Still Wishin’
I had all but given up checking the news wire for the new release from the original members of The Time. Jimmy Jam told us it was “coming soon” when I saw them in June of 2010 and I think the last time I googled “The Time” and “New Album” was in September of this year.Imagine my surprise (I guess a watched pot never boils) when I opened the Minneapolis Star Tribune today and saw that the original 7 members of The Time (now called The Original 7ven) had played a gig here in town last Saturday night at the State Theater. More shocking was their new album, Condensate, had slipped out on October 18 and I didn’t even notice! Kicking myself for not being more attentive, I immediately scrambled for my iPhone and downloaded it straight away.
As I was watching each song load onto my iPhone, I wondered if the disc would live up to the hype I had built up in my mind. I had been waiting for a new album from The Time since their 1990 release, Pandemonium and my dream to someday be Morris Day had actually grown stronger as I had gotten older. I admit that I had my doubts about this new offering. Would they still be relevant in the year 2011?
As soon as I heard the opening dialogue between Morris and Jerome as they visit their old hood in North Minneapolis, I knew that I would be: a) way the fuck off for ever having any doubts whatsoever and b) in for a real treat.
The first track, “Strawberry Lake,” is straight from the same shop where one can buy paisley dripped rasberry berets. In fact, this tune, being the lead off number, almost makes me wonder if it isn’t a giant middle finger to Prince who would not allow the lads to use the name “The Time” for this record.
After this we have a “press conference” in which Morris explains to a reporter why he is still cool. The answer is hilarious and leads straight into the title track. This skit, along with many others sprinkled throughout the album, is vintage Morris/Jerome and ranks right up there with “If The Kid Can’t Make You Come” and “Sexy Socialites/Jerk Out.”
“#Trendin”, the album’s single, fits perfectly into any club at 1am when the bodies are moving and sweating…it’s beat, relentless and pounding…and has lyrics that bring the boys firmly into the 21st century with Morris singing about “tweetie pies posting on blogs.” Regardless of what time it is (:)), we can always count on Morris to be the hippest of the hip. Honestly, our current age of digital vanity and Morris Day are a match made in heaven.
The next two tracks “If I Was Yo Man” and “Role Play” are up beat love songs that both shine in their own special way. The latter oddly reminds me of Tony Carey/Planet P Project with Morris’ haunting voice seemingly coming from another world. It’s here that we fully realize how important it is to have Jimmy and Terry at the producing helm.
Then we come to the albums two gems: “Sick” and “Lifestyle.” The former showcases some serious shredding by Mr. Jesse Johnson. His solos are nothing short of stunning and several of the lyrics made me grin from ear to ear. The lyrics to “Lifestyle,” the true ballad of the album, made me laugh out loud at several points and brought my desire to be Morris Day to an all time high. The song is simply perfect for every single thing that these guys are all about….vanity with none of the downside…rampant materialism that’s not shallow in any way but is actually cool…ego with perfectly understandable reasons…swagger that is completely justified because…well, it’s Morris!
Next up is “Faithful” which showcases some great back up vocals by some very hot sounding ladies. “Cadillac” could easily be on their self titled debut or “What Time Is It?” and continues that materialism-is-the-best meme in yet another successful way. “Aydkmn” makes use of the word persneckity in its chorus which marks the first time I’ve ever heard that used in a song. “One Step” and “Toast To The Party Girl” both sound like they were recorded in 1983 but that’s probably the (wonderful) idea. “Hey Yo” is also straight from that decade (now working on 30 years ago!) that saw so many power ballads just like it.
The last track, “Go Home To Yo Man,” gives us that last little gift that these guys have always given us: melancholy humor. The story in this song is amusing but also somewhat serious as Morris croons, “Play time is over and you got to go home to yo man.” As the final strains of this last track fall away with Morris (fake?) crying, one has to wonder why the 07 waited so long to make new music. I’ve always been an impatient fellow and this is especially true when it comes to my great love…music. Perhaps they didn’t have the tunes or maybe they were just taking their time (I know, I know…the puns are too easy:)) but do any of us care? I know I don’t because it was well worth the wait. This record is fantastic.
