Thread by @IAmMissTLC

Hello and Good Morning.

Time for the next installment of this month's @PrinceThread in honor of Jill Jones' debut album.

You may know me as the creator, writer, and curator of #Princerversaries; but I've been a part of the music, media and entertainment biz since the late 90s.

I've worked at a plethora of record labels (Arista, Jive, Universal, Motown, Republic + more). I've also worked at MTV + a couple PR agencies. Throughout the years, I've been blessed to work on everything from studio sessions to sample clearance contracts and publicity campaigns.

I generally post informational tweets re: pop culture because I get sad when I see so much misinformation circulating amongst current and future generations of fans. But I understand that some folx don't care to hear the real from someone who has been there and done that.

From decades of research, conversations with the artists, personally reading the contracts that have been debated, and bearing firsthand witness in the meetings where decision are made; I try to pass along some treasured tidbits. Well... the ones that aren't protected by NDAs.

So why would I post a #PrinceTwitterThread when I have already posted #Princerversaries about the gem that is Miss Jill Jones?

Well, I have not posted an in-depth dive into "G-Spot", so what better time to do so than now?

And away...we...go...

I am a big fan of Jill Jones’ entire debut album, however “G-Spot” is by far my favorite track.

(In fact, Prince’s demo version of the track was my ringtone for years, but we’ll get into that alternate take later.)

Let’s first dive into the definition of “G-Spot” for the chaste folx in the audience.

(Then again, I’m not sure the world of Prince has many chaste followers.)

The “G Spot” is an abbreviation for The Gräfenberg Spot, an area introduced by Dr. Beverly Whipple after a discovery of an elusive area that produced a physical orgasmic response in women.

The underlying mystery connected to the “G Spot” corresponds to the diversity in women’s anatomy.

Not every woman reacts to the same exact spot.

In which case, women and their sexual partners have to find the specific area through experimentation and/or personal exploration.

The mysterious “G Spot” has been referenced in countless songs from various artists.

In most cases, the singer/rapper brags about finding and/or stimulating said spot.

Lloyd sings “my room is the G-spot...call me Mr. Flintstone, I can make your bed rock” in ‘BedRock’.

Jeremih sings, “lemme hit that G-spot” on ‘Birthday Sex’.

LL Cool J raps, “blow your socks off, make sure your G spot’s soft…” on ‘Doin’ It’.

Gerald Levert sings, “Promise you we won't stop til you know your G-spot…” on ‘The G Spot’.

And MC Lyte raps, “the smell of cool water makes me hot...run-dada, he knows the G-spot” on Gerald’s group LSG’s song ‘Curious’.

There are plenty others, but I could be here all day with references so let's move on.

All of this intimate interest and sexual sleuthing led Prince to pen a song built around a woman’s longing to find said spot.

The chorus very directly laments the query, “G-Spot, G-Spot, where, oh where can you be?”

However the most creative component of the lyrical journey that this 4:30 minute song takes us on, is that each line starts with the calling of a letter, a sensual game of Bingo per se; that ultimately spells out the word: FINALLY.

Prince was no stranger to spelling in his songs. From “Automatic” to “Diamonds & Pearls”, Prince often used the breakdown of letters to emphasize his lyrical points.

(See: Bob George, Alphabet St., New Position, Nothing Compares 2 U, SEX, etc.)

However “G-Spot” was one of the most creative in that it spelled a word that references an abstract connection to the song title, instead of actually spelling the title itself.

(Note: He did something similar later on with “pussy” in New Position.)

Prince has a long history of releasing sexually driven material. Without going into detail about his entire sensual catalog, I will just address the similarities in power/pleasure exchanges in his material.

From “The Ballad of Dorothy Parker” to “Darling Nikki” to “Come” to “Tell Me How U Wanna Be Done”, Prince often liked to present a submissive persona that relied on a powerful woman to quite literally map out the way to pleasure.

Climaxes were referenced in many songs, but “G-Spot” was direct and yet still feathery-soft. With Jill delivering most of the lyrics in a sultry whisper, the song comes off tantalizingly sweet. An enticing innuendo.

But as much as the song put forth sexually, Jill was not looking to become an artist simply known for shaking her ass. In fact, she was dismayed when audiences didn’t react to her while singing it during early performances of her solo material in 1987.

beautifulnightschitown.blogspot.com/2013/02/

In truth, as seductive and beautiful as Jill’s voice sounds on the track, the direct and brash nature of the sexual side of the song may have been better suited to Vanity 6 in retrospect.

Already clad in lingerie and singing about nastiness and their “Vibrator” (albeit, unreleased), the idea of “G-Spot” easily would’ve meshed with their fishnets and demand for “7 inches or more”.

“G-Spot” *was* originally floated as a Vanity 6 vehicle, and in fact, it was to be part of the ‘Purple Rain’ movie back when Vanity was to play the Apollonia part.

The scene that includes “Darling Nikki” leading into “Beautiful Ones” was originally set to feature “G-Spot” leading into “Electric Intercourse” instead. Prince replaced both with the aforementioned tracks once the cast was switched up and the darker theme was lightened.

Prince was a master of mysterious marketing (Tora Tora, anyone?) and thus, his affinity for presenting his female protegees as sexual coquettes was actually part of a larger promotional plan.

