope picture of Brown Mark on the flip side, which I actually had hanging on my living room wall for a while (yes, I know, I’m a weirdo).

anotherloverbrownmark

Andre’s Wax

Let's Go Crazy 12'

In the film Purple Rain the song “Let’s Go Crazy” had an extended drum sequence and a chromatic piano walk bridge. It was played in the continuity scenes that introduced Morris Day and Jerome Benton, as well as Apollonia arriving at First Avenue and stiffing the cab. And that version is what the extended mix of this song is-my favorite version of it actually. On “Erotic City”,the song is extended by showcasing the instrumental synth exchanges to an even greater degree. That makes this a definitive Prince 12″ inch single.

Prince+Kiss+-+1st+Issue+3336

“Kiss” was a 45 that I remember being one of only two Prince songs my parents had in their record collection when I was growing up. On this extended 12″ version,the middle of the song is extended into a drum and synth brass heavy funk breakdown-very James Brown style. “Love Or Money” is one of my favorite Prince B-sides next to “Erotic City” and “17 Days“. It’s got a great gated drum machine line, rhythm guitar and Prince’s Chipmunk’d Camille voice. On this extended version,it all gets even better when the horn solos really interact on the extended instrumental bridge.

2 Comments

Filed under 12 inch singles, 1980's, 1986, Brown Mark, James Brown, Jerome Benton, Miko Weaver, Minneapolis, Minneapolis Sound, Morris Day, Prince & The Revolution, Purple Rain, Sheila E., Uncategorized, Under The Cherry Moon, Wendy Melvoin

Prince (Protegé) Summer: The Time

the_time_vinyl_front_cover

As an avowed fan of His Royal Badness and the tradition of silky, wet 1980s R&B he inspired, I was thrilled and honored to be asked to guest blog during the holiday season that is Prince Summer. Since Andre is covering the mainline Prince projects, however, I thought it would be best for me to fill in with some material on Prince’s extensive stable of side projects, from the 1980s to his untimely death in 2016. And where better to start on the Prince spinoff tip than with the greatest band in the world: the muthafuckin’ Time.

The Time were formed in early 1981 as an outlet for Prince’s more conventionally R&B-oriented material, after 1980’s Dirty Mind took his own music further in the direction of New Wave. His connection with several of the individual band members, however, goes back much further. Frontman Morris Day actually got his start as the drummer for Prince’s first band, Grand Central, while the pair were still in high school; they used to play in battles of the bands around Minneapolis in the mid-1970s with a rival act called Flyte Tyme, whose lineup included drummer Jellybean Johnson, keyboardist Monte Moir, and of course, future Minneapolis Sound architects Jimmy Jam and Terry Lewis on keys and bass, respectively. The Time, then, started life as a combination of the two older groups, with Flyte Tyme singer Alexander O’Neal on lead vocals–that is, until clashes with Prince led to O’Neal’s removal and Day’s promotion from behind the drums to the front of the band. Finally, Prince rounded out the group with the addition of lead guitarist Jesse Johnson, a recent transplant from Rock Island, Illinois.

the_time_vinyl_back_cover

It’s this lineup that would appear on the Time’s self-titled debut album–or at least, that’s what Prince wanted you to think. Production on the first Time album was credited to Morris Day and “Jamie Starr”: a mysterious figure who was, of course, none other than Prince himself. And he didn’t just produce the record, either: he largely wrote and performed it, using the same “one-man band” approach (with uncredited assists from his band members) as on his own solo records. His guide vocals are even clearly audible on songs like the opening track and lead single, “Get It Up.”

The Time was a commercial success for Prince (who, as the artist directly under contract with Warner Bros., pocketed the vast majority of the profits), and it helped to solidify Minneapolis’ standing as a new musical hotspot, even if it was still almost entirely through the efforts of one guy. For today’s listeners, though, it’s of interest mostly as a historical document. The aforementioned “Get It Up” is good: its lascivious lyrics, Oberheim OB-X synthesizer squeal, and borderline heavy metal guitar solos make it sound like the Controversy outtake it is. And other standout tracks, like followup single “Cool” and the Lisa Coleman-penned workout “The Stick,” laid the groundwork for Morris Day’s larger-than-life persona: a more cartoonish version of the gravel-voiced “pimp” character Prince would adopt while cutting up behind the scenes. But Morris’ singing voice was thin, especially on the slow numbers–“Girl,” inexplicably released as the third single, is just painful to listen to–and Prince still hadn’t hit on quite the right tone for his ghostwriting.

