Latest / The Right Time with Bomani Jones / DJ Wally Sparks on Prince’s Best Era, Best Songs and Wildest Deep Cuts | 04.16

Transcript

DJ Wally Sparks on Prince’s Best Era, Best Songs and Wildest Deep Cuts | 04.16 · The Right Time with Bomani Jones

• 0:01
  Speaker 1: Wave.
• 0:09
  Speaker 2: Ladies and gentlemen, welcome to the right time. A wave original.
• 0:14
  Speaker 2: My name is Beaumontie Jones. Thanks for listening wherever you
• 0:16
  Speaker 2: get your podcasts. Thanks for watching us on YouTube. Subscribe, like,
• 0:20
  Speaker 2: rate us, review us, give us five stars. You only
• 0:22
  Speaker 2: give us four stars. I'm inclined to believe you are
• 0:25
  Speaker 2: a hater. I feel like this is kind of like
• 0:28
  Speaker 2: Time Machine Thursday in this case. And Tuesday, we had
• 0:31
  Speaker 2: my brother on and we were talking about Prince. And today,
• 0:34
  Speaker 2: I got my man DJ Wiley Sparks on and we're
• 0:37
  Speaker 2: going to talk about Prince. But it's a little bit
• 0:39
  Speaker 2: of a different discussion this time because last time, I
• 0:41
  Speaker 2: really wanted to lock you in. Like, obviously, I have
• 0:43
  Speaker 2: my brother, so it was like it's based in relationship
• 0:46
  Speaker 2: as much as anything else, right? His relationship with the music,
• 0:49
  Speaker 2: my relationship with him, the kind of hereditary notion of
• 0:52
  Speaker 2: how it gets passed down, how it gets from my
• 0:53
  Speaker 2: dad to my brother, all of those things. Me and Wally,
• 0:56
  Speaker 2: a little bit more music nerdy in this. And so
• 0:59
  Speaker 2: the nerdiness of the music is sort of the direction
• 1:03
  Speaker 2: that we go with. So I'm actually curious because you
• 1:06
  Speaker 2: and I are not exactly the same age, but we
• 1:08
  Speaker 2: close enough. to the same age. Like, your entryway into
• 1:11
  Speaker 2: getting into Prince. Because the truth is, we are old
• 1:15
  Speaker 2: enough to get in there, but we're also a little
• 1:17
  Speaker 2: younger than the prime Prince audience.
• 1:20
  Speaker 1: Yeah, for sure. Like, the baby Gen Xers is kind
• 1:25
  Speaker 1: of where we at. But, shit.
• 1:29
  Speaker 3: How I got into Prince, man?
• 1:30
  Speaker 1: Probably through the Medium of Music video. You know what
• 1:34
  Speaker 1: I mean?
• 1:35
  Speaker 3: I'm pretty sure I saw him I saw him doing
• 1:37
  Speaker 3: some kind of cool dance move, probably hitting a split
• 1:40
  Speaker 3: or something with a guitar in his hand. I was like,
• 1:42
  Speaker 3: that look cool as shit, man. I think I'm into this.
• 1:45
  Speaker 3: You know what I mean? And moreover, the music was jamming.
• 1:48
  Speaker 3: You know what I mean? That's always the baseline with me, man.
• 1:51
  Speaker 3: Do a jam or do a not jam.
• 1:54
  Speaker 1: And it was jamming.
• 1:54
  Speaker 3: So that was kind of my entry point into Prince.
• 2:01
  Speaker 3: So I guess this would have had to be maybe
• 2:06
  Speaker 3: right before Purple Rain, before.
• 2:08
  Speaker 1: He, like, exploded. You know what I'm saying?
• 2:11
  Speaker 3: So, you know, and then, but even then, like, when
• 2:16
  Speaker 3: he became ubiquitous around 1984, shit, I was, was I
• 2:23
  Speaker 3: about seven years old then? And, you know, All that
• 2:30
  Speaker 3: shit looked interesting to me as a young kid. I'm like, man,
• 2:33
  Speaker 3: what is going on here, man? All these colors flying around,
• 2:36
  Speaker 3: and I can't tell if it's a man or a woman.
• 2:39
  Speaker 3: Is it a girl with a mustache? What's happening here?
• 2:43
  Speaker 1: You know what I mean? But whatever it is, it's interesting.
• 2:47
  Speaker 3: And the music, the music was the real thing that
• 2:52
  Speaker 3: kept me most interested into what was going on with
• 2:55
  Speaker 3: Prince at that point in time in my life.
• 2:59
  Speaker 2: Yeah, like the video point, I think is an interesting
• 3:02
  Speaker 2: one because as we think about like video as an
• 3:05
  Speaker 2: evolving art form and obviously nobody leaned in.
• 3:10
  Speaker 1: Especially back then at that stage.
• 3:12
  Speaker 2: Right, right, right. Like nobody leaned in on video quite
• 3:15
  Speaker 2: like Michael Jackson, obviously, which is I think a byproduct
• 3:18
  Speaker 2: of what happens when your first record sells 9 million
• 3:21
  Speaker 2: copies and it's the biggest selling black record of all time.
• 3:24
  Speaker 2: You get some money to do some videos on the
• 3:25
  Speaker 2: next one that sells 875 million copies or however many.
• 3:29
  Speaker 2: you know, thriller ultimately did Prince. You got like the
• 3:33
  Speaker 2: American band stand. I want to be a love eclipse
• 3:36
  Speaker 2: that you think of. And then you get to the
• 3:38
  Speaker 2: 1999 videos, right? That looked like they were shot on
• 3:41
  Speaker 2: the same day, right? Looked like they were shot on
• 3:43
  Speaker 2: the same set. And it's really just him in that
• 3:46
  Speaker 2: incarnation of the band playing the music. But it is
• 3:50
  Speaker 2: your first glimpse into the fact, like something different going
• 3:53
  Speaker 2: on with these cats, right? It's him playing. Is Des,
• 3:57
  Speaker 2: is Lisa Coleman like alternating singing on 1999 and you
• 4:01
  Speaker 2: looking at them, right? Or even, I think that's the
• 4:02
  Speaker 2: video where you got Wendy and Lisa on each other
• 4:05
  Speaker 2: on the keyboard, right? While they doing it. And you're like,
• 4:09
  Speaker 2: like the thing I would have loved to have been
• 4:10
  Speaker 2: around for in real time to fully conceptualize is to
• 4:12
  Speaker 2: be like, yo, is this what they doing in Minneapolis?
• 4:15
  Speaker 2: Like what the hell going on up there, man? I
• 4:17
  Speaker 2: thought it was just cold.
• 4:18
  Speaker 3: I had no context about Minneapolis back then. Like I
• 4:21
  Speaker 3: didn't know, I didn't know where they were from or
• 4:23
  Speaker 3: what they were doing. I just, I was like, this
• 4:26
  Speaker 3: is weird and I'm not sure if I like it
• 4:28
  Speaker 3: or if I don't like it, but I do like
• 4:30
  Speaker 3: this music.
• 4:31
  Speaker 1: You know what I mean? Like, it was, you know,
• 4:35
  Speaker 1: I thought Dez was cool.
• 4:36
  Speaker 3: I thought he was a cool looking dude because he had,
• 4:38
  Speaker 3: you know, I was kind of heavy into like kung
• 4:40
  Speaker 3: fu movies and shit and he had that Japan bandana
• 4:43
  Speaker 3: on his head. I'm like, oh, well, he looks cool
• 4:46
  Speaker 3: and he plays guitar. Guitar is all, you know, everybody
• 4:48
  Speaker 3: plays guitar looks cool no matter whether you're good at
• 4:51
  Speaker 3: it or not. You know what I'm saying? If you
• 4:53
  Speaker 3: got a guitar in your hand, you just look cool. But, yeah, man, like,
• 4:58
  Speaker 3: I would be seeing all that stuff, and I'd try. Man,
• 5:01
  Speaker 3: I'd try and emulate it. I used to get in
• 5:03
  Speaker 3: trouble with my mama, because I was really big into
• 5:05
  Speaker 3: hair bands back then, too.
• 5:06
  Speaker 1: So, like, because I was watching music videos. So, Poison
• 5:11
  Speaker 1: and Rat.
• 5:11
  Speaker 3: And, you know, all those, like, glam metal bands. I
• 5:14
  Speaker 3: was way into that. And Prince was, like, the black
• 5:17
  Speaker 3: version of that to me. You know, and I used
• 5:21
  Speaker 3: to get in trouble with my grandmama. when I'd be
• 5:23
  Speaker 3: over the house while my mom was at work, I
• 5:26
  Speaker 3: used to take like fingernail clippers, right? And take like,
• 5:29
  Speaker 3: instead of like the part you clip your nails with,
• 5:31
  Speaker 3: but the other end and like clip that shit to
• 5:32
  Speaker 3: my ear and like use them like earrings and shit
• 5:35
  Speaker 3: and like get into my mom's eyeliner and shit and
• 5:39
  Speaker 3: put it on my face and act like I'm playing
• 5:41
  Speaker 3: a guitar because I want to be like Prince. You
• 5:44
  Speaker 3: know what I'm saying? And my grandmom was like, she
• 5:46
  Speaker 3: was not having it at all. She was like, she's like,
• 5:49
  Speaker 3: You need to get your life together, son. We need
• 5:51
  Speaker 3: to take you to church.
• 5:52
  Speaker 2: Yo, I'm saying Prince seems like the ultimate bridge too
• 5:56
  Speaker 2: far dude that it's ever been. Like, okay, y'all doing
• 5:59
  Speaker 2: all this other stuff. Okay, that's fine. This right here. Yeah, man.
• 6:04
  Speaker 1: You're doing a little too much, man. You got too
• 6:05
  Speaker 1: much dip on your chip, dog. You know what I'm saying?
• 6:08
  Speaker 2: But like musically, it's interesting for me because I talked
• 6:11
  Speaker 2: a little bit about this with my brother. But like
• 6:13
  Speaker 2: the first album is like, oh, OK, you are 19
• 6:16
  Speaker 2: years old or 18 years old trying to get this going.
• 6:18
  Speaker 2: Nice try.
• 6:19
  Speaker 1: See the vision. Right.
• 6:20
  Speaker 2: See where you try to go. The second one he's
• 6:23
  Speaker 2: always described as his attempt to make songs that sounded
• 6:29
  Speaker 2: like what he was hearing on the radio. Right. Like
• 6:32
  Speaker 2: like I understand what the assignment is. I will come
• 6:35
  Speaker 2: in and I will replicate the assignment. Something also very interesting.
• 6:38
  Speaker 2: I'm curious if you knew this. I read one of
• 6:40
  Speaker 2: these books where the label wanted Verdean White to produce
• 6:45
  Speaker 2: his first record. Not even Maurice. I think it was Verdean.
• 6:48
  Speaker 1: The For You album? Either For You or.
• 6:51
  Speaker 2: The self-titled, but somewhere in there. The label wanted them
• 6:54
  Speaker 2: and Prince rejected it because he felt that Earth, Wind &
• 6:57
  Speaker 2: Fire was too much of a disco act for his
• 7:00
  Speaker 2: personal taste. Which I don't wholly disagree.
• 7:03
  Speaker 1: With, right?
• 7:04
  Speaker 2: Like I have a People get mad when I start talking.
• 7:06
  Speaker 3: About Earth, Wind & Fire. We've had Earth, Wind &
• 7:08
  Speaker 3: Fire discussions before. You know what I'm saying?
• 7:11
  Speaker 2: When I love them, I love them. When I love them,
• 7:13
  Speaker 2: I love them. But I fully understand why Prince is like, hey,
• 7:16
  Speaker 2: this isn't my sound. You know what it is with Earth,
• 7:19
  Speaker 2: Wind & Fire? And it's funny because me and my
• 7:20
  Speaker 2: man DeJuan talk about this talk about music a lot,
• 7:23
  Speaker 2: and he's a big Earth, Wind & Fire guy because
• 7:25
  Speaker 2: he is a trained musician. Trained musicians love Earth, Wind & Fire.
• 7:29
  Speaker 2: But DeJuan is also a minor chord guy, right? Like,
• 7:33
  Speaker 2: he does not like his music to sound very happy.
• 7:36
  Speaker 2: And to me, Earth, Wind & Fire always sound a
• 7:39
  Speaker 2: little too bright.
• 7:40
  Speaker 1: And too happy. They make pretty music.
• 7:43
  Speaker 2: Yeah, and Prince... has never really made pretty music. It
• 7:46
  Speaker 2: wasn't until like his late thirties that the, that you
• 7:49
  Speaker 2: started getting into like the Bet You Can Buy Golly
• 7:51
  Speaker 2: Wild phase and stuff like that, where it sounds pretty.
