Prince’s Sign O’ The Times: 30 Years Old Today

Paisley Park/Warner Bros, released 30th March 1987

Album chart position: #6 (US), #4 (UK)

Singles released: ‘Sign O’ The Times’ (#3 US, #10 UK)
‘If I Was Your Girlfriend’ (#67 US, #20 UK)
‘U Got The Look’ (#2 US, #11 UK)
‘I Could Never Take The Place Of Your Man’ (#10 US, #29 UK)

At the time of Sign O’ The Times’ release, the general critical consensus seemed to be that it was a great double album but, shorn of a few tracks, would have made a sensational single album.

But what the press probably didn’t know was that Prince had actually intended to release a triple album!

He believed the three-record set Crystal Ball would have been be a huge artistic statement after a relatively disappointing 1986, but the idea scared the hell out of Warner Bros and also his manager Bob Cavallo. Prince was reluctantly forced to back down.

The tracks intended for Crystal Ball but later abandoned for Sign O’ The Times were ‘Rebirth Of The Flesh’, ‘Rockhard In A Funky Place’, ‘The Ball’, ‘Joy In Repetition’, ‘Shockadelica’, and ‘Good Love’ (all hoovered up from two other aborted album projects, Dream Factory and Camille).

But even after Prince removed these, he was still left with a 16-track double album, a brilliant mix of the sacred and profane, and a record which many fans believe was his finest hour.

The famous title track was recorded on 15th July 1986 in a single ten-hour session at LA’s Sunset Sound. Prince was experimenting with a new piece of kit – the Fairlight sampler/synth – but characteristically made the technology swing in a way that no other artist could.

The track also demonstrates his love of space; it’s essentially just a minimalist blues featuring a three-note melody line, some sampled drums/bass and a bit of electric guitar. Listening again on the day after the Westminster Bridge ‘terrorist’ attack of 23rd March, the song’s lyric also seems as relevant now as it was in 1987:

Hurricane Annie ripped the ceiling of a church and killed everyone inside
You turn on the telly and every other story is tellin’ you somebody died
Sister killed her baby cos she couldn’t afford to feed it
And we’re sending people to the moon
In September my cousin tried reefer for the very first time
Now he’s doing horse, it’s June

It’s silly, no?
When a rocket ship explodes
And everybody still wants to fly
Some say a man ain’t happy
Until a man truly dies

‘Play In The Sunshine’ and ‘Housequake’ are pure party pop – it’s scarcely believable that Prince alone could generate such a raucous studio atmosphere with only Susannah Melvoin’s backing vocals, a few guests and Eric Leeds’ sax for company. The latter also represents his first recorded attempt at hip-hop (unless you count the brief ‘rap’ in ‘Girls & Boys’), typically supplying something usually missing from the genre: humour.

‘The Ballad Of Dorothy Parker’, recorded in Prince’s Minneapolis home studio on 15th March 1986, may be his most psychedelic recording, the soundtrack to a dream with seemingly-spontaneous musical moments that no one else could have created. He demonstrates his mastery with the LM-1 drum machine and, vocally, sets up a novel ‘Greek chorus’ effect.

‘Forever In My Life’ takes a melody line very similar to Sly And The Family Stone’s ‘Everyday People’ (and maintains Sly’s key of G) but again demonstrates Prince’s remarkable sense of space and also features another extraordinary backing vocal arrangement.

The heartfelt lyric was written when he believed he would settle down with fiancée Susannah Melvoin (twin sister of Wendy) – sadly it wasn’t to be.

‘It’, another bold experiment with the Fairlight, returns to the cold, sexualised world of 1999, while ‘Hot Thing’ is its flipside, a funky, James Brown-inspired one-chord romp with some great Leeds tenor sax.

‘If I Was Your Girlfriend’ (another song about Susannah/Wendy), ‘Strange Relationship’ (another big nod to Sly), ‘It’s Gonna Be A Beautiful Night’, ‘Starfish And Coffee’, ‘U Got The Look’ and ‘I Could Never Take The Place Of Your Man’ are just brilliantly performed, beautifully written pop tunes with dashes of psychedelia and soul.

According to engineer Susan Rogers, Prince was very influenced by Kate Bush’s Hounds Of Love during the recording of SOTT, the track ‘Cloudbusting’ a particular favourite. Other songs showed contemporary influences too – ‘Adore’ was apparently Prince’s response to the popularity of Luther Vandross’s Give Me The Reason and Patti Labelle’s The Winner In You, and it also hugely influenced the neo-soul movement, particularly D’Angelo’s ballad style.