On stage, though, the Time were monsters–which of course resulted in tension when Prince took them on as the opening act for his Controversy tour in late 1981 and early 1982. By hiring some of the best musicians in the Twin Cities as a ghost band, then feeding them deliberately crowd-pleasing material, Prince effectively created his own competition; and by paying the band a pittance of a salary and severely limiting their creative control, he bred resentment and a desire for the puppets to upstage their puppetmaster. These tensions ultimately came to a head on the last date of the tour in Cincinnati, Ohio, where Prince and his band threw eggs at the Time during their opening set, then handcuffed Jesse to a coat rack and pelted him with Doritos. Later, after Prince left the stage, the Time retaliated, and a food fight raged all the way back to the hotel. All in good fun, I suppose–until Prince billed the damage to Morris, claiming that he’d started the whole thing.

what-time-is-it

Shenanigans aside, Prince recorded another Time album, What Time Is It?, in early 1982, Morris once again replicating his guide vocals with exacting precision. Andre already posted about this one back in 2014, so I won’t dwell too much on it, but suffice to say that if you only listen to one Time record, this is the one to hear. The grooves are skin-tight, the comedy is on point–hell, Morris even figured out how to sing a ballad (see: “Gigolos Get Lonely Too“). But on the ensuing “Triple Threat” tour with Prince and Vanity 6, the rivalry from the previous jaunt continued unabated. This time, tensions flared after Jam and Lewis, who had been producing a few tracks for SOLAR Records on the side, missed a date in San Antonio after being grounded by a blizzard during sessions with the Atlanta-based S.O.S. Band. Prince scrambled to cover for their absence, drafting Lisa to fill in for Jam on keyboards and having auxiliary Time member Jerome Benton mime on stage while he played Terry’s bass parts from behind the curtain. When the duo finally caught up with the rest of the tour, Prince docked their pay, then fired them entirely; Monte Moir also departed in their wake.

The result of all this turmoil was a strange irony: the Time were in shambles, at the very same moment that they were poised for their greatest success. 1984’s Ice Cream Castle, recorded to dovetail with the group’s appearance in Prince’s breakout feature film Purple Rain, was another middling record, but its breakout hits “Jungle Love” (see above) and “The Bird” introduced them to a massive crossover audience. Ultimately, however, it was too late: Morris took off for a solo career soon after the release of the film, leaving Prince to tour for Purple Rain accompanied only by the Revolution, his costar Apollonia, and his newest protegée, Sheila E.

Each of the former members of the Time stayed active in the ensuing years. Jerome, Jellybean, and St. Paul Peterson (Jimmy Jam’s replacement) formed the core of yet another short-lived Prince project, the Family (more on them later). Morris pursued music and acting, both to mixed results. Jesse released a few well-regarded solo albums, to modest commercial success. Jam and Lewis, who frequently retained Moir as a collaborator, had the best run of them all–their former mentor arguably included, as their production of Janet Jackson‘s Control managed to keep Prince and the Revolution‘s Parade off the top spot of the charts in 1986.

By the end of the decade, however, a reunion was brewing. Prince recorded a full “Time” album with just Morris and Jerome in 1989, to be released under the title Corporate World. Warner, however, wanted the full lineup involved; so the album was cancelled, and Morris, Jerome, Jam, Lewis, Jesse, Jellybean, and Moir all reunited to costar in Prince’s ill-fated 1990 sequel to Purple RainGraffiti Bridge (see above). In other words, W.B., be careful what you wish for.

Thankfully, 1990 also saw the release of the band’s much-better album Pandemonium, which combined re-recorded leftovers from Corporate World with resurrected ’80s outtakes like “Chocolate” and “Jerk Out” (see above). The record is a little overstuffed–at 11 tracks not including skits, it’s almost twice the length of any previous Time album–but it’s probably their most satisfying since What Time Is It? Unfortunately, the bonhomie didn’t last, and the group disbanded again shortly after.

