Prince: Batman Motion Picture Soundtrack 30 Years Old Today

At the beginning of 1989, the tabloids were full of rumours that Prince was in dire financial straits.

While that seems unlikely, with hindsight it does seem a curious decision for him to take on a soundtrack gig for such a huge mainstream movie, stepping right into the belly of the Warner Bros. beast.

But then it’s also not much of a surprise that he smashed Batman out of the park. On many levels, it was the perfect project for the time – the movie’s themes appealed to his post-Lovesexy spiritual concerns and also tapped into his own feelings about fatherhood. He explored those themes poignantly on ‘The Future’ and ‘Vicki Waiting’.

Musically, in the main he retreated from Lovesexy‘s album’s dense, complex, band-inspired sounds and went back to a minimalist approach, pushing his guitar right to the fore and making liberal use of samplers and a Fairlight.

But even though ‘The Future’, ‘Electric Chair’, ‘Partyman’, ‘Batdance’ and ‘Lemon Crush’ are essentially one-chord jams, Prince knows exactly how to hold the attention with false endings, escalating riffs, hysterical guitar solos and quirky chord voicings. The net result is a somewhat forbidding but still undeniably funky album.

Also he doesn’t scrimp on the dancefloor classics – put on ‘Partyman’, ‘Trust’ or ‘Batdance’ (a UK #2 and US #1) and to this day you’ll get any party started. Elsewhere, ‘Scandalous’ is a brilliantly-sung, sometimes funny seduction ballad in the tradition of ‘Do Me Baby’ and ‘International Lover’, while ‘The Arms Of Orion’ is a pretty – if somewhat trite – ballad.

The album was a smash hit, selling over a million copies in its first week of release and becoming his first US #1 album since Around The World In A Day. Prince was almost returning to his Purple Rain popularity, no doubt helped by the huge success of the movie too.

But this kind of mainstream success was short-lived. Something was eating him up inside – in typical form, he regrouped immediately and took on a deeply personal project, the doomed Graffiti Bridge movie/album.

It was a funny old end to the decade. But a totally Prince one. Probably his least-remembered album of the ’80s – though arguably the last great album he delivered – Batman is ripe for rediscovery as we reach more end-of-the-decade, spiritual/political uncertainty.

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21 Great 12″ Singles Of The 1980s

To some, the advent of the 12” single in the early ’80s was the end of music; but to many others it was a new dawn, a chance to hear your favourite song in widescreen format, expanded into an epic and not bound by radio conventions.

The 12” came about at an exciting time in music when a few things were colliding: the cult of the ‘star’ producer, the rise of club culture, sampling/dub techniques/electronic music moving into the mainstream, and the prevailing post-punk/ ‘anything goes’ ethos.

Talented sound designers such as Trevor Horn, Gary Langan, Shep Pettibone, John Potoker, Francois Kevorkian, Alex Sadkin and Steven Stanley were also in the right place at the right time. And it probably helped that sales of 12” singles contributed to weekly chart positions, so the stakes were high.

So to celebrate this long Bank Holiday weekend, let’s have a look at some key artefacts of the 12” revolution, a great time in music when anything – well, almost anything – went. A few of these I now prefer to the originals. Play ’em loud… And get in touch if your favourite is missing.

21. Paul Young: ‘I’m Gonna Tear Your Playhouse Down’ (1985)

Laurie Latham’s completely mad mix seems entirely designed to annoy the neighbours. A cacophony of metal guitars, Pino Palladino’s floor-shaking, P-funk-influenced bass and bizarre samples. And is that a jazzy riveted cymbal slinking into the mix from time to time?

20. A Guy Called Gerald: ‘Voodoo Ray’ (1989)

A timeless collection of house music tropes which doesn’t ever seem to date. Simplicity is the key, with subtly-shifting riffs.

19. Freeez: ‘Southern Freeez’ (Slipstream mix) (1982)

This one seems impossible to find on the internet or any other compilation album apart from the marvellous Slipstream 2-LP set which came out on Beggars Banquet in 1982. It’s a feast for the eardrums with gorgeous, spacey delays and twinkling Moog lines sprinkled into the mix.

 

18. Yes: ‘Owner Of A Lonely Heart’ (1983)

Remixer Gary Langan skillfully juggles of all this classic track’s trademark features: Trevor Rabin’s chiming guitar figure, the ethereal backing vocals and those crazy samples. Plus you can really hear Alan White’s drums here – never a chore.

17. Joni Mitchell: ‘Shiny Toys’ (1985)

Joni’s a name you probably wouldn’t expect to see in this list. But remixer Francois Kevorkian had great raw materials to play with here – Thomas Dolby’s dub-style treatments, Mike Landau’s gorgeous rhythm guitar, Vinnie Colaiuta’s killer drums and all the silly vocal overdubs.