‘U Got The Look’ – the last song recorded for Sign O’ The Times on 21st December 1986 – was apparently inspired by Robert Palmer’s ‘Addicted To Love’.

Sign O’ The Times sold 1.8 million copies in the US, a very similar number to Parade. Some believed the slightly disappointing sales were due to the choice of ‘If I Was Your Girlfriend’ as the second single; it is strange that ‘U Got The Look’ didn’t get the nod. But if Prince’s popularity was levelling out in the States, it was growing across Europe.

Three Angry 1980s Songs About Managers

Grey_Double-Buttoned_Suit_JacketManagers, eh? In 1997, David Bowie said, ‘They’re a species I really have nothing to do with’, an unsurprising position considering his disastrous earlier experiences.

But, in the rock and pop world, it’s almost a rite of passage to be ripped off by a manager. As the old music biz saying goes: where there’s a hit, there’s a writ.

There were certainly a number of dodgy characters hanging around in the 1980s, generally wearing cheap suits and deafening aftershave. Japan/Wham! manager Simon Napier-Bell knows where all the bodies are buried: he told all in ‘Ta-Ra-Ra-Boom-De-Ay’, his jaw-dropping account of record business skulduggery.

And Giles Smith’s hilarious ’80s memoir ‘Lost In Music’ outlined his doomed-to-fail attempts at pop stardom whilst being hamstrung every step of the way by chronically-inept ‘career adviser’ Pete The Bastard.

Basically, for every Bruce Findlay (Simple Minds), Ed Bicknell (Dire Straits) or Paul McGuinness (U2) – the nominal ‘fifth member of the band’ – there’s probably a Colonel Tom Parker or Defries in the wings. Here are three prime 1980s acts who turned on their ex-managers in the best way they knew how.

3. XTC: ‘I Bought Myself A Liarbird’ (1984)

For many years, songwriter Andy Partridge was unable to discuss this song due to ‘legal issues’ with the band’s former manager Ian Reid (the sticking points seemed to be a huge unpaid VAT bill and also work/life balance, or lack of it…). Partridge delivers a pretty caustic portrait of the ‘starmaker machinery behind the popular song’, as Joni Mitchell called it. XTC settled out of court with Reid in 1989.

I bought myself a liarbird
He came with free drinks
Just to blur the lies falling out like rain
On an average English summer’s afternoon

I bought myself a new notebook
Sharpened my guitar and went to look
If this biz was just as bongo as the liarbird made out

All he would say is ‘I can make you famous’
All we would say: ‘Just like a household name’
Is all he would say

Methinks world is for you
Made of what you believe
If it’s false or it’s true
You can read it in your bible
Or on the back of this record sleeve

I bought myself a liarbird
Things got more and more absurd
It changed to a cuckoo
And expanded, filling up with all I gave

I bought myself a big mistake
He grew too greedy, bough will break
And then we will find that liarbirds
Are really flightless on their own

Methinks world is for you
There’s no handing it back
If it’s false or it’s true
You can read it in your prayer book
Or on the side of a cornflake pack

I gave away a liarbird
A couple less drinks
And now I’ve heard the truth shining out like sun
On an average English winter’s afternoon

2. John Martyn: ‘John Wayne’ (1986)

This Eastern-tinged, dramatic doom-ballad was initially written as a diatribe against Martyn’s early-’80s manager Sandy Roberton. The main problem seemed to be ‘cashflow’, judging from the lyric below… After a rewrite and the adding of a soupçon of humour (as well as some of John’s ‘strangled duck’ vocals, as he called them), it also became a cheeky portrait of the type of ball-busting, all-American bullyboy represented by Duke Wayne and Martyn’s old favourite Ronald Reagan. He even managed to include the Pinteresque euphemism: ‘I’ll measure you – fit you up!’

You know you’ve got it coming
I’ll tell it to you straight
I’m coming for you very soon
I’ll never hesitate
I’ll measure you
And fit you up

I am John Wayne
I do believe I’m John Wayne
I am John Wayne
Drink your milk!

Don’t you dare look behind you
You know I will be there
You’ll feel my breath on your neck
Turn, face me if you dare

I am John Wayne
I believe I’m John Wayne
Get on your horse!