And I still wish I was Morris Day!
Here’s the video for the single “#Trendin” although “Sick” “Lifestyle” “Cadillac” and “Strawberry Lake” should be downloaded before it.
Morris Day and the Time, or, How I Made Peace With a Fake Jerome
Shame on me. I should’ve known better. But now I know: “Morris Day & the Time” is not the same thing as “The Time“.
A few weeks back, a local Old School radio station, Mega 104.3, threw itself a 10th birthday party at one of the cool, retro venues in town, Phoenix’s Celebrity Theater. The bill: 70’s R&B outfit GQ, disco/funk/jazz group Brick, and the evening’s headliner, Morris Day and the Time.
Morris Day and the Time? Hell yeah I’m going! So in the days leading up to the big night, I’m checking out the “Original” Time’s Facebook page and wondering why they’re not plugging their gig in Phoenix. I’m reading their tweets, and notice no chatter at all about any upcoming gigs (if you’re following them, you see approximately 2-3 tweets a day about their new album to be released this fall – ad nauseam, day after day with no details).
But still I don’t connect the dots. I meet up with my friend Jen and head to the Celebrity Theater excited as all hell to see Jimmy, Terry, Jesse, Morris, Jellybean, Monte, and maybe even ol’ Jerome.
So we were close to the stage (which is in the round, by the way, rotating slowly clockwise & counter-clockwise), about 6 rows back. First, GQ was introduced. Out walked a single solitary man – “Mr. Q”, I soon found out – aka Emmanuel Rahiem LeBlanc. He played guitar and sang a short set of his hits along to a full backing track. Interesting, and I came away thinking, “Man, you gotta hand it to Mr. Q for having the balls to keep the GQ thing going on his own.”
Next up: Brick. Most of you have heard “Dazz” I’m sure. Here…
And Brick killed it! They were great. The star of the show was without a doubt Mr. Jimmy Brown – singing, dancing, and alternating flawlessly between sax, trumpet, and flute. He’s gotta be in his mid to late 60’s, and he just won over the crowd from the first song. It was a Disco Jazz Funk workout – great stuff, and completely unexpected. Jimmy Brown: a consummate showman.
So after Brick tore it up, the mood was just right when Morris Day and the Time were introduced, and out walked the boys in the band.
“Huh”, I thought, “that doesn’t look like Jesse..”
“Okay, that looks like Jellybean.”
“Well, that’s not Jimmy Jam.”
“And that’s definitely not Terry Lewis on bass.”
“That looks like Monte on keys.”My “A-ha” or “What the fu–” moment came when a short chubby guy in a hat came out with a mirror, playing the part of valet. A fake Jerome!! Nooooo!!
The immediate feeling was disappointment. I felt like I was watching a Vegas tribute act, where each member tried to resemble the originals. Yeah, Morris came out and they launched into “Cool” and “Wild & Loose”, but it just didn’t feel right. It seriously took me 20-30 minutes before I loosened up and accepted “Morris Day and the Time”, and got back into the spirit of the night. The rest of the crowd didn’t seem to mind a bit. There was crazy Morris Day, after all, working his 30 year old schtick in the flesh.
Granted, it was good to see drummer Jellybean Johnson. It was good to see keyboardist Monte Moir. Obviously it was fun to see Morris sing those great songs: “Jerk Out”, “Jungle Love”, “The Bird”, “777-9311”, “The Walk”. And no disrespect to the musicians either, including bass player Ricky “Freeze” Smith and guitarist Tori Ruffin.
But I was led to believe I was gonna see the real thing.
It turns out I didn’t do my homework. A couple of my Prince peeps on Twitter acknowledged that Morris regularly tours with this band as “Morris Day and the Time”. And one of my buds, Mr. Popblerd, was right when he remarked that it’s bad for the brand.
So buyer beware. Morris Day and the Time is not The Time, or, rather, The Original Time Band – I mean The Original 7ven. Confusing, I know – but when you’ve worked for Prince, everything’s complicated.
You’ll have a good time with Morris Day and the Time. You just need to make your peace with a fake Jerome.
Home Town Boys: The Time live in Minneapolis
I wish I was Morris Day.