• 7:53
  Speaker 2: But that self-titled album, it's got Bambi, right? It gets
• 7:57
  Speaker 2: into some of the places that we know Prince to
• 7:59
  Speaker 2: get to, but it is kind of just a, eh, okay. I, again,
• 8:04
  Speaker 2: I see where you're going. Back when you had time
• 8:06
  Speaker 2: to take a couple albums to figure out what it
• 8:09
  Speaker 2: was that you were doing, but it had, I Want
• 8:12
  Speaker 2: To Be A Lover, It had, I feel for you,
• 8:14
  Speaker 2: and I actually prefer his version over the Chaka Khan version.
• 8:17
  Speaker 2: That Chaka Khan version is just too 1980s for my
• 8:19
  Speaker 2: personal taste. It's got Steel waiting on it. That's my jam.
• 8:23
  Speaker 2: We talked about having Bambi on it.
• 8:26
  Speaker 3: You know, that album, I always got the most Prince-iest
• 8:30
  Speaker 3: Prince song on it, in my opinion, Why You Treat
• 8:33
  Speaker 3: Me So Bad. That's like the most Prince Prince song
• 8:36
  Speaker 3: of all time, in my opinion.
• 8:39
  Speaker 1: I love that record, bro. I play it.
• 8:40
  Speaker 3: That's I actually play that record out sometimes, you know,
• 8:43
  Speaker 3: just when, like, if I'm DJing and I'm in a
• 8:47
  Speaker 3: spot where I know there might be like a music,
• 8:50
  Speaker 3: like a real music head in there, that's a song
• 8:53
  Speaker 3: that I can play to kind of pop the crowd.
• 8:54
  Speaker 3: Because I know somebody, especially if they're a Prince person,
• 8:57
  Speaker 3: and if I play Why You Treat Me So Bad,
• 9:00
  Speaker 3: every time, anytime I do that, they'll.
• 9:02
  Speaker 1: Be like, you know what I'm saying? Like, yeah. Yes.
• 9:05
  Speaker 1: Here we go. Here we go. You know what time
• 9:07
  Speaker 1: it is. That record has some joints, though. It does
• 9:10
  Speaker 1: have some joints.
• 9:12
  Speaker 2: And that's a guitar show-off song for him, too. Which, again,
• 9:15
  Speaker 2: in that era, he did not do that many of.
• 9:17
  Speaker 2: He basically put the guitar down after this for like
• 9:20
  Speaker 2: four years. Not that he didn't play it, but it
• 9:23
  Speaker 2: was never the, all right, let me show you what
• 9:26
  Speaker 2: I can do quite like this. Like, I love still
• 9:28
  Speaker 2: waiting on this because I'm a big fan of Prince
• 9:30
  Speaker 2: show-off on piano. songs and that wasn't a show off
• 9:33
  Speaker 2: like solo show off but he can play he plays
• 9:37
  Speaker 2: piano lines that you feel and can get into that
• 9:40
  Speaker 2: you know but say um to find someone to call
• 9:42
  Speaker 2: my own because i'm sick and tired of being alone
• 9:46
  Speaker 2: like he he hit that he could hit that lane
• 9:49
  Speaker 2: so good where you think about him always like smashing
• 9:52
  Speaker 2: adams and coming up with something new but when he
• 9:53
  Speaker 2: wanted to do something that felt familiar i got you
• 9:56
  Speaker 2: i got you there too.
• 9:58
  Speaker 3: Yep I feel like, I feel like he always tried
• 10:01
  Speaker 3: to show definitely when he was showing off on pianos,
• 10:04
  Speaker 3: when he was like, I, I I'm doing, I'm kind of,
• 10:08
  Speaker 3: I kind of feel like he did that for him.
• 10:09
  Speaker 3: Like I'm doing something for me, you know, like further
• 10:12
  Speaker 3: on down the road. I'm sure we'll get this later,
• 10:14
  Speaker 3: but like, uh, like a B side, a B side, like, uh,
• 10:18
  Speaker 3: how come you don't call me anymore?
• 10:19
  Speaker 1: You know what I'm saying? Where it's nothing. The piano
• 10:23
  Speaker 1: playing in that song, oh my God.
• 10:26
  Speaker 2: Yo, that's when you realize how ill he was, right?
• 10:29
  Speaker 2: Because we're going to get to that because I want
• 10:30
  Speaker 2: to stop first before we get there to like, I
• 10:32
  Speaker 2: feel like Dirty Mind and Controversy, you kind of have
• 10:35
  Speaker 2: to talk about together in part because they came out
• 10:37
  Speaker 2: six months apart and they came out six months apart.
• 10:40
  Speaker 2: In part because Prince showed up with the demo and
• 10:42
  Speaker 2: was like, nope, that's the album.
• 10:45
  Speaker 1: Yeah.
• 10:45
  Speaker 2: It's good enough right here. It's walked up to the label.
• 10:48
  Speaker 2: Like the Bruce Springsteen Nebraska comparison that I make all
• 10:51
  Speaker 2: the time is interesting because the Nebraska demo is just
• 10:55
  Speaker 2: him with an acoustic guitar and a harmonica.
• 10:58
  Speaker 1: Right.
• 10:58
  Speaker 2: And so they sound like demos. They sound very clearly
• 11:02
  Speaker 2: like something that the plan was to do more with it.
• 11:05
  Speaker 2: Prince showed up with a demo that sounded like an album.
• 11:08
  Speaker 2: Talking crazy, bruh. Talking crazy on just about every song.
• 11:15
  Speaker 1: Like crazy.
• 11:18
  Speaker 3: You know what I'm saying? Anti-Christian and... What's the song?
• 11:23
  Speaker 3: What's the title? You got the dude named Ronnie in it? Oh,
• 11:26
  Speaker 3: you're talking.
• 11:27
  Speaker 2: About Ronnie Talk to Russia?
• 11:28
  Speaker 1: Yes. You know what I'm saying?
• 11:29
  Speaker 2: Well, Ronnie is Ronald Reagan.
• 11:31
  Speaker 1: I know. That's what I'm saying. You're talking trash about everything.
• 11:35
  Speaker 2: You're talking trash about everything, but even then... Let's think
• 11:38
  Speaker 2: about this. When you were mine, with an illusion, I
• 11:41
  Speaker 2: always took this as figurative, talking about the girl was
• 11:44
  Speaker 2: cheating on you, but I didn't care. I never was
• 11:47
  Speaker 2: the kind to make a fuss. When he was there,
• 11:49
  Speaker 2: sleeping in between the two of us, it wasn't until
• 11:52
  Speaker 2: I got older that I was like, oh, you meant
• 11:53
  Speaker 2: that actually.
• 11:55
  Speaker 1: Actually. Like, literally.
• 11:56
  Speaker 2: Yo, that's insane, dog. What are you talking about? My
• 12:02
  Speaker 2: sister never made love to anyone else but me. She's
• 12:07
  Speaker 2: the reason for my sexuality. Whoa.
• 12:12
  Speaker 1: Hey, hey.
• 12:13
  Speaker 2: She never wore any underwear, said it always gets in
• 12:16
  Speaker 2: her hair and has a funny way of stopping the juice.
• 12:19
  Speaker 1: What? What?
• 12:23
  Speaker 2: Incest is everything it's What? And it's jamming.
• 12:29
  Speaker 1: Man, he was completely out of pocket.
• 12:32
  Speaker 2: Yo, yo, and it's New Wave, like I said, and
• 12:34
  Speaker 2: that comes after the song about this girl was going
• 12:37
  Speaker 2: to get married, but instead I gave her some head
• 12:40
  Speaker 2: and everything. And she stayed with me.
• 12:45
  Speaker 3: You know, that's how you know the music had to
• 12:47
  Speaker 3: be astronomically good for anyone just to be able to
• 12:52
  Speaker 3: look past that and be like, You know what? That
• 12:56
  Speaker 3: was kind of crazy what you just said, but man,
• 13:00
  Speaker 3: this song is phenomenal.
• 13:02
  Speaker 2: Yo, but to me, it's not even that people look
• 13:04
  Speaker 2: past it. People kind of leaned in. They just like, oh. Okay,
• 13:11
  Speaker 2: that's what we're doing. On this record that sounds new
• 13:14
  Speaker 2: way to me, though, that's the bass album. Like, if
• 13:16
  Speaker 2: you listen to it, he has a very particular style
• 13:18
  Speaker 2: of bass play because he has guitar player, piano player hands. Like,
• 13:23
  Speaker 2: it's not going to sound like the Larry Graham, Bootsy Collins. Like,
• 13:25
  Speaker 2: you see a picture of Bootsy Collins' hands, and you're like, oh,
• 13:28
  Speaker 2: that's why that bass sounds like that. Big, giant, like.
• 13:32
  Speaker 1: Yeah, yeah.
• 13:34
  Speaker 2: Like it looked like Bootsy Collins could like take the
• 13:37
  Speaker 2: top off an oil drum if he just unscrewed it, right?
• 13:41
  Speaker 2: Prince didn't have like that. So Prince has got these
• 13:43
  Speaker 2: like slinky style bass lines on there. And it's another
• 13:47
  Speaker 2: one where he could create these pictures of like, I'll
• 13:50
  Speaker 2: do it all night. It was like someone over there
• 13:52
  Speaker 2: said he wants to get to know you. I don't
• 13:53
  Speaker 2: care because I really want to hold you, and I'm
• 13:55
  Speaker 2: so scared because he might do something to you that
• 13:57
  Speaker 2: you like. Like, that is the ultimate portrait of, like, insecurity.
• 14:03
  Speaker 2: I want to holler at you, but I ain't got
• 14:05
  Speaker 2: it in me, but I'm afraid that dude got it.
• 14:06
  Speaker 2: What am I supposed to do? And then imagine this 5'5,
• 14:10
  Speaker 2: perm-headed motherfucker, 20 years old, sitting over there looking weird.
• 14:15
  Speaker 1: Yep.
• 14:16
  Speaker 2: Worried about all these things.
• 14:18
  Speaker 3: Do you think this point in time is when he
• 14:20
  Speaker 3: kind of started to develop the... the character of Prince
• 14:25
  Speaker 3: or like all the other different types of characters that
• 14:28
  Speaker 3: he would play throughout the music, you know, the characters
• 14:31
  Speaker 3: he played within the music, you know?
• 14:33
  Speaker 1: You think this is around his time is when that started?
• 14:36
  Speaker 2: I mean, it's one thing that he's on the cover
• 14:39
  Speaker 2: of the self-titled album with no shirt on. The next one,
• 14:42
  Speaker 2: he's on the cover wearing a G-string, knee highs, and heels. Yeah,
• 14:49
  Speaker 2: I think there is when he just fully decided we gon'
• 14:52
  Speaker 2: go wild with it. We gon' go wild with it.
• 14:55
  Speaker 2: And then come with Controversy. Controversy has a song called
• 14:58
  Speaker 2: Jack You Off and it's actually dialed back from where
• 15:03
  Speaker 2: the previous, although Controversy also gives us our first weird,
• 15:07
  Speaker 2: like Prince Koda, which is our doomy baby. When he
• 15:09
  Speaker 2: starts getting, I'm so cold. What are you doing? What
• 15:13
  Speaker 2: are you talking about? Could you turn that shit.
• 15:15
  Speaker 1: Up, please?
• 15:17
  Speaker 3: Man, you talk about a record. That record is like
• 15:24
  Speaker 3: a Quiet Storm staple.
• 15:26
  Speaker 1: Yes.
• 15:28
  Speaker 3: And for what's going on in that record, for that,
• 15:33
  Speaker 3: we've had discussions on here before where we talked about
• 15:36
  Speaker 3: how radio, especially black radio, during this time period was
• 15:41
  Speaker 3: like very, very conservative, especially in regards to rap music
• 15:45
  Speaker 3: where they wouldn't play it. that song do me baby
• 15:48
  Speaker 3: was all over black radio all the time you know
• 15:52
  Speaker 3: and you know and it wasn't like they just i
• 15:54
  Speaker 3: mean it was a it was a choir song record
• 15:55
  Speaker 3: so it got played in the 10 o'clock hour but
• 15:57
  Speaker 3: it was getting played in the middle of the day
• 15:59
  Speaker 3: too you know what i mean and for something literally
• 16:05
  Speaker 3: he's saying do me baby like you've never done before
• 16:09
  Speaker 3: yes in the middle of the day yes So that was.
• 16:13
  Speaker 1: The other thing, too.