You felt the money flowing
You watched the beast arrive
Watch the money going away
Time to skin the lamb alive

1. Prince: ‘Bob George’ (1987)

Black Album curio ‘Bob George’ was recorded at LA’s Sunset Sound as a present for Sheila E, and premièred at her Vertigo club birthday bash on 11th December 1986. Engineer Susan Rogers explained the genesis of this bizarre, self-mocking, X-rated piece: ‘Prince felt (Billboard music critic) Nelson George had become very critical of him all of a sudden, at a stage in his career where he needed all the help he could get. (Manager) Bob Cavallo also ticked him off.’ Roots of this discord may have lain in Prince’s wish to release the triple-album Crystal Ball as the follow-up to Parade, a wish that fell on deaf ears during negotiations with Prince’s record company Warner Bros. Maybe Prince felt that Cavallo hadn’t pushed hard enough on his behalf, terminally affecting their working relationship – Cavallo was given the push just after the release of the Batman album 18 months later. (Is ‘Bob George’ also a homage to/pastiche of Miles Davis? Ed.)

Prince: An Appreciation And Farewell

Prince_logo.svgIt’s never easy describing why a personal hero meant a lot to you – heaven knows I still haven’t been able to set down anything cogent about David Bowie’s life and work.

But I may be coming nearer to working out why Prince Rogers Nelson had such an effect on the way I heard – and still hear – music.

Before the release of  1986’s Parade, I was a confirmed chart-pop fan, but also into the weird rock of Frank Zappa, fusion of Weather Report and straight jazz of Courtney Pine, Miles Davis and Herbie Hancock.

Parade seemed to offer a perfect synthesis of all these forms. And, quite incredibly, one guy was pretty much responsible for all of it – and he was a brilliant singer and dancer too. Put simply, for fans and musicians of my age, Prince was the nearest thing to a Bowie/Ziggy figure.

His extravagantly-flamboyant stage persona also sometimes blinded people to the brilliance of his musicianship. Pre-Parade, that might have put me off initially too. But has there ever been a better keyboard/guitar double threat? (Steve Winwood, Johnny Guitar Watson and Lewis Taylor are decent competition but he surely outstrips all three.)

He obviously had natural talent but he worked extremely hard too – in his teenage years, he was living Malcolm Gladwell’s 10,000-hour rule. Influenced by Sly Stone, Graham Central Station, Funkadelic, Tower Of Power, Carlos Santana and Joni Mitchell, he was busy getting his chops together in his home music room and during various high-school battle-of-the-band competitions in Minneapolis’s North Side.

As he told Rolling Stone magazine in 1990: ‘Anyone who was around back then knew what was happening. I was working. When they were sleeping, I was jamming. When they woke up, I had another groove.’

On the bass, he took care of business. Along with a few other of his contemporaries (he credited future New Power Generation member Sonny Thompson as being a key early influence), he patented the Minneapolis bass sound, a rumbling, busy style, heavily influenced by Sly and the Family Stone’s Larry Graham.

But he also had a much more effervescent, Stanley Clarke-flavoured side as well, a good example being the incredible ‘I’m Yours’ from 1978’s For You.

On guitar, his sweet, creamy, heavily-distorted lead lines, usually injected with a healthy dose of delay, were coming out of the Carlos Santana and Ernie Isley school, but he also had many licks all of his own. For me, his lead guitar peak was 1985-1989; what an incredible tone, beautiful phrasing and a very ‘vocal’, human sound.

But he also had a funky ensemble rhythm guitar style out of Steve Cropper and Jimmy Nolan school. My favourite examples of Prince guitar would have to include ‘Lady Cab Driver’, ‘Bambi’, ‘My Love Is Forever’, ‘Alexa De Paris’, ‘The Question Of U’, ‘Temptation’, ‘Get Some Solo’, ‘One Of Us’, ‘Joy In Repetition’, ‘Batdance’, but there are many more. His playing throughout the ‘Sign O’ The Times’ and  ‘Lovesexy Live’ concert films is sublime.

On keyboards, he was equally proficient. As NPG drummer Michael Bland pointed out, his piano playing had a touch and rhythmic approach similar to Thelonious Monk. He also patented the Minneapolis synth sound (alongside other influential players such as Ricky Peterson and Jimmy Jam), exemplified by his work between 1980 and 1983 on solo albums and releases by The Time, Vanity 6 and Sheila E.

And he loved playing hot, churchy, gospel-flavoured organ too – check out ‘Hot Thing’ from the ‘Sign O’ The Times’ film or his superb Hammond playing on the Parade tour.

On drums, he was, by contrast, a late developer. Before discovering the Linn LM-1 drum machine in 1981, his playing was functional rather than spectacular. Purple Rain engineer Susan Rogers has talked about how much Prince’s drumming improved once Sheila E came into his life around 1983 – he very much wanted to impress her, and she taught him a few licks too.

But he definitely had his own touch on the drums: check out the 12” version of ‘Mountains’, ‘Tambourine’, ‘Lady Cab Driver’ and ‘Sexual Suicide’ for some good examples. He was also very influenced by The Time mainman Morris Day’s playing – ‘Cloreen Bacon Skin’ on Crystal Ball is quite illuminating.

