Paisley Park Records, released 19th August 1985
Bought: Sister Ray’s, Soho, 1991?
I’ve bought this album on almost every format since I first found a cassette copy in the early ’90s, back when it was a pretty rare groove. It came out during my favourite Prince period, 1985 to 1989. He was embracing jazz, fusion, psychedelia, classic rock and even modern classical, mainly prompted by his collaboration with the very excellent (and possibly under-appreciated by Prince) Wendy and Lisa but also other associates Sheila E, saxists Eric Leeds and Eddie M and string arranger Clare Fischer.
This was my soundtrack to teenage unrequited love in the summer of ’91. I instantly loved the retro Hollywood glamour of the cover artwork and the way it chimed with the whole Parade/Under The Cherry Moon concept.
The Family slipped out on Paisley Park Records in summer ’85 (just three months after Prince’s Around The World In A Day) to a very low-key critical and commercial reception. These days, the album is known mainly for including an early version of ‘Nothing Compares 2 U’.
But it’s full of far superior fare to that such as the killer opening funk medley, classic near-hit ‘The Screams of Passion’, charming pop of ‘Desire’ and especially instrumentals ‘Yes’ and ‘Susannah’s Pyjamas’ where Prince indulges in some fantastic Sly Stone-meets-Miles bass, guitar and drum grooves. This is the album that led Tutu producer Tommy LiPuma to recommend Prince to Miles as a possible collaborator and it’s easy to hear why.
The Family was put together by Prince when the first incarnation of his massively successful offshoot project The Time split up in the summer of 1984. The band’s keyboardist/vocalist Paul Peterson (renamed St Paul by Prince), drummer Jellybean Johnson and vocalist/dancer Jerome Benton were summoned to Prince’s house along with his then-fiancee (and sister of Wendy) Susannah Melvoin and Leeds. A band concept was quickly ad-libbed by Prince, who, according to engineer David Rivkin (reported by Per Nilsen in his superb Prince: The First Decade book), issued them with the directive: ‘We gotta go after some of that Duran Duran money!’
But what they ended up with was far from Duran Duran music. Prince wrote all the songs (except ‘River Run Dry’), played all instruments on the basic tracks and sang all the guide vocals.
Peterson and Melvoin painstakingly replaced Prince’s scratch vocals (and apparently took dance and acting lessons!), Leeds added his trademark baritone, tenor and flute and Fischer provided deliciously non-linear string arrangements.
Prince’s ‘no bass’ philosophy (as famously heard on ‘When Doves Cry’ and ‘Kiss’) seems well to the fore on The Family. I still have in my possession a cassette of demos from the album, given to me by my old friend Marlon Celestine, featuring Prince’s phenomenal bass playing on ‘High Fashion’ and ‘Mutiny’, presumably deleted at the last minute.
The Family was released without much fanfare or marketing. After just one gig at First Avenue in Minneapolis (rare footage of which was recently removed from Youtube), the project was put on hold when Prince recruited Melvoin, Benton and Leeds for his Under The Cherry Moon movie. Peterson was put on a retainer, but, tired of waiting around for Prince to get back from filming in the south of France, served his notice by phone call. According to Per Nilsen, Prince was flabbergasted, believing that The Family’s time wasn’t far away and that St Paul was jumping ship too soon.
And, in a way, he was right – The Family album just won’t go away. At the request of Roots/D’Angelo/Erykah Badu drummer Amir ?uestlove Thomson, a long-time fan, the four-piece minus Prince delivered a mesmerising comeback performance at a pre-Grammys bash in 2007.
And then in 2012 a full-length album Gaslight was released under the new name fDeluxe (with considerable contributions from Wendy and Lisa) and a successful world tour followed (including a great Jazz Cafe gig in London). It proves that this band was much more than a Prince side project and are a pretty formidable funk/soul act in their own right.