• 16:13
  Speaker 2: He talked about, don't know if this a girl with
• 16:15
  Speaker 2: a mustache. One thing he was making it clear, regardless
• 16:18
  Speaker 2: of what you thought he was, what he was about.
• 16:21
  Speaker 1: Yeah, yeah, yeah. He definitely made it clear. You know
• 16:24
  Speaker 1: what I'm saying?
• 16:24
  Speaker 2: Like, he might be talking about how somebody else is
• 16:28
  Speaker 2: going both ways. He wasn't really talking about him.
• 16:31
  Speaker 1: Going both ways. This don't apply to me.
• 16:35
  Speaker 2: Bambi can't you understand Bambi is better with a man
• 16:38
  Speaker 2: and so like after he went witness and there were
• 16:40
  Speaker 2: songs that he wasn't playing anymore he played Bambi on
• 16:43
  Speaker 2: Saturday Night Live in the 21st century and I'm like
• 16:45
  Speaker 2: yeah of course he would that's the most conservative song
• 16:47
  Speaker 2: in the catalog right like he is speaking he's like
• 16:53
  Speaker 2: sis is the way to go that is what we
• 16:55
  Speaker 2: do now with Do Me Baby I think Do Me
• 16:57
  Speaker 2: Baby is another one that boom boom that's another bass
• 17:00
  Speaker 2: that is a Prince bass classic But the Prince-based classic
• 17:04
  Speaker 2: is all controversy, and that is Let's Work. And what
• 17:07
  Speaker 2: is interesting to me about that, too, is I feel
• 17:10
  Speaker 2: like the power of marketing and the power of singles
• 17:14
  Speaker 2: is very important in terms of how things are remembered.
• 17:17
  Speaker 2: And so what I mean when I say that, I
• 17:20
  Speaker 2: watched a concert, Guns N' Roses, I think it's live
• 17:23
  Speaker 2: at the Ritz in New York City, and it was
• 17:26
  Speaker 2: on the tour they did for Appetite for Destruction. And
• 17:30
  Speaker 2: I remember when they played Sweet Child of Mine, the
• 17:33
  Speaker 2: audience was kind of like, oh, it's cool, but it
• 17:36
  Speaker 2: didn't really jump off, which I found to be strange.
• 17:39
  Speaker 2: And then I looked up the date of the concert
• 17:41
  Speaker 2: and then I looked up the dates on the album
• 17:44
  Speaker 2: and Sweet Child of Mine had not yet been released
• 17:46
  Speaker 2: as a single.
• 17:47
  Speaker 1: Oh, there you go.
• 17:49
  Speaker 2: So it had not, you see what I'm saying? Like
• 17:50
  Speaker 2: it hadn't turned into that thing at that point. Now
• 17:54
  Speaker 2: that is for a lot of people, like the defining
• 17:55
  Speaker 2: Guns N' Roses single, but it happens because it comes
• 17:58
  Speaker 2: out as a single. Questlove makes a point about Prince
• 18:02
  Speaker 2: that there is not a Prince song that as a
• 18:04
  Speaker 2: DJ that you throw on and it just sets the
• 18:07
  Speaker 2: party completely off like some have done forever, right? But
• 18:12
  Speaker 2: Let's Work sounds like the song that should have been
• 18:15
  Speaker 2: the song or would have been the song because that
• 18:17
  Speaker 2: is the Prince baseline of all is Let's Work.
• 18:22
  Speaker 3: I got homies, a few homies that actually play bass
• 18:26
  Speaker 3: for a living. And, you know, when we get to
• 18:29
  Speaker 3: talking about Prince, they always, almost all of them, you know,
• 18:33
  Speaker 3: in a consensus say that that bass line is one
• 18:37
  Speaker 3: of the most difficult bass lines ever to play. And
• 18:41
  Speaker 3: it's because they've told me because it's the way that
• 18:46
  Speaker 3: the bass is moving, it's like a non-natural movement of hands.
• 18:53
  Speaker 3: Because you have to go up and down. You got
• 18:55
  Speaker 3: to go up and down the neck of the bass
• 18:57
  Speaker 3: in a way that's not normal to accomplish it.
• 19:01
  Speaker 1: Right.
• 19:03
  Speaker 3: But the way, and I guess the way that thing
• 19:05
  Speaker 3: moves up and down.
• 19:06
  Speaker 1: Bro, I can see why that would be the record
• 19:08
  Speaker 1: that one would think.
• 19:18
  Speaker 3: That would be the one that would set the party off.
• 19:22
  Speaker 1: Like, and it does to a degree, but you know,
• 19:24
  Speaker 1: depending on the room you in.
• 19:26
  Speaker 2: But that's- Yeah, it did not become ubiquitous.
• 19:29
  Speaker 1: No, it did not. Right, like it did become the one-
• 19:32
  Speaker 1: Go ahead, go ahead, my bad.
• 19:34
  Speaker 3: The one record that was close like that was from
• 19:37
  Speaker 3: the self-titled album, I Wanna Be Your Lover.
• 19:39
  Speaker 1: But you know, but even that, that's the same. It's
• 19:42
  Speaker 1: the same. It only, it works kind of depending on
• 19:46
  Speaker 1: where you at. You know what I mean? Yeah.
• 19:48
  Speaker 2: Let's work. Also got the, I think this is the
• 19:50
  Speaker 2: first person to say this. I want to love you
• 19:53
  Speaker 2: till you're soft and wet. Hard dicking bubble gum is
• 19:57
  Speaker 2: all you get.
• 19:58
  Speaker 1: I don't know.
• 20:01
  Speaker 2: Maybe somebody said it before, but that feels to me like.
• 20:03
  Speaker 1: The first documented use. Yeah. Timeline wise, it sounds like
• 20:07
  Speaker 1: that would be the first time. You know what I'm saying?
• 20:10
  Speaker 2: That sounds like, but yo, what's so wild, this controversy
• 20:12
  Speaker 2: was like a little bit of a disappointment compared to
• 20:15
  Speaker 2: Dirty Mind. And then 1999 comes after it. And Little
• 20:18
  Speaker 2: Red Corvette to me is the best Prince song. I'm
• 20:21
  Speaker 2: not saying the best Prince record. I saw him in concert,
• 20:24
  Speaker 2: I want to say five times. I saw him play
• 20:25
  Speaker 2: Little Red Corvette five different ways. It jams every single way.
• 20:31
  Speaker 2: And that is because there is no genre of singing
• 20:36
  Speaker 2: where men sing harder or with more emotion than when
• 20:40
  Speaker 2: a man is declaring his love for a trollop. Think
• 20:44
  Speaker 2: about every love song you've ever heard where a man
• 20:49
  Speaker 2: is talking about a woman who be out there in
• 20:52
  Speaker 2: them streets. Don't nobody sing harder about love than men.
• 20:57
  Speaker 2: You realize how much you gotta love a woman to
• 21:00
  Speaker 2: tell the world she out here with all these other dudes,
• 21:03
  Speaker 2: but oh well, you can come stay here. Yep.
• 21:07
  Speaker 1: Yeah, man. Symphony ain't easy, baby. You know what.
• 21:12
  Speaker 2: I'm saying? And every one of those songs makes the
• 21:15
  Speaker 2: very clear implication. That thang be snapping, dog. Like, I
• 21:22
  Speaker 2: don't think you so much understand what it is that
• 21:25
  Speaker 2: that thang provides me when she be over here. And
• 21:29
  Speaker 2: that's his version.
• 21:31
  Speaker 1: I mean, the juice is worth the squeeze, baby. You
• 21:33
  Speaker 1: know what I'm saying?
• 21:35
  Speaker 3: I need that in my life. I don't care how
• 21:38
  Speaker 3: I get it. I need that, and I need it
• 21:41
  Speaker 3: from her.
• 21:42
  Speaker 1: You know what I mean?
• 21:42
  Speaker 2: Yo, he looked at that like, yo, I don't even
• 21:43
  Speaker 2: think I can hang, dog. Baby, I ain't got enough gas.
• 21:48
  Speaker 1: That's a beautifully written song, too. You know what I mean?
• 21:53
  Speaker 2: It's so good. Ed, you heard like the eight-minute version?
• 21:57
  Speaker 1: No. No, I haven't heard the eight-minute version.
• 21:59
  Speaker 2: So there's a six minute version of 1999 that just
• 22:02
  Speaker 2: about everybody's heard. 1999, of course, is a great record.
• 22:05
  Speaker 2: But Lil Red Corvette, there's an eight minute version of
• 22:08
  Speaker 2: that one. And it's funny because on the single version,
• 22:11
  Speaker 2: Prince doesn't play the solo. Des Dickinson plays the solo.
• 22:13
  Speaker 2: And by the way, when you hear the solo, you
• 22:15
  Speaker 2: realize it's a Des Dickinson solo because it ain't a
• 22:18
  Speaker 2: Prince solo. But you listen to the longer versions. Dude,
• 22:21
  Speaker 2: he is cutting up on guitar so bad all the
• 22:24
  Speaker 2: way through. Again, your friendly reminder that I'm better at
• 22:27
  Speaker 2: this than your favorite is.
• 22:31
  Speaker 3: Man, I just can't imagine being able to have the
• 22:35
  Speaker 3: ability to flex like that at any.
• 22:37
  Speaker 1: Point in time. You know what I'm saying?
• 22:42
  Speaker 3: Like, I'm literally making all this music because I'm making
• 22:44
  Speaker 3: the music I want to hear, but every now and again,
• 22:46
  Speaker 3: I must decree that I am the coldest motherfucker walking.
• 22:50
  Speaker 1: You know what I'm saying?
• 22:52
  Speaker 2: Yes.
• 22:53
  Speaker 3: And I'm not going to say it. I'm just going
• 22:54
  Speaker 3: to do something, and you are going to acknowledge it.
• 22:57
  Speaker 1: You know what I'm saying? Yes.
• 22:59
  Speaker 2: Well, and also, here's where this gets fun, and you've
• 23:02
  Speaker 2: mentioned this before a little bit. Do you know what
• 23:05
  Speaker 2: the B-side is to 1999, the single?
• 23:12
  Speaker 1: Is it 17 Days? No, it ain't 17 Days, is it?
• 23:16
  Speaker 2: It is How Come You Don't Call Me Anymore.
• 23:18
  Speaker 1: Oh, there we go.
• 23:19
  Speaker 2: Five dot mistaken. Yes, it's How Come You Don't Call
• 23:23
  Speaker 2: Me Anymore. Let's think about this for a second, guys.
• 23:28
  Speaker 2: I have so much heat that I don't really have
• 23:32
  Speaker 2: a place for how come you don't call me anymore.
• 23:35
  Speaker 2: So I'm just going to throw it on here.
• 23:39
  Speaker 1: This excellent, super, super sultry piano ballad. Yes. Yes.
• 23:47
  Speaker 3: I'm going to throw the B side of this, this,
• 23:50
  Speaker 3: this super duper guitar driven single.
• 23:55
  Speaker 2: Just complete, just a complete, old school, like just longing ballad.
• 24:01
  Speaker 2: It's just one lousy dime. Why don't you call me sometime?
• 24:06
  Speaker 2: When you hear him, you hear the foot tap to
• 24:08
  Speaker 2: keep the beat. Like it sounds like he is all,
• 24:11
  Speaker 2: it sounds exactly like what the song implies. It is
• 24:14
  Speaker 2: that he is just sitting there all alone, unsure of
• 24:17
  Speaker 2: what to do. Just, just there. Right.
• 24:20
  Speaker 1: I get it out. This is how I decide to
• 24:21
  Speaker 1: get my emotions and my feelings out. This, this is it.
• 24:24
  Speaker 1: I do it right here. Right.
• 24:25
  Speaker 2: So that's the B side on that one. By the way,
• 24:31
  Speaker 2: that album, I don't want to skip it. Like, wow,
• 24:33
  Speaker 2: there's so much that we could do and like how
• 24:35
  Speaker 2: long this could go. But that was a revolutionary sort
• 24:39
  Speaker 2: of album, especially with the use of the drum machine.
• 24:42
  Speaker 2: Nobody had used that drum machine, that L1 Roger Land
• 24:46
  Speaker 2: drum machine. Nobody had used it at that point. like
• 24:50
  Speaker 2: he had, right? And where he also leans in super
• 24:53
  Speaker 2: heavy on the keys, where his thing about the keys
• 24:55
  Speaker 2: was he didn't play horns, so the keys were horns. Like,
• 24:59
  Speaker 2: he made, it was, it's a, like, weirdo, futuristic, James
• 25:04
  Speaker 2: Brown sort of record, and it's nasty. It is wall-to-wall nasty. Like,
• 25:10
  Speaker 2: we were talking about Let's Pretend We're Married.
