Jurisdiction disputes in the Sibling Rivalry Collection Race at times precluded me from liking bands more suited to my tastes than my brother’s — Madonna and Depeche Mode spring to mind. But for the most part, my brother was more than welcome to some of his claims.
He dug Prince. I did not.
I liked a few of his singles, but in terms of overall output, I didn’t see the appeal. I appreciate Prince now, but I still wouldn’t consider myself a fan.
Oddly enough, I did become a fan of Wendy and Lisa. I’m not sure what drew my attention to them, aside from being featured so prominently in videos. (Or maybe I subconsciously picked up on the gay undertone of the pair.) When Prince broke up the Revolution, my brother continued to follow him, leaving me to take up the cause for Wendy and Lisa.
Parade is my favorite of the Prince and the Revolution albums. Sure, “Kiss” and “Mountains” are solid singles, but that psychedelic first side went beyond rock, funk, pop, whatever the hell else. It was thoroughly composed, no less structurally taut than a piece by Mozart or Beethoven. And for the longest time, I thought Parade was all I really needed from Prince.
As I got deeper into expanding my vinyl collection, I thought about those albums my brother had that I too wanted — Graceland by Paul Simon, … Nothing Like the Sun by Sting, Like a Virgin by Madonna. When I exhausted the overlap, I turned my attention to other parts of his collection.
I doubt I would pick up Out of the Cellar by Ratt, or any of his Toto albums. But Prince and the Revolution? Those albums where Wendy and Lisa had the most influence? I was willing to check them out.
The Revolution is credited on only three albums, starting with Purple Rain. The streaming services helped me to determine it was the better starting point in my limited exploration of Prince.
The nine-track album yielded five singles, which were played to death on the radio. At the time, I would have loved nothing more than to never hear those songs again. But after 30 years, their familiarity is comforting.
That left four tracks to explore. The introduction to “Computer Blue” is a running joke among some friends of mine, and it should be one among yours as well. “Baby I’m a Star” is a nice glue between “I Would Die 4 U” and the title track. And of course, without “Darling Nikki”, there would be no Parents Music Resource Council and the marketing coup-de-grace of the “Explicit Lyrics” marker.
Aside: I remember buying an album with an “Explicit Lyrics” label at the Fort Shafter Exchange, and the clerk carded me because the store wouldn’t sell those albums to anyone under 18. The majority of my music shopping had migrated to Tower Records by then, and they sure as hell didn’t care.
While I wasn’t a stranger to Purple Rain at the time of its release, I don’t find it surprising my appreciation for the album comes as late in my life as it has.
I wasn’t schooled enough in race relations in the United States to grasp the divide between “black music” and “white music”. I just knew I dug bands from England, and Prince was not from England.
Now that I’ve learned the history of rock ‘n’ roll, I see how Prince transcends that divide. He’s a bad enough motherfucker that those labels don’t fucking apply.