16. ABC: ‘Poison Arrow’ (1982)

Trevor Horn ups the ante with a cool, extended lounge-jazz intro and lots of little musical motifs, a new bass part and some new guitar solos.

15. Michael Jackson: ‘PYT’ (2017)

I can’t resist including this recent discovery – someone has somehow got hold of the Thriller stems/mastertracks and put together a real classic. It’s even funkier than the original, if that’s possible.

14. Madonna: ‘Open Your Heart (Maxi Extended Version)’ (1986)

Steve Thompson And Michael Barbiero’s insanely exciting mash-up of Motorik sequencers, Jonathan Moffett’s sick drums and Madonna’s strident vocals, all adding up to an ‘I Feel Love’ for the 1980s.

13. Phil Collins/Philip Bailey: ‘Easy Lover’ (1985)

John Potoker came of age working with Miles Davis and Steely Dan, and his sonic mastery shows through with this stunning reimagining of a somewhat corny single, bringing the originally-submerged drum machine right to the fore and adding loads of top-end. Well, Potoker’s nickname wasn’t ‘Tokes’ for nothing…

12. Scritti Politti: ‘Hypnotize’ (1985)

Gary Langan was at the controls again for this stunning collision of ’50s B-Movie voices, swooning synths, rhythm guitars and bangin’ machine beats. The only thing missing is some serious low-end.

11. Grandmaster Flash/Melle Mel: ‘White Lines (Don’t Do It)’ (1984)

Sylvia Robinson arguably laid down the groundwork for all future 12” singles with this 1984 classic.

10. Prince & The Revolution: ‘Mountains’ (1986)

If you – like me – are always frustrated when this track fades out on the album/single version, have no fear because this remix carries on for another six minutes in the same vein, and turns into one of the sickest grooves Prince ever submitted to vinyl.

 

9. Peter Gabriel: ‘Sledgehammer’ (1986)

Another entry helmed by John ‘Tokes’ Potoker, this one boosts the top-end again, adds some scary reverbs and focuses on David Rhodes’ guitar, Gabriel’s piano and background vocals and Manu Katche’s drums to superb effect. I now prefer this arrangement of the song…

8. Eric B & Rakim: ‘Paid In Full (Seven Minutes Of Madness Mix)’ (1988)

Coldcut put together this sonic feast, one of the most sampled 12”s of all time. You’ve probably heard almost everything on this remix 100 times on other tracks.

7. Thompson Twins: ‘Lies’ (1983)

Alex Sadkin brings his Compass Point mastery to this remix, adding a real drummer (Sly Dunbar?) and bass player and pushing the sequencers and percussion right to the fore.

6. Grace Jones: ‘Slave To The Rhythm’ (1985)

‘Pull Up To The Bumper’ is possibly the more artful Grace remix, but this is included for its irresistible groove, and the fact that I always want the original single to go on for twice as long as it does. Also I love the ‘false’ ending and off-stage shout (Horn?) at 3:50.

5. Donna Summer: ‘Love Is In Control (Dance Version)’ (1982)

You could hardly go wrong with Quincy Jones and Bruce Swedien at the controls, but this remix just brings out the sheer luxurious beauty of this single, and I love the way various sections are repeated and amplified.

4. Will Powers: ‘Adventures In Success (Dub)’ (1983)

Chris Blackwell’s protegé Steven Stanley was in charge of this fascinating dub, completely dispensing with Lynn Goldsmith’s vocals and tantalizingly delaying the reveal of Robbie Shakespeare’s bass for as long as possible.

3. Propaganda: ‘Duel’ (1985)

Included mainly for Steve Lipson’s beatific long guitar solo during the outro, and the fact that it sounds like it could go on forever…

2. Paul Hardcastle: ’19 (Destruction Mix)’ (1985)

A chilling remix which brings out a little more detail of the single version, adding more spoken-word excerpts from the ‘Vietnam Requiem’ documentary and lengthening those funky drum breakdowns.

1. Frankie Goes To Hollywood: ‘Rage Hard’ (1986)

Stephen Lipson and Paul Morley created this insane confection, a kind of Young Person’s Guide To The 12”, featuring Pamela Stephenson introducing all the clichés of the genre, Viv Stanshall-style! Only ZTT can do this. (It seems like sacrilege to leave Frankie’s ‘Two Tribes (Annihilation)’ out of this list, but this gets the nod for sheer balls).

