Behind the Scenes of Prince's Diamonds and Pearls
Behind the Scenes of Prince's Diamonds and Pearls
A new box set has been released, delving into Prince's resurgence in the ‘90s. This collection provides a look at a phase in his career marked by abundant creativity and some inconsistency.
The creative process of a sure Prince stands out as particularly remarkable. This artist, whose influence spanned decades, had an uncanny ability to produce chart-topping music seemingly at will. His mastery was notably demonstrated during the creation of his pivotal 1999 album. As recounted in Alan Light’s Let’s Go Crazy: Prince and the Making of Purple Rain, Bob Cavallo, who managed Prince at the time, urgently needed a leading single for the album. Remarkably, within a fortnight, Prince presented “1999,” a track that not only met the requirement but also became emblematic of his career.
The pattern repeated itself with the film Purple Rain. Albert Magnoli, the director, expressed the need for a song that would unify the movie’s themes during a crucial montage. Without hesitation, Prince delivered “When Doves Cry” by the following day. This track not only fulfilled Magnoli’s request but also ascended to become one of Prince’s most recognized songs, achieving the top position on the Billboard Hot 100 for an extended period.
During the early 1990s, a period marked by a resurgence of R&B, several established Black artists were addressing criticism that they had neglected their cultural roots and their core Black audience. Whitney Houston collaborated with Babyface and L.A. Reid for her 1990 release I’m Your Baby Tonight, while Michael Jackson enlisted Teddy Riley to co-produce a significant portion of his 1991 album Dangerous. These efforts were precursors to the R&B explosion that would soon see groups like Boyz II Men dominating the charts.
Prince faced the challenge of reasserting his dominance in the music industry with his forthcoming album Diamonds and Pearls and introducing his new ensemble, the New Power Generation. Warner Bros executives, particularly from the Black-music division, were concerned about the absence of a strong lead single for R&B radio from this highly anticipated release. Despite Prince’s initial disagreement with this assessment, he accepted the challenge and, over a single weekend, crafted “Gett Off.” This track was not merely a response to a commercial need; it was a strategic move that placed Prince within the evolving hip-hop genre while maintaining his unique sound. The song, featuring an array of clever lines and boasting “23 positions in a one-night stand” by N.P.G.’s rapper Tony M., climbed to number six on the R&B charts. Its accompanying video became an unforgettable fixture on MTV during that summer.
Diamonds and Pearls was designed with commercial triumph in mind. Marylou Badeaux, a former Warner Bros executive, reflects on this intention in one of the comprehensive essays included in the recent Super Deluxe Edition of the album—a release so substantial it could be likened to a monument in its physical form. After experiencing less favorable reception with projects like Lovesexy in 1988 and Graffiti Bridge in 1990, Prince was determined to reclaim his position on the charts. He took off on an unusual campaign of industry showcases and even engaged with media journalists—activities that were previously uncharacteristic of him.
In this climate, he released an album that embraced and deviated from contemporary R&B trends. His approach included the use of samples, loops, and rap elements, yet he also made the unconventional choice to form a new band. This decision was not typical for R&B at the time, but Prince was known for his unique artistic choices. The resulting album achieved commercial success, earning double platinum status and delivering a series of hits that rivaled those from his Purple Rain era. Tracks such as the majestic title track, the sultry “Insatiable,” and the unabashedly confident “Cream” showcased Prince’s ability to blend self-assurance with sensuality in a way that few others could.
This work showcases versatility, though it lacks the forward-thinking quality of his most acclaimed work. It was clear that Prince took great pride in his new ensemble, which included skilled musicians such as Michael Bland on drums, Levi Seacer, Jr. on guitar, Tommy Barbarella on keys, Sonny T. on bass, Damon Dickson and Kirk Johnson on percussion, and the powerful vocalist Rosie Gaines. He frequently mentioned their names in songs and gave them prominence in the mix. The group navigated through genres including jazz, glam rock, operatic balladry, and even dabbled in hip-hop influences. The album exuded a sense of playfulness and joy but ultimately did not astonish listeners as some of Prince’s previous work had.
His engagement with hip-hop during this era led him to promote Tony M, a backup dancer, to the role of MC within the New Power Generation (NPG), reflecting the trend of featuring rappers in dance-pop music. While tracks like “Gett Off” stood out for their minimalist approach, other uptempo hip-hop/dance numbers on Diamonds and Pearls were less impactful. The song “Jughead,” which critiqued management practices within the industry, is often viewed as an outlier in Prince’s discography. However, these tracks might be more appreciated when considering the context of early ‘90s beat-driven pop music—a genre Prince reportedly enjoyed at the time, as evidenced by his appreciation for C+C Music Factory. Despite their disposability, these songs are emblematic of the era’s pop record conventions.