But although Prince already tried to present a sex-forward image with Jill (see: vocalist on “Lady Cab Driver”, seductress in “Automatic” video, lingerie-less on a busy street in “Graffiti Bridge” movie); that vibe really wasn’t meant to be for a singer like Miss Jones.

Powerhouse vocal showcases such as “Baby, I’m A Trip” suited someone with Jill’s vocal chops more than lighter works like “G-Spot”.

And although she could successfully and sensually deliver on “G-Spot”, her voice deserved to be highlighted through stronger and deeper means.

Mind you, Jill was a vocal chameleon during her years working w Prince. She could deliver a breathy Vanity sound or a rafter-shaking Teena Marie belt.

That velvety, breathy voice delivering the “where oh where?” lyrics on “G-Spot” is PERFECTION, but Jill could do so much more.

This is why, me personally, I could’ve seen “G-Spot” exploding as a follow-up single for Vanity 6 after “Nasty Girl”.

WHILE JILL COULD'VE BENEFITTED from more musical collaboration with Prince on additional “Baby I’m A Trip”-esque songs.

Granted, the entertainment industry at large has a long history of pushing women into the “sex sells” box in terms of tailored tawdry temptation. Unfortunately, this image adjustment has had negative results for some.

Genuine vocal talents such as Jill Jones should not have needed a garish gimmick to gain the attention of listeners, but neither did other vocal legends such as Phyllis Hyman or Vesta Williams.

Alas, Ms. Hyman’s and Ms. Williams’ tortured battles with record labels and sexist music execs revolved around their push for “perfect bodies” or looks-forward marketing. Just like Phyllis and Vesta before her, Jill was also attractive AND could legitimately sing.

But in a superficial industry, looks are often valued over talent, and so when female vocalists are beautiful AND legitimately gifted; the labels often look to highlight sex appeal over vocal belts and runs.

Sex positive content has existed in pop, funk, rap and R&B presented by powerful women such as Grace Jones, Millie Jackson, Betty Davis, Lil’ Kim, Janet Jackson and Madonna since forever; but Prince created his own particular genre of paisley sex kittens.

The problem (I believe) was that Jill didn’t perfectly fit in that world, and probably needed someone who would’ve focused on platforming her as the VOCALIST she was, ahead of her good looks and seductress personality.

Another long-reflected + personal observation of mine is that Prince wanted to keep Jill to himself. He didn’t necessarily want her to experience explosive solo success + potentially leave (as many others had done). His abandonment issues might've clouded his A&R expertise w her.

In the end, “G-Spot” was chosen as the second single off of Jill’s debut.

But unfortunately, the song failed to catch fire on the U.S. charts and thus, a video and future promotional efforts never materialized for the very deserving track.

Although a worthy remix by Jimmy Destri (songwriter and keyboardist for Blondie) was released as part of the “G-Spot” 12” single, the song did not receive the kind of fanfare that I honestly believe it could still receive in 2021.

“G-Spot” received slightly more attention in Europe. European performance + increased popularity for a lot of Prince’s work in 86-88 was attributed to a wider audience + more diverse taste. Extensive European record markets weren't as formulaic, perhaps.

The b-side for the "G-Spot" 8 inch was “Baby Cries”, a song co-written by Jill and Angie Stone.

In between her work with Sequence and Vertical Hold, Angie was still going by “Angie B.” and interacted with Prince on a creative and personal level.

To think that 17 years later, Prince would release his “U Make My Sun Shine” collaboration with Angie, and not everyone knew how long and solid their relationship had been leading up to the song.

I actually wish Angie and Jill had had the opportunity to work together more, as I believe their soulful stylings would only beget more gems.

But back to “G-Spot”...

Prince’s demo versions of “G-Spot” including rehearsal run-throughs (see below) have been circulating for years.

And what makes his version so interesting and special to experience is Prince’s shoutout towards the end.

Prince takes on the James Brown-esque persona he often loved to embody by yelling for Maceo Parker.

“Maceo blow your horn!”

Any longtime fam knows that Maceo and Prince’s relationship spanned several decades, and was strengthened in the late 90s/early 2000s once they began touring and recording together.

This is why his 80s shoutout (long before Maceo joined Prince’s band) is even more endearing.

Prince also shouts out lyrics from James Brown’s “Mother Popcorn”...

“I don’t want no trash... gimme some of that pop… corn"

...in the same demo recording.

“Mother Popcorn” popped up in Prince’s live shows from time to time, and also was referenced in recorded music with the “you gotta have a mother for me…” line in “Gett Off”.

In retrospect, I do feel like a genuine duet version of “G-Spot” with Jill and Prince going back and forth could’ve been a massive hit. A sexy sonnet devoted to physical female pleasure. With proper compensation. ;)

But considering we did not receive such a version, I shall enjoy and cherish the versions we *do* have, most importantly the version on Jill’s debut album (which I hope will be re-released, remastered and eventually uploaded to DSPs).

Until then, “f is for frustration”.

I could go on forever, but I don't want to keep you all here all weekend. ;)

This Jill Jones' lovefest will reconvene on Tuesday July 13th with @MMLunlimited breaking down the beautiful "Violet Blue".

Until then, listen to music.

Every single day.

Let it wash over your soul.

Let the instrumentation soothe you.

And let the lyrics consume you with the therapeutic guidance necessary for your treasured life while you are still here to live it.

Love, Miss TLC