• 25:12
  Speaker 1: Like, dude, what are you talking about? You can't do this.
• 25:14
  Speaker 3: Do you think this point in time, like, I know
• 25:17
  Speaker 3: we about to, we about to creep up on Purple Rain.
• 25:19
  Speaker 1: Here in a second.
• 25:20
  Speaker 3: But do you think, you know, people often talk about
• 25:24
  Speaker 3: Stevie Wonder's Genius Period, right? Do you think this is
• 25:27
  Speaker 3: Prince's Genius Period right here? This part in the 80s?
• 25:32
  Speaker 1: Yeah.
• 25:33
  Speaker 2: I mean, to me, I think his Genius Period runs
• 25:36
  Speaker 2: eight years.
• 25:38
  Speaker 1: So from when to when?
• 25:40
  Speaker 2: From Dirty Mind through the Black Album.
• 25:45
  Speaker 1: Okay.
• 25:47
  Speaker 2: Love Sexy. I mean, it may have been Genius, but
• 25:49
  Speaker 2: it wasn't... Love Sexy has jams. Like, it has songs
• 25:53
  Speaker 2: that I really like. But I want to.
• 25:55
  Speaker 1: All right.
• 25:56
  Speaker 2: Let's put a pin in this. We're going to come
• 25:57
  Speaker 2: back and talk about Purple Rain because I have a
• 25:59
  Speaker 2: frustration with print stands as it relates to Purple Rain
• 26:02
  Speaker 2: that we will talk about next.
• 26:05
  Speaker 1: All right.
• 26:06
  Speaker 2: We are back with DJ Wiley Sparks talking about Prince.
• 26:09
  Speaker 2: We are now here for Purple Rain. And there is
• 26:13
  Speaker 2: a huge segment. You and I talked about this a
• 26:15
  Speaker 2: little bit before the show started, where I'm like, I
• 26:17
  Speaker 2: am clearly not a Prince Stan because I meet Prince
• 26:20
  Speaker 2: Stans and I see what Prince Stans talk about on
• 26:22
  Speaker 2: the Internet. And I am not them. I realize this.
• 26:26
  Speaker 2: This discussion we have is going to focus on the
• 26:28
  Speaker 2: Warner years because we could talk about the after Warner years,
• 26:31
  Speaker 2: but that's not why we're here. The reason this is
• 26:34
  Speaker 2: all here is because of the Warner Brothers years, number one.
• 26:38
  Speaker 2: Number two, I find that often the more you get
• 26:43
  Speaker 2: into something, the more you get into music. We try
• 26:46
  Speaker 2: to often get a little bit too cute when we
• 26:48
  Speaker 2: talk about what's best or in some cases what's our
• 26:51
  Speaker 2: favorite because you don't want to sound like everybody else.
• 26:55
  Speaker 1: Right.
• 26:56
  Speaker 2: An example of this to me is like with U2,
• 26:58
  Speaker 2: where people would say that Octoon Babe was the best
• 27:00
  Speaker 2: U2 record. And no, it's the Joshua Tree. Like, like,
• 27:02
  Speaker 2: I get why you don't want to say the thing
• 27:04
  Speaker 2: that everybody said forever. But then you go back and
• 27:06
  Speaker 2: you're like, OK, we're tripping here. I love Side of
• 27:09
  Speaker 2: the Times and we'll get there. But it's a reason
• 27:12
  Speaker 2: that Purple Rain sold a gajillion albums. Purple Rain is
• 27:15
  Speaker 2: a mind blowing act of creativity that I am amazed
• 27:19
  Speaker 2: how many people will try to say that if Purple
• 27:21
  Speaker 2: Rain is your jam. that somehow it is an indicator
• 27:25
  Speaker 2: of a lack of nuance in your musical taste. The
• 27:28
  Speaker 2: duo put together a gospel funk hard rock album, a
• 27:33
  Speaker 2: significant portion of which was recorded live, including Purple Rain itself.
• 27:39
  Speaker 2: incredible songwriting, his signature song, and to me, the most
• 27:45
  Speaker 2: incredible single anybody ever put out, which is When Doves Cry.
• 27:48
  Speaker 2: Literally a song that no one has ever made a
• 27:50
  Speaker 2: song that sounded like it before or after. I don't
• 27:53
  Speaker 2: even think anybody's been able to try.
• 27:55
  Speaker 1: Yeah, man.
• 27:57
  Speaker 3: I've heard guitar players from many walks of life, from
• 28:03
  Speaker 3: every type of genre you could think of. And this
• 28:07
  Speaker 3: is this is going into, you know, Prince as a guitarist.
• 28:11
  Speaker 1: Right.
• 28:12
  Speaker 3: And they they speak of the intro solo for when
• 28:17
  Speaker 3: does cry like it's the Holy Grail because they're.
• 28:21
  Speaker 1: Like, how is this possible?
• 28:25
  Speaker 3: You know what I mean? That no one can figure
• 28:27
  Speaker 3: out how to do it. And I believe I believe
• 28:29
  Speaker 3: Prince probably did that on mistake. I mean, by mistake, rather.
• 28:32
  Speaker 3: You know what I mean?
• 28:33
  Speaker 2: I've told you. I don't think he could do it again.
• 28:37
  Speaker 1: Yeah.
• 28:38
  Speaker 2: My evidence is this. In the times that I saw
• 28:42
  Speaker 2: him live, he always ran When Doves Cry off a deck. Like,
• 28:46
  Speaker 2: he always ran the solo off of a tape. If
• 28:50
  Speaker 2: you watch the tours in the 1980s and when Doves
• 28:54
  Speaker 2: Cry came up, That is not a Prince guitar number
• 28:58
  Speaker 2: in concert. It's a Prince song and dance number, right?
• 29:01
  Speaker 2: He's doing the split and everything else for it. Wendy
• 29:04
  Speaker 2: is doing all the guitar stuff during those times. And even,
• 29:07
  Speaker 2: I think, what's his name? Levi Searcy, Next Cat. Those
• 29:10
  Speaker 2: are the ones that are doing the guitar in the
• 29:12
  Speaker 2: next run. I don't think he ever could do... I
• 29:15
  Speaker 2: think he caught lightning in a bottle that one time.
• 29:18
  Speaker 1: Billy Gibbons tells that story.
• 29:20
  Speaker 2: Yeah, Billy Gibbons tells that story about after the Rock
• 29:23
  Speaker 2: and Roll Hall of Fame induction ceremony, I think it
• 29:25
  Speaker 2: was in 04, when Prince did the Why My Guitar
• 29:28
  Speaker 2: Gently Weeps solo. And Gibbons says, somebody's like, hey, somebody
• 29:31
  Speaker 2: wants to see you over there. And it's Prince in
• 29:33
  Speaker 2: the back. And Billy Gibbons, who's the guitar player from
• 29:35
  Speaker 2: ZZ Top, who is a stone cold beast in his
• 29:37
  Speaker 2: own right. And he asked Prince about it. that solo,
• 29:41
  Speaker 2: I mean, about that intro. And he's like, yeah, I
• 29:43
  Speaker 2: don't even know what I did on that one. I
• 29:45
  Speaker 2: don't think he could do it again. He just caught
• 29:47
  Speaker 2: it one time.
• 29:49
  Speaker 1: And just happened to catch it on tape.
• 29:52
  Speaker 3: And it happened to be on one of his greatest
• 29:56
  Speaker 3: songs of all time.
• 29:58
  Speaker 1: Yes. You know?
• 30:00
  Speaker 2: Pure lightning in the bottom moment. To me, it's the
• 30:03
  Speaker 2: best record he made. I think as a song, Little
• 30:06
  Speaker 2: Red Corvette has a versatility and all this other stuff,
• 30:09
  Speaker 2: but as a production, as something that somebody put together
• 30:13
  Speaker 2: in a studio, that's the one. It is lyrically cold, too.
• 30:19
  Speaker 3: That's such a crazy genre-bending song because it's everything and
• 30:24
  Speaker 3: nothing all at once.
• 30:26
  Speaker 1: Yes. How about this?
• 30:28
  Speaker 2: He does that intro solo and then doesn't pick the
• 30:31
  Speaker 2: guitar up again until the end. Until he gets back
• 30:35
  Speaker 2: to that solo at the end. But otherwise, it's not there.
• 30:39
  Speaker 2: It's just basically the drum scene and synths up until
• 30:42
  Speaker 2: that part.
• 30:43
  Speaker 3: You know another thing that's underrated about that song that
• 30:46
  Speaker 3: people don't often.
• 30:48
  Speaker 1: Talk about is the vocal performance. Yes.
• 30:52
  Speaker 3: Bro, the screaming at the end. And he ain't screaming
• 30:57
  Speaker 3: for the sake of screaming. He's screaming because it suits
• 31:02
  Speaker 3: the song.
• 31:03
  Speaker 1: Yes. You know what I mean?
• 31:06
  Speaker 3: It's not just somebody just like randomly, you know what
• 31:10
  Speaker 3: I'm saying? It's not just there because he felt like screaming.
• 31:13
  Speaker 3: It's there because it's in service of the song.
• 31:17
  Speaker 2: Yeah, it's not like the Doobie Baby screaming, which kind
• 31:20
  Speaker 2: of feels like, okay, we're just doing this right now. Yeah,
• 31:23
  Speaker 2: we're just wilding. You're right. This was different, but you're right. Also,
• 31:30
  Speaker 2: that dig, if you will, a picture. Oh, okay, you
• 31:34
  Speaker 2: have my attention.
• 31:36
  Speaker 1: Yep. Right?
• 31:38
  Speaker 2: Nails it. And look, that's just one of the songs.
• 31:42
  Speaker 2: The beautiful ones. That scene in the movie with the
• 31:44
  Speaker 2: beautiful ones. Me and my homeboy once, we were like, yo,
• 31:47
  Speaker 2: I don't have Purple Rain on CD. This is like 99.
• 31:50
  Speaker 2: He didn't have one. I'm like, cool. We're going to
• 31:51
  Speaker 2: drive down to the Best Buy at South Lake Mall
• 31:55
  Speaker 2: and we're going to go pick them up. And so
• 31:57
  Speaker 2: we stopped and we're eating at Wendy's and we're just
• 31:59
  Speaker 2: kind of finishing up our food. And we were talking
• 32:01
  Speaker 2: about the movie and we talk about in the movie
• 32:03
  Speaker 2: where he gets on stage and he does the do
• 32:05
  Speaker 2: you want him does the pointing. Do you want me?
• 32:09
  Speaker 2: And then we looked at each other and then we
• 32:11
  Speaker 2: just threw our stuff away and we jumped up and
• 32:14
  Speaker 2: got in the car and went to get the stuff
• 32:16
  Speaker 2: because it was just like, OK, we can't we can't
• 32:18
  Speaker 2: talk about this and not have this playing in the
• 32:20
  Speaker 2: car shortly. Like perfect ballad, perfect ballad. Then behind it.
• 32:26
  Speaker 2: And look, I'll fight to the death about this one.
• 32:31
  Speaker 2: Anybody wondering, I will fight to the death about this.
• 32:33
  Speaker 2: Y'all been doing computer blue a disservice for 42 years.
• 32:37
  Speaker 1: It's a great song. It's probably my least favorite song
• 32:40
  Speaker 1: on that album.
• 32:41
  Speaker 2: I know. That's because you were a take-me-with-you guy.
• 32:43
  Speaker 1: Yes, sir. Because I play drums. That's why. I know.
• 32:46
  Speaker 1: I know.
• 32:46
  Speaker 2: You have explained that to me. To me, it is
• 32:49
  Speaker 2: no question that take-me-with-you is... Look, something had to finish
• 32:52
  Speaker 2: in last, right? It's not a... It's whack, right?
• 32:56
  Speaker 1: It is a.
• 32:57
  Speaker 2: Very clearly, they told him, we need a song to
• 33:00
  Speaker 2: put on this part of the movie. Can you, like,
• 33:02
  Speaker 2: just give us the song? It's cool. Computer Blue, also,
• 33:06
  Speaker 2: the 12-minute Computer Blue.
• 33:09
  Speaker 1: Yeah, that's some crazy guitar work, too. Woo!
• 33:12
  Speaker 2: Yeah, I think the movie set Computer Blue up for
• 33:17
  Speaker 2: a bad one, because that's, it's interesting, because people don't
• 33:20
  Speaker 2: feel that way about Nicki, but Computer Blue set up
• 33:22
  Speaker 2: the idea that this was a whack, what are you
• 33:24
  Speaker 2: doing song, but everybody loves Nicki because he talking that
• 33:27
  Speaker 2: nasty shit, and so then they just, like, jump on it.