Madonna: Like A Prayer 30 Years On

Here it is: Madonna’s artistic breakthrough, the first album of hers that was really geared to the CD-buying audience, and a fresh start after the distinctly dodgy years of 1987 and 1988.

Like A Prayer (weird title: didn’t someone in the Warner Bros. marketing department say, ‘Hey, it’s a bit similar to Like A Virgin‘?) was released 30 years ago this week. It topped the US and UK charts, spawned six hit singles and has sold around 15 million copies to date.

It was a revelation on a few levels – Madonna’s singing voice had more range and richness. Her lyrics were getting personal. There were two songs about her marriage to Sean Penn, and three zoning in on family relationships. She co-wrote and co-produced all the songs; by all accounts she knew exactly what she wanted and was present at all the tracking sessions, finding ever new ways of inspiring the performances she was after (see below).

She hooked up with co-producer/co-songwriter Pat Leonard to great effect. It was a classic double act – she provided melodies, street smarts and lyrics, he provided the classically-trained piano and arrangement skills. The result was her Sgt Pepper’s, a varied, ambitious, major work.

But how does Like A Prayer stack up these days? Here’s a track-by-track rundown of arguably Madonna’s greatest album.

‘Like A Prayer’: The lead-off single, a US and UK #1, once described by Rolling Stone magazine as ‘as close to art as pop music gets’. It was also highly controversial in its allusions to oral sex and an apparent conflation between religious/sexual ecstasy, not to mention the envelope-pushing video.

‘Express Yourself’: Great feminist party pop/funk tune co-written with Stephen Bray, inspired by Sly And The Family Stone and anchored by JR Robinson’s crisp grooving. Shep Pettibone’s single remix subsequently usurped the album version. David Fincher’s video cost a reported $5 million.

‘Love Song’: This duet with Prince was a curious meeting of pop giants, musically in the Lovesexy/Batman mould but lacking a great hook, though apparently they did initially write it eye to eye, Prince programming drums and Madonna donning a synth. Tapes were then worked on individually and sent back and forth between LA and Minneapolis. Whilst interesting, it’s nearer to a Prince B-side than something really memorable.

‘Til Death Do Us Part’: A coruscating portrait of her marriage breakup to Sean Penn, made even more poignant by its sprightly Scritti-style pop. Bassist Guy Pratt was the recipient of Madonna’s unique production style on this track. ‘What did you think of that?’ she asked him after one take. ‘Um… I think it was OK…’ was his response. ‘Did it make your d*ck hard?’ Madonna shot back!

‘Promise To Try’: A powerful ballad, featuring an uncharacteristically emotional vocal. According to Madonna, it was written completely spontaneously: ‘He (Leonard) just sat down and started playing, and I started singing.’

‘Cherish’: More Scritti-inspired pop fun, all major chords and twinkling synths, looking at happier times with Sean. Jeff Porcaro’s trademark shuffle is his one and only drumming appearance on the album.

‘Dear Jessie’: An inspired take on late-’60s psychedelia, almost like a children’s lullaby. A very cool, unexpected track.

‘Oh Father’: A gorgeous ballad in 6/4 with music by Leonard and lyrics by Madonna, written in a tiny rehearsal studio in the garment district of New York when Madonna was in ‘a very, very dark place’ during her tenure in the David Mamet play ‘Speed-the-Plow’. Madonna: ‘”Oh Father” is not just me dealing with my father. It’s me dealing with all the authority figures in my life’. The song’s intro alone can put a big lump in this writer’s throat. Madonna apparently coaxed the band through the song, telling bassist Pratt and drummer Jonathan Moffett in no uncertain terms where not to play. Apart from string section and guitar overdubs, they got it on the second full take, including Madonna’s live vocal. During the sessions, Moffett also asked her when he should come in. ‘You come in when I do this’, she replied, lifting up her blouse!

‘Keep It Together’: Another Stephen Bray co-write, this Go-Go-inspired ode to family togetherness, featuring some brilliant Randy Jackson bass, became a mainstay of her ‘Blond Ambition’ tour. If you play it loud you can also really hear the superb backing vocals of her regular live duo Niki Haris and Donna DeLory.

‘Pray For Spanish Eyes’: The point where Like A Prayer starts to run out of steam. A corny, soft-rock version compendium of Spanish clichés, complete with castanets and weary acoustic guitar, and a weirdly unmemorable melody.

‘Act Of Contrition’: And here’s the other stinker. Madonna free-associates awkwardly over a reversed version of the title track, with Prince’s backwards guitar track also ladled on to no great consequence.

