SOTT is P’s 9th album & his 2nd double album after 1999 & his 1st solo outing since disbanding the Revolution after the Parade tour in 1986, which I was lucky to have attended.
Not my favourite P album tho’ as 1999 will be 4ver etched in my 💜as No.1.
SOTT is a P top 5 tho’!
But from an objective standpoint SOTT is his best ever album.
I can’t remember another album before or after that has incorporated so many different genres with such a unique voice & that didn’t come across as sounding pastiche.
SOTT is important not just for what it contained but also for where it led us.
It led me 2 a deeper exploration of Gospel, Jazz, R&B, Soul, Electro, Funk, Rock, Hip Hop etc.
Name 1 other album that can do that for U?
For 33 yrs I’ve thought about it long & hard but I can’t!
I mean some of his best ever tracks are on this - SOTT, Housequake, Ballad of Dorothy P & If I was Your Girlfriend - mind blowing & also at the time exciting indicators of future P!
Whatever SOTT is to you, it’s 1 of the best albums ever created & a def Top 10 in every list!
To paraphrase Alanis Morrisette - “And isn't it ironic, don't you think?” that SOTT doesn’t contain any of the MEGA hits that most casual listeners would know about!
The biggest hit was U Got The Look - No.2 in the US & No.11 in the UK.
UGTL was the hit single but the 1st single was the title track released on 18 Feb 1987.
It contained the first promo shot on the cover of a woman holding a black heart which disguised her face.
The back gave us a clearer view of her wearing glasses & holding a guitar.
There was an air of mystery & confusion about it all.
Then the picture disc came out, amping up the confusion. It featured P looking exactly like the woman on the cover. People thought P was in drag on the cover.
So this is how the myth evolved of P the ‘Transgender” person.
Some actually thought P had come out as a Transgender person.
In 1987 this caused a a ripple storm as it was a less progressive time.
Here is a German newspaper article chronicling the furore:
It says:
“Has Prince fallen for a girl or is guitar Prince a girl?”
We were used to cross dressers- Bowie & gay disco icon Sylvester did it in the 70’s & in the 80’s you had Divine, Boy George, Pete Burns of DOA, Marilyn & a host of others.
It was quite in vogue for New Romantic guys to be wearing make up, guy liner & effeminate clothing
But to some it was a shock to think P’s cross dressing had evolved from that into him becoming a Transgender person.
P wore heels, make up & had always been a little effeminate but no-one expected he would go this far.
It was quite jarring for some people!
But not 4 me!
Eventually, this rumour was quashed when the ID of the new (then unknown) dancer was revealed as Cat!
Some breathed a collective sigh of relief.
Of course things would be very different today as most open minded people wouldn’t blink an eye but ‘87 was a different time.
Was it a well orchestrated campaign to introduce his alter ego Camille to the world in small digestible doses?
P had transformed his image once again - the Parade quiff had gone & he was in glasses, had pigtails & plaits & the new colour was 🍑 & 🖤
It shows a cluttered background of debris, a junked auto & a glowing Purple Crystal Ball sitting on top of the drum riser - a reminder to the Crystal Ball album.
It all looks apocalyptic...
In the foreground, is a blurry image of half of P’s face.
Regarding the blurry shot of P this is what Jeff Katz said in recent interviews with @voguemagazine & @Housequake 👇
A set built with multiple signs - Bar Grill, Hotel Room, Arcade, Drugs, Girls was borrowed from the "Guys & Dolls" play being performed at the Chanhassen Dinner Theatre.
1st pressings contained an image of branded cookies on a box - later hidden on a corrected US version.
On the ‘Parade’ Tour speakers is THAT face - “IT”!
P brought it from his Galpin home & “it” also decorated the Vault.
WTF is it? I asked around & no-one knew.
Then I asked P’s former Manager @ruthlesdva & she knew!
Any guesses?
It’s an obscured/partially hidden face coming out of a Vagina!
So I said you’re kidding right! But I looked again & within a minute, I’d figured it out!
It signifies REBIRTH!
Told Ruth & she confirmed it & said for P it was always about Rebirth.
No band images on the cover & the inner sleeve just shows P & Cat.
Cat is obscuring her face just like the hidden “it” vagina face on the Parade speakers!
The acoustic drum set gives the impression it is a band record but instead we get lots of drum machines & studio wizardry.
So what does the cover mean?
P is not the focus/priority - MUSIC IS & thereafter food, accomm, girls, games, money & drugs.
Some think the cover represents P being left by his band as he's all alone in between the abandoned instruments & he is a one man band again.
WB Designer Laura LiPuma Nash said:
“I was so surprised to see that cover because it seemed like a major departure visually....he was just in a whole different frame of mind... He was much more introspective covering darker themes.”
Introspective indeed, as spotted by @Neo_Manifesto look at the reg’ plate on the junked auto CKJ 505 - Corinthians King James Version Chapter 5.
Christian teachings on church discipline, conflict resolution & the power of God to cleanse us from sin.