• 33:30
  Speaker 2: But to me, Computer Blue, again, is a princess flexing
• 33:34
  Speaker 2: on the guitar as he decided to spend the majority
• 33:36
  Speaker 2: of this record doing.
• 33:38
  Speaker 3: Again, that's one of them instances where it's like, yeah,
• 33:41
  Speaker 3: you know, I've been quiet for a few years, but
• 33:43
  Speaker 3: it's time for me, once again, to let everybody know
• 33:47
  Speaker 3: that I'm the coldest motherfucker walking.
• 33:49
  Speaker 1: You know what I'm saying?
• 33:50
  Speaker 2: Yes. I mean, look, we got this. You get Nicki.
• 33:53
  Speaker 2: When Dove's Cry comes after that, I Would Die For You, which, again,
• 33:56
  Speaker 2: is another one of these weirdo gospel songs.
• 33:59
  Speaker 1: Yep.
• 34:01
  Speaker 2: When you really pay attention to those lyrics, that's a.
• 34:03
  Speaker 1: Song about Jesus. It's a song about Jesus.
• 34:07
  Speaker 2: Like, and not even about Jesus, like, in the way
• 34:09
  Speaker 2: that there are all these songs where you can substitute
• 34:11
  Speaker 2: baby and substitute Jesus and the whole song flips, right? No,
• 34:15
  Speaker 2: this is just about Jesus.
• 34:16
  Speaker 1: Mm-hmm.
• 34:18
  Speaker 2: Killed it. Killed it. Then, I don't know where you
• 34:20
  Speaker 2: are on Baby I'm a Star, but Baby I'm a
• 34:23
  Speaker 2: Star used to be the intro song for one of
• 34:24
  Speaker 2: my radio shows because I got tired of them people
• 34:27
  Speaker 2: acting like I had no business being there. So it
• 34:29
  Speaker 2: was Might Not Know It Now, Baby Yes I Are.
• 34:32
  Speaker 1: Yeah.
• 34:33
  Speaker 3: That's a good one. I always like that song, man.
• 34:37
  Speaker 3: I enjoy the... Because, you know, it's a real good
• 34:43
  Speaker 3: ending crescendo of the movie. It makes the movie feel good.
• 34:48
  Speaker 3: So I've always enjoyed that song. But the movie made
• 34:52
  Speaker 3: me like that song more. Whereas the movie might have
• 34:55
  Speaker 3: made Computer Blue go one way for other people. But
• 35:00
  Speaker 3: it did a positive thing with Baby I'ma Start With Me.
• 35:03
  Speaker 1: I thought that was a perfect way to end that movie.
• 35:06
  Speaker 2: Yo, it's such a church song too. With that organ.
• 35:17
  Speaker 2: It is such a church song. And then into purple.
• 35:19
  Speaker 1: Say it again. It's shout music. It is.
• 35:24
  Speaker 2: It is. And have you heard the story? And there's
• 35:26
  Speaker 2: a zillion stories that bounce. You never know which one
• 35:27
  Speaker 2: it is. But the thing about Purple Rain was somehow
• 35:30
  Speaker 2: Prince wound up at a Bob Seger concert. And was like,
• 35:34
  Speaker 2: I need one of these songs that make everybody sing along.
• 35:37
  Speaker 2: And they're like, yo, man, sometimes you just got to
• 35:39
  Speaker 2: take it down to the essence for them, right? They
• 35:41
  Speaker 2: need the power ballad. And that's kind of the genesis
• 35:45
  Speaker 2: of Purple Rain, which started as a country record. And
• 35:48
  Speaker 2: then when Wendy Melvoin got her hands on the intro,
• 35:50
  Speaker 2: the voicing of it changed. And it didn't wind up
• 35:53
  Speaker 2: in that place.
• 35:54
  Speaker 1: It is.
• 35:56
  Speaker 2: It's tricky because I feel like there are lots of
• 35:59
  Speaker 2: songs that are better and lots of things that are
• 36:01
  Speaker 2: more creative maybe and everything else. But there is nothing
• 36:05
  Speaker 2: that hits like a super dope live version of Purple Rain.
• 36:08
  Speaker 2: Like nothing hits quite like it does. The one on
• 36:12
  Speaker 2: the Syracuse concert, which forget about the Rock and Roll
• 36:16
  Speaker 2: Hall of Fame performance. That's the best solo in the
• 36:17
  Speaker 2: catalog to live solo if you go find it. But
• 36:20
  Speaker 2: it's just like, hey, man, I'm going to make everybody
• 36:23
  Speaker 2: in here cry. It could be done. Watch this.
• 36:26
  Speaker 3: I remember when you made me watch that. You were like, bro,
• 36:32
  Speaker 3: you need to see this specific show.
• 36:35
  Speaker 1: You know what I'm saying? And I was like, man,
• 36:37
  Speaker 1: this might be the most amazing thing I've ever seen.
• 36:40
  Speaker 3: You know what I mean?
• 36:45
  Speaker 1: Let's not forget about the Super Bowl performance, too. You
• 36:47
  Speaker 1: know what I mean? Right.
• 36:49
  Speaker 2: And this is a whole nother like that was that
• 36:51
  Speaker 2: was him at the peak of his powers. Like me
• 36:54
  Speaker 2: and my brother talked about this because we sat up
• 36:55
  Speaker 2: here and we watched something off. I think it was
• 36:57
  Speaker 2: the new tour right around when Love Sexy came out.
• 37:00
  Speaker 2: And we're like the difference between those late 80s concerts
• 37:03
  Speaker 2: in 85 is even if you think the music was better,
• 37:07
  Speaker 2: his light never shone brighter. than it did in 1985, right?
• 37:13
  Speaker 2: Like it is a recognition. This, I am the illest
• 37:16
  Speaker 2: and everybody else knows that I'm the illest too. Like
• 37:19
  Speaker 2: right now, it's never going to be like this again.
• 37:22
  Speaker 2: I got a band with an energy that you're never
• 37:24
  Speaker 2: going to be able to replicate again. Everybody's having a
• 37:27
  Speaker 2: great time for the money and the fame and everything
• 37:30
  Speaker 2: get out of control. Like, he is there and like
• 37:34
  Speaker 2: everything that happens after is still dope.
• 37:36
  Speaker 1: Right.
• 37:36
  Speaker 2: But I, that is a, I wish I was there
• 37:40
  Speaker 2: for a moment to understand what the apex of something
• 37:43
  Speaker 2: truly was. Like, it's like when I compared to like
• 37:47
  Speaker 2: Jordan in 92 or like LeBron in 2012, where you
• 37:50
  Speaker 2: watch LeBron and you're just like, Hey man, it ain't
• 37:53
  Speaker 2: never going to be like, nothing's going to be like
• 37:55
  Speaker 2: this again ever. And he was there. And while he's there,
• 38:01
  Speaker 2: he's like, oh, by the way, I'm going to put
• 38:02
  Speaker 2: out another album because I've gotten bored with this shit already.
• 38:05
  Speaker 1: Already?
• 38:06
  Speaker 2: Yeah.
• 38:07
  Speaker 1: I'm moving on. Right.
• 38:09
  Speaker 2: But it winds up being after that, and I'm curious
• 38:11
  Speaker 2: if you see something similar to me. After that, it
• 38:15
  Speaker 2: feels like he put out a series of albums that
• 38:21
  Speaker 2: were certainly excellent, but because he was moving faster than
• 38:25
  Speaker 2: people could digest, the ability to fully appreciate it wasn't
• 38:29
  Speaker 2: necessarily there. I went back and got really into Around
• 38:32
  Speaker 2: the World in a day. In the last six months
• 38:35
  Speaker 2: or so, that record is incredible. Like it is just
• 38:39
  Speaker 2: so completely different than Purple Rain. And by the time
• 38:42
  Speaker 2: they're done with videos for that, he's already moved on
• 38:45
  Speaker 2: to Christopher Tracy.
• 38:48
  Speaker 1: Already on parade.
• 38:50
  Speaker 2: Yeah, but right then he was in his Beatles bag
• 38:53
  Speaker 2: on that one. He tries to claim that wasn't what
• 38:56
  Speaker 2: he was doing. But to me, what was very clear
• 38:58
  Speaker 2: is that not only was he in his Beatles bag,
• 39:00
  Speaker 2: he had a desire that I find a little unseemly,
• 39:03
  Speaker 2: but he wanted to be white folks to give him
• 39:05
  Speaker 2: his credit.
• 39:05
  Speaker 1: Right.
• 39:06
  Speaker 2: Like he felt like he deserved to be viewed as
• 39:08
  Speaker 2: a very much an ego play with the visionaries on
• 39:11
  Speaker 2: a certain level. And then he as as often he
• 39:14
  Speaker 2: decides to show people he could do whatever their favorites
• 39:16
  Speaker 2: did better. It felt very, very much like he was
• 39:20
  Speaker 2: in a Beatles bag on that one, as much a
• 39:22
  Speaker 2: demonstration of a point as anything else. But I ain't
• 39:25
  Speaker 2: mad because it was going.
• 39:28
  Speaker 1: Do you think.
• 39:28
  Speaker 3: um do you think parade uh and under the cherry
• 39:32
  Speaker 3: moon uh subsequently like uh would you consider them predecessors
• 39:36
  Speaker 3: to something like uh 808 some heartbreak by kanye because
• 39:40
  Speaker 3: when i heard you said like i heard you say
• 39:42
  Speaker 3: like this was a time where Prince wanted the white
• 39:46
  Speaker 3: people to take him seriously as a visionary because he
• 39:48
  Speaker 3: saw himself as a visionary. I think Kanye West was
• 39:52
  Speaker 3: doing the same sort of thing with 808's heartbreak.
• 39:55
  Speaker 1: You know what I mean?
• 39:56
  Speaker 2: I feel like with 808's, Kanye was so depressed and
• 40:01
  Speaker 2: put out an incredible, we recorded this in two weeks, like,
• 40:05
  Speaker 2: depressed record. Which I love. Yeah, which I love when
• 40:09
  Speaker 2: it came out. I think, so... I think with Around
• 40:13
  Speaker 2: the World in a Day, he was very particular, although
• 40:16
  Speaker 2: Around the World in a Day has America on it,
• 40:17
  Speaker 2: and America is funky as anything that he put out.
• 40:21
  Speaker 2: He's got Raspberry Beret, which every concert I went to, man,
• 40:23
  Speaker 2: people love that shit.
• 40:24
  Speaker 3: That's a great song, bro. That's another expertly written record.
• 40:29
  Speaker 1: It is. It is.
• 40:30
  Speaker 2: I merely like it a lot.
• 40:34
  Speaker 3: I'm big on Pop Life. That's on Around the World
• 40:36
  Speaker 3: in a Day, too.
• 40:36
  Speaker 2: Yeah, I love Pop Life. Around the World in a Day,
• 40:39
  Speaker 2: I mean, so the title track, Paisley Park, Condition of
• 40:42
  Speaker 2: the Heart, Raspberry Beret, and Tambourine is side A.
• 40:48
  Speaker 1: Right?
• 40:49
  Speaker 2: On the back sides, you got what? America, Pop Life,
• 40:53
  Speaker 2: The Ladder, and Temptation. And I think there's one more
• 40:58
  Speaker 2: that I'm missing on the second half. But America, they
• 41:00
  Speaker 2: put out a 25-minute version of America with the Around
• 41:03
  Speaker 2: the World Today release. And man, they are jamming. Like
• 41:07
  Speaker 2: that's as hard funk record as he did. Parade has
• 41:11
  Speaker 2: taken on this new life because you remember that time
• 41:14
  Speaker 2: that Lupe Fiasco said It Was Written was his favorite
• 41:16
  Speaker 2: Nas record and then all y'all then decided to pretend
• 41:19
  Speaker 2: like It Was Written is better than it ever was
• 41:21
  Speaker 2: in the first place because somebody said it was good.
• 41:23
  Speaker 1: I was on that before Lupe. Yeah, good for you.
• 41:28
  Speaker 2: And you felt like you was kind of lonely back then, though.
• 41:32
  Speaker 1: Didn't you? I did.
• 41:33
  Speaker 3: That's all I'm saying. I've never been on the, it
• 41:35
  Speaker 3: was better than Illmatic. I just said it was much
• 41:38
  Speaker 3: better than people remember it being.
• 41:40
  Speaker 1: You know what I mean? And I liked it.