Further reading: ‘Songwriters On Songwriting’ by Paul Zollo

‘My Bass And Other Animals’ by Guy Pratt

Book Review: Prince And The Purple Rain Era Studio Sessions by Duane Tudahl

There aren’t many titles in the ‘complete studio sessions’ pop library. Mark Lewisohn and others have done sterling work in this area on the Beatles, and Elvis’s career has been similarly scrutinised. But the relative lack of material begs the question – do we really want to know everything about our icons’ recording histories?

When it comes to Prince, the answer may be a resounding yes, since his mystique is so bound up with his status as a master multi-instrumentalist, famously with hundreds of unreleased songs in the studio vaults.

So such a book was probably only a matter of time, but fair play to Duane Tudahl for ‘The Purple Rain Studio Sessions’, a mainly fascinating day-to-day diary of Prince’s studio work (at LA’s Sunset Sound and various facilities and warehouses around Minneapolis) when he was recording the songs that made up Purple Rain, Around The World In A Day and key side projects with Sheila E, Jill Jones, Stevie Nicks, The Time and The Family.

The first half of the book is fascinating for three reasons – it outlines the vengeful decline of one band (The Time) and the adrenalized formation of two others (The Revolution and The Family), though you have to be a major fan of the former to enjoy these sections. It also captures Prince at a crucial juncture in his career, when he was going from mid-table journeyman to title contender.

What comes across loud and clear in the second half is the relentless forward motion of Prince’s creative drive – for example, just a week before the start of his Purple Rain tour, he was completing work on both the Around The World In A Day and The Family albums! We also get a real sense of his famously-short attention span – he curtailed the Purple Rain tour at its absolute peak, bored of the material after only six months.

But the bane of the book is repetition. Too many calendar days are similar –  there’s only so much you can say about two weeks of ‘Baby I’m A Star’ overdubs. In Tudahl’s need to flesh out sometimes fairly uneventful studio days, he uses variations on very similar quotes.

But he also gets some great interview material from almost all of the major players, and there are plenty of revelations and interesting theories – he reveals that ‘When Doves Cry’ was written on Tuesday 1st March 1984, two days after Prince lost two Grammy awards to Michael Jackson. Did this double setback prompt some fairly uncharacteristic introspection, spawning his biggest hit?

Prince is also revealed as a major Springsteen fan, bringing the saxophone sound into his music mainly due to Clarence Clemons’ playing with The Boss. Then there’s his little-known charity work, including a touching photo of a gig at a Minneapolis deaf school, and we also get an insight into his fear before the first night of the Purple Rain tour.

There are also interesting comments about Prince’s business deals – Wendy Melvoin: ‘Collaboration with Prince was a reality, but it didn’t pay the bills.’ Her sister Susannah goes as far as to say that Prince would test people’s loyalty by paying terrible money. These are tantalising – if troubling – morsels, never fully explored by Tudahl.

But he gets closer than most to revealing the true Prince, warts and all. Spoiler alert: some of it isn’t pretty. ‘The Purple Rain Studio Sessions’ is a major achievement and a real labour of love. The years of research have certainly paid off. It’s a vital buy for hardcore Prince fans, but arguably only the second best book on the Minneapolis master – just pipped at the post by Per Nilsen’s ‘Prince: The First Decade’.

‘Prince And The Purple Rain Era Studio Sessions’ by Duane Tudahl is published by Rowman & Littlefield

Story Of A Song: Jill Jones’ ‘Violet Blue’

When Prince appeared on the box the other day, my mum expressed her approval. I ask why, and without hesitation she offered: ‘He respected and promoted women’. It struck me initially as a weird reason but upon further reflection seemed spot-on.

He wrote many songs from a female perspective in the early ’80s, many of which have never seen the light of day. Then there was Vanity/Apollonia 6 – dubious acts for some, but without too much moral adjustment you could interpret them as ‘women reclaiming their right to enjoy sex’.

Then there were Prince’s striking collaborations with a variety of strong, independent characters: Ingrid Chavez, Sheila E, Sheena Easton, Dale Bozzio, Mavis Staples, Cat Glover, Elisa Fiorillo, Bonnie Raitt, Nona Hendryx, Wendy & Lisa, Susan Rogers and Peggy McCreary. How many other male pop icons can boast such a coterie of female cohorts?

Then there was Jill Jones. With hindsight, her 1987 debut album, released on Prince’s Paisley Park Records, is one of the great missed opportunities of his career, and its standout song ‘Violet Blue’ particularly demonstrates why.

