Tag Archives: ballads

78 On The Longplay: ‘Come Get It!’ by Rick James

Rick James always seemed destined to have a career at Motown.  From his work with the Myna Birds to being a member of the staff writing there. He had spent much of the 70’s a musical gypsy-recording a few records and performing with a few different rock bands during the decade before decamping back to Buffalo and forming the Stone City Band. He then returned to the record label that had seemed to provide a strong sense of security for him as an artist/band leader in 1977. And they dropped this debut album the following April of 1978.

“Stone City Band,Hi” opens the album with a live recording that adds a strong P-Funk horn based hump to it. “You And I” starts off with a rhythm guitar groove that swings into a full blown orchestrated female vocal gospel/disco chorus before going into a 7+ clavinet driven fast funk groove with some harmonically fluid jazz guitar accents by final refrains. “Sexy Lady” deals with a polished and precise jazz-funk number with a strong West Coast vibe about it. “Dream Maker” hearkens back to Rick’s doo-wop days with it’s spoken intro and piano based soul ballad shuffle.

“Be My Lady” is another melodically bright mix of bass/guitar/horn oriented funk with the disco beat and “woo hoo” chants. “Mary Jane” begins with an arena style guitar thump and orchestral synthesizer before going into a stripped down jazzy soul-pop ballad with a lyric that could be taken (in it’s time) in two different ways. “Hollywood” starts out as a tender ballad about Rick saying goodbye to his family, while leaving behind the ghetto environment he feels might destroy him, before ending on a reggae style coda. The album concludes with a reprise of the title song.

When I first got this album on vinyl, I remember not caring for it too much. Hearing it fresh today on CD helps me realize what a strong debut this really is. The steely punk funk sound Rick James would develop isn’t as evident on this album. He’s very much a live band styled funk/soul brother on this album-with little concern for crossover anymore than doing so on his own musical terms. Stone City Band were a strong outfit too-with a big band funk style that can switch years between monster humps and lush disco friendly sounds. An excellent debut from an artist and band still getting their legs.

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88 On The Longplay: ‘Giving You The Best That I Got’ by Anita Baker

Anita Baker’s music always felt (to my childhood self ) like what it might’ve been like to be an adult. The music and lyrics came off as so learned and experienced in life. This is one of the key qualities of Baker’s music that I share a common interest in with my friend Henrique. Another quality that Baker’s 1988 album Giving You The Best That I Got is that it presents a relatively small group of musicians. With a sound that’s immaculately produced and compositionally strong all at once. As the follow up to the blockbuster album Rapture this album often suffered from unfair comparisons.

After all, when you have an album like that? Its usually a nearly impossible act to follow. Now I’ve been hearing this album in one way or another since the day it came out? I have to say that this album is packed with great songs and as always Anita’s distinctive voice. Between the styles of Sarah Vaughn, and several years later with Toni Braxton, has any female vocalist been able to almost instrumentally work their way around a song the way Anita does on songs such as “Priceless” and the title cut.  These are vital R&B/jazz compositions.

These compositions are to strong grooves Anita made famous beforehand. But on tracks like “Rules”, the barrier that developed between jazz and R&B melted right away. The instrumental  sound of these songs are both concise and elegantly produced. And that’s no small feat to accomplish. Michael J. Powell, founder of Baker’s former band Chapter 8, did a masterful job in that regard for this album. Critic/writer Nelson George described the kind of music Anita Baker specialized in as “retro nouveau” in his book The Death of Rhythm and Blues. And I suppose it fits as well as any.

Songs such as “Lead Me Into Love”,”Good Love”,”Just Because”,”Good Enough” and “You Belong To Me” assure this album has no filler at all. The level of songwriting consistency is maintained throughout every one of these songs. Elektra was really and sound popping with some of the best fusions of jazz-pop, quiet storm and R&B/funk during the course of the 80’s. That tends to be what happens when musicians such as Omar Hakim, Nathan East and the late George Duke get together with a talent like Baker’s.  And if that period of music was a living being? It should be grateful to have had Anita Baker around.

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All ‘N All At 40: Earth Wind & Fire In A Land Called Fantasy

Earth Wind & Fire’s eighth full studio album All ‘N All is music that’s continue to grow with me. Since the very first time I heard it. Only a few days before this writing, my friend Henrique even discussed with me how vital it was that EWF had three drummers aboard during their salad years. There was Ralph Johnson, as well as the bands founder and conceptualist in the late Maurice White. As well as his brother Fred. Maurice himself played drums on the song “Runnin'” from this particular album, a song that’s a particularly jazzy affair.