Did P (a 7th Day Adventist) name the album after a popular Adventist mag:
“Signs of the Times”.
Their tagline is:
“Encouraging readers to lead joyful Christian lives as they await the soon return of Jesus.”
SOTT (song) speaks of the end of days - preceding Jesus’ return.
On the new cover, P is now holding the guitar & it is no longer on the floor.
P’s central repositioning reveals a car tire, Ghetto Blaster, cigarette & empty beer cans on the ground to the left which on the original cover were obscured by the blurry P shot in the foreground.
on the Deluxe cover also reveal lyrics to one of the stand out songs on the album - The Cross:
“Ghettos to the left of us
Flowers to the right”
There’s also interesting theories floating around about the connection between SOTT & The Wizard of Oz such as:
Dorothy Parker 👉🏽 Dorothy
P plaits 👉🏽 Dorothy plaits
The affliction brought on by a witches curse 👉🏽Wicked witch of the West
Camille (sped up vox) 👉🏽Munchkins
Gonna Be A Beautiful Night - "oh we oh, oh oh's" 👉🏽 Wicked Witches' Henchmen’s song
Crystal Ball on SOTT cover 👉🏽 Wicked Witch used one too
Strange Relationship - "isnt it a shame this aint a movie” 👉🏽 W of Oz movie
U Got The Look 👉🏽 Glinda’s dress was a shade of peach
P’s green-like face on the cover 👉🏽Wicked Witch of The West
Housequake 👉🏽 Dorothy's house being picked up by the tornado.
Adore 👉🏽 Dorothy’s "I think I'll miss you most of all" to the Scarecrow!
One further thing - in the Wizard of Oz, Dorothy dreams the events that occur & wakes up in her home surrounded by loved ones.
SOTT is recorded during the Dream Factory era. The Dream Factory being P’s home.
The iconic line from Oz is:
"There's no place like home."
SOTT comprises of 16 songs culled from different projects & recorded between 1979-1986 - covering a 17 year period.
So it’s a more akin to a compilation than a new cohesive singular work but it does have a cohesive theme!
Susan Rogers told Classic Pop Mag of the importance of the sequencing on the album (see below).
And I can really identify with what she says because I have always viewed SOTT as a 4 part play with each side of vinyl representing a theme.
Act I (Side 1) is about Life & Society
It’s a commentary on the social issues of the time (SOTT) & living life to the max without restrictions (PITS). It’s about partying & community cohesion (Housequake) & about life experiences & storytelling (BODP).
Act II (Side 2) - Social & Sexual intimacy
This is about achieving some kinda sexual intimacy (It, Slow Love, Hot Thing). There are observations on the intimacy of social interactions such as friendship - Starfish & Coffee & also on Love - devotion & commitment - FIML.
Act III (Side 3) - Relationship Dynamics
All about the different aspects of relationships - shallow flirtatious physical attraction of UGTL to the intricate, complex & confusing gender dynamics of IIWYG to the dysfunctional love/hate of SR to the transient hook up of ICNTTPOYM
Act IV (Side 4) - Spirituality
The Cross is a spiritual quest for the afterlife with the onset of the Second Coming. IGBABN harks back to 1999 - partying to the apocalypse & in Adore P uses sexual gratification to achieve spiritual enlightenment as a means to reach God.
P said this about SOTT to RS in 1990:
“There are some great songs on it & there are some experiments on it. I hate the word ‘experiment’ – it sounds like something you didn’t finish. Well, they have 2 understand that’s the way to have a double record & make it interesting”.
The tracks on SOTT were recorded in at least 4 different studios
-11 tracks were recorded at some point at Sunset Sound (SS).
Here’s a video of the studio owner speaking about P.
-Strange Relationship initially at Kiowa Trail Home in 83 & then at SS in 85
-Gonna B A Beautiful Night - Le Zenith Paris 25 August 86 & then 22 Nov 86 SS
- ICNTTPOYM - Hollywood Sound Recorders 23 May 1979 & then 16 July 86 SS
SOTT was a critical but not a commercial success. The higher retail price for a double may have contributed to the sales downfall.
Many European critics were ecstatic about it tho’ lauding it as the work of a true artist & insisting that it was one of P's finest moments yet.
SOTT netted 3 Grammy nominations & a Hall Of Fame induction.
It was voted the best album of the year & the title track the best single of the year in the Village Voice year-end poll of 220 US critics nationwide.
The album became the biggest winner in the poll's history.
The only recurring criticism - it was perhaps too eclectic for its own good & many argued that the album would have made a stunning single.
I don’t agree with this assessment. It’s eclecticism is what made it great!
In The US response was more mixed.
Here are some reviews:
In the US - SOTT reached no. 6 on the Pop Chart & no. 4 on the Black Chart & sold 1.6m - viewed as disappointing.
In Europe, it reached No.1 Swiss Chart, No.2 on the Dutch & Austrian charts & No. 4 in the UK, France & Italy.