Of course, it’s all very well playing lots of instruments, but it’s a question of arrangement. Good ingredients are important but you’ve got to know how to mix them up. Prince was a master.

A lot of his ‘producing’ decisions (ie. what to put in and what to leave out) came about because he very, very rarely left a song unfinished – he would work very long hours without a break to achieve exactly the sound he had originally heard in his head. This is why his best stuff sounds so fresh today – it has enough melody and groove for the casual listener but also retains a precious, ‘unfinished’ quality.

As a young musician in the ‘70s, Prince was very much a student of funk, soul and rock, but he came to jazz too later in life, inspired by his work with Eddie Minfield, Sheila E, Miles Davis, Eric Leeds and Matt Blistan in the mid-‘80s.

He tried a ‘one-man-band’ approach to jazz/rock/funk with his Madhouse project, and worked successfully with Leeds on his two Paisley Park solo albums, but was more successful when he integrated the jazz influences into his own ‘pop’ albums and gigs.

My ultimate was the Lovesexy tour, when the band could turn on a dime, going from cool Duke Ellington and Charlie Parker licks to blazing hard rock.

For every great single that came out in the mid-to-late-’80s, there was a great B-side. We fans had to hear as much as possible. My friend Marlon Celestine was our source for amazing bootlegs; the brilliant original demos for The Family album, ‘Others Here With Us’, ‘A Place In Heaven’, ‘Movie Star’.

What will happen to all these tracks now? Was Prince planning to let us hear everything? There was talk of opening the vaults and adding the outtakes to the ‘special edition’ re-releases of the Warner Bros studio albums. I wonder who owns these masters now.

Another important aspect of Prince was his sense of humour. Friends, collaborators and lovers have reported how hilarious he could be away from the media glare. He didn’t let it out very often on his own official albums, but you can hear it loud and clear on ‘Cloreen Bacon Skin’, ‘Mutiny’, ‘High Fashion’, ‘Movie Star’, ‘Housequake’, ‘Jerk Out’, ‘Chocolate’ and Sheila E’s Romance 1600 album.

There are apparently many other ‘comedy’ tracks in the vaults. His cheekiness came out often on stage too – check out ‘Blues In C/If I Had A Harem’ from ‘Lovesexy Live’, and there are plenty of other examples.

He was also a true Gemini, and as such it’s important to note how vitally important many women were to his career, and how often he sought their musical and personal company: Susan Rogers, Peggy McCreary, Wendy & Lisa, Susannah Melvoin, Jill Jones, Mavis Staples, Sheena Easton, Ingrid Chavez, Sheila E, Cat Glover, Boni Boyer, Rhonda Smith, Mayte, Rosie Gaines, Candy Dulfer, Marva King, 3rdeyegirl – just a partial list.

Yes, one might question some of his attitudes towards women when he put together the bands Apollonia 6 and Vanity 6 (and there’s some strange stuff in ‘Purple Rain’) but he was a very young man then. His ‘Camille’ songs (‘If I Was Your Girlfriend’, ‘Good Love’, ‘When 2 R In Love’, ‘Rockhard In A Funky Place’ etc.) present a perfect fusion of his male and female sides, and of course the design of his ‘90s Symbol heavily emphasised both genders.

Prince went out of his way to promote musicians who were important to him, figures such as Larry Graham, Joni Mitchell, Mavis Staples, Bonnie Raitt, Miles Davis and Chaka Khan. He came to George Clinton’s rescue in the late 1980s when George had a huge tax bill to pay – Prince signed him to Paisley Park for one album (The Cinderella Theory) and the sizeable advance took care of his debt.

He later enlarged on his feelings about George Clinton and Parliament/Funkadelic during this elegant speech inducting them into the Rock’n’Roll Hall Of Fame. Prince was also a musical philanthropist – he gave away instruments to schools and encouraged real playing in an age of samples and loops. He also played many, many charity shows throughout his career, donating hundreds of thousands of dollars.

Then there was the spiritual element to Prince’s music, increasingly visible as the ‘80s progressed. He was a living embodiment of the sacred/profane dichotomy. The man who wrote ‘Sister’ and ‘Lady Cab Driver’ ended the decade by telling us: ‘Look to the light’. He could write ‘I Love U In Me’ one day but then follow it up the next with ‘God’.

The entire Lovesexy live show (and album) was designed as a battle between good and evil. I wasn’t sure if I liked or understood the spiritual stuff back in 1988, but I loved the way he provoked questions. Still do.