This desire might seem odd coming from someone who is quite literally whiter than anyone – including all white people – on the entire planet. As Morris said long ago, “You got to shake your ass like the black folks, you might get some tonight!” Needless to say, I can’t really shake my ass without eliciting laughs and hardy guffaws from my family and friends. This has always been a source of enormous consternation on my part given the undeniable fact that I love funk and soul so much that they are pretty much exactly like my blankie that I had when I was a kid.
When it comes to the greatest funk band in history I’m not white, though, I’m CLEAR. And I always will be for The Time.
I had heard the original line up of Morris Day, Jerome Benton, Jesse Johnson, Jimmy Jam, Terry Lewis, Monte Moir and Jellybean Johnson was back together again making a new record produced by Jam and Lewis. More importantly, there was little or no involvement by Prince. It would truly be a Time record unlike their first four releases. My favorite of those four will always be Pandemonium simply because the tyrant from Chanhassen allowed Jam and Lewis to really take the reins and make a great record with some of his songs. In so many ways, that record sums up the very essence of the band: silly, fun, happy, sexy, and super funkilicious.
Of course, I had seen Morris Day’s touring version of the Time with Jellybean, Moir and sometimes Jerome over the years but not the original (and best) line up. The yearning to see the original line up has always been strong and when I heard about the new record, I was amped that a tour would be forthcoming. That feeling went nuclear when I heard that two quick gigs were planned to get the band “feeling tight again” as Jimmy Jam put it. One was scheduled in Detroit and one in the band’s hometown – my hometown -Minneapolis. I found out about it two days before the show and snagged a ticket immediately.
The venue that was chosen was quite ironic. Now called Club Epic, it used to be Prince’s old club from the 90s, Glam Slam. They have since remodeled and it really looks and sounds fantastic. Everyone was in a great mood, dancing to the DJ and waiting for the band to come on. When they did, it was (pardon the pun) Pandemonium. Minnesota loves it’s hometown heroes and the adulation was insane – stunning really – when Morris and Co. first took the stage.
Their set list was the same as the Detroit show two nights earlier, and simply spectacular. “Wild and Loose” and “777-9311”, both almost 30 years old now, sounded as fresh as ever. Songs from Pandemonium (“Blondie”, “Jerk Out”) were completely out of sight. I also quite enjoyed “Skillet”, a hilarious number about the joys of cooking and food.
The real treat of the night was Jesse Johnson. That guy can fucking play the guitar! There were moments when I felt the spirit of Jimi Hendrix and this was never more true than his mini 4 song solo set in the middle of the show. Playing old and new songs, Jesse stunned the crowd with his prowess on his gorgeous white Fender. Honestly, I really felt blessed to witness it.
The show wrapped up with the customary girls on stage for “If The Kid Can’t Make You Come”, a loving and dedicated-to-Minneapolis “Ice Cream Castles”, a heartfelt and surprisingly crushing “Gigolos Get Lonely Too”, a military crisp version of “The Walk” with the whole band dancing, and anyone who wanted onstage for the melee know as “The Bird”. As the rest of the band filed off to await the encore cheers, Jimmy Jam and Jerome Benton stayed on stage to thank all of us for starting their careers and talked a little bit about the new record due soon. Jimmy Jam is just a class act. No doubt about it. Everyone came back out and they did “Jungle Love” (natch!), and were then sent off into the night dreaming of phone numbers, sticks, COOL, birds and gigolos. Weary eyed, I dreamed of what always do…
I wish I was Morris Day.
More photos after the jump…
Ick’s Pick: Jesse Johnson’s Verbal Penetration
As a Prince-obsessed maniac since the age of Purple Rain, I’ve always been interested in following those he helped spawn back in the day. The Time were obviously the most talented of the bunch, and a sizable contributor to the feel and sound of the band – along with Prince, Morris Day, Jimmy Jam and Terry Lewis – was guitarist Jesse Johnson.