A somewhat humorous anecdote deals with All ‘N All‘s opening song “Serpentine Fire”. Again from Henrique. We were discussing the songs seemingly sexual playfulness. And how slow the tempo of the song was in relation to the rest of the playing. Turns out in timing the tempo, “Serpentine Fire” clomps along at around 69 BPM. So there is past, present and future lessons to be learned from All ‘N All for its listeners. The future is not ours to see of course. And its also important to absorb the past lessons the music on this album has taught. And I can only truly speak on personal experience in that regard.

All ‘N All has it own rich history. EWF as a band had just survived the tragic loss of Charles Stepney-as well as recording much of their following album Spirit without him. Maurice White then took a much needed vacation with his wife to Brazil and became deeply emerged in the Latin rhythms he heard out of Rio and Sau Paulo. Particularly those of Milton Nascimento. Milton and Maurice came to the conclusion that a combination of their sound would be a strong new element within Earth Wind & Fire. Especially since Afro-Latin percussion was already an enormous aspect of their sound.

Flash forward to the mid 1990’s and I am just getting into the albums of EWF. I remember riding my bike seven miles or so across a lot of traffic to get to the local mall area where there was a record store called Strawberries. Browsing through their cassettes I came across this album on tape. Though the cover was much tinier,it touched on a deep interest I’d had in ancient Egypt and the pyramids of Giza since before I even learned how to ride a bicycle to begin with. Recognizing at least one song on it,and seeing it was in my price range? I decided to purchase it.

After getting this tape home, I put it in my portable cassette player and…found myself travelling in a musical world I am going to try my best to explain to you now. Beginning with a somewhat Michael McDonald sounding Clavinet riff from Larry Dunn,”Serpentine Fire” kicks into high gear with clinging Brazilian percussive funk of the most meaningful order. I could write paragraph after paragraph about the lyric’s seemingly flexible meaning,but the slithering rhythmic nature of the music may tell the story even better. I’ve heard it said that “Fantasy” is rhythmically deep into the “4 on the floor” disco beat.

“Fantasy”‘s cinematic atmosphere transcends anything else for a song celebrating romantic imagination. The Kalimba interlude “In The Marketplace” goes into the furious horn funk of “Jupiter”-probably one of their cleanest played and most under heralded funk numbers they ever made. “Love’s Holiday” is a quintessential EWF mid-tempo groove that is more verse oriented when it comes to Maurice’s lyrical approach than his usually melodic style. The first part of Milton’s “Brazilian Rhyme” is next-concluding in a stomping,funky jam with Verdine’s bass bopping brightly.

“I’ll Write A Song For You” could be viewed somewhat as “Reasons” part II instrumentally -with the songs eloquently romantic lyrics building into a fantastically orchestrated climax. “Magic Mind” is another excellent uptempo funk number-with some of the most elaborate soloing from the Phenix Horns. “Runnin” is one of my favorites here. Starting out as a vocalese led melodic jazz-funk/fusion jam from Philip Bailey,the already heavy Afro-Latin strains in the rhythm come to a percussive frenzy by the songs second half-with Larry Dunn’s kinetic synthesizers bridging the two sections together.

“Be Ever Wonderful” closes the album with its only fully gospel/soul derived song on this album-ending with a triumphantly sung mid tempo ballad.  The only way I could even try to explain this is that the way in which the Brazilian rhythms and bouncing melodies on this album are carried out? The entire quality of the music on this album has the feeling of a journey, the feeling of motion towards a compelling knowledge outside oneself . This album brings mystery into focus,and brings time to a slower crawl. And its funk that is both spiritually deep and commercially successful.

All N’ All, from its gatefold artwork to its thematic content, also embraces ideas somewhere between monotheism and pantheism. Maurice White once referred to the albums title itself as referencing that idea of all human religions representing one higher power. EWF also blend in their variation of the classic secular/spiritual soul music themes. The romanticism of humanity seem to even become a spiritual matter on these songs. From the change in the bands logo to a golden roman style font onward, the entire affair was a musical rebirth for a band still deep in their peak musical powers.