• 41:42
  Speaker 3: I personally enjoyed listening to that album more than I
• 41:45
  Speaker 3: enjoyed listening to Illmatic at that point in my life.
• 41:48
  Speaker 1: You know what I mean? I can see the point, right?
• 41:50
  Speaker 2: My point in bringing that up, aside from needling you
• 41:54
  Speaker 2: about it was written, but my thing was, is that
• 41:59
  Speaker 2: I think the way records are perceived can be changed
• 42:01
  Speaker 2: when someone that people respect offers a positive opinion of it. Um,
• 42:05
  Speaker 2: for example, I find that white listeners are really into
• 42:08
  Speaker 2: black artists that their white favorites said that they loved
• 42:10
  Speaker 2: like the Beatles talking about Chuck Berry helped bring Chuck
• 42:13
  Speaker 2: Berry back because the Beatles talked about it in that way.
• 42:15
  Speaker 1: Right.
• 42:16
  Speaker 2: Um, That clip of Nelson George and D'Angelo talking and
• 42:20
  Speaker 2: D'Angelo saying that Parade is the best funk album ever,
• 42:23
  Speaker 2: which is clearly D'Angelo trying to get an answer off
• 42:25
  Speaker 2: the top of his head. He throws it out there.
• 42:27
  Speaker 2: I've seen Jill Scott say the same thing. Parade got
• 42:30
  Speaker 2: some jams, but get the fuck out of here. People
• 42:33
  Speaker 2: are not convincing me. of this one I love the
• 42:37
  Speaker 2: like extended another love a hole in your head a
• 42:39
  Speaker 2: love do you lie um new position like it's a
• 42:43
  Speaker 2: we it's an interestingly weird record because he's going on
• 42:46
  Speaker 2: this kind of French lounge theme or whatever it's got
• 42:50
  Speaker 2: kiss on it which is one of those that I
• 42:51
  Speaker 2: don't love as much as everybody else but it's kind
• 42:53
  Speaker 2: of a defining single I do not like sometimes it
• 42:57
  Speaker 2: snows in April I flat out don't like.
• 42:59
  Speaker 3: It okay I mean it's just yeah yeah boring You
• 43:06
  Speaker 3: know what the dude got on it, though?
• 43:07
  Speaker 1: Mountain.
• 43:07
  Speaker 2: Mountain.
• 43:08
  Speaker 1: It does have mountains.
• 43:09
  Speaker 2: It does have mountains. Mountain goes.
• 43:13
  Speaker 1: Mountain's jamming like a fool, man. I'm telling you. Yeah, yeah.
• 43:16
  Speaker 2: Like, I think everything he did, even if you didn't
• 43:19
  Speaker 2: love the record, everything he did was go have some
• 43:21
  Speaker 2: jams on it. That one, of course, has the issue of,
• 43:24
  Speaker 2: as my brother said, the only two movies worse than
• 43:27
  Speaker 2: Purple Rain are Under the Cherry Booth and Graffiti Bridge.
• 43:30
  Speaker 2: And Graffiti Bridge. They're the only two records ever made
• 43:37
  Speaker 2: that are worse than those. Oh, Girls and Boys. Forgot
• 43:40
  Speaker 2: about that one.
• 43:43
  Speaker 1: Man, so much, so much heat, bro.
• 43:46
  Speaker 2: By the way, Purple Rain, Around the World, and The Day,
• 43:49
  Speaker 2: these all come out within, like, two years.
• 43:53
  Speaker 1: Yeah. I mean, yeah.
• 43:54
  Speaker 3: I mean, that's what I was saying. That's why I
• 43:55
  Speaker 3: was asking you, like, was this his genius period? Because
• 43:57
  Speaker 3: the level of output that would, you know, and the...
• 44:03
  Speaker 3: The frequency and the level at the same time.
• 44:07
  Speaker 2: And we're not even talking about all the stuff he
• 44:09
  Speaker 2: did for the time, right? We're not talking about Glamorous
• 44:12
  Speaker 2: Life and the Sheila E.
• 44:13
  Speaker 1: Records, right?
• 44:14
  Speaker 2: We haven't gotten to Manic Monday and all this, and
• 44:16
  Speaker 2: we just now getting to Sign of the Times.
• 44:18
  Speaker 1: Oh, man, I forgot the family came out in between.
• 44:21
  Speaker 2: Nothing compares to you. I got so much heat, I
• 44:23
  Speaker 2: will give nothing compares to you to people you will
• 44:26
  Speaker 2: never think about ever again.
• 44:27
  Speaker 1: Yeah.
• 44:29
  Speaker 3: I'm going to give this record to the bald-headed Irish lady.
• 44:32
  Speaker 3: It's going to become a number one hit. You know
• 44:34
  Speaker 3: what I'm saying?
• 44:35
  Speaker 2: But that's after I give it to the family.
• 44:37
  Speaker 1: Right, right.
• 44:39
  Speaker 2: After I give it to them. And now I'm going
• 44:42
  Speaker 2: to do Sign of the Times.
• 44:43
  Speaker 1: And, man.
• 44:45
  Speaker 2: Sign of the Times is the one where I had
• 44:47
  Speaker 2: always said for the longest that it was the best
• 44:50
  Speaker 2: Prince record. And technically speaking, it might be the best
• 44:52
  Speaker 2: Prince record. I think you put it all together, it's still...
• 44:55
  Speaker 2: Purple Rain did not sell a zillion of those copies
• 44:57
  Speaker 2: because he sold out. It sold a zillion of those
• 44:59
  Speaker 2: copies because it was a truly visionary piece of work.
• 45:02
  Speaker 2: But Sign of the Times, I think he was in
• 45:04
  Speaker 2: his songwriting bag. If I Was Your Girlfriend is peak
• 45:08
  Speaker 2: songwriting bag.
• 45:09
  Speaker 1: Yep.
• 45:09
  Speaker 3: So is I Can Never Take the Place of Your Man.
• 45:13
  Speaker 1: Yes. I love that song so much. much, bro. I
• 45:16
  Speaker 1: do too. Love it.
• 45:18
  Speaker 2: The breakdown of the extended version?
• 45:23
  Speaker 1: Man.
• 45:23
  Speaker 2: Yeah.
• 45:25
  Speaker 3: Dorothy Parker. Yeah, Dorothy Parker, Starfish and Coffee. It's so
• 45:30
  Speaker 3: much heat on.
• 45:31
  Speaker 1: That album, dog.
• 45:33
  Speaker 2: Forever in my life, which I think has an argument
• 45:37
  Speaker 2: for it's up there on the most underrated songs of
• 45:39
  Speaker 2: all of these. And oh, and then there's a door.
• 45:44
  Speaker 1: Man.
• 45:45
  Speaker 3: Dawg, you know how, this is the coldest game I
• 45:49
  Speaker 3: ever heard in my life, bro. That bro said, the
• 45:52
  Speaker 3: man said, until the end of time. You know what
• 45:57
  Speaker 3: I'm saying?
• 46:00
  Speaker 1: Yes. Man.
• 46:02
  Speaker 2: Dude, Adore is up there with Az as like perfect
• 46:06
  Speaker 2: hyperbole of love. as in a door for me up
• 46:12
  Speaker 2: there with the two except friends keep it real you
• 46:14
  Speaker 2: can say that i'm a terminal case you can burn
• 46:17
  Speaker 2: up my clothes you can smash up my ride hey
• 46:21
  Speaker 2: maybe not the ride.
• 46:24
  Speaker 1: Yep yeah he had to kind of bring himself back
• 46:26
  Speaker 1: to reality real quick.
• 46:28
  Speaker 2: Yeah and that's the end of the album like you
• 46:30
  Speaker 2: get to the end of that and he's like all
• 46:31
  Speaker 2: right no more for you Like me and the homie
• 46:35
  Speaker 2: master were in here one day and we watched the Prince,
• 46:38
  Speaker 2: the 85 concert. And then it was over. And then
• 46:40
  Speaker 2: master looked at me and was like, so what's next?
• 46:43
  Speaker 2: And I was like, stop being greedy. But then I
• 46:44
  Speaker 2: was like, damn, what else are we supposed to do though?
• 46:47
  Speaker 1: You're right.
• 46:47
  Speaker 2: Like, like where that's how, when a door inside of
• 46:50
  Speaker 2: the times, it's like, wait a minute. So this is
• 46:53
  Speaker 2: just over.
• 46:53
  Speaker 1: Like we're not. That was it. There's no more. No.
• 46:57
  Speaker 1: I feel like I gave you all that. I feel
• 46:59
  Speaker 1: like I gave you all that heat. You know what
• 47:00
  Speaker 1: I'm saying? Yes.
• 47:02
  Speaker 2: And the deep album cuts on there to me are like,
• 47:06
  Speaker 2: it is underrated. I think about it, baby, all the time.
• 47:10
  Speaker 2: It goes hard. Slow Love goes hard. Strange Relationship goes hard.
• 47:16
  Speaker 2: All of these joints just go hard. And then after
• 47:20
  Speaker 2: this album though, the Black Album came out and then
• 47:23
  Speaker 2: there are the stories about why the Black Album didn't
• 47:25
  Speaker 2: come out. The Black Album I love in part because
• 47:28
  Speaker 2: at this time Prince clearly did not have much time
• 47:30
  Speaker 2: or respect for rap. So he decided to show everybody
• 47:33
  Speaker 2: that actually he could program drums better than all these
• 47:35
  Speaker 2: rappity rap guys can. And there is some incredible drum
• 47:38
  Speaker 2: program on the Black Album. Lights out.
• 47:41
  Speaker 1: I need to go revisit that album. I hadn't listened
• 47:43
  Speaker 1: to it in a very long time.
• 47:45
  Speaker 2: Yeah, I got it on vinyl.
• 47:47
  Speaker 1: Like, it is a.
• 47:49
  Speaker 2: It also, it has When Two Are In Love for
• 47:51
  Speaker 2: the first run. I think When Two Are In Love
• 47:53
  Speaker 2: is the only song that survived on the Love Sexy album.
• 47:56
  Speaker 2: which tells you how cold when two are in love
• 47:58
  Speaker 2: is because he felt he had to completely separate himself
• 48:00
  Speaker 2: from the black album because it was too dark. And
• 48:02
  Speaker 2: they were like, nah, but we keeping this one.
• 48:04
  Speaker 1: Yeah. That's the only song I remember from it. Really?
• 48:06
  Speaker 1: You know what I mean?
• 48:09
  Speaker 3: I need to go back and listen to that album
• 48:12
  Speaker 3: to kind of recalibrate my ears because it's been a really,
• 48:15
  Speaker 3: really long time since I listened to it.
• 48:17
  Speaker 2: Yeah. Like this, this is the stretch where it gets
• 48:20
  Speaker 2: a little weird, right? Love Sexy, look, Love Sexy got
• 48:23
  Speaker 2: Alphabet Street. It's got I Wish You Heaven. It's got
• 48:26
  Speaker 2: When Two Are In Love. It's got Anesthesia. It's got
• 48:28
  Speaker 2: some joints. But people were kind of like, hey, I
• 48:31
  Speaker 2: don't know.
• 48:33
  Speaker 1: Not sure.
• 48:34
  Speaker 2: Not fully sure. Then the Batman record came out. I
• 48:37
  Speaker 2: fuck with Batman. I don't know how you feel.
• 48:38
  Speaker 1: About the Batman record. No, I'm a big Batman person.
• 48:42
  Speaker 1: I really like that album. I feel like he took
• 48:44
  Speaker 1: that on as a challenge.
• 48:44
  Speaker 2: Yes.
• 48:45
  Speaker 1: Yes. You know what I'm saying?
• 48:48
  Speaker 2: He watched the movie and was like, oh, okay, cool.
• 48:50
  Speaker 2: I got you.
• 48:51
  Speaker 1: I got you. You know what I'm saying?
• 48:53
  Speaker 2: I got you. But I love the future. The future,
• 48:57
  Speaker 2: Party Man, I'm a, if you say so, about scandalous.
• 49:03
  Speaker 2: And even Bad Dance. Bad Dance is too long, but
• 49:05
  Speaker 2: it's like, okay, I see what's going on here. But
• 49:07
  Speaker 2: I appreciated that he's like, this is going to be,
• 49:10
  Speaker 2: it was a corporate synergy situation because Warner Brothers, okay,
• 49:14
  Speaker 2: so I have to remember for people who are too young,
• 49:16
  Speaker 2: In the summer of 1989, everything was about Batman everything
• 49:22
  Speaker 2: everything was about Batman Batman t-shirts everything.
• 49:27
  Speaker 1: It was dominating culture like you would not believe Right.