In December 1987, when he had a change of heart and pulled The Black Album from release at the eleventh hour, believing it to be too angry, too dark, and an unrepresentative piece of work, he rush-released Lovesexy instead. Here was an artist of integrity.

(Apparently one frame in the ‘Alphabet Street’ video features the words: “Don’t buy The Black Album. I’m sorry.” Or does it? I could never find it back then… Maybe it was a great bit of Warner Bros PR.)

I never saw Prince play live, to my great regret. I passed up a ticket for the famous London O2 run in 2007. It just didn’t sit right. The nearest I got to seeing him perform was a signing session at HMV in Oxford Street with the NPG in 1995.

Around that time, he was way more visible on British TV than he had ever been before, memorably appearing on ‘The White Room’ and also being interviewed on the BBC’s ‘Sunday Show’. He seemed quite happy subsuming himself into a group ethos – there are shades of Bowie and Tin Machine.

Over the last few weeks, the press has frequently reported that the essential book about Prince is Matt Thorne’s biography. It’s good, but the killer is surely ‘Prince: The First Decade’ by Per Nilsen. There you will read about the recording of every single one of his albums from 1978 to 1988, find out what was happening in his private life throughout that time and also hear from all his key collaborators. Nilsen’s ‘Prince: The Documentary’ is also superb.

Though I struggled with a lot of Prince’s music in the ’90s and beyond, he seemed to live a pretty ‘noble’ life in a period when many musicians of his generation and popularity kind of lost their way.

There was certainly a conscious retreat towards the end of the ’90s, but then look at what was happening in the wider world around that time – the Disneyfication of the music business, the dumbing down of culture generally.

He chose not to play the whole global branding game (he never launched a clothes line or fragrance, for example), he took on his record company, temporarily withdrew the name ‘Prince’, resolutely promoted himself as a musician and spoke up about many of the things that troubled him.

That may explain a lot. We shall see, though I’m not looking for any ‘theories’ or ‘explanations’ concerning his death and trying not to hear news reports.

In 1990, Prince told Rolling Stone magazine, ‘When I pray to God, I say, “It’s your call – when it’s time to go, it’s time to go. But as long as you’re going to leave me here, I’m going to cause much ruckus!”’

He did it. C-ya.

Prince Rogers Nelson (7th June 1958 – 21st April 2016)

Prince_at_Coachella‘He’s got it all! As a drummer, he can hold it down, you know what I’m sayin’? As a guitar player, he puts out! Plus he’s a great piano player. Matter of fact, he’s about as good as they get, and I’ve worked with the best, I should know! Do you know who he reminds me of? Duke Ellington. Yeah, he’s the Duke Ellington of the ’80s to my way of thinking.’


‘Music is made out of necessity. You’re not even its maker, you’re just there to bring it forth. It’s a fact of life, just like breathing.’


‘I’ve got people to feed. They depend on me to put bread on the table. I can’t just go away.’


‘I crave the experience of writing and sharing with others. It is what I do as an artist; as a human being.’


‘He seems to have his own voice on every instrument, really. What’s funny is that he reminds me of Thelonious Monk on all of them. His feel’s instantly recognisable.’


‘I took my Black Album into a nightclub to see what people’s reactions were to it. And this girl said to me, “If you smiled, you’d be a really nice person.” I looked at my Black Album and I saw the reflection in it and I realised that if I released this album and died, that’s what people would remember me for. I could feel this wind and I knew I was doing the wrong thing…’


‘For You’
‘My Love Is Forever’
‘Dirty Mind’
‘Annie Christian’
‘All The Critics Love U In New York’
‘The Beautiful Ones’
‘Erotic City’
‘Purple Rain’
’17 Days’
‘The Ladder’
‘Pop Life’
‘Condition Of The Heart’
‘Alexa De Paris’
‘Movie Star’
‘Crystal Ball’
‘Sexual Suicide’
‘Bedtime Story’
‘Susannah’s Pyjamas’
‘Nothing Compares 2 U’
‘The Question Of U’
‘Violet Blue’
‘A Love Bizarre’
‘The Ballad Of Dorothy Parker’
‘Forever In My Life’
‘If I Was Your Girlfriend’
‘Sign O’ The Times’
‘Alphabet Street’
‘When 2 R In Love’
‘Vicki Waiting’
‘Still Would Stand All Time’

It’s just around the corner, it’s just around the block
This love that I’ve been waiting for, as solid as a rock
A love that reaffirms that we are not alone
A love so bright inside you, it glows
And night and day would run together
And all things would be fine
Still would stand all hate around us
Still would stand all time

It’s not a thousand years away, it’s not that far, my brother
When men will fight injustice instead of one another
It’s not that far if we all say yes and only try
Then Heaven on Earth we will find
No one man will be ruler
Therefore love must rule us all
Dishonesty, anger, fear, jealousy and greed will fall
Love can save us all
Still would stand all time

Wish U Heaven. April ’16.