The golden annivesary of this album seems far away. But at a mere decade away? It has just occurred to me that by 2027, all of the Earth, Wind & Fire members from this era may have passed away. But as its been said many times, the result of art is ones footprint in time. All ‘N All has the potential for its footprint not to be fully realized until all of its creators are gone. Thinking about the passing of Maurice White last year, his musical spirit in particular permeates this entire album. And he and his band of musical brothers fashioned a funk/jazz/soul masterpiece from that creative synergy.

 

 

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Funky Reflections On 1987: ‘The Right Night And Barry White’

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Personally I don’t think it’s possible to count how many times I’ve seen this CD on the racks of the local record store and never been moved by or aware enough of it to pay any mind. One key issue that had me re-thinking this oversight was a blog written by my oft quoted friend Henrique about an excellent song from this album. It again provided a strong reminder just how much funky music charted high both on radio and with the public during 1987. So it all gave me to understand that this was an album that I DEFINITELY wanted to check out. After doing so? It also shows just how much I missed out on not looking into this from the outset.

“Good Dancin’ Music” and “Sho You Right”,the song the directed me back to this album are both hard hitting,bass synth driven electro funk extravaganza’s with some of the most intricate uses of instrumental harmony I’ve ever heard. “As Time Goes By” is transformed from it’s original ballad style to percussive cinematic funky soul number with a sauntering Caribbean vibe. “For Your Love (I’ll Do Anything)” is a slow crawling,slap bass driven groove while songs such as “There’s A Place Where Love Never Ends”,”Love In Your Eyes”,”I’m Ready For Love”,”Share”,”Who’s The Fool” and the nostalgic title song all fall into his classic ballad style.

This album did an amazing job of showcasing how the more electronic instrumentation of the time was still perfectly able to support the man’s arrangements-especially as well integrated it all was. The music ideas and classic romantic monologues are all used to full affect on here as well. During the years I was growing up? Even if they were coming out fairly close together? Each and every new Barry White album was treated as a major comeback-almost as if he’d somehow disappeared off the map between those releases. In any case? This is one of those albums that I truly wished had been a part of my musical life a lot longer than it has been.

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‘Kick’ At 30: INXS Get A New Sensation

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INXS had an amazing period of growth in the 1980’s. In the first couple of years of the decade, the Australian band were a hard touring post punk/new wave outfit. By 1984’s The Swing, the sound of songs such as the hit “Original Sin” got the heavy funk treatment from the production of Nile Rodgers. From that point on, INXS would be a funk/rock powerhouse. Their songs punctuated by an equal combination of big guitars, grooving horns and bass lines and the versatile, soulful voice of its late lead singer Michael Hutchence. This all came to a head 30 years ago today with the release of Kick.

Kick was part of a massive revival of funk/soul sounds in pop music. Whereas more straight ahead guitar rock had been the dominating force during the earlier part of the decade. In fact, the first time I heard of INXS was the video for the song “Need You Tonight”, whose visuals abstract on the cover art for the album itself.  Their grooving sound and extroverted visual presence made this quite an experience for me. Now I’ve heard the entire Kick album for the first time all the way through. And am going to share with you my observations of it-largely from a funk and soul based perspective.

“Guns In The Sky” starts off the album with pounding, spare drums and brittle lead rock guitar of the Farriss brothers Jon, Andrew and Tim. This is matched with lyrics that lashes out against  people’s obsessions with fire arms.  “New Sensation” is a rhythm guitar fueled fusion of funk and rock-especially its horn fueled chorus. As my boyfriend Scott originally pointed out, there is a banjo (or a very banjo like guitar sound) playing just under the rhythm guitar lick.  “Devil Inside” starts out with a round percussion based sound-with mild rhythm guitar and bass accents of Garry Gary Beers

“Devil Inside” also gradually mutates heavier guitars kick in for a slinky rocker-the hardest edged rock piece on the album. And also the longest song on the album.  “Need You Tonight” is built around stripped down “naked funk” as well as call and response vocals of course. That segues without a break into the hip-hop style drum based number-with jazzy phrased synth pads in the back round while Hutchence’s vocal arrangement is structurally similar to Bob Dylan’s “Subterranean Homesick Blues”. On this song however, the lyrics focus squarely on the racially unjust South African apartheid system.