• 49:31
  Speaker 2: I can't think of anything that has ever dominated. Like
• 49:36
  Speaker 2: a movie that hadn't even come out yet. Jack Nicholson
• 49:38
  Speaker 2: is the Joker.
• 49:39
  Speaker 1: All of this.
• 49:40
  Speaker 2: It was everywhere. And then Warner Brothers was like, we
• 49:42
  Speaker 2: have Batman and we have Prince.
• 49:44
  Speaker 1: Why don't we.
• 49:47
  Speaker 2: Have Prince do the soundtrack? And Prince watched the movie.
• 49:50
  Speaker 2: They gave Prince a clip of the movie and he
• 49:51
  Speaker 2: was like, okay. And then just threw together a soundtrack
• 49:54
  Speaker 2: right fast for him.
• 49:56
  Speaker 1: You seen that clip of him playing the bass? I
• 49:58
  Speaker 1: think he playing Party Man. Yes. Oh, you know what
• 50:01
  Speaker 1: I mean? Yes. Oh, man. That's wonderful. It's so cool.
• 50:05
  Speaker 1: It's so cool, bro. Yes. That's another one of them moments.
• 50:10
  Speaker 3: This is a through line that's been going on through
• 50:13
  Speaker 3: this entire conversation where he's just like, hey, you know,
• 50:17
  Speaker 3: I'm not really trying to flex for real, but since
• 50:20
  Speaker 3: y'all here, it's time for me to show y'all that
• 50:24
  Speaker 3: I'm the coldest motherfucker here.
• 50:27
  Speaker 1: Yes. You know what I'm saying? I'll be calling the
• 50:29
  Speaker 1: motherfucker walking for sure.
• 50:31
  Speaker 2: I feel like Graffiti Bridge, again, terrible record, but also
• 50:37
  Speaker 2: I like Thieves in the Temple. He got some jams
• 50:40
  Speaker 2: on the album. It's a terrible movie, my fault, but
• 50:42
  Speaker 2: the record is not terrible. Alright, I'll go farther than
• 50:45
  Speaker 2: Thieves in the Temple. Can't stop this.
• 50:47
  Speaker 1: Feeling I got.
• 50:49
  Speaker 2: That one goes. The Question of You. That one goes.
• 50:55
  Speaker 2: Thieves in the Temple and my personal favorite Joy and Repetition.
• 51:01
  Speaker 1: That's a good one. That's a real good one, bro.
• 51:03
  Speaker 3: Woo-hoo-hoo!
• 51:05
  Speaker 1: That's a real good one.
• 51:06
  Speaker 2: It's so good! Like, I don't think anybody... Like, Joy
• 51:12
  Speaker 2: and Repetition is up there in the competition for, like,
• 51:15
  Speaker 2: best of the best for him.
• 51:19
  Speaker 1: Yeah, yeah. I would be inclined to agree that that
• 51:25
  Speaker 1: is a....
• 51:27
  Speaker 3: Should be a consensus top 10, maybe even top five
• 51:30
  Speaker 3: Prince song.
• 51:31
  Speaker 1: It's up there.
• 51:31
  Speaker 2: Like, it's that ill.
• 51:32
  Speaker 1: It's up there for sure. Right.
• 51:34
  Speaker 2: But we are also squarely in the era of talking
• 51:36
  Speaker 2: about Prince albums with, well, it's got some jams on it, right? Like,
• 51:40
  Speaker 2: but what's weird is Diamonds and Pearls is a record
• 51:43
  Speaker 2: I think of is, eh, it's got some jams on it,
• 51:45
  Speaker 2: except here are the first five singles on there. And again,
• 51:48
  Speaker 2: this is past prime Prince. Get Off Cream, Insatiable, Diamonds
• 51:52
  Speaker 2: and Pearls, and Money Don't Matter Tonight.
• 51:56
  Speaker 1: Jam after jam after jam after jam.
• 51:59
  Speaker 2: Dare I say five classics.
• 52:02
  Speaker 1: Yep.
• 52:04
  Speaker 2: And this is after it started to fall off just
• 52:08
  Speaker 2: a little bit. Jam after jam after jam.
• 52:11
  Speaker 1: So Diamonds and Pearls. This is the Earth, Wind and Fire.
• 52:15
  Speaker 2: I don't love this single. I mean, I don't love
• 52:17
  Speaker 2: the that that jam.
• 52:18
  Speaker 1: I do not love. Oh, Diamonds and Pearls. Well, I'm
• 52:21
  Speaker 1: just talking about the album in general.
• 52:23
  Speaker 2: Yes.
• 52:24
  Speaker 3: But that's the Earth, Wind & Fire album for Prince,
• 52:28
  Speaker 3: where the music on Diamonds & Pearls sounds really pretty.
• 52:33
  Speaker 1: You're right. You know what I mean?
• 52:35
  Speaker 2: You're right.
• 52:36
  Speaker 1: You're right.
• 52:36
  Speaker 2: This is around the era where he and Mike were like,
• 52:39
  Speaker 2: I want the brothers and sisters to love me again.
• 52:42
  Speaker 1: Yeah. Right?
• 52:44
  Speaker 2: They both came back home. The Love Symbol album, which
• 52:48
  Speaker 2: is right before it gets really weird. Um, that's got
• 52:51
  Speaker 2: sexy motherfucker to morning papers, love to the nines. Damn
• 52:54
  Speaker 2: you and seven.
• 52:57
  Speaker 1: Damn you is a very, very underrated Prince. Yes, it is. Yes,
• 53:03
  Speaker 1: it is. Yes, it is.
• 53:06
  Speaker 2: Like the thing for me, though, after this, when you
• 53:08
  Speaker 2: get to the post Warner, there's a lot of really
• 53:10
  Speaker 2: good stuff post Warner, right? It's not always the easiest
• 53:14
  Speaker 2: to talk about because you got the records that he
• 53:16
  Speaker 2: put out just to spite Warner, right? Like you've got
• 53:19
  Speaker 2: like the Chaos and Disorder and Cumbria's clearly just trying
• 53:21
  Speaker 2: to get out of the deal. But you wind up
• 53:24
  Speaker 2: with like the Gold Experience. The Gold Experience has got,
• 53:27
  Speaker 2: it's got Billy Jack Bitch. It's got I Hate You. Yeah, like, oh,
• 53:33
  Speaker 2: this has some jams. Emancipation is way too long, but
• 53:37
  Speaker 2: I contend the second disc of Emancipation is the last
• 53:40
  Speaker 2: true classic that Prince did. If all he put out
• 53:43
  Speaker 2: was disc two.
• 53:45
  Speaker 1: He'd have another classic on his hands.
• 53:47
  Speaker 2: We got another classic just by itself. And then, as I...
• 53:52
  Speaker 2: Perhaps one of my boldest takes, I told you... You
• 53:55
  Speaker 2: and I talked about this briefly. The B-side... Prince in
• 54:01
  Speaker 2: his B-side bag... because that's not something that people really
• 54:05
  Speaker 2: do anymore, I can make an argument that between like
• 54:08
  Speaker 2: 82 and 85, he put out a classic album if
• 54:13
  Speaker 2: you just collected B-sides, right? So how come you don't
• 54:18
  Speaker 2: call me anymore? Irresistible Bitch. I tell my mama I'm
• 54:24
  Speaker 2: doing all this cussing because he's the name of the songs.
• 54:27
  Speaker 2: 17 Days. Erotic City.
• 54:32
  Speaker 1: Man, that's two for two right there, bro.
• 54:34
  Speaker 2: God, which is not bad. Another Lonely Christmas. Girl is
• 54:41
  Speaker 2: in here somewhere. Oh yeah, girl. Oh, she's always in
• 54:43
  Speaker 2: my hair.
• 54:45
  Speaker 1: My fault.
• 54:46
  Speaker 2: Almost forgot that one. Girl, I think is the second.
• 54:51
  Speaker 1: Yeah, girl.
• 54:52
  Speaker 2: Girl is the B-side to Pop Life and Hello is
• 54:56
  Speaker 2: also on there. Those B-sides, put those together. That's a
• 55:01
  Speaker 2: classic LP.
• 55:02
  Speaker 1: You got a classic album.
• 55:05
  Speaker 3: Oh, man, you reminded me about something we were speaking
• 55:08
  Speaker 3: about earlier about Prince Records that DJs play, that we
• 55:13
  Speaker 3: can play. Erotic City is another one that I feel
• 55:17
  Speaker 3: the mission. But that's 100% a record that DJs play.
• 55:22
  Speaker 3: like on a regular, even still to this day, you know, that's,
• 55:25
  Speaker 3: that's definitely a, that's definitely one you got to keep in, uh,
• 55:28
  Speaker 3: keep in Serato or keep in your, in your crates.
• 55:31
  Speaker 1: You know what I mean?
• 55:31
  Speaker 2: You want to, you know what DJ I have heard play, um,
• 55:36
  Speaker 2: play erotic city.
• 55:38
  Speaker 1: Who was that?
• 55:39
  Speaker 2: DJ Mike hit man. I heard him play it once
• 55:43
  Speaker 2: as the first song at a wedding.
• 55:45
  Speaker 1: Oh man. That's that, that, that tracks. That's wild. Yeah.
• 55:52
  Speaker 3: That track that track shout out to dj mike hitman bro.
• 55:55
  Speaker 2: Dj mike hitman anytime i mention mike like this is
• 55:58
  Speaker 2: my reminder that it's been too long since i talked
• 56:00
  Speaker 2: to mike it's always been too long since i talked
• 56:03
  Speaker 2: to mike but no this is like the music is
• 56:07
  Speaker 2: such an incredible thing right just this just rattling and
• 56:11
  Speaker 2: running through songs like my brother makes the point he
• 56:13
  Speaker 2: said before that he doesn't know any act where the
• 56:16
  Speaker 2: fans can talk about the songs in depth like they can.
• 56:19
  Speaker 2: And that's, I think, in part because his familiarity with
• 56:21
  Speaker 2: this world. There are other places and other worlds in
• 56:24
  Speaker 2: which you could talk about it, like Beatles fans could
• 56:26
  Speaker 2: talk about the records in the same way with Prince.
• 56:28
  Speaker 2: But for me, it does feel like it's more fun
• 56:30
  Speaker 2: just because the range goes so far and what is
• 56:34
  Speaker 2: possible on those records is so far. And again, we
• 56:37
  Speaker 2: didn't even get to talk about all the stuff that
• 56:39
  Speaker 2: isn't actually, well, it's his, but it ain't his because
• 56:42
  Speaker 2: he ain't do the song. Like, we went with 777-9311.
• 56:46
  Speaker 2: We didn't get around to talking about that beast of
• 56:49
  Speaker 2: a piece of work.
• 56:51
  Speaker 1: Man.
• 56:53
  Speaker 3: We talked about a song that bass players are mystified
• 56:58
  Speaker 3: by because of the bass line. We talked about a
• 57:01
  Speaker 3: song that guitar players are mystified by by the solo.
• 57:04
  Speaker 3: 777 is the song that drummers are mystified by.
• 57:07
  Speaker 1: You know what I'm saying?
• 57:10
  Speaker 2: How did you do that?
• 57:11
  Speaker 1: Like, How is this happening, bro? You know what I mean?
• 57:15
  Speaker 2: But hold up. There's another weird thing about that, which
• 57:17
  Speaker 2: is I've watched him play 7-7, 93-11. And okay, look.
• 57:22
  Speaker 2: I am not a musician. I don't have a lot
• 57:26
  Speaker 2: of musical gear that I know that much about. But
• 57:28
  Speaker 2: the one thing my ear can always pick up is
• 57:31
  Speaker 2: when somebody is playing the Fender Jazz. Fender Jazz bass.
• 57:34
  Speaker 2: If you play bass on the Fender Jazz... Like, all
• 57:37
  Speaker 2: my favorite bass players, that's what they're about. If you
• 57:39
  Speaker 2: listen to somebody play bass on a reggae record, like
• 57:42
  Speaker 2: Aston Barrett or those guys, it's a very lush, in-front
• 57:46
  Speaker 2: bass sound.
• 57:46
  Speaker 1: You can pick the tone out. Yep.
• 57:50
  Speaker 2: Like, if I hear it and I point it out
• 57:51
  Speaker 2: to you, you will be able to hear it everywhere else.
• 57:54
  Speaker 2: But it is not a slap bass, right?
• 57:57
  Speaker 1: Mm-hmm.
• 57:58
  Speaker 2: 7-7-7-93-11, I watched Prince do that, and he's slapping on
• 58:02
  Speaker 2: a Fender Jazz. And I'm like, I don't think I've
• 58:04
  Speaker 2: ever seen anybody try to slap on a Fender Jazz.