After the success of Ice Cream Castle (which featured “The Bird” and “Jungle Love”, tunes co-written by Jesse), he left the group for a solo deal with A&M Records. His body of work has always ranked up there as my favorite – his first two albums, Jesse Johnson’s Revue and Shockadelica, are classic Minneapolis synth-funk. Also solid were his other two studio efforts: 1988’s Every Shade of Love and 1996’s Bare My Naked Soul.Except for a 2000 greatest hits collection, Jesse has been quiet all these years… that is, until Verbal Penetration came along. I know, I know, the album title is pretty cringe-worthy at first glance. But after picking it up earlier this week, I’m here to tell you – this is a fantastic collection of neosoul, retro-funk and R&B. It’s 29 tracks spanning two discs, and clocks in at almost two hours, and you quickly succumb to the verbal penetration ride that Jesse wants to take you on.
At the forefront is Jesse’s prolific guitar work. It’s been 13 years since his last studio album, and this album burns with a funky ferocity that feels like Jesse’s been bottling up this energy all these years, and he’s finally been uncorked. Case in point is the instrumental “Merciful” [mp3] – where a smooth, simmering groove sets the backdrop for a jaw-dropping guitar solo that kicks off 25 seconds into the song, and doesn’t let up until the song finishes at almost 5 minutes.
There are so many highlights, and I’m just a few listens in… Check out “Sheila Rae” [mp3], a dose of warm and sunny pop/funk with synth horns and some catchy female backing vocals (which show up a lot on this album).
“1000 Watts of Funky” is old school – you guess it – funk, paying obvious homage to Sly & the Family Stone.
There’s “Ali vs. Frasier”, where Jesse puts on his Wes Montgomery hat and kills with some jazz guitar.
“Letter From a Soldier (Reprise)” and “Love Letters” mashup classic Curtis Mayfield vibes with smooth neosoul grooves.
Even the strange ones are captivating. There’s “Redemption for the Soul, Enlightenment for the Earhole”, a tale set in the far future where music is banned. It is the “Days of the Deafening Quiet”, after the “Great Last War left the Nurennus Realm in control”. It’s narrated by French-Norwegian artist Jezabella Kipp-Messmer, and her accent will confuse, possibly annoy, and probably mesmerize you. What’s truly mesmerizing is the funky sounds backing up the story.
Verbal Penetration is a welcome surprise from a familiar old friend. It sizes up well against Prince’s post-2000 output, and even far exceeds it at points. Jesse’s hiatus hasn’t diminished his talent and potency in any way whatsoever. If you have a little purple in you, do yourself a favor and pick it up.
Buy: Verbal Penetration
Visit: JesseJohnson.com
The Time live in KC
In the year nineteen eighty-three, Prince’s Triple Threat Tour did hit the road. Vanity 6 opened the evening, with The Time as their backing band behind a curtain. Next up, before Prince took the stage, Morris Day and the boys got their 45 minutes in the spotlight, and they took every advantage, trying their hardest to upstage their boss.
I was a wee 12 year old during this tour, so I didn’t get to witness the competition firsthand. But from all accounts, it made for an amazing tour – Prince touring behind 1999, and the Time, with two solid (Prince-produced) records under their belt, there to try and show him up night after night.
Here’s The Time’s set from a recently unearthed soundboard recording from March 19th, 1983, at the Municipal Auditorium in Kansas City.
The Time
Kansas City, MO
March 19, 19831. Intro
2. Get It Up
3. 777-9311
4. Girl
5. Wild & Loose
6. Gigolos Get Lonely Too
7. Cool
8. The Walk
9. OutroBaby, What’s Your Phone Number?
Back in the early 80’s when Prince was building his Minneapolis empire, The Time emerged as his first and ultimately most formidable side/pet project. The Time actually morphed from the popular Minneapolis band Flyte Tyme, of which Prince and Morris Day were members. Most people are familiar with the Time from ‘Purple Rain’. Prior to the movie’s release, the Time released two albums: the self-titled debut, and 1982’s ‘What Time is It’?
The best track off the album, and their best ever, in my most esteemed opinion, is ‘777-9311’: 8 minutes of unadulterated synth and guitar-driven swaggering funk. Produced by ‘The Starr Company’, AKA Jamie Starr AKA Prince, the little purple guy puts his stamp down heavy on this tune.