“Tiny Daggers” is a very Stonsey slower 12 bar blues number, with a rocky twist. Also a soul-pop melody on the chorus. In terms of totally melding a rock soloing attitude with a funk rhythm section, “Wild Life” and “Calling On Nations” pull off the fusion without a hitch- in a similar manner to “New Sensation” from earlier in the album. The shuffling “Mystify” and the title track both have mid 60’s “rock ‘n soul” flavors to them-with the sax of Kirk Pengilly’s honking solos. “Never Tear Us Apart”, the albums lone ballad, is an update of the 6/8 time 60’s soul ballad-featuring string and another Pengilly sax solo.

“Tiny Daggers” has the driving drums,melodic piano and jangling rhythm guitar of a Springsteen style heartland area rocker. Its resemblance to another hit from this era, Prince’s “I Could Never Take The Place Of Your Man” brings out an idea I have about the album. With its dead center funk/rock fusion, which Andrew Farriss declared was always part of INXS’ sound, Kick’s dead center funk/rock fusion sound-along with its lyrical themes combining hedonism and social awareness, is something of  an integrated band equivalent to what Prince was doing with his Sign O The Times album in 1987.

Kick is an album that, having heard it all the way through, is a bit of a time capsule of that re-focusing of pop/rock music towards funk and soul was going by 87. Some of the songs are more stronger funk based, others are more straight rockers, and others totally combine them together.  It also went right along with the momentum INXS themselves were on with funk/soul based pop hits like “What You Need” and the aforementioned “Original Sin”.  INXS’s own stylistic trajectory matching up with the times goes with has made Kick so enduring and iconic for late 80’s funk and pop/rock.

 

 

 

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Anatomy of THE Groove: “Love’s Holiday” by Earth Wind & Fire

Earth Wind & Fire’s 1977 album All ‘N All is about to celebrate its 40th anniversary this coming autumn. Today however, wanted to pick one particular song from this iconic album to talk about. And for a very special reason. Raised in Kentucky, Johnny Graham started out playing the trumpet as a child. And moved to guitar as a teenager. While touring with the new birth, Graham got contacted by Maurice White. Apparently some of the New Birth members had told White how great a guitarist Graham was. And White wanted Graham as one of his guitarists in his rebooted edition of Earth Wind & Fire.

That reboot edition of EWF debuting on Head To The Sky became basically the bands classic 70’s line up. Graham, who turns 66 today, provided a strong amplified blues flavor to EWF during its salad days. And his guitar solos on songs such as “That’s The Way Of The World” essentially added that musical element of earthiness present in their name. Another such solo turned up on the song that closes the first side of the original LP of the All ‘N All album. And a song that’s become album cut by many admirers of the band. The name of the song is “Love’s Holiday”.

A thick,cymbal heavy drum count comes in with the Phenix Horns playing a beautifully jazzy unison horn chart. Than Al McKay and Verdine White’s bass/guitar interaction comes in with the Ralph Johnson’s drum clipping along at approximately 72 beats per minutes The horns, including a muted trumpet play an accessorizing part along with very faint strings in the back round. And especially on the climbing B-section to the chorus, Philip and Maurice’s sing right along with them. Graham’s guitar solo comes in on the closing refrain-playing call and response with Maurice White’s vocalese.

“Love’s Holiday” is an example of that literal “slow jam” that EWF had been perfecting during their years with Charles Stepney and beyond. It would extend from songs like “Devotion” up through “Be My Love” from the early 80’s. By the time of this song in 1977, the band and its many musical collaborators had this densely arranged jazzy funk/soul sound down to a science. Comedian Steve Harvey even singled out this particular song as an example of what “real music” sounded like. Its one of the most melodically and harmonically beautiful ballads to emerge out of the funk era in the 1970’s.

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Too Hot To Handle: Heatwave’s Debut Album’s 40th Anniversary In the US

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Heatwave had been a huge international disco era funk mainstay from the get-go. When the late Johnny Wilder Jr began assembling the band while in West Germany-following discharge for the US Army in 1975. In 1976, the band released their debut album Too Hot To Handle in the UK. The original album cover art was a painting of a sun’s horizon over the sea courtesy of Norman Moore. The album was released on May 30th of the following year in the US. It was given a new cover. This one a comic book design of a vinyl album melting on a sidewalk-this time done by Robert Grossman.

This albums 40th anniversary has already passed. Oddly enough, it was one of the last Heatwave albums I actually investigated. Due to a broken CD player, my first copy of it succumbed to laser rot. A couple of listens to this album gave me to realize that its one of those albums that deserves a full form review of its contents. All the songs on it were written by the late,great Rod Temperton. And most of them showcased Johnnie Wilder’s dynamic, rangy vocal interpretations. So here,song by song is my own overview of the album. Not song by song exactly. But taking each of them as part of a wonderful whole.