In the expansive notes provided by Duane Tudahl within the super deluxe edition of Diamonds and Pearls, each track is given a new dimension through historical context. For instance, the song “Push” incorporates samples whimsically referred to as “dogs in heat,” while “Daddy Pop” includes a loop humorously tagged as “animals doin’ it.” The solo production “Insatiable” layers a whispered “push and pull” by Prince himself. Perhaps most surprising is the revelation that the distinctive sneeze-like shriek opening “Gett Off” was not Prince’s vocalization but that of Gaines.
The allure for die-hard fans extends past the polished album, its remixes, and B-sides; the real treasure lies within the vault. This collection unveils thirty-three tracks never before released, presented over three CDs or five vinyl records. However, these tracks are not standalone hits but rather pieces that gain significance when examined alongside an album that followed Prince’s commercial high point. Unlike the timeless material found in the vaults of Sign ‘o’ the Times and the super deluxe editions to 1999, these recordings are intriguing primarily for those seeking an exhaustive exploration of Prince’s work during this era, with many being curiosities that might not warrant repeated listening.
Among these unearthed songs, thirteen are reference tracks Prince penned for other artists, reminiscent of the 2019 Originals compilation, which showcased his demos later made famous by others. Yet, none of these particular tracks achieved notable success in their released forms. They reflect Prince’s attempts to mirror contemporary radio trends, lacking the idiosyncrasies that marked his releases at the time. The offerings range from generic new jack swing on “Skip to My You My Darling,” handed to Jevetta Steele, to adult R&B with “Open Book,” and light-hearted dance pop produced with Martika, including the playful “Martika’s Kitchen.” A standout is “My Tender Heart,” co-written with Gaines and later recorded by him. It features a richly dynamic vocal performance by Prince and an arrangement that foreshadows the sentimental ballads produced by Babyface that would soon dominate mainstream radio, cementing R&B’s place within pop music.
Prince’s creative output was as abundant as ever. However, it was clear that there were certain limitations placed upon his artistic expression, particularly within the confines of the studio and when composing for other artists. This period of his career is illuminated by the contents of the Diamonds and Pearls (Super Deluxe Edition). The collection includes a variety of vault tracks, eleven of which had never seen the light of day prior to this release. These unreleased pieces offer a glimpse into the breadth of Prince’s musical exploration during this time.
Among these previously unreleased tracks are several noteworthy pieces. “Work That Fat” stands out with its altered vocal pitch reminiscent of “Bob George” from The Black Album, set against the backdrop of the “Martika’s Kitchen” instrumental. In this track, Prince humorously addresses body image before arriving at an enlightening conclusion. Another track, “Schoolyard,” which was once considered for the Diamonds and Pearls album and discussed in a 1990 Rolling Stone interview, delves into Prince’s personal history. Additionally, “Letter 4 Miles,” a poignant instrumental homage to Miles Davis, was recorded shortly after the jazz legend’s passing. Other tracks include early rock experiments that would later be refined by the New Power Generation (N.P.G.) and “I Pledge Allegiance to Your Love,” an alluring ballad that showcases Prince’s vocal finesse.
The Super Deluxe Edition also features alternate versions of songs from the original album that reside in the archives. These include an extended rendition of the title track featuring more pronounced contributions from Rosie Gaines, a different take on “Live 4 Love” with a swingier feel, a more stripped-down version of “Horny Pony,” and a remix of “Jughead” titled “The Last Dance (Bang Pow Zoom and The Whole Nine)” that offers a cleaner sound and captures a lighthearted moment where Prince shares a laugh with Tony M.
A shred of evidence of Prince’s electrifying stage presence is the inclusion of a performance from January 11, 1992, at his own Minneapolis club, Glam Slam. This concert, available in both audio and visual formats within the set, presents an intimate preview of what would soon be offered in larger venues during the Diamonds and Pearls tour. The show is nothing short of spectacular, with nearly 20 performers joining Prince on stage at times. The setlist features enhanced live renditions of studio recordings; for instance, “Cream” gains additional funkiness, and “Gett Off” extends to an epic 14-minute jam. Even “Jughead” achieves a new level of appeal in this live setting.
Furthermore, the Blu-ray disc includes Prince’s appearance at the 1992 Special Olympics and its accompanying soundcheck, as well as the Diamonds and Pearls Video Collection. However, notable absences include the “Gett Off” video maxi-single and its associated B-sides such as “Violet the Organ Grinder,” along with other tracks from that era like “Gett Off’s Cousin,” “Player,” and “I Wonder.”
While the Diamonds and Pearls (Super Deluxe Edition) enrich our understanding of Prince’s artistry during this phase of his career, it does not claim to be an exhaustive compilation. It provides valuable insights into his work post-peak creativity but stops short of being revelatory. The collection does indeed contain some true gems; however, it also leaves one yearning for more undiscovered treasures from this prolific artist’s extensive catalog.