Prince Rogers Nelson, born 7th June 1958, died 21st April 2016

Prince’s Parade: 30 Years Old Today

princeOn 17th April 1985, just ten days after the end of the Purple Rain tour, Prince walked into LA’s Sunset Sound studios, sat at the drums, taped the lyrics of four new songs onto a music stand, picked up his sticks and instructed engineer Susan Rogers: ‘Don’t stop the tape when I stop playing. Just keep rolling.’

He then played through ‘Christopher Tracy’s Parade’, ‘New Position’, ‘I Wonder U’ and ‘Under The Cherry Moon’ without pausing. This guy worked fast. The recording sessions for Parade had begun.

Prince, Brussels 1986

Prince, Brussels 1986

The album would see Prince continue his extraordinary mid-’80s run of form, surely comparable to Stevie Wonder’s fabled 1972–1976 period. He couldn’t release albums fast enough and the wider world was waking up to just how prolific he really was.

His striking new horns-and-orchestra-driven sound, by turns jazzy, funky and psychedelic, lost him some fans in the States but made him a huge star in Europe.

Parade showed off the amazing versatility of Prince (drums, bass, guitar and keyboards) and his main collaborators Wendy (guitar) & Lisa (keyboards).

It’s a trip, an anti-boredom album full of glorious contradictions – it features his first instrumental track but still contains four classic dancefloor singles; it’s his densest, most ‘produced’ ’80s album (alongside Lovesexy) and yet features his first all-acoustic track, recorded completely live in the studio; Clare Fischer’s orchestral arrangements are always high in the mix but rub shoulders with the Sunset Sound’s ancient sound effects library; Prince utilises ultramodern tech like a guitar synth and a Fairlight sampler, but the main solo instruments are Eric Leeds’ tenor and baritone sax. And there is zero electric lead guitar, barely 18 months after Purple Rain.

References this time around were The Beatles, ’80s Miles Davis, show tunes and funk-era James Brown. The biggest influence though is late-’70s Joni Mitchell. Parade is the nearest Prince ever got to the kaleidoscope range of her classic albums Don Juan’s Reckless Daughter and Hissing Of The Summer Lawns.

There were also more vocals in Prince’s music than ever before: Wendy, Lisa, Susannah (Wendy’s sister and Prince’s fiancée) and Sheila E all contributed massively to the occasional West Coast/Bangles sound.


By 2nd June 1985, nine songs for Parade were in the can, though three would later be left off the final album – the spooky ‘Others Here With Us’, fantastic ‘All My Dreams’ and superfunky ‘Sexual Suicide’.

Prince was also now working on not one but two other albums, Jill Jones and Mazarati’s debuts. By late June, he was also scouting locations in the south of France for the upcoming ‘Under The Cherry Moon’ movie.

But, true to form, he couldn’t stop recording – he set up a makeshift recording studio in his Antibes hotel suite.

Parade‘s first three tracks – ‘Christopher Tracy’s Parade’, ‘New Position’ and ‘I Wonder U’ – pass by in the blink of an eye, gloriously odd, genuinely psychedelic funk miniatures.

Very few have taken on the mantle of this style of music since 1986, though D’Angelo had a good go on the superb Voodoo album.


‘Under The Cherry Moon’ is almost a ’30s-style jazz number featuring asthmatic synths, fantastic piano playing and a daring melody line. I’d like to hear Tom Waits’ cover. If you listen very closely, you can hear the rattle of Prince’s necklace as he lays down the drum track.

‘Girls And Boys’ is a classic one-chord funk tune whose blaring guitar synth adds an engaging weirdness. Saxophonist Eric Leeds makes his mark on Prince’s music for the first time (though had already featured prominently on The Family’s album).

‘Life Can Be So Nice’ features fake harpsichord, sampled flute, piercing cowbell, some intricate acoustic guitar and a heavily-treated kick drum. It’s discordant and thrilling with an envelope-pushing vocal arrangement and some bizarre lyrics. The last minute of the song is a Latin/fusion jam in the Santana or Weather Report vein.

‘Venus De Milo’ is a sumptuous piece of symphonic muzak with some gorgeous trumpet from Matt Blistan (renamed Atlanta Bliss by Prince) while ‘Mountains’ is another classic single, largely penned by Wendy & Lisa. The 12” mix has to be heard. ‘Do U Lie’ is an intoxicating little slice of soft jazz with cocktail guitar, spoken word, strings and accordion.