The album started in the summer of 1983 during the filming of ‘Purple Rain’ (featuring Jill’s less-than-stellar cameo), when she replaced Prince’s guide vocal on ‘Mia Bocca’. Sadly he didn’t find time to resume work on the record until over two years later. Consequently, it’s very uneven, with some decent material (‘For Love’, ‘My Man’) mixed in with middling Prince outtakes, covers and B-sides (‘All Day, All Night’, ‘G-Spot’, ‘With You’) and undone by rushed arrangements and drastic changes in tone.

‘Violet Blue’, recorded at LA’s Sunset Sound in October 1986, was the last song put down for the album. Quite simply, it shows what the record could have been, and, frankly, how much Prince (and Jill) had developed between 1983 and 1986 – the vocal intro and accordion breakdown are two cases in point, not to mention the interesting chord progression and superb horn (Eric Leeds) and string (Clare Fischer) arrangements. Jill delivers a knockout vocal too, even throwing in a neat little Nancy Wilson impression via Dinah Washington.

Sadly the Jill Jones album sank without trace. She has recorded intermittently since, contributing a great guest vocal on Ryuichi Sakamoto’s ‘You Do Me’ and playing low-key gigs. She’s always a refreshing presence.

Prince: The Lovesexy Tour @ 30

I haven’t kept many VHS cassettes: ‘Steve Martin Live’, Japan’s ‘Oil On Canvas’ and King Crimson’s ‘The Noise’ are probably lurking around somewhere, and two vids that definitely won’t be hitting the charity shop any time soon are Prince’s ‘Lovesexy Live: Volumes 1 and 2’ (still unavailable on DVD…).

The Lovesexy tour kicked off 30 years ago this week, on 8th July 1988 at Paris’s Palais Omnisport. The seven-month jaunt, taking in Europe, North America and Japan, was arguably Prince’s greatest ever.

A spectacular in-the-round stage set was designed as a kind of ‘fantasy island’, half a playground and half a dreamscape, with curtains, a mini basketball court, brass bed, swing set and a Ford T-Bird which Prince ‘drove’ around the stage at the start of the show.

The Lovesexy tour band: left to right, Cat Glover, Dr Fink, Boni Boyer, Miko Weaver, Eric Leeds, Prince, Levi Seacer Jr., Matt Blistan, Sheila E

Taped on the last night of the European tour – 9th September 1988, at the Westfalenhalle in Dortmund, Germany – ‘Lovesexy Live’ still makes for a thrilling watch. First, the music: this band could turn on a dime. It’s hard to imagine any other set of musicians from the era pulling off the ‘Adore’/’Jack U Off’/’Sister’ medley. Prince’s guitar playing is at its best, with creamy, delay-drenched distortion and tight, tasty Telecaster.

And of all the ’80s ‘pop’ acts who incorporated jazz into their work, Prince may be the most successful. In collaboration with his superb horn section (Eric Leeds on saxes, Matt Blistan on trumpet), he often went back to the source: Ellington’s ‘Things Ain’t What They Used To Be’ and Charlie Parker’s ‘Billie’s Bounce’ infiltrate ‘Blues In C/If I Had A Harem’, and Blistan occasionally quotes from ‘It Don’t Mean A Thing (If It Ain’t Got That Swing’). Meanwhile Sheila E brings the Bay Area jazz/rock sound so beloved of Prince. Her solo feature is a highlight of his ’80s live work.

Then there’s the ‘story’. The Lovesexy show is structured like one of those old Warner Bros gangster pictures – in the first half (lucky for us), we see an ‘evil’ Prince, seduced by the sins of the flesh and tempted by drugs, money and criminality, giving him an excuse to dust off Black Album standouts ‘Superfunkicalifragisexy’ and ‘Bob George’.

Then there’s punishment, atonement and spiritual conversion. Yes, y’all, the second half of the show is ‘God stuff’. But if you don’t go along with it, the music is enough of a spiritual experience anyway. Anyway, Prince certainly seems genuinely transported during ‘Anna Stesia’ and ‘I Wish U Heaven’.

Europe couldn’t get enough of the tour. There were no less than seven nights at London’s Wembley Arena and a series of famous after-show gigs, particularly at the Camden Palace on 25th July when Mica Paris was picked out from the crowd to sing ‘Just My Imagination’ and Ron Wood joined Prince onstage for a memorable ‘Miss You’ (see below).

Ticket sales were not so good in the States (14th September to 29th November) where apparently Prince struggled to sell out many arenas, despite it being his first major tour there for over three years. But normal service was resumed when the Japan leg kicked off in early February 1989. The last night of the tour on the 13th was apparently an exceptionally emotional one.

When Prince got home to Minneapolis, he commenced work on the ‘Batman’ soundtrack, another project about the duality of man. It’s not hard to see where his head was at as the ’80s drew to a close.