And with that, we’ve reached the end of the Time’s official recorded tenure; the group has had an impressive afterlife, however, with Morris, Jerome, Moir, and Jellybean still touring as “Morris Day and the Time” to this day. The original lineup also reunited again in 2011–albeit billed as “the Original 7ven,” due to Prince’s strict control over the “Time” name–for a fun, well-received album called Condensate. Some of the material is unquestionably hokey (was anyone really clamoring for a Time song with a hashtag in the title?), but it’s nevertheless a strong argument that after 30-plus years in the game, the Time’s irrepressible charm remains intact.

There’s a deeper reason, too, why the Time remain arguably the most highly-regarded of Prince’s various side projects. Their rivalry with Prince, both in real life and as dramatized in Purple Rain (we won’t speak any more of Graffiti Bridge), stands as a potent symbol of one of the defining tensions of the Purple One’s career, between humble generosity and iron-fisted tyranny. Prince was more than happy to help his brothers out with a slice of his success–just as long as it was on his terms and they didn’t step on his toes. But the group Prince once described as “the only band that I was afraid of” stepped on his toes with aplomb, all while looking sharp in their Stacy Adams. So let’s hear it for the Time: the original seven lunatics who ended up running the asylum. Like a great man once said: “The Wright Brothers can’t fuck with that.”

I’ll be back next Saturday with a post on the second big project from “Jamie Starr”: the delightfully campy Vanity 6. In the meantime, for more of me blathering about Prince protegés, check out the podcast I recorded for my blog Dystopian Dance Party last month. And of course, come back during the week as Andre resumes his regularly-scheduled programming.

7 Comments

Filed under 1980's, 1990s, 2010's, Apollonia, Jerome Benton, Jesse Johson, Jimmy Jam & Terry Lewis, Lisa Coleman, Minneapolis, Minneapolis Sound, Morris Day, Prince, Purple Rain, Sheila E., Solar Records, The Time, Vanity, Warner Bros.

Purple Funk: The Wonderful World Of Prince’s Spin-Off Acts

OLYMPUS DIGITAL CAMERA

Prince had a very strong influence and popular acclaim in advancing the Minneapolis sound before the 1980’s even came in. At the same time,it was actually a very collaborative effort from the get go. From mid 70’s bands such as Flyte Tyme,Champagne and Pepe Willie’s 94 East onward,there were plenty of musicians in the twin cities hungry to lay down a new kind of funky groove. When Prince began lining up his roaster of acts first under the Starr Company then on his custom label Paisley Park,this ethic took on a whole other dimension.

There were many spin off acts from the Minneapolis music scene of the early/mid 1980’s. They stemmed from the Revolution,The Time and other people who had been involved with the concert scene at the major twin city hot spot First Avenue. Now there are a number of these spin offs I don’t yet have access to. So this may be a multi part concept. For now however,here’s a list of some of the key acts outside of Prince’s own recorded repertoire who played an important part in advancing the “purple funk” sound of Minneapolis as it was at it’s most active point.

MINNEAPOLISGENIUS94EAST-1

Prince’s first recordings in the mid 70’s with his cousin’s ex husband Pepe Willie. While this was a full band effort with only a small level of participation by Prince,it was remixed and released in 1985 on vinyl (and CD two years later) to fit in more with the synth brass heavy Minneapolis sound these rough jams grew into. Highlights are the live band grooves of “If You Feel Like Dancin”,the ultra funky breakdown of “Games” and the catchy “Just Another Sucker”. It really showcased an artist not yet ready to emerge on his own as a major musical power,but rather acting as a band member of some note.

Vanity 6

Prince turned the classic girl group image on it’s head with the Vanity 6. Featuring three vampish ladies in ex musician Brenda Bennett,his girlfriend Susan Moonsie and the provocative Vanity herself, this album showcased a stripped down,new wave based sound. The musical highlights are the Afro-Latin electro rhythms of “Nasty Girl”,key to the production style of Pharrell Williams today as well as the ultra funky “If A Girl Answers (Don’t Hang Up)”.