‘Kiss’ is another effortless classic. It was the first single to be released from Parade, hitting US number one in April ’86, though apparently loathed by the Warner Bros suits.

Initially given to the band Mazarati for their debut album, it was reclaimed by Prince when he realised the potential of the track. He kept their backing vocals and gave them some money.

‘Anotherloverholenyohead’, recorded on December 16th 1985, was the last track recorded for Parade. Lisa’s crystalline, densely-voiced piano sounds like it was recorded in a school assembly hall, and there’s more peculiar guitar synth and a few incredible bass runs from Prince. The full-length version made for another classic 12” single.

Album-closer ‘Sometimes It Snows In April’ is Joni all the way. Its improvised, rubato prologue is very reminiscent of the opening to ‘Cotton Avenue‘.

Prince delivers an amazing lead vocal but the song needs a stronger chorus (‘Sometimes I feel so bad’) and Wendy & Lisa’s backing vox are extremely rough. The track divides opinion – some find it moving, some mawkish (I’m in the latter camp) – but it was a pretty brave choice to close such an important album.


The Parade sessions also spawned some fantastic B-sides: ‘Alexa De Paris’, ‘Sexual Suicide’, ‘Power Fantastic’, ‘4 The Tears In Your Eyes’, ‘Love Or Money’, ‘All My Dreams’ and the notorious ‘Old Friends 4 Sale’. All are well worth seeking out.

Despite the success of ‘Kiss’ in the States, three follow-up singles peaked outside the top 50. Prince believed that Warner Bros’ choice of second single (‘Mountains’) was wrong – it should have been ‘Girls And Boys’.

Parade sold considerably less (1.8 million) in the States than Purple Rain (10 million) and Around The World In A Day (4 million). But in Europe, it was a huge hit.

Then came the European tour. A funk revue. Horns, dance routines, backing vocals. Again, virtually no lead guitar. Europe loved him – there were riots in Holland – but the tour didn’t even make the States, which many insiders believe was a big mistake. Instead, there were several separate shows under the banner of the Hit & Run Tour.

But then it was all change: Wendy & Lisa were out of the band, Prince and Susannah had broken off their engagement and ‘Under The Cherry Moon’ had stiffed. But there were still a couple of amazing albums left in the tank before Prince’s ’80s were out.

Sheila E In Romance 1600: 30 Years Old Today

sheila ePaisley Park/Warner Bros, released 26th August 1985

Bought: Goldhawk Road Record and Tape Exchange, 1989?


The music biz is littered with successful solo artists who were tempted out from behind the drum kit. Marvin Gaye, Teddy Pendergrass, Phil Collins, Karen Carpenter, Dave Grohl, Frank Zappa and Iggy Pop all graduated from the engine room to centre stage.

But while Sheila has never been on that level in terms of record sales or cultural impact (though trumps all of them in terms of drumming chops), her transition from sidewoman to frontwoman led to a couple of really infectious, interesting albums in the mid-’80s.

She had an enviable CV long before going solo, including percussion work with Billy Cobham, Herbie Hancock, Marvin, George Duke and Diana Ross. Prince and Sheila were a similar age and had followed each other’s careers since the late-’70s. When he tasted his first mainstream success and was looking to mentor new artists, she was top of the list.

Their first collaboration was the superb B-side ‘Erotic City’, swiftly followed by Sheila’s debut album The Glamorous Life, a hit.

But its follow-up, Sheila E In Romance 1600, was a far more expansive and experimental piece, even though recording sessions were squeezed in on days off during the Purple Rain Tour between December 1984 and January 1985.

Despite Sheila’s obvious musical pedigree, Romance 1600‘s liner notes and song credits are misleading – this is a Prince album in all but name. According to biographer Per Nilsen (and as listed at the ASCAP offices), he wrote all the tracks here bar one (kicking Latin/fusion instrumental ‘Merci For The Speed Of A Clown In Summer’) and played all instruments except drums, percussion and sax.

But lucky for us, Romance 1600 was recorded smack-bang in the middle of his golden period and features some of Prince’s finest performances as a musician. His guitar solos on ‘Dear Michelangelo’ and ‘A Love Bizarre’ are simply tremendous, the latter throwing in some ridiculous bass too.

But Sheila also brings out the best in him. There’s much more humour here than on his own albums of the period. She turns in some hilariously hammy vocal performances on ‘Sister Fate’, ‘Toy Box’ and dramatic ballad ‘Bedtime Story’.

Sheila and Prince were having a lot of fun and you can hear the results. Sometimes the rushed nature of the recording shows, though – the mix is very murky and the album is short of a few memorable pop hooks.