Outside of the US, highest sales came from the UK
In September ‘87, P performed at the MTV music award signalling the first visual look of the SOTT era (outside of the European Tour & videos for the singles).
An iconic moment & also a precursor to the SOTT Concert Movie.
To see P in denim was quite a sight to behold!
This was a very prolific period for P often termed as the “Flood”.
He recorded so much music & worked on so many projects!
P did so much that I can’t get into here in any detail but here’s a brief note of releases & other stuff during this historic & most fertile period.
In late December 85 he worked on “The Flesh” project which consisted of Jazz-Funk instrumentals - a precursor to The Madhouse project.
A 30 second snippet of “Junk Music” was featured on the Under The Cherry Moon movie.
During the Parade Tour P made a number of live guest appearances with Mazarati, Sheila E Band & The Bangles throughout ’86 in the recording & run up to the release of SOTT.
Here’s a wonderful clip of P & Wendy live with the Bangles at The Palace, Hollywood - 20.10.86.
Upon his return from the Parade tour P considered The Dawn as a movie musical project.
About 2 rival bands - one called the Coco Boys (this idea was later incorporated into Graffiti Bridge).
Mazarati were slated as being one of the groups in a kinda black West Side Story!
P recorded 3 songs for The Dawn.
“Crucial” - released on the Crystal Ball box set in 1998.
Another 2 are on the new deluxe box set “Cocoa Boys” & “When the Dawn of the Morning Comes.”
There is a further one that we didn’t know about - “It ain’t over ‘til the fat lady sings.”
Then the brilliant Madhouse debut album “8” was released in January 87’.
The 3rd self-titled Sheila E album was released in February 87’ in the same month as the SOTT single.
In May 87, he had 2 main releases.
The underrated Jill Jones debut & the IIWYG single from SOTT.
Then in July/Aug the 3rd SOTT single UGTL followed by the 4th & final single ICNTTPOYM in Nov 87.
Also in November 87’ he released
the second Madhouse album “16” & the SOTT Concert Movie.
The final scheduled release in Dec ‘87 - Black Album which we all know was withdrawn.
During this period he also did the following:
- Talks w/ Q Jones on MJ Bad duet
- Wrote a song for MJ “Wouldn’t You Love to Love Me” which was rejected & handed to Taja Seville.
- Did a cover of Rescue Me for Dolly Parton which was rejected.
- As Joey Coco, “You’re my love” for Kenny Rogers which was accepted.
- As Joey Coco, “Telepathy” for Deborah Allen which was accepted.
- As Joey Coco, “Baby Go-Go,” 4 Nona Hendryx which was accepted
-“Emotional Pump” for Joni Mitchell which was rejected
P did some dates in Europe for the SOTT Tour & I won’t go into this as @EdgarKruize will be covering this.
I had tickets for London shows which were cancelled due to the weather but I was able to use the tickets to attend the SOTT movie Premiere in London - Dominion Theatre.
And of course throughout this period it has been said he had been working on 3 other projects that lead to & were subsumed by SOTT:
Dream Factory
Camille
Crystal Ball
These 3 projects will be the focus of my thread tomorrow (ii) - The Dream.
In the meantime, go back & check the magnificent thread by @EdgarKruize.
A detailed thread on various aspects of the #SOTTDELUXE Box Set which you won’t find anywhere else!
3121 had Rock, contemporary R&B, classic 80’s Funk & Electro but for me it was the Latin influences that surprised me & really made this album standout.
Those influences were more pervasive on this record than any other I can think of.
So for me 3121 was his “LATIN ERA”!
Te Amo Corazón (TAC) - the first single released on 12/13 (3121 in reverse) 2005 was saturated in Latin influence.
It was re-released again in an ill conceived attempt to to capture the Valentines Day market on 14 February 2006.
I just want to take this opportunity to thank a few ‘key’ people who were instrumental in giving me the confidence & belief to share my thoughts (not expertise) on Prince in a public arena.
So after that nervous introduction, the finale to this awesome #MEGA#THREADFEST falls upon my shoulders & it’s a big task judging by the quality of the preceding threads by a host of genuinely talented writers.
@EdgarKruize & I wish to thank from the bottom of our 💜💜’s the following 4 their participation.
1st of many 🧵’s 2 Come [& yes the next one will move away from 80’s]:
A Purple Musical Appreciation #thread on Joni Mitchell @JoniMitchellcom (JM) & the enormous & lifelong influence she had on Prince.
"Mind if I turn on the radio?"
"Oh, my favorite song" she said
And it was Joni singing "Help me I think I'm falling"
The influence that Joni had on Prince cannot be understated or underplayed, it was MASSIVE.
More than any other artist, she perhaps had the greatest influence on him.
Prince held a lifelong love affair with her music & he wasn’t coy about publicising it time & time again.
On this thread, I am going to take you through:
1. - What he said about Joni
2 - How Joni influenced his work
3 - What Joni said about him
4 - Some of my favourite Joni songs spanning the course of her 50 year career.