The album starts off with a three prong uptempo punch. First is the title song-which uses call and response horn lines and slinky synthesizers playing similar melodic riffs-right along with the vocal trades of the Wilder brothers Johnnie and Keith. “Boogie Nights” starts off with a swinging,guitar based be bop type intro before heading into a driving Moog bass driven groove-one with funk functioning as top end disco. “Ain’t No Half Steppin'” is heavy bass/rhythm guitar oriented funk that’s directly descended from James Brown. Especially with its condensed, funky drum/percussion based bridge.

The album showcases a diverse range of songs from there out. The vocally epic,Philly style “Always And Forever” is a wedding dance classic now. It was recorded by Johnnie vocally as if he was performing live-ad libs and all. “All You Do Is Dial” has a gentle jazzy pop flavor while “Sho ‘Nuff Must Be Luv” has a cinematic Chi Town soul ballad approach. Those are the main ballads of the album. There’s also “Super Soul Sister”-a guitar and Clavinet fueled funk number that starts into a jazzy swing similar to “Boogie Nights” on the bridge.

“Lay It On Me” has a smooth funk vibe with a driving bass Clavinet,muted trumpet, strings and again Johnnie Wilder’s voice leading the way. The album ends with a nostalgic look back at old school child discipline on the (again) James Brown style funk of “Beat Your Booty”-this time with an open,round synth bass wash goosing the lead and harmony vocals along. Overall Heatwave got off to a powerful start with this album. Their basic sound was still built around the songs being played live. Still,their reputations as masters of the disco era funk/soul sound in the studio shines strongly too.

This band that was a little Dayton,a little continental Europe really showcased themselves as extremely funk oriented here. Not long after this, members of this group Rod Temperton and Johnnie Wilder Jr would become linked in different ways to the launching of a record breaking superstar in Michael Jackson. But with the massive hit success of “Boogie Nights” and “Always And Forever”, Heatwave came right out of the box as a funk band who could play serious grooves,right serious songs and sing serious melodies.  And for that, I have no doubt their legacy will live on.

 

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‘Prince’@37: A Sophomore Album That Wasn’t Treated So Bad

Prince 1979

Prince really did create a technical and musical marvel with his debut album For You. Still out of Prince’s two albums of the late 1970’s,its his second self titled effort that proved to be his commercial breakthrough. That is in the sense he had a tremendous hit with it. That hit was “I Wanna Be Your Lover”. This was late 70’s sophistifunk at its sauciest-with a sleek groove that’s both sweetly melodic,but has a full on chunky bass/guitar groove about it. It started off this album. And its also the song that many mainstream pop music listeners pre 1980 might cite as the very first Prince they’d remember hearing.

I first became aware of this record through a handful of its songs making the cute of Prince’s first anthology set The Hits/B-Sides. So its probably best to discuss those songs first. “Why You Wanna Treat Me So Bad” is a very mainstream rock tune with some glistening,melodic power chords from Prince on this song written by Andre’ Cymone. The other is a classic Prince one man band version of “I Feel For You”. This is the first version I heard. And due to that reason,much as I love Chaka Khan’s far more famous cover,that’s pretty much its own thing next to this version.

Whats so interesting about this album for me is 3/4 of it is slow ballad oriented. When I first picked up the CD pre-owned,all there was to listen to CD’s were undependable bar code scanners some stores had. So it was a surprised that some songs such as “When We’re Dancing Close And Slow” and “Still Waiting” were rather country western/pop flavored ballads. “With You” has a 1950’s doo wop flavor to its slow ballad flavor. Of the slow songs on the album,my personal favorite is “It’s Gonna Be Lonely”-which has a then contemporary progressive soft rock flavor about it with its processed guitar reverb.

My favorite song on this album of course is “Sexy Dancer”. This is almost an instrumental. Prince’s panting becomes a percussive element to this lean,mean bass/guitar extravaganza that points to Prince’s signature early 80’s funk sound. Not to mention the jazzy Yamaha electric piano solo he takes on the bridge. “Bambi” is the other rocker here. This is a crunching hard rock number too. The focus of the song is on Prince having a crush on a woman who turns out to be a lesbian-spending the chorus trying to convince her “its better with a man”-seemingly for his own physical benefit only.

