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It’s #jhericurljune in July! After a brief delay due to COVID- and car theft-related trauma, we’re finally back with Part 2 of our deep dive on Morris Day‘s 2019 memoir On Time: A Princely Life in Funk! Join us as we celebrate one of the greatest cultural achievements of the late 20th century (“Fishnet”), and we’ll see you again in two weeks for the first half of Pamela Des Barres‘ I’m with the Band: Confessions of a Groupie!
(more…)We’ve talked a fair amount about Prince, who would have turned 63 today, as one of the architects of the genre we call Jheri Curl Music: Most notably in our very first Jheri Curl June Special back in 2014, but also in various JCJ entries and profiles on his former colleagues (Sheila E, the Time, Jimmy Jam and Terry Lewis, Vanity, Wendy & Lisa, Jesse Johnson, and André Cymone), rivals (Rick James and, depending on when you ask, at least half of the previous list), and even a few knockoffs (Phil Collins, Ebonee Webb). In fact, we’ve talked so much about Prince on here, you’d be forgiven for wondering if there’s anything else about the Purple One we could possibly have to say (and that’s not even mentioning Zach’s long-running, exhaustively-detailed blog about him).
The thing about Prince, though, is not only is his extant body of work both massive and exceedingly deep, but it’s also constantly growing, as more and more of his music is liberated from his storied Vault. Case in point: his version of “Jungle Love,” a 1984 hit for side project the time after its appearance in the Jheri Curl Cinema landmark Purple Rain, wasn’t even circulating on the robust bootleg market before 2019, when it was released on the posthumous compilation Originals.
“Jungle Love” is actually a Jheri Curl milestone in more ways than one. Aside from being penned by Prince and made famous by the Time, it was also based on an instrumental demo by guitarist Jesse Johnson, whose 1985 “Be Your Man” has the distinction of being the second song ever highlighted for Jheri Curl June. As for the song itself, it’s one of the greasiest of Prince’s early-’80s peak as Jheri Curl progenitor par excellence: an infectious workout driven by a lubricious keyboard line, squelching bass-synth, and rhythm guitar so clean it sounds like it’s still in the shrink wrap. So happy birthday, Prince; here’s to another five years (at least!) of more Jheri Curl gems being unearthed.
We’ll be back tomorrow! Spotify and YouTube playlists below:
As you may have heard, we recently launched a physical magazine, the first issue of which is dedicated to eclectic art and writing inspired by the music of Prince. So, to celebrate a successful launch–and to get us back in podcasting mode after an unplanned six-month leave of absence–we invited Erika Peterson, a friend and contributor to the magazine, to talk about her work and the most funny/surreal moments of Celebration 2018 at Paisley Park. We also talk about Dystopian Dance Party’s ongoing beef with Questlove, and do our best to try and beat him at his own game of guessing Prince songs from their opening seconds. It doesn’t go well.
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Well, here we are: for the second consecutive year, we’re turning Memorial Day weekend into a time of remembrance for the many great artists we lost since last May. But because this is still Dystopian Dance Party, and we’re constitutionally incapable of being reverent for more than a few minutes at a time, please be aware that the resulting podcast is about 70% wake, 30% roast (well, maybe 60/40). Just believe us when we tell you it’s all coming from a place of love. Hopefully, while everyone good continues to die and leave us trapped on this smoldering husk of a planet, we can at least entertain you (and ourselves) with our impressions of “The Force M.D.’s Meet the Fat Boys”… R.I.P. to Trisco Pearson. Show notes below.
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Well, folks, it’s our first-ever Jheri Curl June podcast–and before you ask, yes, we’re talking about Prince again. This time, though, we’re shedding light on a somewhat less-discussed side of his career: the series of (very) thinly-veiled side projects and ghost productions he released in the early-to-mid-1980s under various pseudonyms, most famously “Jamie Starr.” If you’re even an intermediate-level Prince fan, some of these records are essential listening; so settle in, turn up your headphones, and get ready to take a bite of our purple rock.
But first, a word of warning, as I’m afraid there’s a factual error in this one: I was speaking from memory in the section about Sheila E, and incorrectly stated that “Noon Rendezvous” began life as a Revolution outtake. It was actually co-written by Prince and Sheila for the Glamorous Life album; the Revolution just happened to cover it in concert. Oops! Anyway, I left that bit in because I still like the song, so just enjoy the music and try to ignore the fact that I’m blatantly lying to you. Finally, if you like this kind of content (with less inaccuracies), check out my new side hustle: dance / music / sex / romance, a chronological exploration of every (known) song in the Prince oeuvre, which I expect to be updating a couple times a week until it actually kills me.
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In our upcoming podcast (posting Monday!) on the musical side projects of Prince, we discuss the weird kind of Stockholm Syndrome that seems to have gripped everyone who collaborated with the little guy. André Cymone, Morris Day, Vanity: all fought tooth and nail to get out from under Prince’s lacy-gloved iron fist; then, when they were finally free, they started making their own music–which sounded exactly like Prince. Wendy (Melvoin) and Lisa (Coleman), Prince’s right- and left-hand women in the Revolution, were no exception; and on “Satisfaction,” from their 1989 sophomore album Fruit at the Bottom
Coming out as it did at the beginning of a troubled era for His Royal Badness, “Satisfaction” has the distinction of sounding more like Prince than a lot of actual Prince songs from the same period. And, while its booming live drums and touches of acoustic piano and guitar (!) belie its origins as a post-jheri curl track, it still has enough vestigial Minneapolis electro-funk in it to qualify for this month’s festivities. Check it out below, along with a U.K. morning television interview–conducted, judging by their hairstyles, mere seconds after Wendy and Lisa had stuck their fingers in a light socket next to an exploding can of Aquanet–with a host who has no idea how lesbians work:
See you next week! Spotify and YouTube playlists after the jump.
Jheri Curl June is, of course, first and foremost about the music. But, as I wrote in this year’s introductory post, jheri curl is also a profoundly visual form; it is, after all, the only genre of music to my knowledge named after a hairstyle. And so it only makes sense that we should also take some of the imagery associated with the music into consideration. That’s why this year, I’m happy to announce an entirely new feature dedicated to Jheri Curl Cinema. And there’s no other film more qualified to launch such a feature than Prince’s and Albert Magnoli’s 1984 cult classic Purple Rain.
There are a few reasons why Purple Rain is so perfect for our inaugural Jheri Curl Cinema post. First, yesterday was of course Prince‘s 57th birthday–and while His Royal Badness presumably hasn’t celebrated his birthday since he became a Jehovah’s Witness in 2001, that just means we have to celebrate it twice as hard. But second, and more to the point, Purple Rain is an important film because it captures the essence of the Minneapolis scene in the early 1980s–and thus, by extension, the essence of jheri curl music itself.