Prince’s ‘movie’ concept was in full effect here. He was leaving behind the ‘street’ style of Vanity 6/Purple Rain/The Time and embracing a romantic, ‘Amadeus’-influenced image which also crossed over into The Family project and his Parade album.

Thinking of Romance 1600 as a movie also opened up the album musically, allowing Sheila and Prince to embrace jazz (‘Yellow’), fusion, wacky synth-pop (the title track), Latin and even Third Stream.

This eclectic outlook was no doubt also influenced by his Revolution bandmates Wendy and Lisa.

Sheila E In Romance 1600 was a reasonable hit, going gold in the US and reaching number 50 on the Billboard chart, no doubt helped by the success of the ‘Love Bizarre’ single (US number 11). Sheila toured the US for the second time in two years.

She followed up Romance 1600 with a disappointingly bland self-titled album in 1987, which featured far less contribution from Prince. More successfully, she played some fantastic drums on the Sign ‘O’ The Times and Lovesexy tours.

Prince: Around The World In A Day 30 Years Old Today

Prince-Around-the-World-in-a-DayPaisley Park Records, released 22nd April 1985


I was a late starter when it comes to Prince, too young to get the sexual/spiritual absolutism of Purple Rain. The first album that really hooked me was 1986’s Parade, but Around The World In A Day stands out as my favourite.

It was released just ten months after Purple Rain, a serious statement of intent and a good indication of how prolific he was at the time (though of course there was record company pressure to move quickly)

Prince and Wendy, Nice, South of France, 1985

Prince and Wendy, Nice, South of France, 1985

Prince unveiled the first release on his new Paisley Park label at an uncomfortable listening party on 21st February 1985 in the LA offices of Warner Bros attended by 15 to 20 Warners executives, plus Joni Mitchell and Prince’s father, all of whom had to sit on the floor.

Apparently the general reaction from the suits was: how the hell are we gonna sell this?

For me, ATWIAD is prime Prince, when he was tapping into jazz, psychedelia and even classical. But, perhaps surprisingly, the main musical influence is gospel. Prince screams his way through the morality tales of ‘The Ladder’ and ‘Temptation’ with just as much intensity as Al Green, Bob Dylan or Bobby ‘Blue’ Bland.

princeI also hear a lot of late-’70s Joni in the more experimental tracks such as the intense ‘Temptation’ and sublime ballad ‘Condition Of The Heart’ – he’s not scared to leave a lot of space for lengthy piano and guitar improvisations. This is the first Prince album where you can add ‘arranger’ to his list of musical gifts.

Much of Around The World In A Day actually predates Purple Rain. The title track, ‘Pop Life’, ‘Temptation’ and ‘Paisley Park’ were all recorded in early ’84, while the other songs were put together during the Purple Rain tour.

While the album is credited to ‘Prince And The Revolution’, only ‘America’ and ‘The Ladder’ feature the full band. The rest is a one-man-band operation with guests here and there.

Any album which contains the classic singles ‘Paisley Park’, ‘Raspberry Beret’, ‘Pop Life’, the title track and ‘America’ definitely works. It’s well worth seeking out the 12” version of ‘America’ which runs to 21 minutes with no edits and no ‘remix’ element – just endless grooving.

Only ‘Tambourine’ now sounds suspiciously like filler, despite Prince’s spirited impersonation of Sheila E’s drum style.

And we’ve got to mention Doug Henders’ sumptuous cover art. He explained the cover concept to writer Per Nilsen: ‘Most of the figures are characters in the songs, but some of the people are parts of Prince so they’re all somewhat autobiographical.’

Prince insisted on zero promotion for the album – no singles, no press or TV ads. This was totally unheard of in the mid-1980s. Even so, Around The World In A Day went to number one in the US album chart on 1st June 1985, just 20 weeks after Purple Rain had completed its 24-week run at the top. It eventually sold over three million copies in the US.


With Purple Rain, Prince had shown Warner Bros that he could mix it with the biggies – Springsteen, Hall and Oates, Madonna and Michael Jackson. But now he was battling to do things his way, beginning with Around The World In A Day.

While this stance produced arguably his best music, it also drove a wedge between him and Warners leading up to the ‘SLAVE’ debacle of 1994/1995.

But it was also, thankfully, a battle he won, producing an astonishing output of work between Purple Rain and Batman which rivals any five-year run in pop history.

Goin’ For The Duran Duran Money: Prince and The Family

the family

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 Wendy and Lisa but also other associates Sheila E, saxists Eric Leeds and Eddie M and string arranger Clare Fischer.

The author with The Family in background, summer 1991

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!’

the family

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 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.