In the end,I have to agree with Prince on this album. It served its function very well in getting more people interested in his music.  And as he implied,it did what it he intended it to do by featuring some strands of late 70’s pop music. On the other hand,Prince’s frank take on the sexual revolution of disco era and the albums general emphasis on funk made it clear the type of musician Prince would be. He would make melodies,rock out but never totally give up on the funk. In as much as it laid the blueprint for his commercial approach of the early 80’s,this album is a very significant one for Prince.

 

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Controversy@35: Funk For Those Who Don’t Want To Die So They Can Be Free

Controversy

Controversy,released on this day in 1981,is one of my very favorite albums of Prince’s immediate pre-crossover period. It came along at a time when he was heavily building his musical persona. Everything from his stripped down instrumental approach,the name Jamie Starr and around this period the introduction of The Time. First time I saw the album on vinyl,it was the basic Prince image I saw on the cover staring hard at me in front of some captivating faux newspaper headlines. The purple trench coat with the studded shoulder and his Little Richard inspired hairstyle were there-as well as the thin mustache.

Picked the album up on vinyl upon seeing this from Dr. Records,in its old location in Orono Maine.  Happily it still had the original poster inside showing Prince posing in the shower, wearing nothing but black bikini underwear.  Its also important to note I heard Prince’s albums almost in order,so heard this fourth in that line. The title track in its full version really got my attention. Especially where Prince is reciting the lords prayer over the pumping rhythm and funkified rhythm guitar before his chant at the end. My boyfriend told me this was the very first Prince song he heard while living Scranton,Pennsylvania.

That chant at the end of course was “people call me rude/I wish we all were nude/I wish there was no black or white/I wish there were no rules”. The albums major funky moments come in the slap bass and synth brass groove of “Lets Work”,one of his finest slices of funk of that time. He also provides one of his major funk ballads in the elongated workout of “Do Me,Baby”-written by Andre Cymone and featuring some lustful vocals and slap bass. “Sexuality” ably mixes a rockabilly rhythm and melody,chicken scratch guitar and new wave synthesizers. Lyrically it also provides a bit of the albums social manifesto.

“Private Joy” is a sleek post disco new wave pop number build around drums and synthesizers-plus a peppy,sexy falsetto chorus. “Ronnie Talk To Russia” is a short,punky new wave number with a rather narcissistic anti nuclear message asking the president to talk to Russia “before they blow up my world”. “Annie Christian” is a striking art rock type number metaphorically dealing with the issues of violence and gun control in the early 80’s. The album ends with sexually playful “Jack U Off”,which is a straight up synthesized version of 50’s rockabilly.

Musically speaking,this album really finds Prince solidifying his sound. The musical pallet is similar to its predecessor Dirty Mind. Production wise however,Controversy is a pretty slick sounding album that doesn’t have the previous albums raw demo like quality. The album also integrates funkiness into its instrumental approach. Many times in the general rhythm of the songs,a lot of them still fall into the retro 50’s rock n’ roll/rockabilly style Prince was dealing with at this time. At the same time,he showcased how R&B,funk and modern synth pop/new wave would represent a major part of the Minneapolis sound.

Conceptually this album is one of his most telling. The Prince of Controversy emerged as a concerned,conscious citizen who also had a mildly unknowing,socially conservative streak. A lot of it is Prince walking the classic soul music line between the secular and the spiritual. In one song alone for example he’s saying “sexuality is all we’ll ever need” and turns around to say “don’t let your children watch television until they learn how to read/or all they’ll know how to do is cuss,fight and breed”.  This mix of sexual freedom and social paranoia is a close early glimpse of Prince’s then developing social conscience.

Prince of course is no longer with us. And with a released catalog almost 40 albums strong in his lifetime,he’s told many different stories both musically and lyrically. My friend Henrique warned me not to try to chase Prince’s motivations because of how intentionally elusive the artist tended to be. For me,this album is probably the closest he came in the 1980’s to laying his soul bare. His feelings on sex,violence and religion are something he’s trying to reconcile throughout this album. Don’t know if he ever did fully reconcile them before he died. But the questions he asked here may be more important than the answers.

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Filed under 1980's, ballads, classic albums, Controversy, gun control, message songs, Minneapolis, Minneapolis Sound, naked funk, New Wave, Prince, rhythm guitar, rock 'n' roll, slap bass, synth brass, synth funk