• 58:07
  Speaker 2: And that's another one where he feels like, yeah, nobody
• 58:09
  Speaker 2: else can do this. And he gave that song to
• 58:13
  Speaker 2: somebody else in part because where it gets weird, a
• 58:16
  Speaker 2: little bit too black, and his ambitions were to show
• 58:19
  Speaker 2: them that he could do their stuff and so the
• 58:21
  Speaker 2: time could come out here and put this jam out here.
• 58:27
  Speaker 1: Yeah, man. Prince, for all his genes, bro, he was
• 58:32
  Speaker 1: a first-rate asshole, G. You know what I'm saying?
• 58:35
  Speaker 2: Go ahead and say what you've been saying.
• 58:37
  Speaker 3: Bro, it's the thing that's always puzzled me about everyone
• 58:45
  Speaker 3: who's worked with Prince. They all say this with love
• 58:51
  Speaker 3: because they all love him. But they all also say,
• 58:56
  Speaker 3: That he was a terrible person to work with. But
• 58:59
  Speaker 3: the genius was so much genius that, you know, I
• 59:02
  Speaker 3: guess that would be the reason to stay around. And
• 59:05
  Speaker 3: i just be like man like bro look and i'm
• 59:08
  Speaker 3: i'm saying this is somebody that's five foot four okay right.
• 59:13
  Speaker 1: How come y'all just didn't slap that little nigga in
• 59:15
  Speaker 1: the head bro.
• 59:19
  Speaker 3: If he was being such an asshole especially like i
• 59:22
  Speaker 3: mean i mean i guess you know like you know,
• 59:24
  Speaker 3: I guess why Alexander O'Neill left, you know, that big
• 59:27
  Speaker 3: old dude from Mississippi, you know what I'm saying? He
• 59:28
  Speaker 3: probably would have like, like knocked about coal, but I
• 59:32
  Speaker 3: just didn't, I just never, I never got why no one,
• 59:35
  Speaker 3: I never hear stories about people, uh, uh, fighting back
• 59:41
  Speaker 3: against his, uh, his dictatorship. So, so to speak, you
• 59:45
  Speaker 3: know what I mean? But I guess that's because, you know, uh,
• 59:49
  Speaker 3: you made, you made the point to me when I,
• 59:51
  Speaker 3: when we talked about this, like, Usually what he was
• 59:54
  Speaker 3: saying was right.
• 59:56
  Speaker 2: Yeah, that's the thing about those cats. You just don't
• 59:59
  Speaker 2: like this Paul Simon line, I know you see through me,
• 1:00:02
  Speaker 2: but there's no tenderness beneath your honesty. Being right is
• 1:00:07
  Speaker 2: not sufficient. You know what the word is for brutal honesty? Brutality.
• 1:00:17
  Speaker 1: Yeah, there you go. Right?
• 1:00:18
  Speaker 2: And I say this as somebody who used to call
• 1:00:20
  Speaker 2: himself brutally honest. I'm like, okay, but it's brutal. Like,
• 1:00:23
  Speaker 2: that doesn't change the fact. And it sounds like it
• 1:00:26
  Speaker 2: wasn't always like that. Like, it really got there around, like, 83,
• 1:00:30
  Speaker 2: 84 is when it starts getting out of hand. And then, like,
• 1:00:34
  Speaker 2: especially post-Purple Rain, where nobody could tell him a single thing. Like,
• 1:00:39
  Speaker 2: I think Warner Brothers gets a bad rap. They're like, brother,
• 1:00:42
  Speaker 2: you just can't put out a record every year, man.
• 1:00:45
  Speaker 2: Let it breathe.
• 1:00:47
  Speaker 1: I feel like a slave.
• 1:00:48
  Speaker 2: We try to make you work less. You the one
• 1:00:50
  Speaker 2: that be in the field all day long. We ain't
• 1:00:54
  Speaker 2: sold the last crop yet.
• 1:00:58
  Speaker 1: Chill out. We ain't even got the harvest yet. And
• 1:01:01
  Speaker 1: you're out here playing most of these.
• 1:01:04
  Speaker 2: Right. Like, come on, bro. Just relax. But they all are, right? Like, hey, man,
• 1:01:10
  Speaker 2: you saw the things about them cats trying to fight
• 1:01:12
  Speaker 2: Stevie Wonder, getting their ass whooped, but trying to fight
• 1:01:14
  Speaker 2: Stevie Wonder.
• 1:01:16
  Speaker 1: No, I hadn't seen this at all.
• 1:01:18
  Speaker 2: Oh man, Ray Parker Jr. tell a story about they
• 1:01:21
  Speaker 2: had some drummer He got sick of Stevie. Stevie was
• 1:01:25
  Speaker 2: the guy calling people in at 3 o'clock in the morning,
• 1:01:27
  Speaker 2: calling them back after they'd already left. All of this
• 1:01:30
  Speaker 2: because these geniuses just have so much going on in
• 1:01:31
  Speaker 2: their heads. If they need other people to be there
• 1:01:34
  Speaker 2: for it, they try to bring them back. Anyway, the
• 1:01:37
  Speaker 2: drummer said he had enough of Stevie's shit. He said
• 1:01:39
  Speaker 2: he was going to fight Stevie. They decided that in
• 1:01:42
  Speaker 2: order to make it fair, that they would blindfold him.
• 1:01:46
  Speaker 2: Him and Stevie had a fight.
• 1:01:48
  Speaker 1: Oh, man. This sounds amazing. Said Stevie. Stevie.
• 1:01:52
  Speaker 2: Yeah, that boy the beats. Oh, my God. I mean,
• 1:01:59
  Speaker 2: depending on what you believe, Stevie be like that all
• 1:02:02
  Speaker 2: the time. This brand new to him. So he out
• 1:02:05
  Speaker 2: here dizzy, don't know up from down.
• 1:02:08
  Speaker 1: Yeah, man. You know, Stevie got them. You like Daredevil, man.
• 1:02:14
  Speaker 1: Got them heightened senses.
• 1:02:16
  Speaker 2: Yeah, Stevie like Stevie knocked him off his feet.
• 1:02:19
  Speaker 1: Yeah.
• 1:02:23
  Speaker 2: Stevie looked at him and was like, I ain't going
• 1:02:28
  Speaker 2: to stand for this.
• 1:02:30
  Speaker 1: Way to land a plane. That was fantastic.
• 1:02:34
  Speaker 2: Stevie hit him with that master blaster.
• 1:02:36
  Speaker 1: That's right. Amen.
• 1:02:37
  Speaker 2: Sometimes that's just what somebody need. in that moment, you
• 1:02:51
  Speaker 2: know what I'm saying? Stevie had to, Stevie had to
• 1:02:53
  Speaker 2: let them know.
• 1:02:55
  Speaker 3: Oh man, I guess, I guess, I guess, I guess
• 1:02:56
  Speaker 3: my tip of me is I can't be around genius.
• 1:02:58
  Speaker 3: Cause I'd be like, man, I just, I got, I
• 1:03:03
  Speaker 3: think you got some kind of issue with authority just
• 1:03:05
  Speaker 3: in general. You know what I'm saying? And that, that
• 1:03:08
  Speaker 3: might be a Napoleon complex on my fault. It might
• 1:03:11
  Speaker 3: be because, you know, I'm an only child who knows,
• 1:03:12
  Speaker 3: you know, it could, it could be something deep rooted.
• 1:03:14
  Speaker 3: I got to work out therapy, but, but I just
• 1:03:17
  Speaker 3: be like, you know, like, uh, You've seen that Mason
• 1:03:24
  Speaker 3: Cameron podcast when they talk.
• 1:03:26
  Speaker 1: And Mason's like.
• 1:03:29
  Speaker 2: Talk about Jake Prince.
• 1:03:30
  Speaker 1: Who is, who are you? That's who I would have been.
• 1:03:36
  Speaker 3: I'd be like, Prince would be like, you know, the
• 1:03:40
  Speaker 3: one story that comes to my head right now is
• 1:03:42
  Speaker 3: Jimmy Jam talking about, you know, them doing 7-7, performing 7-7-7.
• 1:03:47
  Speaker 1: And Prince is like, Jimmy Jam, why aren't you doing
• 1:03:49
  Speaker 1: the steps?
• 1:03:50
  Speaker 3: He's like, you know, he playing the song and Prince
• 1:03:53
  Speaker 3: is like, why aren't you doing the steps while you're playing,
• 1:03:55
  Speaker 3: Jimmy Jam? And, you know, Jimmy Jam just playing with
• 1:03:57
  Speaker 3: his left hand and Prince is like, Jimmy Jam, why
• 1:04:00
  Speaker 3: aren't you playing with both hands and doing the steps,
• 1:04:02
  Speaker 3: Jimmy Jam? And I'm looking like, man, Jimmy Jam got
• 1:04:04
  Speaker 3: to be, what, a good 6'2, 6'3? You know what
• 1:04:07
  Speaker 3: I'm saying?
• 1:04:08
  Speaker 1: You know.
• 1:04:09
  Speaker 3: And, you know, this man down here, you know, he
• 1:04:12
  Speaker 3: down here where I'm at, right? And he little. You
• 1:04:16
  Speaker 3: know what I'm saying?
• 1:04:17
  Speaker 1: And I'm like, bro, man, I've been like, I'd be like, boy,
• 1:04:21
  Speaker 1: if you don't get up my face and do bullshit, bro.
• 1:04:24
  Speaker 1: You know what I'm saying?
• 1:04:25
  Speaker 2: Prince sounds like that story that Leonard did on Kawhi Leonard.
• 1:04:28
  Speaker 2: And they said, well, Kawhi Leonard was in college and
• 1:04:30
  Speaker 2: they were watching film and they were struggling on defense.
• 1:04:33
  Speaker 2: And Kawhi Leonard had the suggestion, why don't you guys
• 1:04:36
  Speaker 2: just do what I do and stay in front of
• 1:04:37
  Speaker 2: your man?
• 1:04:40
  Speaker 1: It's simple to the genius.
• 1:04:42
  Speaker 3: It's definitely simple to the genius. They don't understand why
• 1:04:46
  Speaker 3: it ain't simple to everybody else.
• 1:04:48
  Speaker 2: Yeah why can you just not do the thing like.
• 1:04:53
  Speaker 3: Yeah i i taught i uh i taught some some
• 1:04:55
  Speaker 3: dj classes before and i i had to uh i
• 1:04:57
  Speaker 3: had to reign in my patience one time with a
• 1:04:59
  Speaker 3: with a uh what a client i had because they
• 1:05:02
  Speaker 3: were doing something that that is in my in my
• 1:05:05
  Speaker 3: mind is this one of the simplest acts any kind
• 1:05:08
  Speaker 3: of dj could do and they just couldn't get it
• 1:05:09
  Speaker 3: at all you know and i was like what do
• 1:05:12
  Speaker 3: you mean you can't get it bro i'm like i'm
• 1:05:15
  Speaker 3: This is too easy.
• 1:05:16
  Speaker 1: Here you go.
• 1:05:20
  Speaker 2: Here you go. Somebody said, I don't understand why somebody
• 1:05:24
  Speaker 2: don't just slap that little motherfucker in the head.
• 1:05:26
  Speaker 1: I know. I know. Somebody out here. Hey, I'm carrying
• 1:05:30
  Speaker 1: this one, baby. You know, nothing like being contradictory. You
• 1:05:33
  Speaker 1: know what I'm saying? Hey, man.
• 1:05:34
  Speaker 2: That is DJ Wally Sparks. Check him out on Twitch,
• 1:05:38
  Speaker 2: twitch.tv slash DJ Wally Sparks. Check him out on Twitter
• 1:05:42
  Speaker 2: at DJ Wally Sparks. My brother, I appreciate you.
• 1:05:45
  Speaker 1: Thank you, man. I enjoy having these conversations, man, all
• 1:05:48
  Speaker 1: the time.
• 1:05:49
  Speaker 2: Hey, man.
• 1:05:49
  Speaker 1: Thank you.
• 1:05:50
  Speaker 2: And ladies and gentlemen, thanks so much for joining us
• 1:05:51
  Speaker 2: here on The Right Time. We do this four times
• 1:05:54
  Speaker 2: a week. Ryan Brumley handles everything behind the scenes. Thank you, sir.
• 1:05:58
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• 1:06:04
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• 1:06:07
  Speaker 2: give us four stars. I'm inclined to believe you are
• 1:06:09
  Speaker 2: a hater. And we'll talk to you guys in a
• 1:06:10
  Speaker 2: couple of days. Take it easy.