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The definitive study of one of contemporary music’s most gifted, creative, driven and mysterious artists. “Per Nilsen presents a serious and well-researched study of Prince from his teenage debut up through the release of Sign O’ The Times. Nilsen writes with a steady hand: his account, based on countless interviews and meticulous research, remains critical despite his tremendous respect and appreciation of the artist.”—Publishers Weekly
- Sales Rank: #2111278 in Books
- Brand: Brand: Firefly Publishing
- Published on: 2001-07-01
- Original language: English
- Number of items: 1
- Dimensions: .90" h x 6.14" w x 9.21" l, 1.00 pounds
- Binding: Paperback
- 288 pages
- Used Book in Good Condition
From Library Journal
Dismissing the last ten years of The Artist Formerly Known as Prince's recorded output as "overproduced and somewhat laboured," Nilsen, editor of the Prince fanzine Uptown, writes instead about the pop star's most creative and successful years (which, he claims, ended with the critically acclaimed Sign of the Times album in 1987). Nicely compensating for the dearth of interviews with the media-shy artist, Nilsen draws from a wealth of interviews with his former band members, lovers, and close associates. But, although he occasionally acts as an apologist for The Artist's eccentric behavior, Nilsen is evenhanded to a fault--he offers little in the way of analysis. Still, his writing allows the reader to form an appreciation for TAFKAP's talent and his staunchly professional work ethic. Although the book contains neither a bibliography nor source notes, it does have annotated appendixes--including a studio session guide, a listing of concerts, and a discography. A good complement to Liz Jones's Purple Reign: The Artist Formerly Known as Prince (Carol Pub. Group, 1998), but purchase only as demand warrants.
-Lloyd Jansen, Stockton-San Joaquin Cty. P.L., CA
Copyright 2000 Reed Business Information, Inc.
From Kirkus Reviews
A tediously detailed hagiography of the prolific pop star who is most famous for changing his name to an unpronounceable typographic symbol, and is now universally referred to as the Artist Formerly Known as Prince. The First Thirty Years might have been a better subtitle, since Nilsen (Prince: A Documentary, not reviewed) begins at his subject's birth as Prince Roger Nelson in 1958, through sexually charged hit records, grueling concert tours, the making of feature films and sound tracks, to the end of 1987, as Prince capriciously decides to withdraw his ``Black Album'' while it is being shipped to record stores. Along the way Nilsen bathes every step on Prince's rise to fame in mythic overtones. ``His talent was so great,'' he quotes an early manager, ``that I walked out of an $8 million-a-year business for him.'' The son of a part-time jazz musician and a woman who sang in his band, Prince learned to play piano, drums, and guitar while in his teens and rapidly established himself on the Minneapolis dance club scene with flamboyant costumes and tightly scripted shows of flagrantly sexual songs he sang in an androgynous falsetto while doing a striptease or fondling his guitar. Between performances, he worked obsessively on new songs, sometimes for 48-hour marathons without sleep or food. During the first half of the `80s, Prince recorded so much music for himself, for mainstream singers Sheena Easton and Kenny Rogers, and for former lovers Vanity, Apollonia, and Sheila E. that it seemed a short step to the silver screen. His first feature film, the autobiographical Purple Rain, won him a national mainstream audience. But subsequent films Graffiti Bridge and Under a Cherry Moon flopped, though Prince remains respected as a pop experimenter whose techniques have been copied by more commercial singers. A handful of pre-fame photos, thirdhand backstage gossip, and an appendix of recording dates and concert performances: for fans only. (8 pages b&w photos) -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.
Review
It's like seeing Sly, James Brown and Jimi Hendrix all at once. -- Johnny Guitar Watson THE SPANISH CIVIL WAR
Most helpful customer reviews
1 of 1 people found the following review helpful.
Prince the human
By Mike
Lot's of good information that every Prince fan and aspiring artist would love to hear. Sadly, you learn not only about the legend but the human and very flawed Prince.
0 of 0 people found the following review helpful.
It Was Okay.
By Lifeblessings
There was information over load on Prince's process of making music that could have been skipped. Other than that, I found out a lot of things about him and the people he kept company with.
21 of 21 people found the following review helpful.
The best biography on Prince EVER
By Bazoom Meadowland
"DanceMusicSexRomance" is something different, however. It's, as Per himself describes it, 'a serious study, or something, since it combines a biography-style approach with an in-depth examination of his lyrics and music.' A tremendous amount of research was done for the book, spanning six years and including over 300 hours of interviews with people that were around during this period in Prince's career. One of them, sound engineer Susan Rogers, sat through 15 hours of questions about her studio work with Prince. Per's new book uncovers many previously unknown details about Prince's working habits, and makes you wonder how he and his entourage can keep their sanity intact while working impossible hours. The book contains numerous tales of birthdays and holidays spent performing, rehearsing or recording, sometimes all at once. Prince often demands the impossible from those working with him, and the accounts of the break-ups in both his professional and personal life are often damning. Per also uncovers the truth about many rumours and provides some surprises about Prince's music. The first few pages of Chapter Ten are breathtaking, as Per describes how Prince enters the Sunset Sound recording studios in Los Angeles ten days after finishing the Purple Rain tour, and records the first four songs of "Parade" in one go. The reality behind the decision to shelve the legendary "Black Album" in late 1987, a mere week before it was supposed to hit the stores, is exposed as being far more prosaic than Prince's explanations.
Thankfully, unlike many other traditional biographies, "DanceMusicSexRomance" concentrates on Prince's music and not his personal life, even though that part inevitably interacts with his music. It is well known that several songs on "Sign O' The Times", like "Forever In My Life" and "If I Was Your Girlfriend", are about his relationship with Susannah Melvoin (twin sister of Wendy Melvoin of Wendy & Lisa fame), but I was surprised to learn that "The Beautiful Ones" (on "Purple Rain") is also about her. Apparently, a lot of his other songs have a basis in real life, and aren't just the result of a very sharp imagination. It's also this aspect of the book that's most unflattering for Prince: he's seemingly incapable of maintaining just one relationship at a time (it is true that Prince has regularly shared both his studio as well as his bed with the female 'artists' he's worked with), he 'borrows' ideas from people and fails to credit them for it, he's unfaithful yet demands absolute loyalty from those around him. Among the more disturbing revelations, Prince's concept of 'friendship' is one that leaves a lasting impression. 'He doesn't trust you unless you're on his payroll,' says one of those interviewed for the book.
You don't have to be a Prince fan to enjoy "DanceMusicSexRomance", and as far as music biographies go, this one belongs at the top, alongside books like Michael Azerrad's "Come As You Are: The Story Of Nirvana". Granted, the book isn't without its faults: it would greatly benefit from an alphabetical index of names, song titles and places, and the photo section is somewhat disappointing. A second volume, dealing with Prince's post-1987 career, is planned, but only if the first book is successful: 'I can't spend another four, five, six years and invest a lot of money, which I've done, if the book only sells a few hundred copies,' says Per. 'Hopefully, it'll do better than that.' It certainly deserves to, and actually, Prince deserves to; it would be a shame if that period of Prince's career were only covered by cut'n'paste jobs such as Liz Jones' "Slave To The Rhythm". Perhaps Alan Leeds, who has worked closely with Prince and won a Grammy Award for his liner notes to the James Brown box set "Star Trax", says it best in his foreword to "DanceMusicSexRomance": 'If every artist as worthwhile as Prince has a historian as fastidious as Per, the future of this genre of musicology is safe and sound.'
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