What Time Is It

The Time’s sophomore album showcased how much the band lead by Prince’s old school chum (and one time drummer) Morris Day had the strong potential to step right up front alongside Prince as Minneapolis funk royalty. Actually one of the most powerful new funk albums of it’s era,”777-9311″ showcased just how strongly percussive the Linn Drum could be in Prince’s hand while “Wild and Loose” and “The Walk” showcased the “original 7’s” groove power actually is in terms of driving the one right home!apollonia-6-album-cover

Vanity  6 were rechristened Apollonia 6 when Patricia “Apollonia” Kotero ended up replacing Vanity as Prince’s leading lady in the film Purple Rain. The album basically copies the formula of it’s predecessor. And Apollonia sounds like a literal Vanity stand in on most of her vocal leads-including the major hit in the hyper-kinetic single “Sex Shooter”. My personal two favorite number are sung by Brenda in the pounding “Blue Limousine” and the ultra groove bluesy funk thump of “Some Kind Of Lover”.

Sheila Escovedo had gone from George Duke’s late 70’s band to playing with Narada Michael Walden just before this Bay Area percussion veteran bought her heavily timbale based sound to the Minneapolis sound in 1984 on her Prince collaboration on the amazing Latin-funk of “The Glamorous Life”. Highlights of her debut solo album in addition to that are the funky instrumental “Strawberry Shortcake” and the slinky “Oliver’s House”. Her followup Romance 1600 was a jazzier big band flavor with swinging numbers like “Yellow”. The major funk highlight of that album is the phat Prince penned groove of “A Love Bizarre”.

The Family

The Family were a short lived spin off of The Time. Featuring Jerome Benton and introducing sax player Eric Leads,the lead singers were The Time’s Paul Peterson and Wendy Melvoin’s twin sister (and then Prince’s girlfriend” Susannah.  The album introduces the jazzier and more cinematic sound Prince was going for during the mid 80’s. It contained two huge funk monsters in the thick “High Fashion” and “Mutiny”. Not to mention the cinematic soul masterpiece of “The Screams Of Passion”.

Mazarati

Produced by the Revolution’s Brown Mark,Mazarati were the band who also got Prince’s massive hit “Kiss” until he realized it’s potential and decided to take it back. He did gift Mazarati the ultra funky “100 MPH”. Considering this album threw down thick jams such as “Players Ball”,”Stroke”and “Suzy”, this 1986 debut for the band is one that should’ve catapulted this talented,funky band a lot higher than it did.

These very obscure 1987 releases showcase Prince leading a jazz-funk fusion group featuring Eric Leeds and Sheila E’s band of the time. The titles of the two albums songs are sequential. The first of the albums is the jazzier of the two,while the second is built around gurgling instrumental funk including Prince’s early use of sampling-with parts from the first two Godfather films added to the mix.

Gold Nigga

Perhaps anticipating the demise of Paisley Park later in 1993,Prince did for his band the New Power Generation what he didn’t manage to accomplish with the Revolution: record an entire album on them with himself as producer. And on their own self named record label no less.  Due to his infamous battle with Warner Bros. during this time,the lyrics follow a concept of the NPG making mock phone calls to the label about regarding more creative freedom. And with hardcore JB’s style funk jams such as “Deuce A Quarter”,”Johnny” and “Call The Law”,this reflects a new type of “people music” as it were that stands with Prince’s railing against creative oppression.

Hey Man Smell My Finger

This second George Clinton release for the Paisley Park label from October of 1993 featured a production update that showcased how much of an impact P-Funk’s “video game” synthesizer style was having on the G-Funk end of hip-hop at the time. Prince himself contributed the house style dance number “The Big Pump” to the album. Even though it was released just before Paisley Park folded,it showcased Prince’s deep respect for the music icons that inspired what he had been doing.

An artists impact is usually felt most fully by their influence upon others. Even during the period where Prince’s peak years were starting to wane,new distribution projects such as the 1-800-NEW-FUNK number and his early websites allowed for more spin off’s from Paisley Park to be made available for the people. Due to the come and go nature of some of these mediums,a lot of these side projects are very rare now. But they were worth seeking out in order to understand just how broad reaching Prince and his protege’s musical vision actually was.

 

 

Leave a comment

Filed under 1980's, 94 East, Apollonia, Brenda Bennett, cinematic soul, electro funk, Eric Leeds, George Clinton, jazz funk, Jerome Benton, Linn Drum, Madhouse, Mazarati, Minneapolis, Minneapolis Sound, Morris Day, New Powe Generation, NPG Records, P-Funk, Pepe Willie, Prince, Prince & The Revolution, Sheila E., Susannah Melvoin, The Time, Vanity